Sunn O "White 1" Southern Lord by: Paul Autry Maybe it's just me. But, I don't get it. This is a three song release that has a running time of over an hour. The musical style is what some would call doom, sludge, experimental noise, something like that. I honestly found this to be very boring. It just did absolutely nothing for me. I mean, sure, I know there's people out there who follow stuff like this. But, how can you tell if the people who are making this stuff are actually talented or not? How do you judge if this is a good recording or a bad recording? Maybe someone out there could explain that one to me because I sure as hell can't figure it out. Some of this music, what I could sit through at least, wouldn't be so bad if it was playing as backround music in a horror movie. But, I wouldn't...and can't...sit down and listen to this on a regular basis. I might enjoy this more if I was taking drugs and getting high on a daily basis. But, since I'm not into illegal narcotics, it just doesn't float my boat. You really need to have a certain fondness for this style of music to appreciate it...and that's about all I can say about it. http://www.southernlord.com

Toadliquor "The Hortator's Lament" Southern Lord by Paul Autry Call it doom. Call it sludge metal. Call it what you like. I just can't seem to float my boat with this. The ultra slow Black Sabbath riffs aren't bad. But, the longer I listen, the more bored I become with this release. It all starts to sound the same. Oh, it has a good sound and all that. No complaint there. But, you have to be someone who can appreciate the sound...and style...that they have and I can tell you right now, I'm not that someone. Also, I feel I should mention some things about this release. It would seem that all their previous releases were available in limited vinyl runs on obscure record labels and this release is actually a compilation of rare and unreleased tracks as well as their self titled release from 1994. Fans of Eyehategod, Grief and Neurosis should be into this. http://www.southernlord.com

Cementhead "February Girls" Indie release By Paul Autry This seven song release, which is the third for the band, is an energetic romp through the valley of what I would call indie pop rock with one foot in the water of punk rock. The album's a bit too short if you ask me. Twenty two minutes after I threw this into my CD player, I thought to myself, "You mean that's it?" After all, they make the kind of music that you wish would go on forever. It leaves you with such an up feeling, if you know what I mean. It's the kind of music that you'd want at your next party. I thought the final track on the album, "Planes & Trains," would be a good song to use if they had any interest in making a dent on a radio chart somewhere. Don't know if it would reach the number one spot. But, it's definitely one that would be in the top five. The album's got a good sound, which is always a plus in my book. If you're looking for something new to check out and you're not familiar with this band, give 'em a listen. I think you'll like what you hear. http://www.CementheadNyc.com

RAMPAGE "The Arrival" Indie/Self By Jonathan Mariante Rampage are Canadian metal band, who have just released this six song disc. It is their second release. The band plays straight ahead heavy metal, influenced by just about all the classics, from Black Sabbath to Slayer. Rampage's style is very old school influenced but with a modern touch. Their music is dark and spooky in places, and some songs are inspired by horror themes, such as "Reagan's Dream" (which is inspired by "The Exorcist") and "Bloodline" (with a vampire theme). Singer Patrick Mulock sounds influenced by Rob Halford and Testament's Chuck Billy (and their is a lot of influence from both singers' respective bands in Rampage's music). The playing is very good, guitarists Tyson Emanuel and Rick Reid, bassist Stan Miczeck (who has played with renowned Canadian rockers like Kim Mitchell, Sass Jordan, and Honeymoon Suite. Playing in Rampage seems to be a bit of departure for Stan, as those other bands were more in the melodic/commercial hard rock vein, while Rampage is much heavier and darker), and drummer Chris Lewis all doing very well at their respective jobs. There is some very good guitar playing from Tyson and Rick in here! "Reagan's Dream" is a full throttle headbanging tune, while most of the others ("Bloodline", "Dirty Work", "In The Name Of...", and "The Drowning Man") move at a slower pace, a la Sabbath or Trouble, but are still dark and heavy tunes. The album's closer, "Heaven", is one that caught my attention. It starts off played on classical style guitar, and the playing is very nicely done, with some haunting melodies, the two players complimenting each other, then it gets heavy, kind of in the same way as Judas Priest's "Beyond The Realms Of Death". Rampage are a good metal band with a lot of talent. They have done a fine job on this EP, and are planning to release a full lengther soon, so if this is a sample of their work, that should be a good one! We eagerly await the "arrival" of that!

BRICK BATH "Rebuil" Crash Music By Martha Hughes All right, everybody, get on your baggy pants and jump around! Jump around! What? You only have 12 piercings in your face? That's not enough, you're just not kewl. Here, you can borrow my wooly cap. Perhaps I'm exaggerating a little; there are a few cool guitar riffs and moments in Rebuilt, just not enough of them. Between the brief, enjoyable moments are annoying monotone, mid-pitched vocals, jumpy beats and lots of over used blasts. I'm sure it's just a moment of time before they're touring with Skinlab. I can't wait.

DUNGORTHES "Intended to" Perennial Quest Records By Martha Hughes Intended to. flows like a mad river, crashing into rocks, winding its way to its inevitable demise into the sea. The water overflows at the river's edges, seemingly ready to burst, but never does. This CD is the perfect example of how melodic death metal should be played. Each song is, dare I say: beautiful? Not to say this is fluffy, girlie crap. It's not. What it is: is smooth, forceful yet controlled. My Norwegian friend Grø (Khaos Productions, Øslo, Norway) would say this is perfect driving music and I would be inclined to agree. The melodies are well written, the song structures sound. I remembered the song melodies long after I stopped listening to the CD, and that's saying quite a bit. How many death metal songs do you remember these days? The growls are near perfection, a perfect pitch, neatly fitting into the music. This release makes Martha a happy camper. Perennial Quest Records, 14, rue des Alouettes, 88150 Thaon Les Vosges, France

The Patsys "You're Gonna Pay" Umbrella Records By Paul Autry There's about eight minutes worth of music on this release and it comes off like 70's garage pop rock. It's got a raw sound and a lot of energy. It's not a bad release. But, there's really nothing more that can be said about it. It's got a black 'n' white CD cover. So, you can't really say anything more about that either. I guess this is a good example of a band that's gonna let the music do the talking because that's really all there is. You pop this one into your CD player and you either love it or hate it. I don't think there's any in between when it comes to The Patsys. http://www.thepatsys.com

Styx "Cyclorama" Sanctuary Records By Vinnie Apicella Three years in the making, the revamped Arena-rockers come out with a revitalized form that embraces their storied past and focuses to the future. "Cyclorama" is Styx full circle, arriving some thirty years after their self-titled sleeper, and it's an album that boasts the confidence of top-level talent and also an unlikely continuity that's rarely plausible when so many new elements enter the equation. Styx now sports an unprecedented four lead singers and features the team of Burtnik and Gowan, each of whom role-play, if not replace, the dearly departed Dennis DeYoung and the difficult to overcome operatic integrity that defined a large measure of their sound. Because of their ability to change from song to song, album to album, member to member, really, Styx can survive change better than most and lose little integrity in the process. "Cyclorama," if not a wry inclination toward promoting essential health benefits of a beta carotene rich diet, is a highly photogenic glossy paged comeback record by a band with a point to prove and not in the slightest means low key. The songs range from the typically uptempo Rock tracks like the optimistically self-indulgent "Do Things My Way" and catchy first single "Waiting For Our Time," to the anthemic uprising of "Fields Of The Brave," and the surprisingly sharp "Kiss Your Ass Goodbye," and their usually well bred blend of soulful ballads that in many cases run synonymously with graying temples, though here, a customary norm since day one. The additions of Burtnik and Gowan make the post-DeYoung era a smoother transition than could be expected considering the former's unmistakable croon, and together with the greater vocal influence of Tommy Shaw, make an impressionable singing team that stays true to their history-rich harmonic unity. JY, the usually grounding force behind the otherwise soaring nature of the Styx grandeur, remains faithful to the guitar as a weapon ideology with his noticeably heavier presence now and again, particularly impressive on album highlight, "Captain America." "Cyclorama" does not escape completely unscathed from the empty room of reticence - "Yes I Can," "Killing The Thing That You Love," and one might suggest a greater degree of urgency in a chorus like on "These Are The Times" or a sharper hook or "Together" to break free from the occasional chain of the mundane. When all's said and done, "Cyclorama's" got more legs than most for a band their age and platinum-selling past to live up to. Most veterans come away too predictable and play it safe at every angle, venturing, if at all, into little more than the relaxed atmosphere of Vegas-staged stool sitters that rise barely above their own acoustics. Where 99's "Brave New World" was more immediate as the actual "comeback" album, "Cyclorama" extends the band's sound parameters and offers a well blended mixture that thrusts the idea of classic-era "Grand Illusion" to a new dynamic of contemporary progressivism.

Caustic Resin "Keep On Truckin" Up Records by Vinnie Apicella It's lucky the first song's got a catchy enough chorus cause by about the sixteenth time around I'd be getting plenty bored with it. It's called "People Fall Down" and it's a yammering, stammering, drunken stupor of an opening track that does nothing to suggest edge of your seat excitement, but rather, flat on your ass immobility after the tenth hour toke. "Message To Shareholders" is a mid-paced follower with a murky voice drowned in heavy echo and Devil's music. Just don't wonder what that message might be until we've developed the means for backward play, then watch the crowd form. "People Fall Down," "Wizard Of The Upper Snake River," "Keep On Truckin." okay, I'm not blind to the purple haze forming over my personal sphere but "Message To Shareholders?" As if the name weren't indicative enough, Caustic Resin is what you might consider "Stoner Rock." if you were over eighty and resting comfortably in your rocker of choice; To the rest of the world, they're a drearily paced wall of psychedelia and "Symptom"-era Sab. acid drenched, denim music with an Ozzy drown-alike buried in dread, dead but dreaming, and Tom Petty's sophomoric summer of '72 basement break. Not without their acclaim, Caustic Resin boasts guys like Brett Netson and Mike Johnson, both of whom have logged mileage in bands like Built To Spill, Dinosaur Jr. and QOTSA. There are moments of debilitating delight underlying the billow like on "Wizard Of The Upper Snake River," which has got some great guitar FX and mid-song wow and flutter that shakes loose the cobwebs, and "Drive #47" is pure desert dwell, be it Santa Fe, Santa Cruz, or the Southside of the fucking moon, giving you that out of body experience as your spirit sinks beneath your senses. They've been doing it for six albums and some fifteen years since they first sparked up the desire to get a high off a heavy coded guitar buzz, and so one might say they're something of a latecomer veteran of the Chevy Van scene. Others might say wake me when it's over. There is a depth to look beyond the outward crawl of the songs, which stay safely tucked in the slow lane for most of the ride, and so suggested listening should take place at a moment of high alert. Otherwise, "Keep On Truckin's" a lucid, slightly artsy and abrasive first gear descent down the steep hill of hallucination.

Paradise Lost "Symbol Of Life" Koch Records By Vinnie Apicella Would it be too much of a stretch to hail the return of Sisters Of Mercy during the opening playback. just a thought. Actually I didn't quite know what to expect of the latest PL record. It's been a few years since "One Second" made any sort of impact for the band who've continuously tinkered and pushed their artistry, and likely their remaining fan base's patience to the brink of a breakdown. Since it's some 12 years removed and likely long filtered out of the original listener's memory, let's pick up not from the darkest extreme from whence it began, but the story begun from their successful middle '90s prime when PL's creative vision revealed its full potential in pioneering the burgeoning spirit of Death Metal, Doom, and Dark Wave. Remembering as much, let's not fail to see that in spite of their relative "obscurity" in recent years - though they have in fact released, dare we say critically un-acclaimed works with "Host" and "Believe In Nothing," they've continued furthering their artistic obsessions in a new vision splattered of moiré patterns, programming and Pop-heavy touch strokes. And it is undoubtedly at the two extremes, a combination of their triumphant "Icon" and "Draconian Times" records that Paradise Lost lived and breathed in the body of a revisionist legend whose work was an unparalleled reach into the previously unattainable, to forever etch their title onto the stone of the Gothic/Metal prototype, forever fine-tuning their delicate balance of ambience, aggression, and new age artistic demands. "Symbol Of Life" is neither of those two records but as close a combination as one might expect of a band continually on the run, this time dashing back a few yards to the place where they'd previously sought and received shelter from the hailstorm of critical intent - but for the record, let's tilt further toward "Draconian" and it's "One Second" aftereffect. "Isolate" and "Erased," where if you listen hard, you might catch Lee Dorian lending an extra ounce of alto for added denseness of verse, are two early indications that yes, Mr. Mackintosh has not altogether forsaken the fretboard for the finger pads and foot pedals. The guitar parts are, however sparingly, brilliantly intrusive, adding an almost new depth of effect to slowly rolled rhythms, rekindling the blue glimmer of old, if only in complimentary fashion, while percussion intertwines amiably to otherwise somber emotional suites. "Self Obsessed" offers another glimpse into a life long ago by beefing up the riff in a fast moving near/far variety that's edgy and delightfully outdated by their own standards, or put another way, combined with its equally subversive self-titled follower, and true closer "Channel For The Pain," a reawakening point for a dejection displaced. The album highlights basically bookmark the eleven original songs, with a mid-section lull where refracted digital impulses set upon further self-reflective mood music. Nick Holmes still remains a compelling force behind the torturous delivery of their haunted lyric, something greatly evidenced on their clever mop up work - limited edition U.S. version - for concluding covers of Dead Can Dance's "Xavier" that's simply smashing, and the unlikely Bronski Beat "Small Town Boy" hit that's indescribably ugly. For a band used to dancing with danger from one step to the next, there'll be backlash from either direction on this one, with the newcomers bewildered beyond doubt with the razor-edged guitar power that defines, often enough, the core of PL's sound, yet still boundless in their ambitions for imperfect pitch. And with all the many successful late day entries into a pragmatic Goth/Metal arena frothed with feminine charms and orchestrated splendor, what's to transcend the likes of Paradise Lost from names like Dark Tranquility, Entwine, the renowned Opeth, or an in step Tiamat? One might say their boldness or brashness, or better still, to have popularized said style without fear and with forward thinking progress while still remaining uniquely significant among the pack. "Symbol Of Life" is an unexpected tale that's partially right, occasionally flat, and after few more dagger twists, generally fulfilling.

The Haunted Earache Records By Vinnie Apicella Well at least now when someone asks they can say The Haunted made 'em do it. Okay, bad joke, but far and away from the notion of one "hit" wonder, or "kill" if you like, The Haunted spearheaded this new age Thrash Metal resurgence currently being enjoyed by legions of pit-dwellers of a previously shaken faith, earlier led by the likes of the acclaimed At The Gates before them and the wealth of Gothenburg greats who've followed. Like few others, The Haunted don't seem to be compelled by shifting motifs from album to album, satisfied instead to excel and accelerate beyond that which they've previously done and raise the level of intensity within the ranks of an increasingly formidable battalion of black-minded bullet theorists. The songs are faster, the shifts quicker, and the songs better rounded by elongated and crafty instrumentals. Fluid harmonics forestall the fore fronted lyrical rage that's never been sharper, where right from the get-go we're exposed to Marco's sinful salvo against the religious disease that spawned "God Puppet," later greeting themes as "twisted grace," sickened minds, and "surplus killing". Framed in a makeshift news article based upon the terror let loose on a democracy gone to hell, a prevailing pain and tolerance submit to the sacrificial souls stood at attention in the face of a commandment-free division of humanity at its hopeless extreme. "Shadow World," "Everlasting" and "D.O.A." make for a lethal combination of brutality where The Haunted's trademark wall of riffs, melodic fills and bullet-like arpeggio's strike the target with deadly accuracy, all the time laying claim to a superiority in fluidity that few this heavy have capably produced. Somewhere between vintage Slayer, Napalm, At The Gates, and an uncommon In Flames, lay the likes of The Haunted's sound, built upon the apocalyptic principles of an early Death scene and dark Thrash. If there's one complaint here it's that many of the songs occupy a similar riff space, making for an easy, but needless look back for reference. From the blow out instrumental "Demon Eyes," they take a slight downward twist where the pulse skips a beat or two for tracks 7-9 but rebound afterwards to pick up steam and positively abominate for the vindictive "Bloodletting" and closing title track. Where lost innocence and subliminal desire cringe before the call of darkness, The Haunted, masked in full serial splendor, having adopted the pithy persona of both hunter and hunted successfully recreate this torturous crime scene we refer to as existence and all its crumbling glory.

Unwritten Law "Music In High Places" (Lava Records) By Vinnie Apicella The San Diego Punk-based Pop Rockers saunter in the sun for this slowed up strummed down version of their past, highlighted for the popular MTV "Music In High Places" series, showcasing, effectively, the skull beneath the skin or bare boned facts that behind the extracurricular rage and age of distort, lurks a well founded and talented band. The eleven tunes follow most of UL's previous four records but laying heavily on last year's "Elva" favorite including subtle and stormy versions of "Seein' Red," "Up All Night" and a rollin', tumblin' version of their "Blame It On Me" with full forestry effects and campfire callouts compliments of the vastness of their conditional Yellowstone outing. At one with nature, Unwritten Law joins the ranks of Sugar Ray, India Arie, and Alanis Morrissette as spotlighted participants of the show, placing said artists in calm and scenic surroundings powered only by a love of playing sans artificial flavors, colors, or preservative effects to ruin the purity factor. Leaving a resounding trail of acoustic vapor the songs resonate with a previously unrealized richness to refresh a receptive listening palate long after the sun sets in the valley. While "Unplugged" exploits have had their successful runs in the past, "High Places" is a distinctive live performance without reflective room bred acoustics or fan friendly feedback, instead finding the band au natural, revisiting the point of entry and doubtlessly providing a new point of reference from there. Other tracks like the fired up "Rescue Me" or the mellower moments of "Elva" and "Shallow" reveal a sensitive and skilled set of players that move freely from frenetic to folksy, Simple Plan to STP without losing the edge and inspiration that got them this far.

Vassago "Knights From Hell" (Mercenary Musik) By Vinnie Apicella How's this for a new twist on the Medieval Metal scene? "Knights From Hell." And no, these are no ordinary knights, but the true "Black" knights; the evil masked figures that gallop in on the dark horse, swords raised and trailed by legions of corrupt followers to litter the landscape with hordes of slaughtered and doomed. Vassago is a Black Metaller's dream. First sign this ain't no ordinary day in Camelot? Try "Anal Fistfuck" for starters. read the lyrics, no surprises. Then a little midsummer's day sodomy to really get the blood flowing - "Raped By The Machine" - or "Thou Shalt Kill," the first and only of the King's commandments that preside over the rest of the similarly sewn fourteen tracks of death screams and debauchery. Headed by the team of Sin and Pepa (Vassago) of Lord Belial, Vassago first came to life back in '98 and for one reason or another couldn't make it stick. This record sounds as fresh and fierce as any you've encountered. Backed by a number of gratuitously titled session players, most notably the Sadistic Sodomizer and Suckdog doing their bits on drums and guitars, the sound is unmistakably heavy, something that surprisingly gets lost in the sometimes clammy and symphonic productions of the Black scene. "Knights From Hell's" odious theme doesn't suggest even a hint of rustic charm lay beneath the otherwise flammable surface of an all out war-against-all aggression. The blinding speed, jarring dissonance, thick riffs and scale runs and gut pukes (see Sin's contributions) are a slice of prehistory that reaches back to the catacombs and doesn't let up until the last cry of agony disappears in the distance. Noticeably nocturnal and similar to the bygone Slayer, Sodom, and Venom era of dark themes and war decrees, "Knights" draws further distinction in the stellar production work of the acclaimed Andy La Roque, who when he's not mixing, mastering, or feeding frets and fills for the King, lends an extra boost of bottom heavy tactical support to save the sound from unwelcome orchestral overbloating; the result is an audible piercing of perfect clarity with just the right amount of crudeness. The songs are tight with little regard for complex arrangements, forestry, or folksy effects, thus a true misnomer to the usual idea of Tolkien tales and power chords. Be forewarned, the songs move quickly considering, so fifteen, including about three instrumental bursts, cover a lot of ground in short gallops. Belial fans will no doubt take the cue, though there's a topical stretch, but few boundaries are broadly crossed here, as is the Black and Death Metal norm, and of the fifteen, some truly memorable moments exist in their "follow up" to their savage "Enter The Moonlight Gate." Cleverly interspersed throughout and without the beleaguered two, three, or four part nonsense in between, tracks like "Total War Brings Total Death" is a phenomenal follow up to the opening "Sign Of Vassago" which by comparison falls dead and demands a do over; "Cleansing," "Thou Shalt Kill!!!" and "Agent 666," the last one takes it, are soon to be extreme Metal classics that - surprise - already have an apparent five year head start! "The Origin Of Evil" and "Satanic Slayer (Division SS)" see their infernal fight lead to easy victory by way of rhythmic blitzkriegs that maintain their foothold even this far into the fields. "The Spell Of The Eastern Oracle" as the fade out. okay, it works. Where the Lord fell, Vassago emerged, and Satanic might arises again in the form of the evil Black Knight, a triumphant nightmare for fans of Mayhem, Immortal, Vader, and Dark Funeral.

Waterdown "The Files You Have On Me" Victory Records By Vinnie Apicella Looks like Victory scored another one with these guys. This is some of the best Modern Rock music I've heard in a long time - deep, creative, edgy, melodious, and each track properly positioned for maximum impact. There's of course more to the story than simple "Hard Rock" would have you believe, but on the whole, it's a well serving shelter to a balanced attack of Hardcore angst, Metal riffing, and Pop hooks. Waterdown's only three years removed from their initiation, and has thrust forward a modern day amalgam that few bands can capably deliver convincingly enough to warrant either high praise, or another album deal. While the "Emo" tag continues to leave a sweaty imprint on the palms of countless hands extending toward the Punk Rock and power Pop star fall, Waterdown, much as have an Avail, or recently Hot Water Music, go the extra musical mile with fully descript AOR tracks that dare to be different and respectful of the other's space. The German-based sextet, which features two vocalists to handle agony and ecstasy on equal footing, they would be Bischoff and Rieser respectively, but irrespective of that is the phenomenal musicianship, long a foregone conclusion to the glut of German performers, that not only contributes to flexible arrangements, but adds the extra technical, tactical component noticeably prevalent in the dual guitar work. Down the list there's little to languish over and to call out only three or four particular highlights is a daunting enough task. We can first begin with "Bulletproof," a surging momentum builder for openers, with a fiercely laid guitar part driving an anthemic verse and terse politicizing; we'll then turn two tracks down to "Xerox" where we're initiated to the soothing fluidity of Bischoff's lamentive style which appears often and again two and four songs later and particularly on the pre-closing "At The Waterfront"; "Disgrace" and "Nothing" make for highly strung mid-tempo sing along, scream your way out of it tracks; "Interrogation" is contrastive with a creeping bassline and haunting melodies. There's richness in depth and musicality indicative of progression without the pomposity or pushcart effects. Divide and slice it however you want, this is a great Rock record - like a Jimmy Eat World, Sinch, or the Hot Water Music, Boy Sets Fire types - and considering their line up changes and the usual sophomore slumps, is all the more impressive for this soon to be benchmark release.

God Dethroned "Into The Lungs Of Hell" Metal Blade Records By Vinnie Apicella Dutch Death Metallers God Dethroned return with their sixth and most socially critical record to date. Aside from their usual eight song standard, another ten tracks accompany the new crop, including a smashing reworking of their originally released 1992 name sake, and Possessed's "Satan's Curse." Both blow open the flood gates for a rush of live blasphemy for another six tracks highlighted by "The Grand Grimoire" from their classic original Metal Blade entry and "Under A Silver Moon," a majestral movement from the same six year old record. Since their Metal Blade debut, God Dethroned, in spite of the usual membership mishaps and occasional view from above, has been among the more "listenable" of Death groups, embedding finely tuned melodies and harmonic leads beneath sharp rhythmic deliveries that emit a pure chill from speakers to skin. We're moving another step beyond from the, No, not another atheistic crawl through the pit of darkness for drone together sound alikes of Death chants and chemically imbalanced tales from the purgatorial pulpit? Okay, then maybe you DO know God Dethroned, and yes, a major part of their identity arrives from soul sucking, bone collecting, skin crawling, kill your god you blind eyed fucking lamb. Through it all we're led by the eyelash through another fiery abyss, into and out of said lungs, leaping landmines, peering past and peaking behind us, reveling in our own and rebelling against their beliefs and standing statue still in awe of another violence provoking, crafty display of power and class. Not their best, but considering some two years between records and on the merits of their last couple, "Lungs," bold and brash though it may be, suffers some in song standard and mix. On the plus side, the opening title track and top tier follow up, "The Warcult" make for a painful and proficient team with the former better placed near the end with it's twisted delivery that's plainly evident when the flames rise suddenly after the opening salvo. "The Tombstone" stands out as another of GD's finer hours here, blending classic Death, and discordant Thrash in a hastened glimpse at the ugliness of the hereafter. "Gods Of Terror," think hard, combines the usual suspects, as in God and government, and combines the annihilative principles with the painfully terse in an all out final hour barrage of skins, riffs, and screams delivered with a skin-peeling efficiency that leaves in sudden silence. The overall production is consistent but tough to get used to and lacking compared to recent records. The drums, delivered admirably, suffer the most, often buried in the background, lacking the effectual punch if not dexterity that are the norm. Overall, the record wins for its two-disc add on swagger of live cuts, bonus, and vid clips, but staggers clumsily enough in studio at times to suggest Sattler and co. could stand a little more cohesion and bottom end clarity.

Nasty Savage "Wage Of Mayhem" Crook'd Records By Paul Autry A blast from the past with an eye on the future is what we have here. This release is the demo from 1984, the one that eventually led Metal Blade Records to sign the band the following year. For those of you who know the band, I assume you already know what to expect. A thrash/heavy metal combo, that's what Nasty Savage was all about. This demo has a very raw sound to it, which I think should've been cleaned up a bit because, when it comes to heavy music, you really need a good production in order to enjoy it at maximum volume. You can't do that here, I'm sad to say. But, then again, this was a demo. So, I guess you can't really complain. It's a piece of musical history that people can at least add to their collection. Since I never really followed the band, I can't tell you what the two new tracks are. I assume they're "Witches Sabbath" and "XXX," which close out this release. Whatever...the two new songs are the first from the band in 13 years and since they've got a buzz going now, they're going all out in the form of a new studio album, something I'm sure will please the hardcore fans. So, pick this one up and prepare yourself for the next wave of Nasty Savage. You have been warned! http://www.nastysavage.com

Jetboy "One More For Rock And Roll" Perris Records By Melanie Falina Glam fans, you're going to be very happy. Though the new defunct Jetboy has no plans to reunite, here's a whole new crop of songs not originally intended for release. Recorded between the years 1987 and 1989, these songs were only for the use of showing their stuff to music producers. "One More For Rock And Roll" is a nice collection of the past era which can now find it's way into the hands and hearts of Jetboy fans. "One More For Rock and Roll" is a 14 song collection of demos, remastered songs, acoustics and more. Some of the songs included are "Feel The Shake" with alternative lyrics and guitar solo, demo versions of the songs: "Trouble Comes," "Stomp It Down," "Heavy Chevy," "Rock'n'Roller," and "Evil." Acoustic renditions of both "Live & Die in a Day" and "Bloody Hands," and a remastered album version "Missing You." A little dated by today's music standards, "One More For Rock an Roll" is a hard and loud agglomeration that will make Jetboy's diehards happy campers. Yet, it offers little for music lovers who have either never heard of Jetboy, or who have moved on from that genre. More information on Jetboy and the "One More For Rock and Roll" release can be found at: http://www.perrisrecords.com

PURGE "Grounded" Ass-9 Records By Jonathan Mariante These guys play your basic modern style hard rock, with a touch of everything from Alice In Chains to Tool to Godsmack or Saliva. Singer Jay Bellaud even sounds a bit like AIC's late, great Layne Stayley or Tool's Maynard. He can sing quite well, and the other three members, guitarist Keith Cuscia, bassist Randy Ladd, and drummer Bob Austin are all decent players. There sound is dark, morose and brooding, but also hard rocking and solid, with some good guitar work from Keith, and lyrics about inner turmoil. While they are certainly a decent band, they are really no different from other bands of this ilk. Their style is not distinctive and they do not stand out from other bands in any big way. Everything is done right, but it just wounds like they're going through the motions. People who are into this style and don't care whether or not a band sounds all that original should enjoy this album, but I didn't find anything special here. http://www.purgedi.com

ORB "In my Mind" 2002 Independent By Jym Harris Too many acts with the same name, don't you think? This is NOT the popular techno group... just maybe a bar band who should've stuck to covers. The pro-discipline anthem "Spank" at the end of the disc was no "Beat on the Brat" (the tongue-in-cheek Ramones classic) but was the only thing I found moderately interesting. Honestly, it was medocre at best. These guys could really improve with a few lessons & a metronome.

VALIS "Vast Active Living Intelligence System" 2002 Independent by Jym Harris By Jonathan Mariante Cute acronym. What does it really mean, you ask? It means: we sound like Janes aAddiction with all of our effects turned up to 11. Ever listen to a CD that sounded too busy in spots? Did you like it? If so so, check out Valis. To be fair, I gotta say the packaging and production is above average, it's just not my cup o' tea.

DOUGLASS KINGS "3 Bucks" Evil Owl Records By Paul Autry Douglas Kings are a two piece band from Chicago and why I don't have a problem with the less is more idea of making music, I do want to go on record by saying there's only one band I heard that could pull off the drum/guitar recording and that's Pennsylvania's Bon Fuhrer. Everyone else is second best and you'd have to be one hell of a talented band to change my opinion on that. Now, Douglass Kings are a pretty good band. I won't argue with that. They haven't changed my opinion on Bon Fuhrer though. This release, where the title of the album is also the price of the album, features five songs. It's their fourth release, totally independent and DIY. I thought the production could've been a little better. But, other than that, it's an album that I would describe as garage band rock/punk with each song offering something different. It's a noisy sort of release that I feel will appeal to the punk kids and those who simply enjoy loud, crazy music. http://www.evilowlrecords.com

Elliott "Song In The Air" Revelation Records By Paul Autry After reading the band bio, I thought this would be a release worth sinking my teeth into. But, once I gave it a listen, I wasn't really sure what to make of it. They claim to be a hard rock band and I can see some of that in their music. But, this release seemed more, shall we say, laid back. Even though their musical style is different, the first thing that came to mind when I heard this was U2, that's who they remind me of. I also thought that, for the most part, the vocals didn't seem to blend all that well with the music. That's just my opinion though. It's not a bad release for what it is. It just didn't cut it for me. I expected more because of what I read in the bio. The album does have some fine moments here and there...at least from my point of view. I'm just not sure what kind of audience they're looking to reach or, for that matter, what kind of audience they're currently reaching. This is the sort of album where I feel the best opinion would be your own. When you listen to it, what you get from it will be what counts. So, check it out and see if it's something that you'd be into. http://www.RevelationRecords.com

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