Old Reviews
Alien Sex Fiend: Wardance of the Alien Sex Fiend, SMD CD133, 1998. What? Another Alien Sex Fiend compilation? Yes, another one. Here's the deal. I already owned a copy of The Singles 1983 - 1994, the first 2 CD compilation. Because of this, I almost didn't buy Wardance until I made a closer inspection of the tracks. I was surprised to discover the 2 CD Wardance actually makes a nice companion to The Singles. Only a few songs are repeats, so it doesn't hurt to own both. Actually, this is the better compilation. It includes its share of classic numbers (Ignore the Machine, E.S.T., Boneshaker Baby, I Walk the Line, and more), rarities (Wardance, Can't Stop Smoking), and great live numbers (Haunted House and Now I'm Feeling Zombiefied). There is also only one version of the horrid Inferno. Overall, this is a great comp and a great place to start if you are new to the universe of Mr. and Mrs. Fiend. Gothic/Dance/Fun.
 Angels of Light:  New Mother, YG08 1999.  Good lord...I don't think I could possibly hear a better release this year.  This is Gira's first project since the Swans, and is the most amazing thing he has ever done.  That, oh my droogies is very high praise indeed.  The closest Swans release I could compare it to would be The Burning World, but this is so much more rich in texture. His vocals have never sounded better, and the lyrics are pure spite filled, self loathing Gira - "Now I, I despise the reflection of my face in your pale blue eyes.  But I accept the evil that has grown deep inside my drunken mind."  These lyrics are from the song This is Mine, which sounds like it could be a lost track from the Wall ( I think Waters and Gira would get along splendidly).  But the instrumentation is the most amazing thing here:  Hauntingly beautiful, full of acoustic instruments of all kinds, organ, piano, horns, violins and more - dobro, dulcimer, vibraphone, glockenspiel, accordion, the list goes on and on.   There is just so much going on from track to track here I can't begin to describe it.  The buildup to the song Angels of Light simply must be heard to be believed.  Disturbing music dealt with beautifully.

Antony and the Johnsons: ST - Durtro050CD, 2000.  Rarely does a CD grab me so completely from the first track.  Granted, I had an idea of what to expect from the ...Jaw dropping ... first single, Cripple and the Starfish.  As Antony belted out the epic (as is every song on this release) Twilight, I realized, happily, that first single was no fluke.  There are so many comparisons one could draw form the style of this band, from This Mortal Coil to BIg Star, Tiny TIm to any number of torch song divas, but that is all too superficial to grasp the majesty and power of their compositions and immaculate delivery.  In the end, they are truly in a class all their own.  Where Gira from the Swans may wallow in depression, Antony triumphs in it.  Listen to this at high volumes for the full effect.  I can only imagine the feeling you would leave with after seeing Antony and the Johnsons perform live.  It must be cathartic to say the least.  Indescribable and powerfully moving orchestrated power ballads you have to hear to believe.
Apocalyptica:  Plays Inquisition Symphony, Polygram 1998.  The linear notes read, "This album contains excessive NOISE and EUPHONIC melodies created purely BY FOUR CELLOS."  That should be all the description you need.  Then you see that half of the songs are Metallica covers and dreadful images of "London Symphony Orchestra Perform the Music of (insert soon to be musically slaughtered rock star)," force you to put this disc back on the shelf.  PICK IT BACK UP!!!  This is not cheesy sanitized versions of pop metal.  This is powerful stuff.  Track five "Refusal/Resist" - Sepultura? - actually had me slamming my head.  Play it loud.  It amazes me that these guys are able to get such deep heavy sound out of a little Rasputina cello.  Hey!  Maybe they could tour together!  Cello-polooza...Hmmm.  This could well make it to top 10 list for 98 in my books.  If you're really in the mood for something different yet hauntingly familiar, get this.  Hard Classical.

Bad Livers: Blood and Mood – SUG CD 3905, 2000.  Desperation is a sad and ugly thing.  It pains me to hear these guys hit rock bottom like this because they were one of the most talented new bluegrass bands around a few years ago.   I don’t fault new sounds for established bands when the result is a marked improvement or an exciting new direction.  This is neither.  It strikes me as a pitiful attempt at finding some sound, any sound, to gain a greater market share.  They do still retain a shred of their talent and integrity - when not clambering over the drum machine to be heard.  There are no edgy bluegrass numbers on here, no gut thumping tuba supporting standup bass licks.  With the exception of one simple country number, Little Bitty Town, nothing on this CD sounds good.  Not insurgent bluegrass because the bluegrass has been forgotten.

Andrew Bird's Bowl of Fire:  Oh! The Grandeur, Ryko, 1999.  Andrew's Thrills was one of last year's best albums.  It is pleasant to see that he doesn't let that stop him from getting better.  On his latest, he and his band set themselves apart even more from Squirrel Nut Zippers.  They have a more simple and melancholic feel to their music.  This is much slower paced than Thrills, but with a song like Vidalia thrown in, it's hard to imagine how much faster things could get.  The quartet that makes up the Bowl of Fire sticks primarily to percussion, guitar and bass.  They are all excellent by the way, and if you have the opportunity to see them live, I highly recommend it.  Andrew's playing is as captivating as ever, as is his voice.  An enticing goulash of many old time musical styles.
Andrew Bird's Bowl of Fire: Thrills, RCD 10397, 1998. If you are a fan of the Squirrel Nut Zippers, you could almost consider this a third release as they are Mr. Bird's band, and he, their violinist. And what a band. Bird is a vocalist and violinist par excellence. Much of the SNZ style is present here, but I find that I prefer this to either of the two SNZ releases. It's hard to explain why, but it could only be attributed to the talents of Mr. Bird. His vocal style is akin to Todd A's, of Firewater, at times, and his violin playing is catchy like a bluegrass fiddle. Swingy, Dixieland type stuff to get them toes a tappin and them feets a movin. Let's call it alternative shall we?
The Atomic Fireballs:  Torch This Place, Atlantic, 1999.  Yes, even I succumb to pop music sometimes.  That is why it is called pop music - It is popular.  I could tell from the cover what I was getting into - More Gap Jeans swing music.  I guess it's not quite dead yet, which turns out to be a good thing, because I really loved this!  Granted, I only paid 5 ducets for a used promo copy but it still rocks.  Every track is a mover and shaker.  Of course, it could just be all of the Screamin Jay Hawkins/Cramps voodoo references that sold me.  Absolute cheesy swing/rock.  Ah well, at least it's something to have fun with until another Firewater comes out.  I've been listening to too much odd music lately and speaking of odd music...
Boss Hog:  Whiteout, ITR068, 2000.  At last.  Yes, it's another fan fucking tastic Boss Hog disc.  What can I say other than that?  10 smooth cuts with a good dose of that JSBE feeling courtesy of  Jon, and Cristina purrs better than ever.  There are even a couple of tracks produced by Foetus and Roli Mosimann.   Easily already one of the best and coolest things you'll hear this year if you like that heavy, Blues Explosion tinged sound.  Oh yeah, and Cristina's naked again.  Rock and roll the way it should be. 
David Bowie:  Hours, Virgin, 1999.  Sometimes, low expectations are better.  They were high for  NIN's The Fragile  and also for Brendan Perry's solo offering, Eye of the Hunter  Both were, to say the least, disappointing.   After these two dissappointments, I certainly had no intention of buying another boner of a David Bowie album.  They have all been so lifeless and mechanical lately.  No, David Bowie's career ended a long time ago so far as I'm concerned - Just another old pop star with nothing more to offer, trying to leech off of the pulse of what passes for popular today.  And so it came to pass that I was taken completely off guard by a David Bowie album that is a proper follow-up to Tonight and an absolute must have for all fans of the David we have missed for so long.

And what inspired me to make this purchase?  Of all things, that Frankenstein Monster of American television, Saturday Night Live.  I watched it for the hell of it one night, and there was David, and he was magnificent belting out Rebel Rebel.  I bought Hours because David reminded me how much I used to love his music and I hoped that maybe he realized how wonderful he used to be as well.  He has.  Hours is reminiscent of old David Bowie in feeling if not in sound.   I fall in love with this more and more every time I hear it.  Even the things I initially found fault with, I have come to embrace.  Undoubtedly, one of the best albums of the year.  This is what all pop music should strive to be - something more. 

Buckethead: The Day of the Robot, SM9804, 2000(?).  When boy?  When are you going to learn to listen to stuff before you buy it when you have the chance, even if you know you'll like it?  I assume that this is in fact new.  I could find no date on it, have never seen it before, and the design is reminiscent of last year's Monsters and Robots...Which is what I was expecting.  But, without the benefit of Bootsy, Les, and Brain, this does not even come close.  The opening track, Destroyer is excellent for nearly all of its 13 minutes.  Sadly, the thrill does not last.  There is not enough guitar crunching, funk or weirdness to carry the day, and the drum and bass techno stuff backing up THE ENTIRE REST OF THE DISC sound like samples from the early 90s.  Drum machine casio crap.
Buckethead:  Monsters and Robots, Cyberoctave Records, 1999.  I vaguely remember Buckethead from Praxis.  I was more into that project for the John Zorn connection and was not overly impressed by the guitar work.  Several months ago, I heard this release while browsing a local record store.  This time, an impression was made.  With an air of superiority (I hate it when they do that) the clerk informed me that this album would not be officially released until October.  Even after that wait, my expectations were not let down - and it's priced at under ten ducets to boot! Buckethead is assisted by Bill Laswell and Les Claypool and Brain, along with a few other guests - including Bootsy.  But don't get the idea that this is a Praxis reunion.  Nor is this remotely like last year's (Yawn...)Colma - hard to believe that was the same artist.  On Monsters and Robots, Buckethead's frenzied licks are sandwiched between some excellent percussion, neat electronic soundplay, scratches,  and that Primus bass line.  The first six tracks are all awesome...As are the the last five.  Only track seven  slows down to the stupor inducing level of Colma, but it is a short track.  Just think of it as a break.  Trust me, you need this one.   Guitar solo centered funky space rock.  Joe Satriani, this ain't.
Nick Cave:  And the Ass Saw the Angel, Eucrid1CD Mute 1998.  Old but new.  This has just now been made more readily availiable.  It was actually released as a bonus giveaway with Tender Prey. This is too interesting for even a casual Nick Cave fan not to hear.  If you are as rabid a fan as I am, you’ll need to own it.  The first four tracks consist of Nick tickling the ivories while reciting emotional passages from his novel of the same name.  The readings are highly effective and much too short at under 4 minutes each.  It is a great novel by the way and I do encourage tracking it down.  The remainder of the disc is instrumental music performed and composed by  for a stage adaptation of the book by Bad Seeds Mick Harvey and Ed Clayton Jones.  It doesn't suffer in the least by an absence of Nick's vocals.  At times both soothing and jarring, my only complaint is that some of the pieces seem too short.  Highly recommended.  Minimalistic Neubautenesqe stuff.

Coil:  Astral Disaster - LOCICD14, 2000.  When Astral Disaster was originally released it was limited to only 99 albums.  I have no idea how similar this remixed CD version is to that initial release, but if it is even close then it would have been a real injustice not to make this more available.  That is not to say that this is (to me only) without flaws.  The opening track Avatars, is not one of Coil's strongest, but it is brief and is followed by the amazing The Mothership and the Fatherland which is an absolutely mesmerizing twenty two minutes.  This is really one of the most remarkable, moving and beautiful numbers Coil have ever crafted.  2nd Sun Syndrome is another brief throwaway piece that is followed by another excellent long journey, The Sea Priestess.  Track five, I Don't Want to be the One,  could have been an outtake from the LSD sessions.  It is a bit out of place with the rest of the disc, but it is such a good song I don't give a damn.  The last track, MU-UR, is the longest at just under twenty three minutes.  It is a lovely piece of music, but in all honesty, it just knocks me out :)  All in all, the feel of this was very similar to Moon Musick, and I do recommend it to all fans of these highly engaging musicians.  Experimental ambient sounds.

Coil:  Musick to Play in the Dark Vol I, Graal CD 003, 1999:  The new Coil release is finally available through Middle Pillar and Soleilmoon, previously being available only from the boys themselves.  You will still be paying a pretty penny for this platter. so you need to know, is it worth it?   The first track, Are you Shivering, is truly grand.  You will be by the time it concludes.  Then came the second track - Fucking Tangerine Dream.  Coil can release some real shite when they put their minds to it.  Track five, Strange Birds, is not much better.  The remaining three tracks are awesome Coil, very intense and low key.  This is very much of the same feel as the Solstice releases.  If you were hoping for another LSD, you may have to wait for the imminent Nothing release - due out by the end of the year.  Dark ambient.
Coil:  North, Eskaton 19, 1999.  At last.  I've been waiting a month to hear the final release of the Soltice collection.  The first three were nothing short of brilliant, and I am glad to say that North follows suit.  The first track, White Rainbow, is lyrically connected to the first disc, Moon's Milk Under an Unquiet Skull.  It is fucking beautiful and bears repeated listens.  The next two tracks, North and Magnetic North are a bit more tonal and meditative - I still can't make out the lyrics.  Magnetic North is a bit, well, prettier.  But if its pretty you want, Rosa Decidua come back on the scene for the reworked traditional Christmas is now Drawing Near.  This really has me jonesing for the new Sorrow CD.  A very satisfying ending to a wonderful collection.  The best?  I'd have to say Amythest Deceivers.  Experimental.
Coil: Amethyst Deceivers, Estaton 16, 1998. The third in Coil's Solstice/Equinox releases, and so far, the best. This CD EP features five tracks. The only track I did not care for was Switches. It sounded too choppy and unfinished. No big deal as the remaining four tracks are simply outstanding. Rosa Decidua feature the talents of Sorrow on vocals. If you are a fan of Rose, this should be all of the incentive you need to get this disc. As good a track as anything Coil has released. The remaining two tracks are primo pseudo creepy, wonderful Coil at their very best. I'm still waiting on my copy of the second Solstice release, Bee Stings, to arrive. I can only hope that it is as good as parts one and three. Trancey Experimental Sound Thang.
Coil:  Bee Stings, Eskaton 014, 1998.  Coil continue to shine on their second equinox release.  The four tracks are brilliant and are quite different in sound from the first or third releases in this series.  If you haven't been following this four part series, you are missing some of the most innovative and exciting work Coil has produced in years.  Luckily, it is all to be compiled on a single release sometime next year.  All four tracks on Bee Stings have vocals, and while not in the same vein at all, remind me of some of the tracks from Love's Secret Domain.  This is a very laid back disc, with the exception of the last track, a sort of cacophonous yet pretty call to summer that reminded me of NON at a luau.  Go figure.  Experimental, yet accessible.
Coil: Moon's Milk, Eskaton 011, 1998. new Coil is a lot like eating raw oysters. When you get a bad one, it's enough to put you off getting any more for a while. I'm glad to say, however, that this is the best Coil release since Unnatural Histories III (and Heartworms, of course). This has been described by some as two ten minute tracks of droning. Filler, right? Not hardly. Both track make very slow, but steady progress from start to finish. Sans vocals (OK, maybe a little chanting) I would classify this as experimental/ambiant.
Alice Cooper:  The Life and Crimes of Alice Cooper, Rhino 1999.  Over four years.  That is how long I have been waiting for this box set.  This has been my Phantom Menace.  Since the first rumurs were whispered, I eagerly awaited the opportunity to get my hands on studio versions of the Monster Dog tracks...Would they be included?  Wait, I'm getting ahead of myself.  Let it be known that I am a huge fan of the cheesiest side of Alice - The Early 80s.  Monster Dog was a piece of shit horror movie that he stared in, but the songs he contributed to the film were primo 80s Alice cheese.  I've had tape recordings made from the VHS for years and have been dreaming of finding them on disc - a holy grail of sorts.  And I just knew, they WOULD be on the infamous box set, if ever it were released.  Well it finally has been, and it lives up to all of my expectations.  From his early days with the Spiders to the cheesy 80s, from Welcome to My Nightmare to his 90s comeback(s), all is here and more.  Out takes, demos, live cuts, rarities and classics.  And yes, the Monster Dog cuts, Identity Crisises and See Me in the Mirror.  Four Fucking Slices of Rock Heaven.

Current 93:  I Have a Special Plan for this World - DURTRO 048CD, 2000. The latest pairing of David Tibet and Thomas Ligotti is a twenty two minute excerpt of madness which I found to be much more enjoyable that their last pairing.  This is what I get from the track:  There is a scrambling of garbled voices and scratchy frequencies worrying over an ominous tone.  Clicking in and out of this madness (the speaker's subconscious or the world around him?) David speaks into his recorder (his diary) his thoughts regarding the world and the special plans he has for it.  Each time he chimes in, it is a new  entry as his his special plan begins to take shape.  This is so much more effective than the last collaboration because it is to me a story which could exist in no other form and still maintain its chilling power.  The music is not just background to the story, it is very much a part of it, as illustrative as the lyrics.  Ligotti is a great writer of psychological horror and this time David has found the means to perfectly convey his work.  Bravo.  Experimental sounds capes and a wonderful tale.

Danzig:  Satan's Child, Emagine, 1999.  Thank goodness for second hand cd stores.  They make it possible for you to make those squalid purchases you would never waste more than six bucks on.  Also, you sometimes unearth some real gems.  No, no.  This isn't one of them.  This is just another shitty new cd from Glenn Danzig.  Granted, it's better than Blackacddevil, but not by much.  Not that Danzig IV was really that good at all, but he really lost it on BAD, and Satan's Child is a continuation of that crappy sound.  The problem is that Danzig's strongest asset, his Elvis possessed voice, is blacked out by all of the industrial metal nonsense going on in the foreground.  He no longer seems to hold center stage, and it is painfully obvious that this is because his lungs can simply no longer hack it.  It's as if the music is played on a louder level to overcompensate for the lack of power and majesty in his voice.  Only one song shows a glimmer of hope for the ex Misfit, and that is his version of 13, the song he penned for the Man in Black.  Sad industrial rock from an artist who should be , and once was, better than this.

Death In June: Disc Riminate, BADVC41, 1997: If you can find this, buy it. It is choice. If you are a fan, you will find interesting remixes of all of your favorite DIJ songs. If you have always wanted to check them out, now is your chance. Think of it - 2 CDs of DIJ material compiled by Douglas P, all the best songs, hard to find remixes. This is a fantastic historical archive of a great band. A little more early stuff would have been nice, but who am I to complain. I would loosely classify this as dark folk.
Death In June: Take Care and Control, Nero 42, 1998. Douglas has taken a decidedly different turn with the latest DIJ recording. The material on this disc is somewhat more akin to his DIJ presents projects (Kapo! Scorpion Wind and Occidental Martyr). The closest DIJ album I could compare it to would be Cathedral of Tears. David Tibet is not present on this release. Douglas' collaborator here is Albin Julius. The overall sound is very orchestrated, very noisy. The CD opens with a burst of noise. Hope you like it as you will be hearing it again later. The next three tracks set the tone, but just as you think you have the sound pegged, you get track 4, Kameradschaft. This is the only track where acoustic guitar is obviously present and it is very similar to the DIJ sound on Roseclouds or Symbols. The next two songs, Frost Flowers and A Slaughter of Roses, are easily my favorite tracks. From this point on, the CD may as well be over for me though. The Odin Hour is a decent tune, and Despair is just plain great - and should have been longer. But the remaining tracks don't do it for me. Wolf Angel is about four minutes of the opening noise track. Circo Massimo, the track exclusive to this Aussie version, is just five minutes of fascist sounding marching music a la Boyd Rice. This was very different than the DIJ I am used to hearing, but it continues to grow on me with each listen. Some truly great stuff on here. Dark Orchestral music.

Death In June:  Operation Hummingbird - BADVC CD44, 2000.  Now released through Tesco instead of WSD, the only thing that will surprise you about the new DIJ is its length - Under 30 minutes.  That is a surprise because it is priced like a full length.  Operation Hummingbird is a follow-up to 1998's Take Care and Control.  Like that release, the contributions of Albin would seem to overshadow those of Douglas in terms of overall sound at least.  I like the new direction in which DIJ are heading musically.  It has a more bombastic and powerful sound than previous works.  But in the end, none of the six track really stand out and impact me the way so many did on TCAC.  This is a welcome addendum to that masterpiece, but sadly nothing more.  More happy music from DIJ :)

Einsturzende Neubauten:  Silence is Sexy - CDSTRUMM182, 2000. As I had hoped, the single Total Eclipse of the Sun was a precursor to a great new full length album from some of the most talented musicians alive.  This is almost unbearably good, even better than Ende Neu.  No one has taken experimental music to the heights that EN have taken it.  On this release, it is their restraint that is captivating and that makes the flourishes of noise all the more intriguing.  I've had some people tell me that they really dislike this direction  EN has taken, away from chaotic and random sound and into the realm of masterfully controlled music.  But is that not the whole idea of experimental music?  To take some unlikely and incomprehensible element or sound and work it and shape it until you master it?  And why continue to experiment with a sound once it has been mastered, and upon mastering it can use it to become even more creative?  What EN produce can no longer be controlled experimental music.  They have moved beyond the realm of experimentation.  This is artistic industrial music, brilliantly sculpted.
Einsturzende Neubauten: Total Eclipse of the Sun, Mute, 1999.  Following in the vein of Ende Neu is another glorious Neubauten release.  Like that prior effort this is more lush and orchestrated than anything they have done in their earlier years.  The tittle track is done twice with different vocals both in English.  Immaculate.  The second track, Sonnenbarke, is longer and more tonal with the lyrics in German this time.  The third track gives you a bit more percussion for the buck.  I only hope that this is heralding a new full length.  Orchestrated pop.
Electric Hellfire Club: Unholy Roller, Cleopatra, 1998. Errrr... Why do I keep buying EHC releases? It must be because My life With The Thrill kill Kult has been complete shit ever since Thorn left. Maybe it is because the first EHC CD showed so much promise. Or maybe I thought that this remix CD would kick as much ass as the Christian Death remix CD, Deathmix, also released under Cleo. Maybe I just like Satan. Whatever the reason, this was yet another EHC disappointment. There are a couple of good remixes of Prince of Darkness. It was also cheap - slightly more than a CD single. If you look at it that way, it isn't toooo smelly. Dance floor industrial.

Elijah's Mantle:  Psalms From Invocations, DNDC12 CD, 1998.  There was a very funny Elijah's Mantle thread on the WSD discussion ML recently.  EM, it seems, is WOrld Serpent's "red headed stepchild" - the band no one wants to admit that they secretly like :)  This all has to do with the amazing pretentiousness of the whole EM experience, bordering on EXTREME cheese.  Well, as you may have guessed, the Oni has a fondness for cheese.  Especially cheese of this caliber.  If you are unfamiliar with EM, I guess I could describe them as an Operatic Benedictine Monks, Full Blown Goth Style.  This CD takes all of their prior releases to the test and blows them out of the water.  This thing is simply amazing.  It could almost be art if it wasn't so damn groovy.  If you have never heard EM before, this is definitely a good introduction to them.  It's also their best release ever - hot on the heels of their worst release ever.  Very Gothic, but not "goth rock."

Fear and Loathing in Las Vegas: Margaritaville, 1996. I finally got hold of this CD! Ye gods - only by making it a two disc set could it have been any better. Ever see that hideous Bill Murray movie, Where the Bufallo Roam? Purge it! This is The Man's text read by Harry Dean Mother Fucking Stanton! Jim Jarmusch and maury Chaykin relish their roles as well. Full of twisted sound effects and some of the best parts of the novel, this screams for audience participation, if you catch my drift. As your attorney I advise you to get this CD and the recreational material of your choice. you'll be wanting a buffer, so take a couple of hours to let the fear build before listening, and for god's sake, don't use the White Rabbit as a cool down! Hurry! Exercise your imagination before the Terry Gilliam film hits the screen on Memorial Day! Spoken word.

Fire and Ice: Seasons of Ice, FREMDCD100, 1998. Another very nice compilation from the WSD stables. 17 tracks of (very good) live recordings, remixes and outtakes. I was quite happy with this, as the last few releases from Ian have been sort of hit and miss. Seasons of Ice would make an excellent starting point for anyone unfamiliar with Ian's work. And for those of you who are already fans, there is enough unreleased material on here to make it worth your while. Fire and Ice have a medievil sound to much of their work: Strings and flutes, chants and rune workings. I would classify this as dark folk.

Firewater: Get off the Cross, We Need the Wood, Jetset TWA04CD, 1996. Woof! How the hell did this CD get past me? Must have been while I was in Bosnia..Grumble, grumble...Thanks to a recommendation from a good friend Steve, I got this baby now. Think tom Waits jamming with the Jesus Lizard under the direction of Nick Cave and you will begin to get an idea as to what Firewater are all about. Every single song on this little gem is a killer. The rockingest CD since Shane MacGowan's The Snake, and best new band I've heard this year. A new album, The Ponzi Scheme, is due May 5. Could it be this good? Drooling with antici....pation. I would classify this as rock.

Firewater: The Ponzi Scheme, Jetset TWA11CD, 1998. Finally got my greedy little paws on this release. I've listened to it twice today, and I swear it was better the second time around. You know what that means...Yeah, it wasn't all I was hoping for on the first listen. Most of the fun spirit that made their first release so enjoyable is not present here. That demented gypsy carnival seems to have died down a bit. Oh, the band is still playing, it's just that it is about 4 in the morning and they've been playing a long time now. Vocally, Todd A is still kickin'. The lyrics are still good drunken swill, it's just that this is not as whimsy laced. Good, strong stuff, just treading a little too close to Springsteen for my own sense of security. Again, I would classify this as rock.

The Flesh Eaters:  Ashes of Time - UPCD001, 2000(?). The Flesh Eaters are unlikely to gain legions of new fans with this exciting release, but for those of us that have been enthralled by Chris D's  brand of rock since way back, this CD is well worth the wait.  Rumors of this release have persisted for a couple of years, but the first time I actually "saw" a copy was on an Ebay auction a couple of months back.  Once the bidding got out of hand, I tracked this down from Taang records online store.  Onto the songs.  Chris D has not mellowed out at all, neither in his lyrics, nor the frenzy with which he delivers them.  Stylistically, this falls somewhere in between his Divine Horsemen songs and the last Flesh Eaters' disc.  Chris D writes love songs that are strictly in the Hammer House of Horror vein.  You just know that songs like Mourning Becomes You, Red Spell Spells Red, Black and Blue Bird, and Kisses Draw Blood are not going to end happily.  Still, I find them all pretty damn romantic in a sick sort of way.  The best new addition to the Flesh Eaters lineup is the electric violin provided by Jeff Sullivan on three of the fifteen tracks.  It adds a nice touch I'd like to hear a lot more of.  The songs were all written and performed between 1997 and 1999.  There is even an alternate take of Crucified Lovers from the last Flesh Eaters EP (which is the best thing Chris has ever released).  While that version - and the disc as a whole - does not pack the power punch that last EP did, there is not a single bad cut on here and I'm overjoyed to finally have a copy.  Fantastic no frills rock and roll.
Ghost:  Snuffbox Immanence, DC148CD, 1999.  You will like them or hate them with a passion.  I love 'em.  Ghost produces tripped out psychedelic folk music.  Masaki Batoh alternates his lyrics from Japanese to thickly accented English.  This is probably the best since their self titled first release.  The musicianship has improved  greatly (not that it was bad to begin with) and the songs show more variation, including a Stones cover!  For all fans, and I would only recommend this to fan, Ghost is still as hippy/trance inducing as ever.  Makes me want to go out and buy a lava lamp.  Psycadelia.
Ghost:  Tune In, Turn On, Free Tibet, Hey Drag City, 1999.  Recorded shortly after Snuffbox Immanence, Ghost turns back to the more simplistic stylings of Second Time Around.  Acoustic strummings, recorder and Masaki Batoh's entrancing incomprehensible lyrics take command once again. The first short songs all continue in this quite lovely sound coming into full power at the pivotal center point of the album, Change the World.  From here, things change abruptly.  The final track, Tune In Turn On Free Tibet, is a 25 minute opus that opens elegantly enough, but goes through at least five dramatic shifts culminating in crashing waves of feedback.  Striking and powerful stuff Nurse With Wound fans are sure to enjoy.  Psychadelia.
Ginger Leigh:  Il Diavolo N El Cervello, Stoned Booty 1999:  Before playing the latest offering from noise crunchers, Ginger Leigh, perform a diagnostic test on your stereo.  Play some really heavy platters -  Sonic Youth's Evol, BDN's Innerwar - whatever it takes to give you some assurance that your speakers will be capable of surviving an onslaught of ear shredding frequencies, pulses, feedback, and Big Black's old drum machine. The tracks on Devil in the Brain can be very loosely divided into three categories:  Songs, freq noise, and scratchy lp sampled toons to break them up.  It makes for an interesting brew.  Standouts:  Mouth of a WHORE, Firewater, Take Me Down A Very Dark Road, Virus (Which sounds as though it were designed to wreck your stereo - use caution with this one), and my personal favorite, Lying in the Tall Grass. Enough already!  Where can I buy this slab of frequency laden noise intensive rock madness?  From the source of course, http://www.gingerleigh.com
Ginger Leigh:  Love Cheater, Stoned Booty, 1998. Ginger Leigh sent me a copy of their new disc.  First time someone gave me something to review.  It was kind of neat since I had no idea what to expect.  I did know from other reviews I had read of this band that it would be at least interesting.  The production sound could be better is about the only negative thing I can say.  It sounded too confined and tinny.  Music wise though, things are pretty damn sweet.  In fact, if you like Foetus, Chrome, Flesheaters, and early Jesus & Mary Chain, Ginger Leigh might really appeal to you.  My first thoughts were of Chrome, only a bit meatier, and one track,  "In the Nest Poison"  was the next best thing to a new Chris D release.  I really do look forward to hearing new things from Ginger Leigh.  As this is available from the source, I'd go there to see what others are saying. http://www.gingerleigh.comThis is great feedback heavy raw rock.
Godflesh: love and Hate in Dub, MOSH178CD, 1997. One reviewer, I forget who, described this CD as "...Swinging like an elephant's dick." Good description. The earth shakes when you play this mother. I haven't heard the original Love and Hate, but I haven't really been into Godflesh for a long time. Anyway, it's hard to see how the original could even come close to these pounding remixes. I mean, this IS Godflesh, but it is thumpping Godflesh, pimping Godflesh. If you don't feel like the King of all Badasses when you listen to this, you may suffer from an irreplacable lack of self esteem Injected with testosterone. you get the picture. If anything can be called grindcore, this would be it.
Handsome Boy Modeling School:  So...How's Your Girl?  Tommy Boy, 1999.  What do I know about hip hop?  Jack shit.  I know Tribe Called Quest, Digable Planets, Some cool 4th and Broadway jazz influenced stuff and that's about it.  But, I do know what I like, and I like this.  Thanks for the recommendation Hudi.  The guests on this amazing project include Alec Empire, DJ Shadow, Mike D, Paula Frasier from Tarnation, and even Father Guido Sarduchi - to say nothing of Chris Elliot, the album's inspiration.  Eclectic?  Oh yeah.  Every track mutates from the one before it while maintaining a high level of excellence.  Christ, I haven't heard this much crazy shit going on in a hip hop cd since Paul's Boutique. 
Kristen Hersh: Strange Angels, Ryko10429, 1998. Who was Throwing Muses to you? To me, it was Kristen, not Tanya. And, in my opinion, the last great Throwing Muses CD was either House Tornado or Hunkpapa (can't remember their release dates dammit). This is Kristen's second solo effort since Hips and Makers. I am happy to say that it is every bit as good (though not as good as the exquisite Strings EP). Maybe even better. This bring back fantastic memories of the days when I hadn't even heard of Diamanda Galas or Coil, and Kristen's cracking warble on Rabbit's Dying was as strange as things got. Her writing is consistently brilliant, and her guitar playing is competent. I really love this release, and if you were ever a Throwing Muses fan, you will too...Unless Belly is more your bag. Alternative.

Jesus Lizard: Bang, Touch and Go, 2000.  The Lizard ended on a high note and I for one was very sorry to see them go.  I think that on their last two albums, they were really beginning to come into their own as slick capable musicians as opposed to loud, chaotic, meandering garage rock.  Not that there is anything wrong with that, as this release clearly shows.  Bang gives us a cd collection of a number of 7 inches from the early years up until about the Down era.  Though I do think that Shot and Blue enabled Jesus Lizard to reach a whole new level, I do still have a love for this raw early stuff.  You need this for the Chrome and Trio covers.  You need this for Wheelchair Epidemic.  You need this for the Glamorous/Deaf as a Bat single.  You need this because Jesus Lizard was one of the rock greats along with Big Black and  Melvins (who are still with us thank bob). The only thing really missing was Puss, form their Nirvana split.  BTW, If you're unfamiliar with David's vocal stylings, consider yourself warned.  Rock and Roll.
The Jesus Lizard: Blue, Capital, 1998. Did you like Shot? Lots of people considered it to be major sellout material, irredeemable even by the release of the live Show. Well if you thought that was a sellout, you might want to steer clear of Blue. If, however, you saw Shot as an artist's attempt at broadening his horizons and searching out new musical territory, you are going to love this. Blue rocks. Period. There are all of the classic Lizard elements on this release, but Yow approaches different vocal stylings on several tracks, and the band matches him with music that is Lizard with a twist. To be honest, I didn't hold high expectations for this release as I was very disappointed with the last EP. Pleasantly surprised. As always, the Jesus Lizard will be classified as ROCK!
Kodo:  Sai-So, Sony 1999.  The big drums finally get the remix treatment.  After their all too brief appearance on the last Sepultura disc, I was thrilled to find this.  These are all remixes from their last release, Ibuki.  The first track, remixed by Strobe, more than delivers. It's hard for the rest of the disc to live up to that opener, but everyone certainly tries.  I prefer the more fast and furious tracks, but there are some slower, more thoughtful, flute heavy versions as well.  I really like this, and  Loop Guru fans should drool over it.  Bill Laswell, Strobe, and Dj Krush are among the remix talent.  Ethnic Trancey Pounding Groove Thang.
Laibach: The Satanic Rock Opera, GAE 444, 1997: This is a live recording froma concert given in Frankfort Germany. Had the Army not decided that my presence was required in Macedonia, I'd have been in the audience. Always deployed when the good shit happens...Count on it. From Opus Dei to Jesus Christ Superstar, the are playing it all. The recording is very clear. While I am generally not pleased with live recordings, this is one of the best. If you are a Laibach fan, you are advised to go out of your way to track down this limited edition import. I can only classify this as Laibach.
K.D Lang:  Invincible Summer - Warner Brothers, 2000.  Horns, wah wah guitars, and catchy choruses signal a new album and a new direction from the woman who can do no wrong, K.D. Lang.  This may well be her poppiest nonwestern release yet-much more in the vein of All You Can Eat than anything else.  But this is a much lighter and accessible blend of pop.  Her voice is as beautiful as ever.  It seems to just hover on the breeze, floating gently, so gently, into your ears.  Electronic whirs and buzzes fit naturally into an instrumentation that is more acoustic to create an eclectic, yet simple sound that conjures up hazy visions of only partially remembered 70s films.  As the title implies, it is indeed the perfect soundtrack for an exhilarating, extraordinary, and invincible summer.  Beautiful, airy pop music.
Loop Guru:  Fountains of Paradise, Hypnotic 1999.  I will be brief.  This is caca.  I will never again buy another Loop Guru release without listening to it first.  Thank "Bob" a friend was good enough to burn a copy of this instead of my shelling out hard earned ducets for more droney boring uninspired music like Catalog of Desires.  Buy  Loop Bites Dog.  Buy Amrita or Duniya.  All three are excellent recordings.  But keep away from their releases on Hypnotic.  Did they buy the rights to all of their hraka?  Trance music.
Loop Guru:  Catalogue of Desires, Hypnotic, 1999. Another band recommendation from Johnny.  Loop Guru make ethno flavored trippy grooves.  It's all very cool stuff and is all worth tracking down.  That is why I so eagerly awaited this new release.  It's not bad sleepy time music, but nowhere near as captivating as their last, Loop Bites Dog.  Probably because this isn't really new.  These tracks were all recorded in 1995, and they've done nothing but improve since.  This is much more laid back than their later stuff, so I'd only really recommend it to Loop Guru fans.  I mean it's good, but I'd recommend any other Loop Guru release before this one.  Ethno Trance.

L'Orchestre Noir:  11, Tursa 20, 1998.  One of the truly great albums of 1998.  Sadly, due mostly to its exhorbant price, I did not purchase this until recently.  Let me just say that it overshadows anything Tony accomplished as Sol Invictus and firmly establishes him as Europa's foremost troubadour - does that sound cheesy or what?  Nonetheless, it comes from the heart.  When buying this marvel, be certain you are getting the limited 2 disc edition.  The remix disc is as incredible as the original.  Tracks range from simple acoustic flourishes to powerful orchestrated dirges.  Vocal duties, when present, are shared by Tony and Sowila, form the group Skald.  If you have ever been curious about the music of Tony Wakeford, this is an excellent place to start.  Dark folk somehow seems a shallow and derogatory description, but, there it is.
Shane MacGowan and the Popes: The Crock of Gold, MAC002, 1997. I haven't paid this much for a CD in a while. Damn imports. This one was plenty hard to find too. All the BAD reviews must have had something to do with it. I'm almost certain they were the cause for its being shelved domestically. You all should know how much I loved Shane's last CD. An absolute masterpiece. Which leads me to Crock of Gold, refereed to as Crock of Shit by a prominent European music zine. Well balls to you guys because this kicks ass. Yes, Shane has done it again. Every fiuckin' tune on here ROCKS. I mean hey, if you don't like his voice, why would you buy his solo stuff in the first bloody place? If you are a Pogues fan, or more importantly a Shane fan, and have been hesitant about this CD because of all the bad reviews, wait no longer. The people who panned Crock of Gold are a bunch of crack smoking morons who wouldn't know a classic platter if you smacked them over the head with it. Long live the Rock and Roll Paddy! Rock, Rock, Rock!
Maldoror:  She, Ipecac. 1999:  My first thought upon listening to Mike Patton's and Merzbow's new - actually 1997 - project was that a mouse had gotten into my stereo and was fucking shit up.  So I listened to it again.  Eighty minutes of this shit will really wreak you head.  You must be a fan of noise if you are to get into this.  Do not buy it expecting a Mr. Bungle side project.  Think more along the lines of Merzbow's contributions to the world of music - Tones, frequencies, and feedback oh my.  Much of She is complete throwaway  soundplay that I've heard countless times before.  Still there are some intriguing tracks on here - especially the last, Lullaby.  And, for all of it's 40 minutes it remains more interesting and challenging than anything on Sonic Youth's Goodbye 20th Century.  Experimental noise.
Melvins: Leech, Egg One, 1996. OK, I know the release date on this is two years old, but I've NEVER seen this before! Cost me nine bucks new! Is that going to color my review? You bet it will. Cheap and good rock and roll Melvins is a real treat for good little boys and girls. Among the 21 tunes on this baby are God of Thunder, Instant Larry, Venus in Furs, and Rocket Reducer #62! The sound quality leads me to believe that these tracks are all demos, but as there are no linear notes, I am clueless. Hey, if you see this, buy it, and if you'd like to e mail me with any info about it, it would be MUCH appreciated. When at their best, like this, Melvins ROCK!
Melvins: Honkey, Noise Amphetamine ARRCD81/024. I really dig the Melvins, but they are notorious for shitting on their fans. Anyone else spend their hard earned money on Prick? Boy, that was a funny joke. Luckily I was able to convince the record store of what a complete piece of shit they had sold me, and they took it back. Well, Honkey is not THAT bad. The first three tracks are actually very good. But, it quickly goes downhill from there. The last track consists of twenty minutes of silence. That really pisses me off. If I didn't like the packaging and the first three songs so much, I'd toss it in the crap pile. I would damn near classify this as another Melvins' bad joke.
The Melvins:  The Maggot, Ipecac Recordings ipc2, 1999. First let me say, Wow.  Two more of these babies are due by the end of the year?  Oh yeah.  This was a nice surprise.  I had no idea a new Melvins was due.  Apparently, a contract calls for a three album package on this label by the end of 1999.  Instead of a rushed POS, Melvins give us a heavy kick ass platter.  The first track(s) set the pace with a heavy crunchy riff which melds right into the next track.  The standout is a plodding cover of Green Manalishi with the two pronged crown.  When Melvins deliver platters like this, they are absolutely on top of their game and maybe one of the heaviest bands around.  I anxiously await the next two discs in the series:  The Bootlicker, and The Crybaby.  One oddity about this disc is that the eight tracks are each split in half (no pauses) to make 16 tracks  I cannot fathom a reason for this except to be a pain in the ass when it comes to making mix discs.  Those of you with a CDR may appreciate the heartache this causes :)  Heavy Sabbathy Rock...Hey, it's the Melvins...What do you expect.
The Melvins: The Bootlicker, Ipecac Recordings IPC 004, 1999. The second killer Melvins disc in the Ipecac trilogy sounds nothing like the first.  This is more restrained Melvins a la Stag, though it is every bit as welcome as the more furious The Maggot.  Dale and Kevin are the standouts on this release with the bass and percussion being much more dominant.  The absolute standout here is  Mary Lady Bob Kins, my current favorite song of the year.  The next disc, The Crybaby,  promises to be even better as it will have a few guest artist, including...Foetus.  A match made in fucking heaven.  As a side note, if you get a chance to catch them on tour this year, I do recommend your attendance.  It was choice.  Laid back rock that your Nazareth loving friends will dig as much as you - not to give the impression that this sounds remotely like Nazareth :)
Melvins:  The Crybaby - IPC-6, 2000.  Cripes.  This may be their weirdest and most unexpected offering yet.  From what I gather from the liner notes, the boys have invited numerous guests either into the recording studio or to lay down vocal tracks and remixes to their instrumentation.  The result is, of course, Melvins, only...Not.  The lineup of talent they have recruited is nothing short of stellar:  Foetus, David Yow, Hank III, Mike Patton, and many more to include the most unexpected guest star of all.  Buy it and see.  The songs are all quality recordings and are pretty standard (For Melvins) rock offerings.  That is not to say that the pairings are anything short of exciting.  For instance, the Foetus track, Mine is no Disgrace,  just oozes power,  and I want to hear an entire album of Melvins fronted by Hank III.  In fact, a Melvins / Hank III tour is the show I think I most want to see happen this year - with the exception of the Current of course :)  And what would a Melvins release be without one little fuck you for all of us, the ever popular "long stretch of silence" on track 11.  But this is such a minor bitch.  The Crybaby is a magnificent platter of fun rock and roll from Melvins and Friends! 
Metallica:  S&M, Elektra, 1999:  I wish I had been in the audience for this.  It must have been a blistering performance.  It's power is no doubt somewhat lessened by just hearing the CD.  When you aren't caught up in the frenzy of a live show, all of those taunts by the vocalist come off sounding rather cheesy.  All that aside, this album works quite well.  Being a fan of Apocalyptica - Their Inquisition Symphony was one of the best cds of 1998 - I knew that Metallica went very well with strings.  But with this, Metallica ups the ante.  We get them performing live with a full orchestra in tow.  I was leery of the horn section, but it all sound splendid, though not as powerful as the raw and simple fury behind Apocalyptica's cellos.  A good spread of Metallica's canon, old and recent,  is represented here including two brand new numbers.  The only thing that could have made this better for me would have been if it were a studio release.  I hate all of the applause drifting in and out, to say nothing of all of Hetfield's stupid remarks to the crowd.  Ah well, I guess that's rock and roll.
Metallica:  Garage Inc, Elektra, 1998.  I don't hate Metallica.  Kill Em All is a great CD.  They've released some other killer songs through the years as well, but ever since Justice for All. well, I could give a crap about them.  To me, they just no longer delivered.  I had to buy this new release for two reasons:  I'm a sucker for covers, and the second disc which contains Garage Days and other hard to find tracks such as So What and Am I Evil.  I'm sad to say that in my opinion, this is worthwhile only for that second disc.  Only one of the covers shows any innovation or character on Metallica's part.  To their credit, Whiskey in the Jar sounds great, but then it's just such a great song.  The Nick Cave song, Loverman, was the most interesting choice for a cover, and it IS good...I just expected the boys to take a little more liberty with these songs.  They do so on a Mercyful Fate medley (Rock on SGT Pouch) that is actually almost worth the price alone.  And no, Lars does not attempt the King Diamond wail, thank "Bob."  Garage Inc is a decent buy, a great one if you don't own the out of print Garage Days Revisited.  Rock and Roll...OK, OK...Heavy Metal. 

Ministry:  Dark Side of the Spoon, Warner Brothers, 1999.  I knew I was going to hate this album.  It was affirmed when I heard the cheesy song in the Matrix, and confirmed when I saw the cheesy artwork - dumber than their last.  Fuck no I wasn't going to buy it.  Luckily, my brother had.  Much to my surprise, I do like this.  Two tracks are absolute throwaways and do not fit into the rest of the album at all.  Bad Blood and Supermaniac Soul are weak attempts to pull back the old fury of Mind and Sigmata.  The rest of the cd is an interesting amalgamation of noise, bluesy rifts a l JSBE or Boss Hog.  Some nice Swans like slow dirges in here too (Vex and Silence, Kaif).  It is a completely different sound than I was expecting, one that I would like to hear more of.   Ministry almost has something very good here.  Industrial?  Not really. 

Minutemen: Introducing the Minutemen, SST CD 363, 1998. First I must say, if you do not own the incredible Double Nickels on the Dime CD, go buy it immediately! This is a long overdue and entirely unexpected compilation of one of the fantastic SST early 80s "punk' bands. Introducing has tracks from every SST release (35 amazing tracks) cataloged chronologically. What makes this so nice is hearing the band's progression. If you are going to own only one Minutemen CD...Get DNOTD! But you'll want to buy a second release to keep it company and this will do the job nicely. Alternative? Maybe. We called 'em punk when I was in College.
The Mirror Reveals:  Frames of Technicolor - MPP997, 2000. Fuck's sake.  It's taken me forever and a day to review this, so I'm just going to go ahead and do it.   I have tried so damn hard to like this.  I kept playing it when I went to sleep, trying to convince myself that it really was good, it was just sleepy good.  Well it's not sleepy good.  It's  boring swirly guitar haze mush.  I'd expect to hear this on Projekt or Hyperium.  I can't believe that the multi talented Murder of Angels provided the finishing touches on this. Ethereal rock garbage.
Moby:  Play, V2 Rave New World, 1999.  Well, friends don't always agree :)  Moby has never really been my bag, but at a friend's advice, I checked this out.  To put it bluntly, the cool bluesy beat heavy tracks were great, and really made this a tolerable purchase.  The rest of the disc is, well, shite.  Sorry, but Moby's slow "emotional" tracks are too dramatic and silly to me for what is obviously meant to be pop music.  It rather reeked of pretentious silliness.  Oooo shit.  That sounded a bit too harsh.   This is probably not really that bad, I mean hey, a lot of people liked Forrest Gump...Oooo I did it again.  Honestly, about half the tracks are really excellent, but the remainder of this disc is just bad.  Blues laced hip hop and and reach for the stars instrumental tripe. 
Mojave 3:  Out of Tune, 4AD, 1999.  The first release by Mojave 3 made them a favorite from  the current stable of new 4AD bands.  Like Tarnation, they have a sort of laid back country sound , but more orchestrated and beautiful.  The vocals are also more harmonic and airy.  That feel continues on their new CD, but there is more experimentation with different instruments on Out of Tune.  The inclusion of brass and organs on some songs reminds me of Smog - only fronted by people who can sing.   This is super laid back stuff.   If you like Son Volt and Cowboy Junkies, you'll really like this.  Country folk stuff.
Mr. Bungle: California, Warner Brothers, 1999.  This one is sure to open a lot of eyes.  The thing is, it's demented enough to generate the twisted Mr. Bungle appeal, but it is accessible enough to really catch on - Hopefully leading people to check out earlier Bungle, Zorn, Zappa,Clinton and much more!  Ahem...Is that a politically correct way of saying that Mr. Bungle have produced a commercial album?  I suppose so, but what is wrong with that?  I loved Disco Volante and the debut, but this is no less impressive.  It is still edgy, slightly demented music, though their sound has certainly changed.  They maintain some of the swingy jazzy edges  and just a dose of their canivalesque madness, but forgo the sudden speed metal outbursts...Most of the time.  The songs themselves are generally catchier, more traditionally structured songs than the more free flowing anything goes style of before.  There are even a couple of wistful ballads that invoke the father of sweet madness, Brian Wilson.  The thing is, I can picture a lot of metal heads really getting into this.  It is a powerful and quirky, all too short masterpiece.
A Murder of Angels:  While You Sleep, MPP998, 1999.  The work of Derek Rush and Loretta's Doll's Bryan Dall left me rapt.  This project reminded me a great deal of a band called Pessary, and also Shinjuku Thief.  Yes, this is also music of a dark soundscape nature, and is very well crafted at that.  It's very spooky and yet still strangely beautiful music.  Along with Sephiroh's Cathedron, I think that this is one of the best dark soundscapes ever crafted.  Quite a debut from this exciting pairing, and I cannot wait to hear more.
Negativland: DISPEPSI, Seeland 0017CD, 1997. Why are these guys always at their best when they are on the verge of getting sued? Actually, Pepsi spokesmen actually said there would be no lawsuits before this was even released. Oh well. This is still scathing stuff and the best full length studio Negativland since Escape From Noise. This is more than music. this is consumer education. Besides being thought provoking, this is actually some pretty toe tapping stuff. Like the jingles they sample, the songs will drive themselves deep into your subconscious. Let negativland tell you why you are a consumer and what you can do about it. I really enjoyed this and cannot recommend it enough. I would loosely classify this as spoken word/experimental, but it is musical enough to be alternative.
Negativland: Happy Heroes, Seeland 018CD, 1998. Well, this was unnecessary. Really, Dispepsi was a fabulous release, whereas this is uninspired garbage. Do we really need a remix of Happy Heroes? It's not bad, but do we need it? Jolly Green Giant is Sycamore with a different voice-over - actually the best cut on here. The OJ cut is amusing at first but I expected something a little more scathing. If you like Negativland, I know you'll buy this despite my warnings - I would. I would have to call this spoken word/experimental.
Nine Inch Nails:  The Fragile, Nothing Interscope, Halo14, 1999. After repeated listens I have come to the conclusion that this is indeed a good cd, and a more than worthy addition to anyone's collection.  The problem, of course, is that no one wants this to be just a good release.  They want it to be godhead.  So is it the best release of 1999?  Decidedly not.  This is not even a contender for the top ten.    After so much time in the studio and all of the rumors of Trent taking this album in a different direction from his previous releases, I was expecting something not only different, but altogether moving and exciting.  In short, I was expecting too much.  Thankfully - In what may have been a very shrewd and deliberate move - the pre release of the lackluster single prepared me for an album that would continue to squeeze the life out of the boring sounds of dance floor industrial pop and break little new ground.  In the past Trent Reznor has shown that he is capable of producing challenging and thought provoking music as well as dancey angsty drivel.  While he does continue to work some marvelous sound sculpture on The Fragile, it is simply overshadowed by too much of the aforementioned drivel to make this the release I was hoping for.  Dance Floor Industrial interspersed with moments of genius.
Nine Inch Nails:  The Day the World Went Away, Nothing Introscope, 1999.  We've all been waiting for this for a while now, but the question I have, is this:  Is this the first single for the forthcoming new release or just something to keep us occupied until then?  I am hoping for the later, because I am not impressed.  Here we go, three songs, first song.  The Day the World went Away is OK.  But it leaves a bad taste in my mouth.  It kind of sounds like a throwaway - something recorded for a soundtrack.  It gets worse with track two, the worthless Starfuckers, Inc., a blatant and lackluster retooling of Ministry's So What.  But guess what?  The last track, the remix of the first, is damn good.  The quiet piano and drifting sounds remind me of some of the delicate artistry that went into Downward Spiral.  I really hope the new album goes the quieter route.  Dancefloor industrial.
NON:  Receive the Flame, Mute, 2000.  Wow.  I really enjoyed the last NON release, God and Beast, and was expecting something similar.  This is not.  There are no voice-overs from Boyd, only tape loop, droning NON hell.  Certainly something for noise lovers only, but that being said, this is a very exciting CD, and perhaps Boyd’s best in many years.  The tracks are all spectacular when cranked with headphones on.  My only complaint - at just under three minutes, my favorite track, Spectre, is nowhere near long enough.  I can't help myself...Easy listening for the hard of hearing.
Nurse With Wound:  The Swinging Reflective, United Dairies 069, 1999. Heralded prior to its release as a collection of Steven's favorite collaborations from 80 – 99, this would seem to be a necessary purchase only for the casual fan or the completist.  Surprise everyone.  The Swinging Reflective is full of never before released remixes of the majority of the tracks.  The only ones that appear to be the original mixes are the collaborations with Foetus (Brained), Current 93 (Panzer Ruin), Coil (How to Destroy Angels II), but without going through and listening to all of the original discs again, I cannot be certain of this.    Some of the new standouts are with Stereolab, Diana Rogerson, Inflatable Sideshow and Tiny Tim/C93.  This is an absolute must have at a sweet price (Under 15.00 for two discs) for all fans of experimental music.  On the bad side, like the latest Current 93 release, the cardboard sleeve packaging, while the artwork is nice, does not contribute to the well being of the discs.
Nusrat Fateh Ali Khan & Michael Brooks: Remixed Star Rise, Real World, 1997: First, I am so sad he is gone. He made wonderful music and we will not hear what else he was capable of. But, he had an outstanding career and left us much to be enjoyed. Second, thank again to Alex for introducing me to much of Peter Gabriel's fascinating Real World label, and this artist in particular. This CD is a remix of tunes from his most well known (In the States) releases by rising Asian musicians. As a tribute, the CD is remakable. Musicly, it is soothing, and different enough from the original pieces to remain fresh. If you have never heard Nusrat, this is not the place to start. Buy one of his releases first and hear the magic...Akkk. I'm sounding like a twit. World music - Broad enough category for ya?

Ostara:  Secret Homeland - Oterraed1, 2000.  Strength Through Joy was a decent WSD band that I just never thought really stood out musically enough - not bad, but not great either.  When I received Ostara's promotional CD single, Operation Valkrie, I thought it was a very nice track with improved vocals and better instrumentation, but still,  not much different from STJ.  It did nothing to prepare me for this amazing disc which is as fresh and exciting as DIJ's Symbols or Current 93's Thunder Perfect Mind.  The instrumentation is full and lush, the vocals crisp and upbeat without even a hint of moodiness.  Many of the numbers are even toe tapping and all are highly memorable.  If Operation Valkrie is all you have heard from Ostara, believe the Oni - You ain't heard nothing yet.  Richard and Timothy have come up with what may well be the best thing you'll hear all year.  Amazing dark pop :)
Brendan Perry:  Eye of the Hunter, 4AD, 1999:  From the first song I realized that I had fucked up.  It just doesn't pay to rely on one's expectations anymore.  Now the music on this disc is quite good.  It is a nice change from the more ethnic feel of the more recent DCD releases.  The problem is with Brendan's voice.  It made me cringe.  By this, I'm not just referring to the cheesy lyrics, I  mean that he sounds horrible.  What the hell happened?  Is he ill?  If so, I apologize for being rude.  He produced this wreck.  Did he really think it sounded OK?  Must have been going for that "natural" sound....  Not to be completely negative (I DID say the music was good) the song Medusa is excellent.  It is the only track on which his voice sounds normal.  DCD fans, consider yourselves warned.  More sleepy time music from 4AD.
Pizzicato Five: Remix Album: Happy End of You, Ole 282-2, 1998: If you are looking for nice, easy going, lounge versions of P5, you're looking at the right CD. If you want something to gyrate to, this ain't it. I really enjoyed this - fits in well with the Spirits of Vampyros Lesbos disc. All the remixes here have a similar feel, sort of a feet up, drink in hand sort of mood. I haven't heard the original, but I have a feeling it is nowhere near as good as this remix album. If I find it used, I'll be sure to let you know. Jazzy lounge music. Or something like that.
Psychic TV:  Origin of the Species Volume Too, Invisible, 1999.  What can I really say about this other than it fails to disappoint?  The GPO chronicles continue with the latest installment of his attempts to archive PTV's acid house years of the mid 80s.  The material included herein, is to me, representative of some of the band's best years.  The tunes are all so damn dancey.  A lot of the Jack the Tab/Tekno Acid Beat, and, I believe, Ultradrug, material is presented here in remixxed or previously unheard formats.  None of the great live tracks like in Volume one however.  Ah well, we cannot have everything.  Bonus notches go out for the entertaining booklet which describes some funny antic dotes form the Even Furthur tour.  Don't miss out on a second opportunity to get some of the best music from the 80s.  Happy Acid House.
Psychic TV:  Origin of the Species, A Supply of two Tablets of Acid, Invisible, 1998.  There is so much PTV out there and of such varying styles that not all fans of the group like all PTV releases.  Well, for the fun cheese loving PTV fans - Like me - GPO is releasing a series of THREE 2 disc sets of the Wax Trax/Acid House years.  I wasn't terribly excited at first, as I already own much of that material.  Then I heard the good news - Exclusive cuts, Live mixes, fancy schmancy packaging, and signed from GPO.  Sold!  I must say that it took a while for Invisible to ship this but it was worth it.  This first set covers The Infinite Beat.  Fully HALF the songs are exclusive and not all of the originals are included making this a great buy even if you already own the original Wax Trax editions.  Some of the tunes sound a bit dated, but therein lies the charm of these songs.  Oh, nice packaging, but such naughty artwork Gen :) Full Blown Acid House Rave On Dance Music.
Rasputina: Thanks For the Ether, Columbia, 1996: Another good CD found by accident at a good second hand store. I thought this would be too cheesy/goth for me, but then I remembered - I like cheese, and baby is a goth at heart. I'm glad I took a listen to this, because it is not cheesy, but it certainly is gothic. Cellos Ma! Beautiful babes playing cellos! This is haunting, creepy and beautiful stuff, sure to entertain Mansonites and Serpent Heads alike. Not your typical goth rockers (as they don't rock), but still falls into the goth catagory...With a parachute.
Rasputina: How We Quit the Forest, Columbia, 1998. The gals are back and even better on their second full length release. There are still gothic treats, but these ladies have a lot more to offer here. With the exception of a few riotously funny "throwaway" tunes, this is a masterful release. It is a little more on the rock side than their previous effort. Hell, the first track (The Olde Headboard) absolutely rocks. Some songs (Dwarfstar) had me thinking of Bongwater. And guys, a little Ann Magnuson comparison is a very good thing. Even those aforementioned throwaway tracks are memorable: Diamond Mind almost had me rolling on the floor in pain, it was so funny. And Christian Soldiers will be appearing on Mix Tapes with a vengeance. They show a lot more range on this CD, as if they are feeling around for their boundaries. Keep reaching. You haven't found any yet. Lastly, as we've all been good little boys and girls, Auntie Rasputina made this a good, engaging enhanced cd. More Rock than Goth, but all fun.
RX (Ritalin): Bedside Toxiclogy, INV091, 1998. This is the long awaited post Skinny Puppy project from front man Ogre and Pigface's Marten Atkins. Verdict? If you are expecting Puppy or Pigface, you'll be disappointed. If you are interested in seeing what else these guys are capable of, you will be pleasantly surprised. This is a varied release with everything from a Syd Barret number to the aptly named Crackhead Waltz. Much of the music is percussion HEAVY. Thank you Mr. Atkins. It's very nice. Ogre's vox go through the electronic throat massage on some songs and remain refreshingly raw on others. All in all, I really liked this. Of course, all it does in the end is reinforce the need to hear Welt. Ah well, Dance floor industrial it is.
Sephiroth:  Cathedron, CMI69, 1999.  Eagerly awaited and hastily ordered, this did not disappoint.  Cold Meat Industry releases some of the most amazing dark atmospheric music you can find, and Sephiroth is one of their newest rising stars.  His contribution to CMIs amazing compilation, The Absolute Supper, was the best thing on the disc.  And until now, about the only thing readily available by him.  Cathedron is entirely spooky.  Fans of old Coil will eat this shit up and be begging for seconds.  The only contemporaries that release music of this caliber are Shinjuku Thief and Lustmord.  Old Morthond releases also have a similar feel, but best of luck finding any of them.  Primitive, tribal and haunting are words that come to mind - and breathtaking.  One of the best releases of 1999 and one of the best of this genre ever.  Dark soundscapes.
Shellac: Terraform, TG200CD, 1998. I remember a club we used to go to when I was stationed in Monterey CA. It was always a horrible experience in every way, but each month we would go again, thinking "...It wasn't really THAT bad was it?" Well, here I sit listening to the new Shellac CD...Again. I'm listening to it again, because I can't remember if I liked it or not. I'm sure I liked it...Isn't this the part where the music picks up? Nope. Hmmmm...Not much enthusiasm here Steve. I hear hints of that old Albini sound, but that is all. Maybe I had better listen to that first Shellac CD again. I thought it was great, but that was last month...Gods, I hope it's not as boring as this 17 dollar waste. I would classify this as (yawn) rock.

Shonen Knife: Happy Hour, Big Deal 9055-2, 1998. The worst description I ever heard of this band was something along the lines of "a female version of the Ramones who sing about food." Shonen Knife are more than that, as they more than proved on their last release, Brand New Knife. Why then, does Happy Hour sound so much like that horrible description? If you like the Knife, this is not bad, but it's nothing great either. A few songs, Banana Chips, Sushi Bar, and Konnichiwa are quite good. The rest is nothing to howl about. The capper is the needless and unimaginative rendering of a shitty Monkees song. Sad. Rock music.
Skinny Puppy:  Remix Dystemper, Nettwork, 1998.  I refused to buy the tribute to SP disc that came out not to long ago.  Other band's interpretation of classic Puppy?  No thanks.  Odd then, that I should decide that this remix cd was acceptable.  But then, it is still Puppy.  These are only remixes.  Just keep telling yourself that as you hear some of your favorite tunes turned into dancefloor zombie pleasing hits.  Oh yeah, these are killer club cuts.  I really enjoyed this, but some purists may well be driven into a state of shock.  I played the Christian Death Death Mix CD for my friend Kat - huge CD fan, even bigger Puppy fan.  She found that almost sacrilegious.  I can almost see the shocked expression on her face listening to the KMFDM remix of "Addiction." Priceless.  Dance floor industrial.

Patti Smith:  Gung Ho - Arista, 2000.  The last couple of months saw the release of new albums by three great rock standbys:  Lou Reed, Neil Young, and Patti Smith.  Of the three, Patti was the only one I didn't feel I had to take a listen to before I bought it.  She is consistently great and Gung Ho is no exception.  I don't know what it is about her that affects me the most, her voice or her lyrics.  The songs on Gung Ho showcase both of those talents, but are all wildly different.  I was especially amazed to find that it was her less rock oriented songs that I enjoyed the most, such as Lo and Beholden and Gung Ho (a song that will certainly be following Current 93's Hitler as Kalki on my next mix tape).  Not every song hit with me on my first listen, but much as with the last Tom Waits and David Bowie, each track continues to grow on me.  An impressive and intelligent rock record, but we expect no less from Patti Smith.

Smog: Red Apple Falls, DC116CD,1997. Some of third Drag City stuff is quite good. Smog is a band introduced to me by a military buddy, Jake. They are a band as lyrically captivating as label mate Palace, with the same minimalist instrumentation. I like this band because I can really get into the lyrics. :Whenever I get dressed up/I feel like an ex con/Trying to make good." Not every song on this CD is a standout, but it is growing on me. Hell, next month I may love it. For now, this is a so-so CD with a few real standout tracks. I would classify this as alternative.
Sol Invictus:  In a Garden Green, Tursa021CD, 1999.Tony Wakeford is quite adept at mixing the old and the new.  He creates modern music that would not sound out of place at rather dour renaissance festival.  This new release is no exception.  Using a mix of retooled traditional folk songs and his own compositions, Tony tells us a story of respect for nature and a need for a united Europe.  These themes are evident on most Sol albums.  The music continues to improve with each release, and while I preferred the darker sound on 1997's The Blade,  I can find no faults with the quality of this one.  The title track is an instant Sol classic.  A welcome addition to any fan's collection and an excellent starting point for new listeners.  Dark madrigal tinted folk.
Sol Invictus:  All Things Strange and Rare, Tursa 016 USE CD, 1998.  The first commercially available release from Sol Invictus is a collector's must have.  The seven tracks (one hidden) total about 60 minutes and are all rarity/compilation pieces.  This opens up with a smashing version of Looking for Europe.  If you are not already a Sol fan, you will be after hearing this track.  If I were a DJ, this would be in heavy rotation.  Aside from being a completist, the reason I wanted this disc was for the second track, A Palace of Worms, a long piece previously unavailable on disc.  Very interesting  but decidedly out of place with the rest of the contributions to this collection.  A killer version of Hedda Gabbler, the same as the one used on the Im Blutfever compilation, follows.  The final three tracks are from the ep which was included with the beautiful book, Above Us the Sun.  The hidden track?  Buy it and see.  This is a good and affordable introduction to Sol Invictus.  Dark Orchestrated Folk Stuff.
Sol Invictus: In Europa, Tursa 016, 1998. I took my time buying this as I was unsure what to expect quality wise. Also, many of the tracks were taken from some of my least favorite Sol Invictus releases. I'm happy to say that it was a worthwhile purchase. This release consists of three parts. the majority of the CD was music recorded for a radio session. This is all quite good, but not as nice as Let Us Prey. The second part is a song entitled Time to Meet the King, which was intended for the excellent The Blade CD. This is a wonderful track which brings visions of The Wicker Man to mind. The third part is a live recording of Tony and L'Orchestre Noir. Classic. Beautiful and intense recordings of some truly remarkable Sol Invictus songs. Recommended for all Sol fans. Dark folk.
Sonic Youth:  Goodbye 20th Century, SYR4, 1999.  The last good Sonic Youth album was Goo.  Period.  I have not heard any of the other three releases SY have done on SYR, but I assume that they are along the lines of the music on Goodbye 20th Century.  And that is why I'll never bother listening to them.  Please understand, I have nothing against experimental music.  In fact, I rather like it.  Experimental music keeps us on our toes, catches us off guard. It  very ofen shocks and amazes us with its very originality.  To me, no other form of music is as stimulating  as that which tries to find a new means of expression.   Goodbye 20th Century?  What, is this garbage supposed to usher us into the 21st?  Wake up guys.  No envelopes are being pushed, no boundries tested, and no new territoy explored. This is nothing  Z'ev, Neubauten and Stapleton haven't  already explored years ago, learned from and improved upon.  No, this is not experimental music.  If anything, this is Re Experimental.
Sorrow:  Sleep Now Forever Pix002CD, 1999.  Rose's and Robert's 2nd offering has been six years in the making.  Could this possibly be worth the wait?  To fans of the first Sorrow release, the answer, of course, is "yes."  Rose's voice is still as lovely as ever, and the duo's beautiful style remains the same, with Rose singing what sounds like duets with herself.  This time around though, the songs are more lush and fleshed out.  The sound is fuller with more varied and interesting instrumentation.  Much of this is as powerful, without being as disturbing as, Gira's Angels of Light project.  This music hits me the way the homogenized music of artists such as Enya may hit others.  Highly recommended.  Ethereal Pop Lullabies.
The Spectral Light and Moonshine Firefly Snakeoil Jamboree:  Scarecrow Stuffing, Hollr991, 1999.  Get yours while you can!  100 cdr copies available from Middle Pillar!  We've been needing some dark bluegrass and these fellers more than deliver.  This is a very sparse recording that could use a bit of touching up, but not too much.  The musicianship is more than competent, and the song writing is quite good, though much of their material is traditional.  The vocalists sing very well together.  I especially like Sarada's voice - Very Rose MacDowall. The only complaint I have is that they never pick up the pace.  Sure a lot of bluegrass is dirge like, and this may be more appealing to a "gothic" crowd, but some faster numbers to break up the monotony (which takes place by about the 12th song) would have been welcome.  I mean come one, you guys are just wasting that fiddle and banjo if you don't burn the up every now and then.  Bluegrass is devil music and it should cause a ruckus!  All in all, a good disc and a band to keep looking out for.  Hell, they they are the closest American equivalent to Sol Invictus.  Just as Sol reaches into the past of Europe for it's traditianal songs and musical stylings, the Jamboree explore some of the more traditional roots of American music.  Dark bluegrass - sorry, but I can't resist.
The Jon Spencer Blues Explosion:  Xtra Acme USA, Matador, 1999.Acme was one of 1998's best discs.  If you have not purchased any of its import singles, made available from Mute, you'll be glad to get your hands on this.  All of the B-sides and remixes are here along with some new remixes along with deleted songs.  It is a mixed bag, with a few track that were obvious throwaways...and with good reason.  This does not have the incredible flow that Acme had, but there are some really great songs on this.  A good buy for a JSBE fan.  Rock laced with blues and soul.
Jon Spencer Blues Explosion: ACME, Matador 1998.  Well, I haven't compiled the list yet, but I think it is safe to say that this will be one of the ten best releases of 1998.  This hasn't left my CD player since I bought it.  Un - fucking - real.  Just when you think you have someone pegged.  This is JSBE's "Paul's Boutique."  Not that it sounds anything like that Beastie Boys disc, but that it is an important release, one that signifies that the Blues Explosion sound cannot be pinned down.  On ACME, the boys are stripped down and funky.  Oh they still tear the place up, they're just a bit more casual about it.  This is as different from their last album as that was from Orange.  I cannot recommend this enough.  ACME is going to be a huge release, the one that will put them all over MTV so much it would make you sick if you weren't so damn tickled pink.  "The blues are number one, but we play rock n roll!"  And so they do.
Splinter Test: Sulpher, NERO 23 (Heh), 1997: This is so damn good! It's getting so that I never know what to expect from Genesis. Just when I expect nothing but crap...Well forget all the horrid PTV shit Genesis has been releasing lately. This is the stuff. This is the drug. This is the old PTV rave scene fix I have been needing. Trippy...Very trippy. Dancey...Very dancey. My only complain is that with just three (albeit long) tracks, I am seriously jonesing for more. Dance music.

Squirrel Nut Zippers: Perennial Favorites, Mammoth, 1998. Continuing their streak of great music. Better than violinist, Andrew Bird's previous release? No. Disappointing? No. Anything different happening here? No. Seriously, this is another fun album and will get as much play from me as their other releases, but it may be a bit much for some. It's too soon to tell if I like it more than Hot!, but I know it doesn't compare to The Inevitable...Still, this is a good alternative to most of what you hear on the radio today, including the swing rebirth, soon to be as dead as the lounge rebirth. But good bands like SNZ (and Combustible Edison) will always be around. Alternative.
Sulfur: Delirium Tremens, GDF 1001-2, 1998. Here come the Firewater impersonators! Ina all fairness, though, the whole reason I bought this CD was because the description sounded like a Firewater clone. That same demented gypsy/carnival whimsy is here, but with a little less of Firewater's rock. The musicianship is quite competent...Damn good actually. There is just one (LARGE) problem. Michelle Amar has a worse singing voice than Lydia Lunch. If there were just some way to have the music and not have to hear her whiney vocals, I'd really enjoy this band. As it is, I'm trying to like her. I really am. The music is just that good. At least it was cheap. I would classify this as rock.

Supersuckers: Greatest Rock and Roll Band, SPCD 480, 1999.  On the advice of the soon to be papa of Harrison Stonewall Burke (and a 10 dollar off cd now coupon) I decided to give this a try.  I've honestly never heard a Supersuckers song before,  but  I guess these guys have been churning out the subpop rock for some time now and this is a collection of all of it.  Initially, I was not terribly impressed – just another mediocre snotty American punk band, no better or worse than any other.  About mid way through though, they change gears taking on a more insurgent country sound.  That was a great period and I will definitely seek out those releases.  Then, an amazing thing happens.  They go back to their rock sound and they mop the floor with anyone putting out similar music.  Highlights include My Dead Homiez, Supersucker Drive By Blues, Roadworn and Weary, Hell City Hell, Born With A Tail, Doublewide, and the great Willie Nelson's Bloody Mary Morning.  An interesting history when listening for how a band matures and improves upon itself in the quest for a solid sound.  It was enough to make me want to add at least a couple of Supersuckers releases to my collection.  Rock and Roll.

Throwing Muses:  In a Doghouse, Ryko 1998.  Hey, Ryko, that's almost Ryoko!  Seriously, this label always does its releases right.  Just look at all of the wonderful Bowie and Zappa re releases.  This is the second 4AD band to get the Ryko treatment.  If you are already a fan, or ever were a fan of Throwing Muses, you'll want this.  The material compiled here was previously very difficult to nigh impossible to obtain.  The first disc contains the entirety of the first Throwing Muses CD, "Throwing Muses."  I don't know that this has been made available domestically before now.  Also on the first disc is the nearly impossible to find "Chains Changed" EP.  I lucked into this in Germany on a 4AD 12" CD sampler, which I have never seen elsewhere.  On disc two, more rarities - "The Doghouse Cassette," which I have never heard, and five bonus tracks from 96, also new to me.  The first disc is, of course, excellent.  These are the best Muses songs ever and now you don't have to track down pricey imports.  The second disc contains quality demos (?) and the last five tracks are superb as well.  Brings back great college memories when this was as alternative as things got.  Alternative.
Tindersticks: Curtains, Rough Trade, 1997: If you are a Nick Cave or Tom Waits fan, chances are good that you are already a fan of the Tindersticks. I, however, did not get introduce to these guys until just recently (Thanks Alex), and have been a Cave/Waits fan for quite some time. Curtains is more orchestrated (literally) than earlier efforts, and is a bit more sparse as well. In this case, that is a good thing. This is their third and best release. Beautiful, romantic music with just a touch of spite. as an added bonus, Ann Magnuson's duets on one track. Play it for a lover. Loosely alternative .

Type O Negative:  World Coming Down, Roadrunner, 1999.  This is one of those bands, like Korn,  MM, and Limp Bizcuits (or something like that.  I'm not going to bother even checking on the spelling) that REAl goths are supposed to hate because they are just poser bands for poser people. Whatever.  While I have never been a big fan, I've always thought that the singer had a great voice and that the band used flair and innovation in its compositions.  On the other hand, I thought their last CD sucked, so I was in no rush to check out anything further from them.  It was not until I saw their rescored version of the B&W classic Nosferatu, that I had to really give them the respect the deserved.  They did a phenomenal job on that project.  Because of this, I picked up World Coming Down, and it is a very clean and excellent heavy metal disc, as good as anything done recently by Metallica.  Musically, the CD is one great big downer - death and bereavement are the only themes being explored here.  Not that this is a bad thing, but you should know what you are getting into.  This is probably going to be one of my most recommend cds of the year as there are many hits and only one real miss - The Beatles Medley.  They really should have saved that crap for an ep.  Gloomy gothic tinged heavy metal. 
Ulver:  William Blake's the Marriage of Heaven and Hell, 1999.  You've got to hand it over to a band that never makes the same record twice, just don't hand 'em your 25 dollars.  The fist two Ulver albums were were great slabs - haunting restrained mixtures of death metal and Nordic arias.  Then came Nattens Madrigal - furious unrelenting, and unlistenable death metal.  This two disc set is none of those things.  It is a cheesy sounding blend of artsy heavy metal and bad industrial.  In all honesty, I couldn't even make it through one disc before having to sell it.  Track down Bergtatt and Kveldsfager if you can, but this is like...Bad Tiamat.
Voltaire:  The Devil's Bris, Projekt 83, 1998.  Let me quote, "...from the underground New York goth scene comes this brew of gypsy violins, driving rhythms, sardonic wit and turn-of-the-century mayhem.  With Wagnerian bravado and Brectian allure, Voltaire has combined beautiful old-world melodies with often sarcastic lyrics on The Devil's Bris:  12 songs of love, loss, revenge, and dismemberment sure to bring a smile to even the darkest of souls."  Pretentious twit, eh?  Who does this guy think he is?  Elijah's Mantle?  Wait a minute...I like EM.  Against my better judgment, I bought this on an impulse.  The description is actually fairly accurate (except for the "driving rhythms" part).  The music is violin driven acoustic stuff with guitar, cello and drums.  The best songs sound like Tav Falco or Firewater tunes.  The worst songs are simply whiny goth bitching.  Voltaire (I can't say the name without laughing) is not a bad singer, and a good writer when he doesn't take his "persona" too seriously.  Compare the richly amusing X Lover's Lover with the ho-hum-give-me-a-break "The Chosen."  The first is heavy on the sarcasm.  The second is heavy on the BS melodrama.  This one really is a mixed bag.  My impressions are overall positive, with some reservations.  I'll definitely listen to his next release before buying.  If he calls it gothic, I'll call it gothic.  What the fuck, I'm easy. 
Tom Waits:  Mule Variations, Epitaph 1999.  How can I write a bad review for Tom Waits?  I don't think I can.  Unfortunately, I cannot write a glowing review of this either.  It just failed to grab me immediately, and that's why it has taken me so long to review it.  We get a full range of Tom's vocal treatments and sound mixtures on this release, but so few songs really struck me as fantastic.  Big in Japan, Black Market Baby, and Cold Water were the exceptions - Great songs.  But the rest were just so-so or even complete duds (Picture in a Frame, Hold On). I can't say that I didn't like this, but I didn't love it either.  MV is certainly  a worthy attempt, but it failed to live up to my admittedly high expectations.  Then again, I simply may be too big a fan of his Raindogs trilogy to give any of his other work an even break.  A scrap metal concoction of gospel and blues and more. 
Tom Waits: Beautiful Maladies the Island Years, Island, 1998. Tom Waits is the kind of performer who appeals to almost everyone. I've been a fan since I first heard Night Hawks, and his early and mid period music is very fine. But when he started his Island years he created sheer magic. If you have never heard Tom Waits, you really need to do yourself a favor and buy this CD. It spans his entire Island career and includes classics from every album. Would I have compiled it differently? Yeah. So would every Tom Waits fan. But this is one of those compilations that could not have been put together badly. If you already own all of the Island material, there are no alternate takes or rarities on this release. I recommend you track down the import/bootleg Notes from the Underground series for that stuff. I never really thought about it, but I guess Tom is Alternative...An alternative to all the shit out there.
Hank Williams III:  Risin' Outlaw, Curb Records, 1999.  Yes, it is true.  The boy takes after his grandpappy which is good because Hank Jr is the David Lee Roth of country (and I use the term loosely) music.  But moreso, This high intensity and decidedly country record reminds me of the ferver of Jason and the Scorchers, the epitome of raw insurgent country.  While the raucous numbers such as Cocaine Blues and I Don't Know do employ the more rock elements of drum and guitar, the fiddle and steel are never far behind, and it is in keeping so true to his country roots that Will gives such an uncompromising performance.  This is one great CD.  The only short comings are the two bonus tracks - an unlistenable live cut and a 4 track demo that had no business being heard.  Nasal twangy country with an upstart attitude.
Neil Young:  Silver and Gold - Reprise, 2000.  After hear all of the reviews comparing this to Harvest Moon, my favorite Neil Young CD, I decided to go ahead and give this a listen.  Well, Harvest Moon it aint't, but it's still not a bad album.  If fact, Silver and Gold is pretty darn good.  This is laid back Neil.  Sparse instrumentation, buddy, and I do mean sparse.  It is must be Neil's delivery doing the work here.  A good example is the song Buffalo Springfield Again.  It just sounds like a classic - like it had been recorded years ago and I had just forgotten about it until hearing it again.  That is the overall feeling iven by this release - comfortable like a pair of faded  loose fitting jeans.  Crap, I can't believe I said something that cheesy.  Still, I'll be listening to this baby all summer long.  Light rock.
XTC:  Apple Venus Volume 1, TVT, 1999.  I Was reluctant to buy this release.  I don't guess I've bought an XTC release since Oranges and Lemons.  They've had some good songs since then, but nothing that made me want to rush out and buy the album.  Well, after I received a glowing review (Thanks Johnny) I decided I'd better give it a listen.  Johnny was right.  This is a phenomenal record.  It's as good, if not better than, Skylarking.  That's high praise.  Skylarking is one of my favorite discs.  This is an early contender for best of the year.  I mean, musically, XTC have never been better.  Every track is so unique in sound, it's like fucking ear candy.  And only XTC could do the "Moody Blues" power ballad, I Can't Own Her" and pull it off without sounding cheesy.  It would be a better world if this was considered "pop music."
XTC:  Wasp Star Apple Venus Volume Two - TVT, 2000.  La la la.  On my brown guitar...Hmmm, sorry?  Review?  Well I'll try...if I can just get these damn songs out of my head.  No one, and I mean no one, writes pop music like XTC.  Less orchestrated and more guitar based than Volume one, Wasp Star is no less impressive.  It is simply impressive on a different scale.  Like Skylarking, Volume one proudly proclaimed, "Listen up world.  We are artists of no small talent.  What you are listening to goes beyond mere pop music."  Volume Two takes a more  Oranges and Lemons/Big Express feel, proclaiming proudly, "Pop music?  Ladies and Gentlemen, we are pop music."  Fun, bouncy and exhilarating, Wasp Star should be the soundtrack for Summer.  Pop.
Rob Zombie:  American Made Music To Strip By, Geffen, 1999.  I was hoping for this remix album immediately after hearing Hellbilly Deluxe.  If you liked Super Sexy Swinging Sounds, you'll love this as well.  If you don't like having your Zombie made danceable, well, just turn the other way.  Like that prior remix effort, I prefer this to the original.  In fact, I think I'll be working out to this for the rest of the year.  Yes, this is a fun, rhythm injected, beat heavy cd.  However, bear in mind that there is nothing fancy or especially innovative on any of these mixes - with the possible exception of Rammstein's Spookshow Baby.  Everything else just blends together like one long extended mix.  Another serving of dancefloor industrial, and a very tasty one if you like that sort of thing.
Rob Zombie: Hellbilly Deluxe, Geffen, 1998. Before we go into this review, I have a couple of questions that need to be asked. First, why the need to pursue this release as a solo album? Sounds just like White Zombie to me. Second, What is with the censoring committee at Geffen? What was so outrageously offensive about the cover that a sanitary alternative had to be issued? We aren't talking Cannibal Corpse here people - Just a couple of "X's," a satanic high fidelity, and a pentagram. Ooooo. how spooky. Well, onto the music. This is a straight forward follow-up to LA Sexocisto. The horror schlock is all over songs such as Living Dead Girl, Demonoid Phenomenon (My fave track), and Spookshow Baby. Much better than the lackluster Astrocreep 2000. You know, I enjoyed this so much that I hope to see it remixed, a la Super Sexy Swinging Sounds. Good Ol White Zombie Rock & Roll.
John Zorn:  Music Romance Vol II - Taboo and Exile, TZ 7325, 1999. It took months for Cd Now to ship this, but it was well worth the wait.  These 12 new compositions by  John are all dramatically different shifting from track to track like, well, a Mr. Bungle song.  World music sounds, Hawaiian lounge music, Naked City screams and Praxis metal all meld with tracks that could have been culled from a Kronos Quartet release.  John himself only performs on one number, The Possessed - a mournful sax against a frenzy of percussion that builds to chaotic proportions.  This is followed by the soft Oracle- repetitive vocals by Miho Hatori to the ticking of a clock draped by almost imperceptible organ and cello.  The Kodoesque percussion only number Korojang closes the disc.  The nine tracks that precede these are just as different, but what is really maddening is that they all fit.  This is surely one of my favorite releases of 1999.  Style ?  Genre?  Experimental. Classical.  Jazz.  Everything.  Amazing.VA: The Absolute Supper, CMI50, 1997: What we have here is the ultimate sampler from Cold Meat Industries, a label which is putting out some of the most remarkable music I've ever heard. I got into this label only recently, and will be listening for some time to come. If you are also unfamiliar with CMI, this is a great starting point. Disc one showcases some of the more orchestral artists. Disc two brings on the noise. If you are a fan of WSD material, or even death metal (which this is not) you will find something on this release to meet your tastes. A lavishly packaged two CD set with artist and label histories - indeed, the best sampler I've seen or heard. I would classify this as experimental/darkwave.

V/A:  Dubxoticethnofunkadelia Selections form the Record Box of Nelson Dilation: Various Artists, Universal Egg, 1998.  Yes, the title says it all.  Of all places to discover something new, the Tower Records listening booth is not one that frequently impresses me.  Out of boredom, I took a listen to this last night and was floored.  So this is where that new Loop Guru album went - The good one that I've been expecting, not that crap released by Cleopaetra.  This is a DJ collection of remixed world music of of the Universal Egg label.  It is excellent and every track is diverse enough to keep your attention.  I mentioned Loop Guru because if you are a fan of their sound this will immediately grab you.  World Beat Techno.

V/A:  Middle Pillar Presents:  What is Eternal, MPP 00, 1998.  I buy most of my music - the experimental/soundscape/gothic/industrial type stuff from this store online:  MIDDLE PILLAR.   Their service is excellent and their prices are as good as you are likely to find anywhere.  This disc is available only from their website and it is much more than a sampling of some of the artists available through their HUGE catalog.  The feel of this release is somewhere between WSD and CMI.  In fact, several WSD artists are represented:  Loretta's Doll, Tony Wakeford, Quartet Noir, and Backworld.  Jarboe and the Changelings make appearances as well.  The tracks are all exclusive and the quality is excellent all around.  Dark Folk/Dark Classical

V/A: MM, Courtesy of World Serpent Distribution, 2000.  In a marvelous gesture of appreciation to their fans, WSD gave away over 1000 of these sampler discs to usher in the new year.  Instead of including their "heavy hitters," this disc gives us a chance to hear some of the other artists releasing music through WSD.  For the most part the songs fall into the dark folk/dark orchestrated genres, but there are a couple of strange birds on here - Novy Svet comes to mind.  The question is, does this compilation do what it should:  Turn WSD fans on to new bands?  For me, I'd have to say yes.  While not every track captivated me, I am now interested in hearing more of Skald, Tor Lundvall, and Backworld.

V/A: Foxtrot, GRAALCD001, 1998: Yawn...This is what I was waiting for? Seven tracks of filler (My "favorite" word)? In all fairness, it isn't THAT bad. Coil's Heartworms is a great track, but it is already on Terra Serpentis. Their Blue Rats remix is OK. The only real standout on here is The Inflatable Sideshow...Cooool. Me wants to hear some more of that. The Current 93 track? Yes, yes, very inmostlighty. Drop it already. Please. My advice? Ask a friend who owns this to make you a tape or buy it used. I would classify this as experimental.

VA : If You Can't Please Yourself, You Can't Please Your Soul, THI57028, 1997. Another blast of nostalgia. I first heard this album during a hidious college vodka study party. We actually got a lot of work done to the soothing tunes of Coil, PTV, Test Dept, Cab Voltaire and the gang. I didn't realize at the time how much Foetus had contributed to the rest of the songs, as I did not know then that Jim Thirwell and Foetus were one and the same. If you are not familiar with this classic album, it was originally issued around 85 by Some Bizarre. It has since been re-released by Thirsty Ear. This is a volatile cocktail of experimental noise and 80s pop.
Blair Witch Project:  Josh's Blair Witch Mix, Chapter Records, 1999.  Wow.  That Josh sure could put a mix tape together.  He even had the foresight to include a song from 1996 on a tape he "made" in 1994.  Well, whether you are convinced the BWP was fact or thought it was the corniest POS you have ever seen, you cannot deny that this is an amazing soundtrack.  Bauhaus, Laibach, Lydia Lunch, Puppy, PIL, Tones on Tail, Type O Negative, The Creatures and more.  Not a bad track, and Antonio Cora's The Cellar is genuinely creepy.  A marvelous gothic industrial stew.
Princess Mononoke:  Soundtrack on Milan, 1999.  First, the soundtrack.  Joe Hisaishi has scored many of Miyazaki's films, but the amazing job he has done on Princess Mononoke blows most of them away.  Sounds range from Kodoesque drum beats to beautiful and simple piano melodies.  The only downfall I can attribute to the score is the English version of San's theme.  It simply does not hold the haunting power of the original Japanese version.

Now, onto the movie.  If you have not seen this in theaters by now, it is most likely too late.  That is a shame as this was one of the most incredible films of the year.  Why was it so popular among critics and not the average movie goer?  It could have been many things.  People seem to complain if a movie is longer than an hour and a half.  Princess Mononoke was nearly two and a half.  People I was with got uncomfortable during all of the silences in the movie.  I think American audiences are too dependent on constant explosions and booming pop soundtracks to keep a nonexistent plot moving along.  Princess Mononoke relied on a strong story instead.  Characters were more difficult to pigeonhole than in your average film.  They acted as real people with both good an bad intentions.

In my opinion, Princess Mononoke succeeded on every level with one exception.  Some of the dubbing jobs detracted from the film.  Contrary to many opinions, I thought Claire Danes and Billy Cruddup were wonderful as San and Ashitaka.  Likewise, Mini Driver and Pinket Smith were excellent.  The performance of Gillian Anderson was a poor one for role as powerful as Moro.  She sounded as though she were on Valium during the readings.  I won't even go into Billy Bob.  Neil Gaiman's translation was remarkable.  He is the one responsible for bringing this quality film to US audiences without losing any of it's emotion and power.  See this film while you can. You will be amazed. 

Czech Philharmonic conducted by Mario Clemons, music by Joe Hiyashi:  The Symphonic Mononoke - 1997.  One of my favorite releases from last year, as well as one of my favorite soundtracks ever, was Joe Hiyashi's remarkable score for the Princess Mononke.  While this film received an unfortunately limited and poorly publicized theatrical run in the US last year, it was released in Japan in 1997.  One of the only problems that I had with the soundtrack was that some of the pieces seemed to be so short  and full of even more promise.  With the orchestrated soundtrack, I was anticipating that the longer pieces would give a more complete feeling while preserving the unique feel of the original.  And thus we are reminded of the age old adage, don't fuck with success.  This is a complete letdown and is everything that the original soundtrack was not:  Tired, overused orchestral flourishes heard in innumerable soundtracks.  Another major failing is the lack of ethnic instrumentation.  As a killing blow, no trace of the heart of composer Hiyashi remains.   This is a bland and lifeless work that will cost you a pretty penny and some effort to track down.  Avoid this at all costs, but do take a listen to the original soundtrack - you will be amazed. Boring classical crap.