Asphyx - Last One on Earth

Just listened to this classic again, and you'd be hard-pressed to find a more crushing death metal album than this. This is what I like to think of as a very natural progression from their sound on The Rack. All of the strengths in songwriting and the sense of gloom are still present, however, the amateurish rigidity that befell much of TR is now largely absent. It seems that the fact that this album is more mid-paced adds largely to the wholeness of this album, and that constitutes a large part of its heaviness and density.

First, it boasts one of the most MASSIVE and destructive guitar tones ever. There are no better adjectives than that. It's reminiscent of the scratchy, abrasive 'chainsaw' tone that we all love Dismember and early Entombed for. However it's slightly more pronounced, in a more brutal, dense way, which results in a most, most intense sound. To top it off, Martin Van Druen growls morbidly, in one of the most convincing and downright metal voices ever. Although you cannot help but think "John Tardy" when you hear him, his very-similar voice is propelled by anguished frenzy and speed, rivaling the abrasiveness of his contemporary.

In short, this is nothing but punishing, mid-paced death metal that reminds us all of how death metal should be properly played and written. Megaliths of riffs, crushing sound, morbid melodies, pummeling drumming, frenzied growls, this is an album that encapsulates all that is good and all that is good in death metal.

Enforcer (swe) - Into the night

Awesome speed metal album that would have fit right in if was released somewhere in the 80's. Imagine Kill Em All meets Killers, with a healthy dose of Metal Church/The Dark thrown in. Great riffs, that often have kind of funky vibe to them (funky as in.. well, can't describe it, but it has nothing to do with the funk genre) and the solos have a tendency to punch you in the face, kick you in the balls, poke your eyeballs etc... Listen to it, everyone!

Enforcer kick major ass indeed!

Ripping Corpse - Dreaming With The Dead (1991)

In my opinion, this record is an often overlooked gem, even by myself. I have known about this album for years, but I never bothered to listen to it. After finally obtaining it, I was floored by not only the ferocity herein, but the amazing musicianship and the unique qualities that this band displayed. This record is not only brutal for '91, but the vocals are completely insane and out of this world, sometimes displaying what one reviewer described as a "Death Metal Falsetto." It truly is as amazing as it sounds. Not only this, but the drumming is spot on and does everything you would want it to. Blasting is contained within, but only when appropriate, rather than abusing the technique like many modern Death Metal bands do. Erik Rutan and Shaune Kelley are at the top of their games on this record, with both displaying their own lead styles, which I feel fit the music in the best way possible. The only unfortunate thing about this album (as with a lot of albums from the era) is that the bass is not very audible, unless you have an ear for that sort of thing. Other than that, the guitar tones are massive and are very pleasing to the ear, if you like old school Death Metal with thrash tendencies. A fine record, indeed.

One of the best discoveries I have ever made.

Ripping Corpse are awesome. Dreaming with the dead also has a kickass "in your face" attitude, which I really dig.

I wish they would have done more... but no... Erik fucking Rutan has to do Hate Eternal.

Well, Dim Mak's members were in Ripping Corpse. Haven't gotten around to listen to them, though.

Dim Mak looked so cool, then I read the reviews and decided not to try them.

What about the reviews caused you to stray from listening to them? I haven't thoroughly read the reviews, so I wouldn't know.

They're all average 60% reviews, not exactly inspiring. I still might try them, I just had better stuff to check out I guess.

Interesting... perhaps I will listen to them another time.

These days, I struggle to find anything new, or that I have not heard, that is worthwhile.

I've been listening to Enslaved's fifth album, Mardraum: Beyond the Within (2000) since I got it a few weeks ago and it's truly something interesting although a little difficult to get into. It's a mix between the black metal era of Enslaved at the beginning of their career and the more progressive metal albums they release these days. The relatively long length of the entire album, as well as the length of several songs require some patience from the listener because of the nature of the album. That said, it's definitely worth it since this is one of those albums which get better with each listen.

I like the evolution Enslaved have taken through their career and this album is the middle point of that evolution. There are still parts which have a massive black metal influence, the vocals at first even reminded me of Gaahl's although that impression has gradually subsided over the weeks while the clean vocals create a strong contrast for the more progressive parts within the album, and luckily they're pulled off very well. I'm glad I bought this album because it's one of the most interesting ones I've heard in quite a while.

One of the reasons to go to Sweden Rock Festival this year!

Currently listening to the closing moments of Walknut's Of Graveforests and their Shadows, a side-project by Blazebirth Hall members, one of a number of bands who are more than a little inspired by Burzum's last two metal full-lengths. You can quite accurately say that they out-Drudkh Drudkh. Long droning songs, with oceans of reverb and atmosphere thick enough to cut with a knife. I'm generally wary of such bands, but this one succeeds in making amazingly evocative music. I always find it quite hard to pin down why bands making this type of black metal either succeed or fail in spectularly boring fashion, but I guess it's some kind of combination of the right sound/production, finding the sweet spot between repetition for atmosphere's sake and moving the fuck on and making sure that the few riffs you do use are so strong you can hang a ten minute song on three or four of them.

I've also been listening to Skyforger's first two albums a lot lately, Battle of the Sauls and Latvian Riflemen, who kick the shit out of everyone. Besides making devastating pagan metal of a sort that is neither wussy folk noodlings nor inebriated jolly fat viking tunes, Skyforger also provide you with cool little snippets of Latvian history and culture. Really under-appreciated band, when especially their more recent material should appeal to just about any metal-fan, making pagan-influenced heavy metal with integrity, musical skill and awesome song-writing.

Don't bother. I wouldnt go so far as to say that its bad but I found Dim Mak to be extremely uneventful and boring. Of the material Ive heard they sound as though they try to go for some sort of mid paced style of DM but with little to no variation between songs. It was just sort of boring.

Hm, I've listened only their latest offering "Knives of Ice" and the album is mostly in up-tempo. John Longstreth (Origin, ex-AngelCorpse blahblah) is behind the kit and that alone guarantees the speed I'd recommend the mentioned release (haven't heard the previous though) - solid slab of half-technical death metal with some amazing drumming (definitely more diverse than the latest Origin) and some HC-influences in otherwise death metal vocals.

Graveforests And Their Shadows is indeed an incredibly atmospheric black metal album. The Blazebirth Hall isn't one band, it's an association of several Russian bands (curiously, to my knowledge Walknut isn't a BBH band) which share members, kind of like the LLN in France. Branikald is probably the most Burzum-like of the Blazebirth Hall bands, although Forest's music is a mix of Darkthrone worship and some atmospheric elements à la Burzum. As for Walknut, their succes lies in the image that comes with their music. For black metal, band, album and song names, as well as the album's artwork, are important to give it a good esthetic in order for the music to be enjoyable. Burzum's S/T having a gay pink cover would just fuck things up. It's obviously not everything in music but it does have an effect. Walknut is blacker than Drudkh ever was, Drudkh is more nature-oriented while Walknut is a lot darker, which adds to their appeal.

Overthrow - Within Suffering

I downloaded this a few weeks ago, and I'm really liking what I'm hearing. sounds like a more Coroner-influenced Demolition Hammer, with less harsh and gang vocals. I however wish the guitar tone was a little thicker and louder.

Wish granted.

I listened to a lot of non-metal music this past week, but here's an album I've had for a while that I haven't paid much attention to until recently.

Shatter Messiah - [2006] - Never To Play The Servant

Not bad... This seems to belong to this rather recent development of groovy, 'Nevermore' style power/prog. I don't like to draw that comparison though because there are only a few superficial similarities between the two bands, but I think they generally have a similar style of song-writing. The vocals here are really good, I think. Very powerful, lots of character and instantly recognizable. Songwriting ranges from pretty cool to okay to "what the fuck were they thinking?" Very cool grooves, a decent amount of chugging and most importantly, there are good riffs here. I'd give it about a 78% overall.

Over the last week, I've listened to a variety of things and bought a few as well.

listened:
Tyranny of Souls, by Bruce Dickinson-
I had had his albums for a while now and never got around to listening to more than a couple songs off each. Finally went back, listened to all of Tyranny of Souls and a bit of Chemical Wedding. Tyranny of Souls was a great album, some unusually thrashy riffs throughout, yet it always retained a hint of "maidenness" (besides Bruce singing), in that the solos always reminded me of those of Iron Maiden. Navigate the Seas of the Sun stood out as a favorite, as lately I've found myself listening to more and more acoustic/semi-acoustic stuff, including...

But, What Ends When the Symbols Shatter?, by Death in June-
Not metal, but I thought I'd give it a quick mention as it took up a large portion of my listening this past week. This is the first neofolk/dark folk album I've heard, I really like the blend of keyboards, acoustics, and the odd atmosphere most of DiJ's songs seem to have.

Agalloch-
As mentioned, I've been on a recent acoustic listening spree, so I replayed many of the Agalloch releases I own. Stand outs include Haunting Birds, Kneel to the Cross (not acoustic), Dead Winter Days (not acoustic), Birch Black, Birch White, Wolves of the Timberline, The Lodge, and Nest's "Last Vestige of Old Joy" (from their split w/ Agalloch). Really enjoy the Nest song, as it has great acoustic parts, John Haughm's vocals and some interesting folky instruments (didgeridoo I'm guessing?).

Comatose Vigil-
Doesn't fit in with the rest of my week's listening, but I heard Comatose Vigil's "Suicide Grotesque" for the first time...absolutely nightmarish song. Insane vocals, great chorus sound on the keyboard. Tended to drag a bit after a while, but very good funeral doom nonetheless.

Pink Floyd-
Again not metal, thought it was worth a mention. I got their album "Saucerful of Secrets" mainly for "Set the Controls for the Heart of the Sun", a great droney/trance/slightly doomy song. Have listened to the one song many times, haven't gotten around to the rest of the album. On a related note...

Pilgrimage, by Om-
Great album by a great band, always thought this was a very avant-garde
form of doom, also very trance-like. Had listened to before, but hearing Set the Controls... had made me want to listen again. Favorite song is the title track, very relaxing song.

bought-
Bought a lot this week, lets see if I can remember it all...
Entombed - Left Hand Path
Leviathan (US) - Verräter
Nivathe - Enveloped in a Diseased Abyss
Om - Conference Of The Birds
Om - Variations On A Theme
Possessed - Seven Churches
I know there was more than that...

Most haven't arrived yet, will listen when they do.

Praetorius - Taste Death Mr. Norris

Holy crap, for a band with such a stupid cover and weird theme, this rocks really hard. It sounds kind of like Slough Feg or Brocas Helm if they were less weird, and the riffs just rule. They're all crunchy, epic, mammoth slabs of Heavy Metal that I cannot get enough of, and they actually manage to craft some of the finest Heavy Metal I've heard since Slough Feg's last album, with dynamic, power and variety to spare. The vocalist isn't all that great, but he doesn't hinder the music, so I won't mark them off for it.

Dark Moor - The Hall of the Olden Dreams / The Gates of Oblivion

Ah, I should have checked this stuff out long ago. It's really high quality PM, with blazing leads and symphonic flare everywhere you turn, with Elisa Martin's vocals being superb, both catchy and powerful. I think I like Hall... more right now, with its guitar centric approach and catchier songs, but TGOO is quite a force to be reckoned with as well, with its progressive style and more intricate songwriting.

Morbid Angel - [1989] - Altars Of Madness

An undeniable classic right here. People can be heard arguing back and forth from all sides whether this is their best album or not, and you know it's generating a lot of discussion even to this day. David Vincent's vocals here are downright ghoulish and full of delicious rasp. I really enjoy just about everything that this album delivers. The riffs are always interesting, turning from thrashy headbanging sections to slow and churning snakelike passages that epitomize their name. Themes are just the what any respectable death metal album should be; darkness, the occult, satan and unspeakable horrors.

This Ending - Inside the Machine

A a weird metal tale of the evolution of a band. Originally A Canorous Quintet, these guys were part of the same Swedish death metal scene that gave rise to bigger names like Amon Amarth, Dark Tranquility, In Flames, etc. Talented members, mediocre songwriting.

The members go off to do other things in acts like Sins of Omission, Guidance of Sin, October Tide, the drummer going to Amon Amarth. All notably superior acts. Clearly, they're good musicians, just not so good together.

Along come Inside the Machine, which blows my mind. They must have gone off and learned how to write songs. An excellent album, even though their followup Dead Harvest is suffering from songwriting apathy again.

I really, really, really beg to differ. My review explains it, so I don't need to go into detail here.

Aye, didgeridoo is a feature of Nest's music. Nest actually have a page on Metallum. If you look 'em up, you'll find their music is heavily based around the kantele, bass, and keys, and that Aslak does indeed play didgeridoo on some tracks. Good guess.

And for a 1989 Death Metal record, I think it was technical as hell. Way beyond what Death and CC were doing around that period.

MORBID ANGEL - Altars of Madness

Well, I've been listening to this for the past week or so (or maybe more than that) -but this is not the overall time that I've spent listening to this album (the total time spent on this album would be straight from June 2008 -till date [not bragging] on a very, very regular basis -along with other DM classics)

The best thing about this album is the sound and the feel is totally different from other 'DM' like CC, Obituary, Death or any other Sweden band for that matter, the instruments sound very true to their respective nature -as in nothing is tampered or fiddled with, the guitars and the drums give you a very raw feel and have a very crust(y) element to it and just simply LOVE the way the drums sound, the whole outfit/portrait of the album is very unconventional and abstract. Obviously, the limitations of this music were unexplored till now, I believe the instruments are not down tuned that much (may be a little, but not that much), the album does sound a bit odd/different at first few listens, I think this is what turns off the interest of some people who dislike this album. Well, with that said we all know the 'raspy' vocals of Vincent -his career best performance, the commando is at his best and the twisted riffs played through-out the album which show you the horrors lurking inside our minds, the SOLOS:- very well done and they sort of have a 'steel finish', I like Azagthoth's solos, but I love Brunelle's solos any day.

P.S:- sorry about a BIG paragraph, I hope I ain't violating any 'stipulations' laid down by the 'OP', oh and I've finished a review on this album its in the 'Reviews Workshop' and I never knew about this website 'metal-archives' I discovered it weeks after I discovered 'Altars...' recommended by a friend, just throwing this info out there...

I've just finished listening to Fornicator's self-titled release for the second time and just submitted the review. Frankly, it's a huge pile of garbage. It was a massive waste of 45 minutes and I genuinely hope no one here spent money on buying it because it's just dreadful. Shoving your head in a powerful stone-grinding machine would be more appealing.

nice thread.

as a semi-retarded individual, im too incompetent to hyperlink? my review which in any case hasnt been approved yet, but knowing this university internet connection, it probably got fucked and didnt send through for submission so will post here considering i just wrote it. with reagrds to this week been trying to get thorough too much stuff to mention, so will forgo that in favour of...

in any case, this is a band i only got into a couple of months ago, that ive had on semi-regular rotation. NWOBHM with solid female front(man?)ship. really digging it, but its pretty melodic. enjoying reading people's latest fixations....



Satanic Rites - Which Way the Wind Blows.


This totally unknown NWOBHM cusp band produces a fine effort here, besting some of their female-fronted contemporaries in a heavy metal/NWOBHM/hard rock collection that’s perhaps surprisingly ‘pop’ orientated at times, though without sending your mind to recall Cyndi Lauper. Satanic Rites offer a strongly melodic, almost NWOBHM/ 80’s powerpop sound which ranks among the finer female fronted heavy metal acts of the period. This effort, released in 1985, is positioned somewhat in unknown territory, though perhaps ‘one-ups’ competitors such as Girlschool or Rock Goddess.


Though the name, and perhaps the cover art on this release may conjure up likings to bands like Cloven Hoof, the band sits more on the melodic rock side of the NWOBHM scene, though doing it well. This one is recommendable for those who aren’t afraid of a little ‘melodic hard rock’ in their metal.

Subject matter seems to deal with the hard rock stalwart personal issues/love songs scene, but without boring the listener. Tracks like ‘Don’t Tell Lies’ are an example of well thought out song writing, with suitable vocals over bridge riffs, uniquely ‘rockin out’ NWOBHM leads, and those ‘hit the spot’ melodic riffs that offer punch while accentuating flowing ‘love song’ vocals. This track is a particularly good example of how to write o good bass under-riff which keeps simplistic, yet effective riffage interesting. On a related note, the next track, “Fear of the Night” (laden in synth-y keyboards) may lead one to expect quite ‘metal’ subject matter, however it’s another decently executed ‘love’ orientated number. Some very effective lyrics and vocal melodies in both.

‘Turn Around’ is your slower track with almost folk-ish female vocal melodies, and some strings introducing it, however it ventures into almost doom-metal territory with some heavy simple riffs, with vocals layered over which may or may not remind you of Jefferson Airplane. But I digress. This track’s inclusion, and postioning on the album certainly is well thought out, perhaps slapping the diverted listener’s attention. Subject matter is in typical love-ballad territory again.

‘Slam the Door’ is a strong started track, with an intro riff, into galloping bass with truly NWOBHM lead-over guitar that could be comparable to any number of NWOBHM greats, perhaps Badger, or Blitzkrieg. Perhaps a favourite track, this number offers pace with melody, and retains that classic NWOBHM head-nodding quality, quenching that ‘metal’ thirst. I particularly enjoy the lyrics on this one, which speak of vengeance, hell, and death, in what may be considered the most ‘metal’ song on the track. Interestingly, it reminds of Rock Goddess quite a bit, yet I’m not sure why. Love the leads in this one; truly a track that just fits together like a jigsaw. All respect due to the band members in crafting this little number. Great song writing, without having to be technical to do it.
Track 7 is another particularly stand-out track, with some consideration to vocal harmonies, and a top-notch performance by vocalist Deborah Webster polishing it off. More keyboard, and simple yet spine shattering melodic power-chords provide the backing for another respectable power love song here. The finale introduces some sample effects which induce a touch of the doom/NWOBHM feel yet again, and provide the introduction to the considerably emotional title track, ‘Which Way the Wind Blows.’ The intro riff reminds me a little of ‘House of the Rising Sun’, by The Doors, which is a negative, I guess, yet the strings and vocals by Deborah are enough to cancel that out. This number, while not being my favourite, introduces complexity in song writing, and recording, as well as a mood, that should earn the band considerable credos; that is, if anyone had ever heard of them. Really a top-notch effort, this one definitely brings back more ‘doom’ qualities, and is an example of NWOBHM’s more complex moments.

To conclude; Great! This one really got me hooked and is a considerable breath of fresh air when compiling your NWOBHM collection. With no dull moments in my book, great (female) vocals, strong song-writing from start to finish and a truly unique feel, Which Way the Wind Blows is a sure-fire winner. Keep in mind, it is probably not advisable to NWOBHM newcomers, nor to those afraid of a little hard rock as a side dish to their heavy metal collection. Fans of Girlschool and Rock Goddess would be well advised to check this one out, as well as fans of bands like Pagan Altar and your other doom laden heavy metal.

'you're' 'fine', 'dude'.

pheew, thanks man!

I agree. The musicians' complete grasp of their respective instruments is something to behold on this album. I believe there is a huge technical flair present that is both heavy, aggressive and dark, but also advanced enough to bring interesting new riffs and sounds to the genre where it wasn't previously explored. Pestilence did this too on Malleus Maleficarum, I would say.

Well said, I am just guessing here; Vincent and Azagthoth had contributed the major chunk of song-writing on this album right??? and Sandoval just punishes you through out -fuck! what a skilled drummer...

Agreed about Pestilence, too.. I still think it odd that "Consuming Impulse" is such a step down from "Maleus", but I appear to be one of the few who feels that way. Yeah, "Maleus" was arguably a thrash record, but a very memorable and interesting one with some really phenomenal guitarworkk that can't entirely be compared with any contemporary.

Good to see this thread resurrected.

Varathron: "Walpurgisnacht"--
Going to have to delete my review of this one. It's one of my oldest and I guess I didn't really give the album enough attention. It really is much better than I initially thought, and the guitar sound isn't really weak on a good set of speakers. I love the variation in mood the album seems to conjure up .. the first track has a warm, almost welcoming feeling in the rather bright riffing, while others possess definitee threatening auras. There's one song that has an almost synth-poppy sound to it until this evil-as-hell guitar riff comes in and it changes the whole character of the sound in a startling but rather effective way. I don't know what it is with all these Greek black metal bands not having real drummers .. makes things almost sound like dance music when the guitars aren't at the centre of the mix, buttt the sound has a certain charm to it, though I would welcome less rigidity or at least a person behind a kit. I do find myself getting a little bored of the keyboard pieces on this album, and it's a bit of a warning of things to come with this band, but generally they're not too overused, and by contrast the clean guitar stuff (as in the intro to "Under the sign of Horus" are excellent.

Adramelech: "Psychostasia"--
Wow .. I really, really love this album now, and it took quite some time to make a full impact on me. I like this better than Demigod, in fact, though the two bands sound quite different. Adramelech shares with Demilich a sort of feeling that, although this is death metal, aggression isn't really a primary motivator to construct this sort of music. I find Adramelechh a good deal less "alien" sounding than Demilich though, and they manage to be a little bit strange and incredibly catchy all at once. The drummer has this cool trick of playing half a phrase using a blastbeat and then sliding into a head-nodding rock beat for the rest, while the guitars churn out busy yet subtle melodies that shift and stretch in unpredictable ways that make me very happy. There's definitely nods to rock in the riffing here, but this is so far away from what we normally consider "rockish death metal" or death 'n' roll that I suspect most wouldn't quite recongise them after many listens. The more contemplative nature of this music is helped by the understated and slightly muffled sound, which relegates vocals to a completely indecipherable background grumble that is at times barely perceptible .. for this album, I feel this is a really cool effect.

Iniquity: "Serenadium"
A really heavy and creative death metal album, this. It reminds me a little of Entombed's "Clandestine", but less rooted in rock 'n' roll than some of that album was, generally faster and more busy and technically challenging. I have never been able to sit through Iniquity's follow-up to this one because I think the sound is atrocious, but this one is just about perfect .. a mix between a Sunlight-type sound and more of an American death metal flavour. The timing tricks employed here are engrossing and keep you guessing as to what the band will pull next, reminding me a little of Gorguts circa "Erosion of Sanity" but perhaps even more fluid.. Even when the band goes into single-chord chugging for a bit, you never get bored because there's always something surprising lurking just around the corner, usually in the form of a twisted rhythm or sudden melodic flourish. The drummer has this really relaxed, almost laid-back style that makes it seem as though playing this stuff is just effortless to him. The last track is huge and a phenomenal way to end the album

I haven't read your review for this one yet, but I also wrote it off pretty swiftly. It just doesn't sound even remotely as menacing or malevolent as the debut, to me. I will give it another shot though, as you are perpetually correct about these sort of things, it seems.

Fuck it dude, you should move to Athens and be the Hellhammer of Greece.

hahah .. well, that'd be a cool idea!! Maybe Battleroar needs a drummer?

It was cool seeing Rotting Christ a few times, with a really solid and organic-sounding drum performance, though their later stuff still sounds like Ramstein to me at times. You should check out their new DVD though .. they play an incredible amount of old songs, many of which they didn't take with them on tour but which they obviously still feel passionate about. They even dust out "The Old Coffin Spirit", "FOrest of Ngai" and "Feast of the Grand Whore"!

Ah, nice to see this resurrected.

Anyway, this week I have mostly been eating:

Root - The Book. My introduction to Root, and I have to say it's pretty fucking ace! Big Boss's vocals are an acquired taste but I didn't have too much trouble with his weird commanding bellowing. The guitars were very tastefully done and cohesive - there was non of the random separation between the electric and acoustic passages. The cover art is wonderful as well. A difficult album to pigeon-hole but if you need to it's sort of progressive metal (of the incredibly cohesive kind), with an epic feel and a underlying black metal aesthetic.

Dark Quarterer's debut - weird italian prog-metal. Perhaps not in the term's synchronic meaning - but rather that this sounds like a mid point between Sabbath and 70s prog, even though it was released in '87! Very strange stuff, but it works very well. I really like the lo-fi NWOBHM-y production job, too. I may well be tempted to review this one.

Running Wild - Gates to Purgatory straight-up arse kicking heavy metal! Would you really have expected much else from Running Wild, though? A couple of reviews I saw of this made note of a thrashier sound to this, but it's just speed metal. I like the dark aesthetic to 'Black Demon' a lot. I love the amateurish drench-everything-in-reverb production job, it works very well.

The DVD is just awesome. The songs, you mention Abominatrix, are my favourite of Rotting Christ, especially The Forest of N'Gai. Satanas Tedeum and Passage to Arcturo are by far the most RC releases. And I still haven't seen them live (shame on me, it must be a life-experience), but both the videos and the comments of friends who saw them, really forces my need to do it.

edit: about the drumming, Battleroar band doesn't need one, but mine does

Haha, agreed all round. That's my favouritee Running WIld, by far, probably because it's a little differetn from most of what they're more known for nowadays, which I admit I'm not exactly nuts about. Nice description of Root, too .. they're a band that's done little wrong in my eyes and I could recommend any one of their albums almost without reservation. Big Boss still floors me with his vocal delivery, no matter how many times I listen to the albums ... they (he and the band) can get pretty weird at times but it all fits into their atmosphere and you can really feel that black aesthetic even in their most proggy rorks. And, finally, I must iterate that their guitarists are in fact much better than "sexy Alexi".

I'm a huge fan of that Dark Quarterer debut. ...I'll be looking out for your commentary.