Scourged Flesh - Bury the Lies (2007)

Originally posted on Firestream.net, October 2007.

I received 015 of 100. I must say, this is a change from their previous CD. While "Released From Damnation" was unapologetically evangelical in the lyrical approach, this is MUCH darker by comparison. Musically, the band still maintains the mid-paced thrashy death sound from the previous album, though I would say this release sounds more natural & the songs work better on the whole. I think this EP sounds more like it was recorded all in one session & mixed by the same person all the way through, where as RFD had more of a "Primitive Rhythm Machine" vibe that sounded like the album was recorded over several sessions with less regard for instrumental sound continuity.

Lyrically, the band makes no mention of God, Jesus, or the Holy Spirit like the previous release, which I find interesting. Instead, the lyrics are much more personally focused. For example, "Washed In Blood" seems to infer that because we're washed in Christ's blood, no one on earth can take that away, and Satan can't touch us. We become our own worst enemy because of the mistakes we make & the sins we still commit after salvation that show the world that we're still human. "Burnt Alive" sounds as though it's written from the perspective of a soul in Hell. "Judgement Returns" (from what I can gather from the lyrics) seems to be a song about the Crucifixion. "Ashes To Hell" has that "turn or burn" feel to it, though much less obvious than early Christian metal. It implies that we are all destined for Hell (the wages of sin is death, after all), and comes from the perspective that we can do something about that (though it never offers a solution), and if we don't we end up in Hell. "Death Is Silent" might spark *minor* controversy over use of the word "crap" in the song ("You believe the crap that it's just a body in the ground") but taken in context it's a strong way of saying "there's more to death than a corpse". It feels as if the band made a concerted effort to go away from the evangelical lyrics - I'm not sure if they see "Bury the Lies" as a concept piece or not, but it definitely works that way from a "Hell is real, here's my perspective" vantage point. I think in the future if the band can find a balance between the "so evangelical it hurts" lyrics & the darker, more obtuse lyrics found here, they will have a winning combo.

One thing I have to say is that the packaging on this is excellent. Troy Dunmire's work here is better than on RFD - a nice, stark black & white picture with the basic SF logo & a nice red & silver title at the bottom. It reeks of old-school underground metal, & that's basically what this is. I like that the cover speaks that & makes no apologies for it. Inside, we have a full-color layout w/ black backgrounds, shiny silver lyrics, red titles in a gothic font, and CG flames at the bottom of each page of lyrics. the full-page photos of the band live (which each member graciously signed for my copy, thanks!) are nice, and the various other photos in this booklet are an improvement over RFD's more basic layout. I also like the inlay artwork better than RFD's - I think it's fitting for the project. Also, if the subtlety in the lyrics didn't clue people in that this is a Christian band, the Hebrews 9:27 reference on the tombstone picture on the inlay should do the trick. It's a nice way to not beat people over the head like RFD did.

All in all, I think this is a winning package. While I think the lyrics are a tad to ambiguous in spots for their own good, the music is solid, the production is consistent, and the packaging is outstanding for an indie release, especially one as limited as this. I'm a happy camper that I ordered this when I did - I certainly would have regretted it down the line had I seen the quality of this product years after its release w/ no way to get a copy.

8/10

***ADDENDUM***
Some months after the original review was written, the band had sold out of the EP & demand was still there, so they issued a 2nd pressing through Soundmass to meet the demand. The 2nd pressing is not numbered, and is branded with Soundmass logos & such. I am looking for a copy of the Soundmass release as well (yes, I'm a collector bordering on addiction). As such, this release may still be available via the Soundmass webstore.

War of Ages - Arise and Conquer (2008)

This album has been long-awaited by fans, at least from the standpoint that they've been waiting for a new album since 2006's "Pride of the Wicked". 2007's "Fire From the Tomb" was a solid stab of metalcore, but it was a re-recording of the bands eponymous debut with one new song added, rather than a proper new album. "Pride of the Wicked" is an album that metalcore fans have embraced & lauded, with many in the "metal" camp who don't embrace metalcore even enjoying it due to it's strong riffs and solo work. In a way, "Arise and Conquer" has a lot to prove, as much as "Pride of the Wicked" has been praised. Do they live up to this promise? Read on!

The CD pulls no punches & immediately begins with a shout of "All consuming fire, burn!" followed by the primary riff of the song. There's good guitar work here, with melody woven into the heaviness. It's not bone-crushing, but it's heavier than your traditional tough-guy hardcore. Actually, it's reminiscent of As I Lay Dying's latest stuff from the standpoint that it is heavy & driving without losing its sense of melody. "When Faith Turns to Ashes" has a great fast riff that recalls AILD even further, with it's fast drum beat & the degree of complexity in the riff work. The dual-guitar harmonizing is also a nice addition, giving the sound some depth. The "bridge" riff has some thrash feel to it; matter of fact, the whole song has a bit of a thrash feel to it. The song is incredibly short, however, and feels like it's over too fast. "Through The Flames" starts with a nice double-bass rhythm, some nice harmonized guitar work, and a hefty scream. Again, the dual-guitar work here works well and the players complement each other well. The gang vocal in the chorus shows the group wearing their hardcore influence on their sleeve a bit, and is a nice melodic bit. The breakdown in the song is a tad also-ran, but that's forgivable considering the rest of the guitar work is well done. The solo here is also good, serving the song well but showing the talent of the guitarist as well. "Salvation" begins with a nice riff that echoes a bit of thrash, and has a bit of dual-guitar work. The opening solo work totally screams 80's heavy metal, which is a nice nod to the progenitors of the genre that this is leaning toward. The verse riff is interesting with a nice minor chord progression that isn't typical. Again, the center section wears the hardcore influence firmly on the band's collective sleeve with the spoken-word vocal bridge, but the riffs come back in shortly thereafter to re-affirm the metal influence that is definitely felt here. This isn't Bay Area thrash, by any means, but it is certainly leaning in a more thrash-oriented direction than many of their metalcore brethren. "Sleep of Prisoners" starts with a more typical metalcore riff than anything thus far, though the dual-guitar work at the end of the riff pattern certainly throws a dash of spice in the mix. The melodic segue between verse portions is well placed, and the vocal layering here works well. The pinch harmonics nearly half-way through sound great as well. The drumming here is solid, nothing spectacular, but sounds good in the context of the song. The breakdown toward the end is again, nothing special, but it does the job well enough. "Wages of Sin" begins with a guitar sound that makes one think it might be from a different era, but when the vocal yell kicks in, it brings you back to today. The riff sound here really conveys a "metal days of yore" feel. The drumming here is well matched to the material without being showy. The guitar work is solid, and there's some nice licks going on, even if they're not overtly technical. The section that might have been called a short breakdown is filled with a cool higher-pitched riff that offsets the "hang out on the low string" thing that breakdowns often end up being, making it unique. The riff before the slowed down bridge section (with actual singing!) is nice, and has a nice classic metal feel to it, but with a modern sound. "Yet Another Fallen Eve" begins with a nice semi-technical guitar intro that becomes a nice harmonized piece for a short time. The main verse riff echoes this harmonized pattern with a crunchier sound. Again, the band opts for some nice harmonized semi-technical guitar work during the "breakdown" section, making more than just a standard breakdown. The slower pace of this song lends itself to the more hardcore feel, but the double-bass drumming & faster pace of the segue bits help break this up nicely so it doesn't sound like they're slipping into the "sameness" that many a hardcore band easily do. The bridge riff has a good sound - they're not relying completely on power chords here; there's a bit more texture to it than normal which works well, giving it a quiet dissonance. "Generational Curse" ups the tempo again and brings back a more thrash-influenced riff, followed by a nice melodic metalcore bit segueing between verse sections. Good double-bass work here in the beginning of the pre-chorus as well. The short breakdown works in context here without being too long. Great solo here toward the end of the song, which has a nice classic metal feel to it. "The Awakening" (which was the song the band first briefly previewed on their Myspace page prior to the album's release) opens with a fast riff that is reminiscent of some of the band's older material, and is probably the song that sounds the least like the rest of the material on the album. It has a bit of the As I Lay Dying melodic metalcore sound to it, but it's not a carbon copy. It just has that vibe throughout, without the pacing that AILD drummer Jordan Mancino would normally employ. The drumming here is tasteful and works well within the song, however. The guitar work here isn't quite as intricate or interesting as many of the previous songs, opting for a more "reserved" approach. The screamed vocal brought to the fore 3/4 of the way through the song helps break up the song a tad, and foreshadows the breakdown & the end of the song well enough. Closing track "The Deception of Strongholds" opens with a clean guitar riff & some cymbal work before bringing in a heavier guitar sound & some nice solo work to get things going. The pace picks up with a nice lick, and some harmonized guitar work in behind. The song travels along at a good clip, with plenty of melody in tow. The solo work here is tasteful, and doesn't take over, merely serving the song while providing a nice brief centerpiece. The song closes with the last note slowly fading out into the background.

Lyrically, this is very bold. Many passages are taken directly from scripture, and there's absolutely no question who this band serves. Lyrics are well written & easy to follow, but they're not childish or simple either. They are "just right" for this album. The artwork by Dave Quiggle is great, and continues the style he started with "Pride of the Wicked" in fine form. Production is strong, and while reminiscent of As I Lay Dying's latest album (thanks to AILD front-man Tim Lambesis), doesn't sound like AILD-lite, but retains the band's own sound & feel.

This is a winner, and no fan of metalcore should be without this album. I would go so far as to say any open-minded metal fan who isn't tired of the "core" aspect of metal or is willing to branch out should also own this - it brings some classic metal touches into a modern framework & does it with panache & style. Definitely a worthy follow-up to both "Pride of the Wicked" and "Fire From the Tomb". I look forward to their next album with even more anticipation, and hope that they find a way to make it to Nebraska on one of their next tours.

9/10

InExordium - S/T (2008)

I've labored over this album.... literally! Since I pre-ordered it & got the download link to get the MP3s before the street release, I've listened to this album several times through. However, every time I get the urge to listen to it, I'm working on something. I've washed dishes, put laundry away, done house cleaning, and worked at my day job. Unfortunately, that means the music doesn't get my full attention. Fortunately, however, it has given me time to allow this stuff to "sink in" a bit before writing my review.

For those not "in the know", InExordium formed from a reunited team consisting of most of the original line-up of Christian doom-death metal stalwarts Paramaecium. After several years of toiling in the underground, despite having several highly lauded albums, band leader Andrew Tompkins probably felt the doom-death sound he had helped pioneer had run its course. When guitarist Jason De Ron and the insanely talented drummer Jayson Sherlock returned to the fold in late 2006 after having been off doing their own projects for some while, Andrew decided it was time to lay Paramaecium to rest & move forward with the old line-up in a new direction. Fans (including myself) have waited over a year for what was to come, and many months after the announcement that the name of the band was changing from Paramaecium to InExordium, a Myspace site with a couple tracks FINALLY emerged, at last giving fans a glimpse into the new direction. At first blush, for those of us used to the sounds of death dirge, this was quite a change to a more straight-forward, heavy death metal direction.

Now that the pre-orders are well underway (I'm hoping I was one of the first 100 so I get my copy signed by the band), and the download has been out for a few weeks now, I felt it was time to give this band & album its due. This is a very solid piece of death metal, and an interesting release for a number of reasons. Before I sing the praises of this album, let me get a couple negative things out of the way. I am a little disappointed by the production on this album. Don't get me wrong - it sounds great. Everything is clear & the instruments are well balanced. What I mean is the heaviness isn't quite there. It's plenty heavy, that much is true. But, it lacks the unrelenting heaviness of Paramaecium's "Exhumed From the Earth" album. I still consider that one of the heaviest things every recorded because the guitar is so stinking thick & heavy, and the sound is so punishing, even for as slow & plodding as it can be. Second, this record is difficult to classify. It's not old-school death metal, it's not melodic death metal, and it's not brutal death metal. It's also not tech-death. That makes it hard to classify. It's modern, but it still retains a sound that very much hearkens back to death metal days of yore. This is only a minor criticism, because it's also one of the albums strong points. The variety helps keep it fresh throughout. It feels like a mixture of all the above styles. Another thing that bothers me a bit is the lyrics - they're mostly vague, either sounding like obtuse stories or odd collections of thoughts and/or feelings that don't convey (at least not to me) anything concrete. Of course, lyrics are often left to interpretation, so perhaps they were left intentionally vague. In any case, they're not as satisfying as other death metal bands who at least convey something specific, or make the lyrics so obtuse that it sends your imagination running wild. These mostly just make me go, "Huh?"

"Out of the Silence" starts things off in fine form, with a song that blends a brutal death metal sound with a slightly melodic modern death metal framework. Lyrically, the song is based on a novel by the same name. It's kind of a science fiction story, of sorts. No solos in this song, but nice transitioning between the melodic parts, the brutal/fast parts, and the verse sections that are well paced & keep right along. "Scourge of Democracy" has a fair bit of groove to it, and lyrically eludes to politicians & the erosion of freedom. Jayson keeps the double-bass drums going throughout, and the riffs here by Jason De Ron are well placed & fit the song well. The quiet part about 2:30 in breaks up the action slightly until the chorus riff comes pummeling back to finish off the song. "The Voice of Treason" also has quite a bit of groove in its opening riff. The layering of the guitars work well here, especially in headphones where you get some separation. "Programmed Cell Death" has a great riff that's not overtly technical, but has a nice feel to it. Lots of groove here as well, and the chorus riff has a nice old-school feel to it, especially with the double-tracked guitars. "Rising Hatred" starts out with a short intro that leads into a blast beat & the most brutal section on the album thus far. The riff in the chorus has a cool effect that I've not heard before & can't quite describe, but it's pretty cool & sounds sorta like a really fast sweep. I can't pin the song down, lyrically; not sure if it's just a story or not. It seems like it's alluding to abortion and the feelings surrounding it for an indifferent father & an emotionally devastated mother, but that's just a guess at this point. "Beneath Contempt" is a fast song with a nice riff and a crawling groove. The first guitar solo crops up here, and is a nice winding solo that serves the song well & doesn't showboat. "Imminent Particle Collision" is another barn-burner, starting off with blast beats & a fast rhythm, complete with plenty of double-bass & cymbal work. The song settles into a fast groove reminiscent of some older death metal shortly thereafter, before transitioning back to blast beats. The song gets plenty of groove in the middle section before resuming the blast-beat laden verse portion. Good dual-guitar work here with a harmonized riff. The groove-laden riff in "Fractured Cortex" is pretty sweet, with some nice guitar work. "Buried Alive" has more blast-beast in its opening, and an effective riff that keeps the song moving. The middle section has nice dual-guitar work with riffs that aren't harmonized, but play well off one another. "Punishment" is based on the novel "Crime and Punishment" and has a cool opening riff. The "chorus" riff is reminiscent of some of the slower, more plodding work Jason De Ron did for Paramaecium. The solo here is more all-out than the previous one, going all over the map & going for speed toward the end. It's interesting that the lyrics take the point of view of the killer in the story & coming from a perspective that the killer knows he deserves punishment for his crime and longs for it. "Covered In Pain" has an awesome opening riff and some good growls by Tompkins. This song in it's main riff uses the same "fast sweep" sound I mentioned before. It's a cool effect and gives the song an "eerie" feel that death metal often doesn't achieve. The lyrics come from an antagonist perspective; I'm not sure if it's written from the perspective of satan, or some other fictional character, it's all very vague. The groove here is great as well, and the laugh at the end of the song is pretty cool.

So, what is the verdict here? Well, it's a mixed bag. The vocals are dead on; if you were a fan of Andrew Tompkins work in Paramaecium, you know what you're getting & his voice will be unmistakable. If not, expect an interesting throaty growl. If you like solid riffing with some variety, you'll love the guitar work here. If you like lots of solos in your death metal, you won't find it here, though the small amount of solo work here is well done & fits the songs. And, of course, Jayson Sherlock's drumming is superb as always. I feel a bit let down by the lyrics; Andrew is capable of so much, as is evidenced by his previous work. I realize InExordium is NOT Paramaecium, but I can't help draw parallels. The lyrics in this don't speak to me at all, which I find to be slightly off-putting. Not so much that it prompts me not to listen, but enough that I probably won't take the time to learn the lyrics (other than what I pick apart with multiple listens), and they'll become just a portion of the landscape with the vocals. The lack of more solos is also a minor notch against the album, though a lot of death metal doesn't have much in the way of solo work. The other thing here is that Andrew's vocals, while maintaining the unique sound & tone he has, sound as though he's being cut off a bit, or perhaps he can't maintain the kind of longer growls he used to, but there are times when it seems a word or phrasing is cut short. Perhaps it's just the change of pacing from the doom-death I'm used to hearing from him and the faster, more succinct sound that is throwing me off, but it's a nagging feeling nonetheless.

The final word? It's a solid album that fans of death metal & Paramaecium will want to own. I'm left wanting more, but not necessarily in the way I feel I should be. Perhaps I expect too much from this album, given all the time fans have had to wait for it, and all the hype that preceded it. Maybe I'm judging it too harshly when it's just the album Andrew & crew were intending to make. And perhaps I'm over-analyzing it too much (which I have been known to do). All I know is, I'm hoping the next InExordium album is a cut above this and shows the band's talent even more, with perhaps a more focused lyrical direction and more bone-crushing heaviness in tow.

9/10

**ADDENDUM***
Okay, so I realized my original review was probably a tad harsh. My expectations were too inflated, and I see upon additional listens that this is better than I thought it was, but my expectations were clouding my judgment. I still don't think it's quite as brilliant as some are lauding it to be, but it's better than I originally posited. So, I am adjusting the score of the album to 9/10 from the original 7.5/10 rating. I feel this is more in line with where the album is at. It makes the grade and is quite solid, though it's not as good as I think it has the potential to be. I want it to be clear that despite my misgivings with this album, I honestly do enjoy it quite a bit.

Want your stuff reviewed? I want to review it!

I always love the opportunity to hear new music, and any chance I get to check out new & up-coming bands is always appreciated. I like to hear new music, and hear how rock & metal changes over the years as new influences are brought in, as well as how the old guard is appreciated & sometimes re-interpreted. Whatever style you play, if you'd like a thorough, honest review of your stuff (I may be brutal!), feel free to send me your CD/7"/tape/MP3s/etc. NO, this is not a plea to get free music (though I love free music), but an open invitation for bands to get a review based on their music & my assessment of it. Read some of the other reviews on the site, and if you like what you read & want me to review your stuff, e-mail me (metalfro777 at hotmail dot com OR metalfro at frontiernet dot net) & I will get you my address info so you can send along your demo or CD release. Again, this is not a plea for free music - I plan on reviewing everything I get, as quickly as my free time allows.

Want list updated!

I have updated my want list in this previous post. It's not complete; far from it. If you want to see a more complete want list, check out my want list on Firestream.net in the Music Vault. It's not entirely complete either. There is always stuff coming out that I add to my want list, and stuff that is added to the vault that I add to my want list as I see it. There's also stuff I discover that I add to the vault, then add to my want list right away. In any event, as a collector, I still have a LONG way to go before I have a collection that I feel is really complete. There are tons of 80's releases that I'm lacking, a lot of pivotal 90's alternative, rock, and hardcore that I am missing, including a lot of early T&N and Solid State stuff, as well as a lot of current bands that I can't keep up with because money remains tight. Still, I continue to climb the mountain of releases in hopes that one day I can build up a substantial enough collection of "Christian" rock that I feel I represent the history, heritage, and culture of the genres enough to say I have a deep understanding of the cultural impact. Man, that sounded really pompous! I'm not trying to be arrogant, I'm just a student trying to learn as much as I can about the impact of rock music on Christianity, and indeed the impact of Christianity on rock.

Precious Death - Southpaw (1993)

Precious Death was one of those interesting bands that were at once before, and after, their time. By that, I mean that they were embracing that funk-metal hybrid that had come & gone a couple years earlier with bands like Atom Seed, Mindfunk, Living Colour, and I Mother Earth. Most bands erroneously categorized as funk metal were in fact more alternative rock than metal, and though their music contained elements of heavy metal, it was not the dominant element. The aforementioned bands were probably the most "metal" of those associated with the genre. The Christian music market only had one band widely recognized as funk metal, and indeed were associated more w/ the alt rock scene, though their music was heavy enough to be considered metal at that time. That was Dig Hay Zoose. Of course, this band came out about the time Red Hot Chili Peppers and other groups were moving away from the style, & by DHZ's 2nd album Magentamantalovetree came out, the "scene" had all but dried up. The only noteworthy band in that scene from a Christian music standpoint was Hot Pink Turtle, though it's been debated whether they're "metal" enough to be considered part of the same scene & not the alternative rock offshoot of that scene.

Enter Precious Death. After the band's demo (Our Stinkin' Demo) came out in 1991 (the same year as DHZ's 1st album), they regrouped & released their 1st album, Southpaw, in 1993. Now, that was the year DHZ's 2nd album was released. However, this album took a less "metal" approach & was firmly rooted in alt rock as well as the funk leanings of the 1st album. As other bands were abandoning the scene, Precious Death stepped in. The other interesting thing about Precious Death is that their style also incorporates thrash metal (in a somewhat subdued setting), as well as a fairly modern variety of American power metal. Other than the more modern elements, everything the band was doing was on the downturn. Why did they have such an impact, then? I believe that it's because they were stylistically unique in the scene, as well as having elements in their sound that ended up influencing the "nu-metal" scene a few years later. In that sense, they were before their time.

Getting to the music itself, this is an interesting hybrid of mid-paced thrash ala Exodus' "Force of Habit" though a tad less heavy, the modern American power metal stylings of latter-day Anthrax (think "Sound of White Noise" but slightly less heavy), and the funk-metal sounds of bands of the scene, though decidedly more metal than most examples. The title track opens the album with a quiet, clean-guitar intro that blows into a slow, chunky riff. Nothing reeks of funk right away. An interesting picked riff during the verse then recalls the chunky riff again during the chorus. Vocalist Chris Scott has some nice overdubbed vocal harmonies here, including the sung "southpaw" during the chorus. The guitar "solo" here is minimalistic, but works well, serving the song rather than showboating. The bridge speeds things up a bit and has a bit more drum groove w/ some nice cowbell incorporation. Nothing at this point elucidates "funk". Where's the funk?

The answer to that would be "Shine", the 2nd track. The song intros with a drum flourish, and decidedly funk bass, as well as a clean-guitar scratch that recalls funk & disco. The harmonized vocal from Chris is nice, and after a verse of funky bass & guitar scratching comes the heavier chorus with more pronounced drumming. Minor guitar soloing occurs to let you know this is still a metal band, but the funk is brought down in this song. Parts of the scratchy guitar remind of DHZ's work. The clean-guitar bridge 2/3 of the way through is unique & fits the song well. Then a nice melodic solo kicks in. Multiple runs of the chorus close the song in fine form. Track 3 "Hello" doesn't immediately engender thoughts of funk with its clean guitar intro & decidedly rock bassline, or it's heavier underlying riff. Neither does the chunky pre-chorus or the heavy chorus. Not every song has to drip with "tha funk" to be an influence. The bass guitar still shows hints of funk, even if their not pronounced. The solo work in this song is interesting as well. "No-Can-Do" opens with a drum line reminiscent of Spinal Tap's "Big Bottom" (probably not intentional), and a double-tracked guitar line that is slightly eerie. A large riff comes in to complement Chris' vocals & thundering drums in the slow/heavy verse parts. The songs speeds up about 1/4 through, even incorporating a near blast-beat. Never forgetting melody, the riff becomes choppier with Chris' vocals providing the melodic element. Group yells of "No-can-do" accent as well. The solo here serves the song again, providing enough guitar solo for metal heads, but keeping the accessibility high. The slower riff after the solo has that Metallica "black album" feel to it, then a bluesier solo kicks in. After the bluesy part, a more standard fast thrashy solo picks up. "Strange To Me" has more of a defined funk aspect, with funky bass & drums that accent the rhythmic side of funk. Also, the guitar incorporates more of a scratchy sound, albeit this time with more distortion. This song has a great solo! "Talk About the Weather" is one of my favorites with it's fun vibe, finger snaps intro, and bluesy feel. Chris' improvised vocals in the intro also add a nice touch. The main riff has tons of groove, and the song as a whole is dripping with it. Also, more cowbell! There's a nice breakdown in the song about 2/3 in that just adds a bit of atmosphere before the blistering solo. "King of Siam" starts with an awesome super-fast roto-tom intro that I wish there were more of, followed by a nice chunky riff. The verses seem a little too minor chord at times, though I think that was the point (dissonance). The layered vocals here can get a bit overwhelming, at times slipping into post-Voivodian anti-melody. However, they work well in the song. "Force Fed" is a bit thrashier, sounding something like Beg To Differ-era Prong at times (sorry, pun intended). "One Day To Live" is a mostly acoustic ballad. A decent cap on the album, though a tad throw-away compared w/ the rest of the material.

"Southpaw" is generally considered by Precious Death fans to be their best album. Many fans balked at the 2nd album, "If You Must", even though it offered quality songwriting, better production, and a bit more variety in the mix. I am of the opinion that while Southpaw is more consistent, the 2nd album is just as good. Either way, this gem is a classic in the Christian metal scene, & probably the only album of its kind of true funk/thrash/metal that truly graced the Christian music scene.


8.5/10

Wish For Eden (1994)

Wish For Eden is the inaugural release from Tooth and Nail Records, a CD that would prove both highly important, and slightly controversial. No one could have predicted the impact T&N would have on the Christian music world, not even Brandon Ebel himself. Of course, this CD was the humble first release of the label that could, a far cry from the current sounds being marketed today. No, this post-hardcore gem was ripe & ready, even if it was a couple years behind the curve.

The controversy I mentioned is that a few Christian bookstores & retailers refused to carry the album. They thought that "pet the fish" was a masturbation reference, when in reality, it was just a nonsensical phrase suitable for an album title in the midst of the "alternative generation". Needless to say, this album didn't get its due during its time. While many write this band off as a generic Helmet clone, they would do well to listen a bit more closely & absorb the sound of this classic before passing such judgment.

The album doesn't come roaring out of the starting gate; rather, a brief feedback intro barely prepares the listener for the driving riff that "Questions" uses to suck the listener in. Unlike many of the metal bands that faded into obscurity in the late 80's/early 90's, complexity of the riff was not the order of the day here. A groove-laden, driving riff was what these guys were cooking, and it was tasty. The song moves between ebb & flow, with droning versus, groovy choruses, and a dissonant, ethereal bridge that has just enough guitar feedback to keep it interesting. The song swells at the end with more fast-paced riffing & drum work until the abrupt ending. "Ocean" starts with another groove-laden riff; simple, but effective. The vocals have an echo & effect on them that gives them a haunting feel. Lyrically, the song is very basic; I'm not sure I've quite gleaned the meaning yet, even after all these years. "Don't Know" opens with a clean guitar riff, then screams into another groove-based riff backed by solid drumming. The bass lines in these songs pretty much all serve the songs & don't do anything too dramatic, but that's the way some music sounds best. "U Could" opens with some guitar squealing, and yet another groovy riff, along with some decent drum build-up. The vocals in these songs all move from melodic gruff singing to a more shouted vocal & back again. "Me" opens with guitar feedback & a lead-off bass line. Once the song kicks in, another groovy riff takes hold. "Fade" also opens with a low-end bass line & guitar feedback. The closing title track is the only aberration here; it ends the album on a much lighter note, with less droning guitar, sounding more like a grunge rock ballad (in that good Pearl Jam way) than the rest of the material.

The thing that makes this album work is not how different it is; on the contrary, it's how different it's not. This is not highly original; indeed, this sounds like a slightly less heavy, slightly more melodic version of Helmet. Let that not be a deterrent, however. Underneath the hood of this well-oiled machine is a set of solid, if samey songs, all having their place on the record, & all containing the deliciously obtuse lyrics that many post-grunge bands did back at that time. What makes this record work is that it is the first time since the early Blonde Vinyl records releases that someone was releasing music that was out of the mainstream. Some might argue that Helmet flirted w/ the mainstream due to the success of the single "Unsung" from their Meantime album. Indeed, the band had some success with that song, with a video on MTV & rock radio briefly lauding it. Bands like Helmet don't cater to the mainstream, and reviewers who praised Meantime hated the follow-up album, Betty, despite it being as good (if not better) an album as Meantime. Wish For Eden make a slightly less heavy record, which could appeal to the fan of heavier grunge or post-hardcore, but certainly not to the mainstream rock fan, or even the standard grunge fan, except perhaps those into the more abrasive works of Nirvana or other bands who walked on the harder side of the "alternative" rock movement.

No, this album was destined for the cutout bin before its time. This is not because it's not a good record; no, this was simply a matter of the band being caught in a stylistic movement that was pronounced dead on arrival. Unfortunately, it means that the band never stood a chance except with audiences in the Christian market looking for a positive alternative to the post-punk sounds of Helmet, Snapcase, or Fugazi. Where those bands may have lacked the positivity of a band like Wish For Eden, an important niche was fulfilled. Whether the album stands the test of time has yet to be determined; however, it's cultural relevance cannot be disputed.


7/10