It’s interesting to hear how different bands from America interpret black metal music. It seems as though they either take the overly atmospheric road (ie: Xasthur), uncompromising war metal (Krieg), or as in Nevada’s Bloody Victim, take the Kult of Azazel route and mix black, thrash and death styles together to mirror the violent living conditions often found in our cities. I have no problem with this, though I prefer black metal with more emotion, but one has to then try to relate to the music being created. Is it well played? In this case, yes. Do the songs offer a definitive direction, allowing the listener to become part of the experience? Sadly, Bloody Victim seem too concerned with aggression and out of key/brutal riffs that rarely repeat within the song. “Bound in Blasphemy” is like a standard tuned death metal album from a band with caustic vocals, writing linear song structures that alienate the listener with cold violence. If you’re into that sort of thing, and I can be on occasion, then great… this full-length will leave you seeping blood and burning from the chaotic and technical storm. Personally, I need more separation between tracks and repeated musical phrases that mean something. I can appreciate Bloody Victim’s obvious talent and scathing delivery, but the songs inevitably suffer from lack of structural creativity. Some development and more memorable riffs arise as this demo progresses (“Forever Bloody” is a damn good song) and I really hope they continue on exploring and refining their songwriting skills. – Marty
BLOODY VICTIM
PO Box 896
Dayton, NV 89403 USA
info@bloodyvictim.com
Bloody Victim – Bound in Blasphemy
•January 3, 2009 • Leave a CommentBlood Vomit – Up From the Grave
•January 3, 2009 • Leave a Comment
The band name really says it all. Zombified, gore lusting death metal that is tuned down and drum machine dependant. Blood Vomit gleefully reproduces Mortician (all the way down to the horror movie samples) meets Cannibal Corpse level of brutality and style, with zero ideas of their own. “Up From the Gave” will make fans of redundant death create gore-tastic underwear art, but I have really grown intolerant of this style the older I get. The fan base of this genre has got to be dwindling over the years since so little variation has been offered from the upstart bands. – Marty
BLOODSOAKED RECORDS
Blood Stained Dusk – Continuance of Evil
•January 3, 2009 • Leave a Comment
The Emperorisms remain intact on Blood Stained Dusk’s second CD (especially vocally), but are a lot more subdued as this US quintet injects a lot more of themselves into their heavily Scandinavian influenced blackness. I thoroughly enjoyed the “Dirge of Death’s Silence” CD unearthed by Baphomet Records, but “Continuance of Evil” strikes me as the superior in terms of recording and the dark spaces that surface within these 5 atmospheric tracks. Guitarist/vocalist Dageth can really offer up some range in terms of agonizing black metal screams. He has the orcish shrieks of Varg down for accent, but effortlessly bends his vocal chords into a more caustic midrange for the verses, even more of a muppety Atilla croak when the mood calls for a touch of the weird. The music takes on a simplistic aura, but the chords and overall dissonance of the riff work keep the tracks moving along with an excellent flow and vibe. Tracks like “Tentum Tormentum” take on an almost hypnotic quality where the music centers on a rhythmically slow picked series of dissonant chords with subtle changes, allowing Dageth the free reign to accentuate the pull of the song however he saw fit with varying intensities of vocals. This is a good side of Blood Stained Dusk, one that offers a nice contrast up against the equally varied, though more traditional styled black metal of tracks like “Invokation to Baphomet” and the title track. As this disc progresses, the less Blood Stained Dusk sound like a direct product of their peers and more like a harmonically deep vessel of depressive US black metal. Simplistic synth lines seal the deal by introducing a haunting quality to strengthen the riff ideas and feed off of the reverb drenched screams of Dageth. Since this album was released, Dageth lost his life in an auto accident, but leaves behind an impressive monument of inspired black metal. R.I.P. – Marty
BLACK FLAME RECORDS
Blood Red Throne – Affiliated With the Suffering
•January 3, 2009 • Leave a Comment
Some interesting guitar work does arise from the otherwise unspectacular “Affiliated With the Suffering”, but Blood Red Throne are easily the weakest link in Tchort’s metal chain mail. He’s a busy artist also filling up his time with Carpathian Forest and Green Carnation, but BRT sounds to me like the place where all his more redundant and brutal material that doesn’t fit with his other bands goes to die. The biggest hindrance to this band, is the dimensionless and flat mid-ranged growl of Mr. Hustler. He does nothing to add dynamics or intensity to this material… that is handled by the simple fluctuation in tempo, from mid-paced chugging, to predictable blast work. Where interesting riffs come and go, they all get buried by a tired and true formula used by countless other death metal bands, often to more exciting results. Keep your fake blood and “I’m a crazy killer” imagery… as well as your music, you’re not convincing anyone. All 3 times I’ve spun this album, I couldn’t wait for it to end. Not a good sign. – Marty
HAMMERHEART RECORDS
Blood Divine, The – Rise Pantheon Dreams
•January 3, 2009 • Leave a Comment
After making a name for himself in the early years of England’s doom scene as the mournful singer of Anathema (to this day, the first 3 releases from said band remain timeless and godly), Darren White left and formed The Blood Divine… a band with infinite potential on paper, but the few releases I’ve heard have been downright terrible/weak. His voice never evolved and even more shocking, got worse with time as he strained to capture the deep misery he once so effortlessly emulated. Since I misplaced the bio information, I’m assuming that “Rise Pantheon Dreams” is a “best of” collection alongside unreleased, cover and live material. The thing that is the most disappointing about this band is the upbeat punch that plagues their music with obvious riff harmonies and painfully misplaced synth tones. You can tell it’s White singing (with moments of his old powerful self ringing through on the decent track, “As Rapture Fades”), but his clean tone, seemingly scrambled/rambled yelling style and forced attempt to take it to a lower register, is as uninteresting and stale as the music he’s fighting to decorate. There are some great musical moments on here like the middle section of “Vision in Blue”, but as soon as they set a dark groove with memorable guitar work, they switch back into the upbeat Metallica crunch, which dumbs down the overall effect. The mighty have fallen. – Marty
PEACEVILLE
Bloodbath – Ressurection Through Carnage
•January 3, 2009 • Leave a Comment
“Resurrection Through Carnage” is my runner-up for album of last year. Mike Akerfeldt (Opeth), Dan Swano (EOS/Nightingale/countless others), Anders “Blackheim” Nystrom (Katatonia/Diabolical Masquerade) and Jonas Renske (Katatonia/October Tide) have returned to create music again under the Bloodbath banner of dripping gore after the outstanding fan response of this supergroup’s initial trip back in time with the “Breeding Death” MCD. Regarding that mini slab… I liked it for the nostalgia and the members obvious love of, and preservation of traditional Swedish death metal, but it did seem like the songs were thrown together as a product of a weekend worth of beer, stories and fun. The depth and overall attention to creating “songs” with impact just wasn’t there. This is why I’ve been so completely blown away by “Resurrection…” The songs are actually very memorable and highly developed. Every track is a mighty meathook to the torso with grooved out hooks, excellent tempo diversity and a de-tuned punch that is literally crackling off the disc from an ingenious guitar tone. Anders has created a very sick sound, clear, yet 10 times uglier than Carnage or the old Entombed buffalo buzz rig tone. From mid-paced grooves as the infectious “Like Fire”, to the inferno through dried corpses speed of “Ways to the Grave”, inspired harmonies and interesting turns in this simplistically structured music lead the way for the deep and penetrating death moans of Akerfeldt to further reinforce the tasteful, though crushing brutality. My only complaint with this album is the Pro Tools, clicky/computerized drum sound (this sadly kills the bottom end room ambience), but the material is so well written that this point is swiftly forgotten as one becomes possessed by the superior old school death that easily matches the excellence of albums released by Carnage, Entombed, Unleashed and of course Grave. It has been an eternity since I’ve heard this much ingenuity coming from a band that hails the old times and it has rejuvenated my death worship. – Marty
CENTURY MEDIA
Blood – Dysangelium
•January 3, 2009 • Leave a Comment
Germany’s Blood have been at it since 1986… admirable really, but this seems to me like a long ass time to be doing the same old redundant thing, which is 2 minute death grind songs. Sure it works for Napalm Death (occasionally), but such a band possesses so much more depth and intensity than Blood could ever muster. “Dysangelium” is as unimaginative and pointless as it gets as this band hurls themselves into poorly cut up edits, what sounds like poor drum programming (if this is a real drummer, he needs to rethink his sound and skill) and reheated riff ideas that just lay there. Deep vocals are the delivery of choice, with predictable back-up screams thrown in to try and offer some variety as the riffs noodle about in their own down-tuned, 4/4 hell. As soon as Blood just get going on an interesting, mid-paced rhythm (as on “Poison for the Soul”), it’s cut drastically short so they can jump back into the sterile blast work. If only they’d let the ideas build and capitalize on the few strong points they have, Blood could be something more than just another placeholder in the “B” section of your local metal shop. Such is the fate of many bands of this ilk, now isn’t it. – Marty
MORBID RECORDS
Blodsrit – Helveteshymner
•January 3, 2009 • Leave a Comment
Having stubbornly clung to their countries black metal influences for 3 albums now, Sweden’s Blodsrit have greatly developed their style to deliver what has become one of the most solid, straight forward and very potent albums that I have heard from this style in ages. “Helveteshymner ” impresses me from start to finish with its concise delivery and very effective songwriting. Blodsrit’s sound is undeniably “Swedish” with those liltingly dense layers of dissonant harmony and an underlying woodland appreciation lurking beneath a great and sawing guitar sound. Where countless bands from their area may wield a similar weapon with an equally similar intent, Blodsrit beat out the competition by using speed wisely. There are many plodding double bass and slower riff moments on “Helveteshymner” that allow plenty of song defining hooks to enter into the picture to give this music some much needed clarity and catchiness, while waves of depressive guitar lines envelope the listener with the unshakable feelings of complete despair. Add a scorching strike of hell vox to this expertly sculpted body of work and “Helveteshymner” comes across in spirit and execution as a product of the early 90’s black metal explosion. Born too late? Absolutely not! From the clear, yet pleasingly filthy production, the extremely airy artwork, all the way through the spacious progressions that offer endless moments of melody that are somehow inspiring in their close minded grimness, to Blodsrit’s mindblowingly original cover of “Solitude” (Candlemass), “Helveteshymner” is a definite monster of an album. Excellent! – Marty
OAKEN SHIELD
Blodsrit – Ocularis Infernum
•January 3, 2009 • Leave a Comment
Well executed and corpse painted black metal with a solid production. The high end harmonies soar out of this material as if the writing members of this Swedish quartet were deeply touched by the past works of fellow countrymen, Dissection. They uphold this airy take on keyboardless black metal, without losing site of a dark underground feel. Certainly nothing new to the ears, but “Ocularis Infernum” is a well rounded and worthy listen for those of you who still appreciate the Swedish black sound and aren’t concerned with a band holding on to the scenes past triumphs. – Marty
OAKEN SHIELD
Blind Guardian – Live
•January 3, 2009 • Leave a Comment
We all know that live albums are built upon overdubs, but I will say that if this release is an accurate depiction of Blind Guardian’s amazing sound live, they are indeed the top band in the power metal genre. In fact, this 2 disc set impresses me 10 times more than a good share of their studio efforts. The sound seems so much more vibrant, the synth work is quieter and the gang yelled chorus… aren’t as bothersome/flamboyant. This live CD is predominantly based on the rich vocals of Hansi Kursch (one of the most unique singers in this genre) and the guitars benefit from not being buried behind a wall of keyboards as they were on “A Night at the Opera.” Featuring a great sound, artwork and a huge CD booklet full of pictures documenting Blind Guardian’s 2002/03 tour, this nice package could give “Live After Death” a run for its money. – Marty
CENTURY MEDIA
Blessing the Hogs – The Poisoning
•January 3, 2009 • Leave a Comment
Thick and chunky metal/sludgecore that’s bloated with a down tuned and metallic guitar tone. The agony portrayed in the vocals is strange and guttural, putting me in mind of Coalesce’s (RIP) screamer who held the mic up to his voicebox/throat, rather than his mouth. The bio throws around the “hardcore” classification which I find is a misleading adjective. “The Poisoning” may have a bit of the HC spirit, but the guitar tone and more burdened, downtrodden tempo BTH slop around in, strikes me more as just a filthy, mean and eclectic metal record. Blessing the Hogs have turned the amps all the way up on this album and the power explodes in the form of swirling feedback when the power chord mayhem subsides on tracks like “Solvent Farmer” and the mighty “Diapause”. Damn good stuff that features producer Billy Anderson on guitar. – Marty GOODFELLOW RECORDINGS
Blaze – As Live as it Gets
•January 3, 2009 • Leave a Comment
As I listen to “As Live as it Gets” I can’t help but think that Blaze Bayley really got a bad rap for singing in the coveted Iron Maiden. He really does have a good voice… sure it may not have always fit in with the Maiden aesthetic, or the material he was singing over was very uninspired (hence the agonizingly repeated chorus’), I feel that Blaze sets the record straight on this ambitious 2 CD live set. On his own material, his voice never annoys and the tracks are actually very solid/moving. Mixed in with tracks from his “Silicon Messiah” and “Tenth Dimension” solo efforts, are songs from his other musical pursuits. “Steel” is a kickback from his Wolfsbane days and his new band rocks through the following Maiden songs: “Two Worlds Collide”, “Virus”, “Sign of the Cross”, “Futureal” and they close out disc 1 with a Zeppelin cover for “Dazed and Confused”. “As Live as it Gets” has been an eye opener to a voice that is simple in it’s midrange tone, yet surging with a controlled power. If you had a passing interest in the mans work with Iron Maiden, I think this live effort will be a good place for the uneducated to get a taste of Blaze’s talent and his music the way it was meant to be experienced… in front of an appreciative crowd. – Marty
SPV
Blakagir – Nostalgia
•January 3, 2009 • Leave a Comment
From the prolific mind of the man behind the amazing Hellveto (see the review further south in this update) comes the neoclassical side project, Blakagir. Imagine all the metal elements stripped away from Hellveto to arrive at a close description of this excellent and moving CD. The Summoning side of the mans influence truly shines forth on these epic war marches, where enthralling synth lines and the drums of war sing out the promise of a sure victory. From mighty compositions, to more somber moments where it seems the battle could be lost, Blakagir sculpts a beautiful and at times ghastly sound canvas that demands the listeners mind to wander into the dark past… To live how the warriors lived. To feel how the simplest duties that we all now take for granted, were such an effort. The olden times certainly tested the strength and conviction of mankind and this album feels like a majestic tribute to these lives long lost. Classical segments of music, where string sounds and more of a horn based synth tones sculpt mighty progressions so that when the reverb soaked and militaristic timpani drums kick in, the pulse of power wil make the hair on the back of your neck stand up. Minimal vocal lines offer a human dimension, but the brunt of “Nostalgia” is instrumental. The lack of vocals aren’t even a factor as all of this material is swimming in a power and obvious pride. I will admit that I’m no expert when it comes to this musical genre, but out of the handful of neoclassical CDs I have heard, “Nostalgia” has struck me as one of the most engaging and inspired bodies of work to have graced my ears. Blakagir has been a welcomed escape from my reality. – Marty
GOD IS MYTH RECORDS/BLACK PLAGUE RECORDS
Black Crucifixion – Faustian Dream
•January 3, 2009 • Leave a Comment
For those of you expecting to hear “The Fallen One of Flames” part 2 where more of a barbaric, Bathory meets Beherit meets Celtic Frost blackened war metal push was the standard, then prepare to have your milk curdled. After a long hiatus, Black Crucifixion have returned to finally finish their long awaited “Faustian Dream” full length and it’s not what you’d expect to hear from a band that once touted Beherit member involvement. “Faustian Dream” is a very mature album that finds the band centering in on more of a gothic influence. Imagine “Into the Pandemonium” era Celtic Frost in musical feel and avant-garde vocal stylings, mixed with a bit of modern Moonspell and even Type O Negative dreaminess (“October Rust” era) as found on the morose track, “Frailest”. There isn’t any harsh vocals to be found on this album, rather smoother crooning styles prevail, with a dead nut rendition of Tom Warrior’s despondent “Mesmerized” whine to be reckoned on the airy yet heavy tracks, “Bible Black Tyrant” and “Where Will you Hide”. The pitch vocals really work well within this material, freeing up a lot of room for the deep guitar harmonies to weave an impenetrable net of hooks throughout this innovative album. A pleasantly warm sound production helps as well; giving BC a hearty room ambience that is pleasing to the ears and seems to perfectly fit with the adventurous style this Finnish entity has embraced. Subtle and warm synth tones sneak in as well to strengthen the progressions very sparingly, while the tuning of the guitars and ethereal atmosphere empowering this album, puts me in mind of the more death metal influenced doom that used to be the style of choice of Finland’s extreme metal past. “Faustian Dream” did take me a few listens to fully absorb, but it didn’t take long to fully appreciate the uniqueness on display. If you have an open mind and like all faucets of metal, “Faustian Dream” is really an easy album to enjoy. – Marty
PARAGON RECORDS
Beyond the Embrace – Against the Elements
•January 3, 2009 • Leave a Comment
How people can still get excited over melodic, Gothenburg influenced death metal these days is far beyond me, but bands in this vein are still popping up, and getting signed by predominant metal labels. Beyond the Embrace is Massachusetts based and the only way they differ from the grooved out and melodically memorable, middle era In Flames worship, is in the half and half mix of coherent death vocals and James Hetfield styled crooning (not an exact clone by any means, but the delivery is similar). Somewhere between tuneful and a clean shout, this vocal style sounds out of place and underdeveloped in this context, not to mention the actual performance bugs the hell out of me. There is power and definite movement in some of these tracks, but the harmonies all sound painfully familiar. Perhaps more exciting drum work (this guy does little to spice up the riffs he’s holding together) would have pushed “Against the Elements” into more intense territories, but really what’s on display here has been done many times before and better. Boring death metal-lite packing enough emotion to inspire you to hug a bunny or go out and buy a nice sweater. – Marty
METAL BLADE RECORDS
Bewitched – Somewhere Beyond the Mist
•January 3, 2009 • Leave a Comment
Not to be confused with the nostalgia thrashers in Sweden bearing the same name, Chili’s Bewitched are an eclectic metal horde that cherish the forces of old doom, death, and black metal to arrive at a sound that is truly original. It was this old school spirit that made their last release, “Dragonflight” simply amazing to me as they seemed to arrive at a vibrant sound that was a working cross between Candlemass and Mercyful Fate both vocally and musically. “Somewhere Beyond the Mist” has sadly left this style behind to explore an even more “out there” blend of all the genres available under the metal shield of war. The vocals are still very mixed, but far more septic, or black metal fueled. The clean vocal presence has nearly dropped all the King Diamond falsetto (The KD trait still exists on the cleverly named “Merciful Faith”) and Messiah Marcoln vibrato (this CD does contain a very good version of Candlemass’ “Bewitched”), in favor of a more triumphant croon. Overall, Bewitched has come to a point where they have purged a great deal of their influences to obtain a far more original sound, but for it I feel a lot of the classic metal aura that made “Dragonflight” so special, has been lost in favor of a more modern coldness. The synth work is still subtle, though at times flamboyant, and almost carnival-ish in the sound selection, but how it intertwines with acoustic guitars, quieter moments of music and of course the full on death/doom riffage, their accompaniment effectively colorizes their music with even more intelligent development. The music is mainly mid paced, being filled with memorable note based riffs that cascade into meaty power chords to inspire very adventurous solo work. The latter is quite tasteful as the guitarists center their efforts on highlighting a song with colorful melodies, rather than the pretentious flash that usually kills a solo for these ears. “Somewhere Beyond the Mist” is quite impressive from a creative standpoint, but I can’t deny the fact that I will likely spin this albums predecessor far more often due to the warm nature of that material. Still, if you don’t have their past efforts to compare, I think you’ll find that this is a very enjoyable doom record that works very hard to tear down the confining restrictions that still exist between all the metal genres. – Marty
CONQUISTADOR RECORDS/SUPERNAL MUSIC
Berserk – Rites of Supremacy
•January 3, 2009 • Leave a Comment
Spain’s Berserk sure do emit a majestic and decidedly Nordic pagan black metal atmosphere on “Rites of Supremacy.” I’m finding this is one of my favorite sub-genres since the bands that make up its mainframe all concentrate on melody and spacious guitar rhythms to give you that weary traveler overlooking a mountain range vibe. Berserk thankfully go against the true meaning of their name with sensible tempo variation (centering mostly on a triumphant mid-paced lope) and very moving progressions that pile on the hooks. Add a synth line that is barely there like a slight breeze blowing across the battlefield and the throaty snarl of the vocalist is carried aloft to a less traveled plane of stylistic identity. Though Berserk certainly isn’t a clone of the following bands, if you enjoy your blackness fused with the epic spirit of a Viking era Bathory or Graveland (though Berserk holds on tightly to their BM side), “Rites of Supremacy” is a solid and entertaining journey. – Marty
OAKEN SHIELD
Belef – Infection Purification
•January 3, 2009 • Leave a Comment
6 years has past since the insanely short, though promising “Deathwind Legion” MCD from France’s Belef and even though they have maintained a caustic black metal styled vocal attack, this new full-length is a blastathon that bears more in common with turbo death and grind than it does bands like Immortal, Mayhem and Marduk as the bio information would suggest. This definitely isn’t a bad thing, other than the fact that the chaos contained on “Infection Purification” is something that is better absorbed in small quantities. Surprisingly, even though the speed and overall delivery is raging over the top, the songs on this disc are all lengthy and over the 4-minute mark which is quite a feat for any musician (mainly the drummer) to maintain. The harsh changes and choppy stop/start transitions point Belef even more clearly into the death/grind area of expression which is great if you like your music dripping with intensity and a sickness that will leave a nasty stain. I will say that I can fully appreciate this style of extreme metal on occasion, but I’m often left cold when faced with a barrage of twisted song structures and the blatant dismissal of melody/in key musical moments that are essential in creating a “song” that will stick with the listener. In Belef’s push to create an extreme blackened metal attack, they have completely disregarded the main staples of the genre. Atmosphere and dissonant harmony. Even the slower moments on this disc are a bizarre concoction of harsh musical phrases that are interesting to the ear, but refuse to be absorbed by the psyche to be remembered. I’m often impressed by the dexterity and technicality of this album, but Belef have given us 8 tracks of flash and aggression that seems to detonate and destroy everything in it’s path rather than offering up actual “songs” that mean something long after the last distorted notes fade off in the distance. “Infection Purification” is an impressive, though largely forgettable mess of an album in light of the musical style the band is claiming to uphold. – Marty
CANDLELIGHT RECORDS
Behemoth – Zos Kia Cultus (Here and Beyond)
•January 3, 2009 • Leave a Comment
For the style of modern turbo death metal that the longstanding Behemoth now execute (they used to worship the blacker side of sonic blasphemy), I really like their riff work and overall performance instead of the dryer/uninspired punishment dished out by fellow blast fiends Myrkskog and the like. Behemoth uses the speed very effectively, almost like a 3rd unique guitar part. It’s almost a musical element, on this album and the equally impressive “Satanica” which also exploded with a very interesting/creative approach to turbo riffage. Perhaps a carry over from their black metal years, the music may possess its share of technical Morbid Angel-isms, but Behemoth inject a very colorful thread of melody into their riff warfare and instill its presence with much welcomed variation in the tempo assault (many slow and mid-paced moments of music dwell on this album). For being more careful with their song structures and striving not to blatantly steal another bands sound, delivery, or stylistic ideas, Behemoth, much like the always amazing Nile, have made their own way by actually creating intricate death metal with direction, purpose and musical surprises. The vocals seem a bit dry, but somehow fit in and torment the firestorm of organic death lurching off of “Zos Kia Cultus” perfectly. Add a full and very pristine production, plus some of the best artwork I’ve seen in a while and you have a modern death metal album worthy of your attention. I was beginning to think such an album from this often brutal/unrelenting sub genre no longer existed in 2003. Could Behemoth be evolving into a more essential, well rounded band than their fellow countrymen Vader? – Marty
OLYMPIC RECORDINGS/CENTURY MEDIA
Behemoth – Conjuration
•January 3, 2009 • Leave a Comment
The thrill of a supplemental and lengthy MCD from a band that I respected seemed so much more magical way back when, in the years when such releases seemed like the perfect pacifier as I awaited the next full-length album. King Diamond did it. Forbidden did it. Metallica (gripe all you’d like, the Garage Days EP remains a classic), Kreator, Grave… the list truly is endless. Add Poland’s Behemoth to the pile and even though the alleged push of this release centers around a new song and 2 quirky covers, the 7 live tracks struck me as the true draw of “Conjuration”. The title track sounds like the one song that just wasn’t good enough to make it on the ever impressive “Zus Kia Cultus”, regardless if the drummer remains the most awe-inspiring weapon in Behemoth’s arsenal. Nergal’s vocals to me just don’t sound piercing or ravaged enough to match the intensity of the music. A dry shout dominates, when more of an aggressive gurgle at the back of his throat would add so much more character to the performance. He simply sounds fried. Next up is the bands take on NIN’s “Wish”. A decent song in it’s own right, but with the sped up delivery and more metallic touches spun into it ala Behemoth, the song takes on a completely week aura. Add Negal’s feeble attempt at pitch singing where his accent awkwardly butchers the English language, and we have a failed attempt at the band trying to demonstrate that they are open minded enough to appreciate other genres of heavy music. Behemoth’s take on “Welcome to Hell” by Venom is surprisingly very accurate. Even Nergal’s dryer shout seems to do this song justice, but still, this isn’t a track that could be used as a selling point for a person to pick this EP up. The ensuing live tracks possess the fire (both musically and vocally) that I desire to hear from this band and have a very clear, yet powerful/aggressive sound. But still… is a live album from a 4th level death metal band really that necessary? Even if I worshiped this band, I don’t know how moved I would be to rush out and snag a copy of “Conjuration” for my very own. Now a DVD with a good set-up/multiple camera angles and promo videos would be a different story. – Marty
OLYMPIC/CENTURY MEDIA
Worm Gear 