CD REviews
Quarashi “Jinx” Columbia    Ever since the Beastie Boys hit it big with Licensed to Ill, white skateboarding boys have been allowed to rap, provided they have the skills. With funky rhymes akin to pre-enlightened Beastie Boys, Quarashi prove that they can flow like the best of them.    However, the comparisons stop there. Quarashi hails from Iceland, and the last time I checked, not many Icelandic rap acts were bombarding America. If by chance I was able to dig up another hip-hop record from Iceland, I doubt I would find techno ballads, industrial beats, and laid back funk-laced tracks, all of which balance the purely electronic with guitar shrapnel and heavy basslines.    Even more amazing than Quarashi being Icelandic white guys doing hip-hop blended with eclectic types of music would be the fact that the mixture of genres does not result in muddled music that loses its intensity. The crunchy guitar riffs and taunts of “Stick Em Up” (Sample lyric: “Coz I'm here to fucking sting like the warts on your dick”), will have you hooked, but the melding of electronic beats, keyboard, and singing (Quarashi sings, too) on “Dive In” and the industrial-tinged “Transparent Parents” guarantee that you'll be a Quarashi addict in no time. Jinx is well worth your hard-earned cash. -by Whitney Weiss ______________________ Apoptygma Berzerk “Harmonizer” Metropolis Records    Apoptygma Berzerk has continually impressed me with every release. Their latest effort "Harmonizer," continues to evolve the Apop sound, effortlessly blending ebm, house, trance, and various other elements of electronic music with talented songwriting and catchy beats. This particular release seems to draw from all of the past CD's and in some ways is probably the most diverse Apop CD yet. After the initial opening of "More Serotonin Please" we move right into "Suffer In Silence" which is incredibly poppy and upbeat. Some parts of the song were almost too upbeat for me, but then again, part of Apoptygma Berzerk's appeal is having a "pop" element so it's to be expected. However, the mood quickly changed when track three kicked in. "Unicorn" was more to my liking, and one of my favorite tracks on the album. It's dark pounding synth lines interlaced within an infectious dance beat won me over immediately. Next up is the first single off the album, "Until The End Of The World." Stephen Groth knows how to write a crowd pleaser and this song is definitely guaranteed to do just that. This is classic Apop. Much like "Starsign" from the last album, it has a huge sound that engulfs the listener and carries you away. Also the grinding guitars really gave the song an added kick. If you have seen the band live then you know what I mean. The real treat of "Harmonizer" however, is not the most obvious songs that are almost assuredly going to make the grade, but some of the more unusual tracks. Take for instance, "Ok Amp, Let Me Out." This is house baby, pure and simple. It's a groove laced, pulse pounding house anthem that clocks in at almost 10 minutes. "Detroit Tickets" was another great track. It's got a laid back beat and cool bass line blended with some strange samples from I assume, somewhere in Detroit. "Rollergirl" has got to have one of the funkiest grooves I have heard in some time. Stephen's vocals have a mellow robotic effect added to them which keeps the song from sounding to heavy, but I still think this one has definite club potential. "Photoshop Sucks" is a short, strange little number that makes you wonder, has Stephen been having computer problems lately? And yes, there is the almost cliche' untitled hidden track. It is also one of my favorites as well. It has a mellow trance feel, and some nice female vocals towards the end of the song. It's worth the extra six minutes of silence that follow "Something I Should Know." Or, you can just push fast forward. Well, there you have it folks. As I said before, Stephen and co. does not disappoint and I think most fans of Apoptygma Bezerk will like this album. With every release the bands sound has never gotten tired or stale, and I think that this is one of the main elements that keep them in the forefront of electronic music. With all the competition out there, that is a tough thing to do. But they seem to be doing just fine. -Craig Harvey ______________________ VNV NATION FUTURE PERFECT METROPOLIS RECORDS/ 2002    At last the single most anticipated industrial release of the year has arrived. Since the announcement that VNV Nation’s new album Future Perfect would become available in early 2002, a certain sense of longing was felt throughout the industrial community. After many set backs, date changes, the successful release of the two part Genesis cd single, and promises that the new album was nearly here, Future Perfect has become a reality. Now the question is, will this album live up to all of the hype? For most of the people whom I have spoken to the answer is, I don’t know. Many, including myself were expecting this album to be a powerhouse of EBM, another cd with sure-fire dance floor hits, another Empires (VNV’s last release). Future Perfect is nothing like Empires. In fact, it is nothing like the bands earlier work. Where Praise the Fallen (another VNV recording) and Empires are both extremely powerful and sophisticated albums, Future Perfect offers a more unique and intelligent style of writing. For one, most of the songs featured are extremely down tempo when compared to the majority of VNV’s past recordings. Now I’m not saying that this is a stale album. There are tracks like Epicentre, Genesis and Beloved that capture the traditional VNV style of straight beat, meaningful lyrics and heavy bass lines, and three instrumentals Electronaut, Structure, and 4 A.M. that are off the wall and could be compared to the modern electro styles of underground noise. As for the rest of the tracks, the band has chosen the direction of a dark and somber ambience for the deep and spiritual lyrics of Holding On, Carbon and Fearless. As with the other VNV releases, Future Perfect has the infamous minimal synth track, which this time is titled Liebestod. The thick and resonating sound on every track never fails to impress and the sheer skill in writing have made me feel that this is a quality album. In answer to my previous question, yes, I believe this release really does live up to all the hype. Future Perfect is a deeply emotional and moving album and is pleasing to the ears and soul. -ALEX PAGAN ______________________ KMFDM ATTAK METROPOLIS RECORDS/2002    Calling all fans. After the supposed demise of the legendary industrial/rock icons with their supposed final album released in 1999, KMFDM is doing it yet again in the year 2002. In my opinion they should have titled this new record olla (the last KMFDM was titled ADIOS). All joking aside, Attak actually is a really good album. Sascha and company have put together an orgy of sound with heavy guitar riffs and thundering drum loops. Attak starts off with a little snip of a song from the Boots single (a four song single E.P. featuring a remake of the Nancy Sinatra classic, These boots are made for walkin) that was released right before the full length was due to hit the street. From there the song cuts out and leaps into the opening track, Attak/Reload. The third featured song, titled Dirty, will most likely be the definitive club track with its crunchy guitar and the infamous chanting of KMFDM (their trademark for any album). A couple of the songs don’t exactly thrill me, not that they are bad; they just sort of lose me when the chorus comes around a little too often. As usual the lyrical content is a multitude of rebellious anthems, preaching against authority and social problems, but this is KMFDM after all. One of the songs on Attak, Save Me, throws the album off track a bit by displaying a soft side to the usually brash German band, but in its defense it is melodic and well written. Attak is without a doubt KMFDM’s hardest release to date and will hopefully inspire other bands of the genre to jump back on the hardcore wagon. In my opinion industrial music has been getting too soft, and Attak just might be what the scene needs. - ALEX PAGAN ______________________ NINE INCH NAILS "And all that could have been.” (Live) NOTHING/INTERSCOPE RECORDS    Recorded during Nine Inch Nails 'Fragility v2.0 Tour' in 2000. With 16 tracks from 'Pretty Hate Machine' to 'The Fragile' this is the best live disc I have ever heard. The album contains Closer, Starfuckers inc., Hurt, Wish, March Of The Pigs and Terrible Lie just to name a few. There is also a DVD/VHS for the Fragility v2.0 Tour that is loaded with great live footage. You can hear Nine Inch Nails influence in a lot of bands, but NIN is my favorite industrial band and they have been around for over 12 years. This is definitely the best live album from the best industrial band. For more information on Nine Inch Nails visit Nin.com or Nothingrecords.com. I recommend that you go pick up the album and DVD/VHS as soon as you get the chance. -Kent Donohoe ______________________ GRIM FAERIES "Disenchanted Forest" SÉANCE RECORDS    This release from Grim Faeries is the best release in the underground scene of 2001 in my opinion. They have many contributing creatures on this release such as Chains from The Genitorturers. Written by Curse Mackey (Grim Faeries, Pigface), Xtina X, and Satyr in faerie land. This adventure through faerie land with all its twists and turns will make you want to come back for more and more! And if you can ever catch one of the faeries at a show you will be very pleased with your catch! Their concerts have a very good dose of woods, goblins, glitter, music, and beheading! Now thee has proof that faeries exist! I can not keep the faeries cd out of my player and I know it will do the same for you. Also pick up "Notes from thee Real Underground 2" for two great remixtures of 'Off with her head' and 'Faerie Raid'. Go to Grimfaeries.com to get yourself your own copy or catch them live at Fat Kat on April 20,2002. Beast Witches to yee all! -Kent Donohoe ______________________ CRADLE OF FILTH "Bitter Suites to Succubi" SPITFIRE RECORDS    Cradle Of Filth's newest masterpiece, "Bitter Suites to Succubi," is just not another album. It still has Dani's famous immortal screams, Adrain's vampire battery, Gian's minor frets, Martin's suicide notes, Paul's discordant abortion, and Robin's nocturnal pulse. This follow up to their 2000 release 'Midian' does not disappoint. All ten tracks are lyrically masterpieces just like all of the Cradle Of Filth albums. The booklet to the album is a masterpiece of artwork and photography. This is also Cradle's first release on their new label 'Spitfire Records'. The album also contains remixes of 'Summer Dying Fast' and 'The Principal of Evil Made Flesh' from their 1994 release "The Principal of Evil Made Flesh" on Cacophonous Records. To learn more about Cradle Of Filth the official web site is Theorderofthedragon.com. Go get this album before its too late. -Kent Donohoe ______________________ CROSSBREED "Synthetic Division" ARTEMIS RECORDS    Crossbreeds debut album, "Synthetic Division," has 12 tracks of pure energy. The sound of the music is a crossbreed between industrial, metal, and techno. Their imagery perfectly matches their sound. With their glow suits and glow make-up and perfect sound, Crossbreed is defiantly a band you do not want to miss live. The members that make up Crossbreed are James Rietz on Vocals, Chris Nemzek on Guitar, Flip on Keyboards, DJ Izzo on Keys, Charlie Parker on Bass, and Travis Simpkins on drums. The band is another masterpiece from Clearwater, Florida. The songs that stand out the most on this album to me are "Seasons," "Painted Red," "Severed," and "Breathe" to name a few. This is one album that you should defiantly pick up. For more information check out their web site; Crossbreed.com. This month Crossbreed will be releasing their new single "Breathe." -Kent Donohoe ______________________ Dungeon Family “Even In Darkness” Arista    Back in the day, George Clinton and his crew of acid-gobbling associates fine-tuned the brass and hormones of funk. Now, the torch is passed to the Dungeon Family, an Atlanta supergroup composed of members of Outkast, Goodie Mob, Cool Breeze and others. With their debut, “Even in Darkness”, DF raises the bar for all the rappers out there. With unrelenting flow, slick beats, and clever lyrics, the album shows that there is strength in numbers. From the horns of grind-worthy “Crooked Booty”, an ode to Outkast guitarist’s eponymously-titled dance, to “What is Rap?” a clever swipe at the ice-flashing gangstas, the energy never stops. Fuck that East Coast/West Coast bullshit. The Dungeon Family prove the Dirty South is where it’s at. -Whitney Weiss ______________________ Outkast “Dre and Big Boi Present…Outkast” Arista    If you think “Mrs. Jackson” is Outkast’s first hit, fear not. The Atlanta duo has provided this nice primer of their career just for you. Spanning the 10 years they’ve been churning out the fast-paced rhymes and funk-laced beats, this album highlights the progress Outkast has made thus far. There’s the original (non-album) version of “Player’s Ball”, the smooth beat of “Rosa Parks”, the plunky piano sing-along “The Whole World”, and more—all on one disc. This is the perfect album for those who have only some of this amazing hip-hop duo’s work, as it demonstrates Outkast’s talent at molding hip-hop, southern soul, and classic George Clinton funk. If you’re an Outkast connoisseur, pick this up for the three new songs, all of which are up to par with the classics. You can never have too much of Dre and Big Boi in your collection. -Whitney Weiss ______________________ Lifer "Lifer" (Universal)    Back in the day, I remember watching MTV’s Ultimate Cover Band contest while bedridden. One of the groups had the formula for success in a “Nookie”-dominated Limp Bizkit Top 40 World. There was a DJ, an angry, slouching guitarist, and snarling vocals. However, the lead singer was sexy, and they did a nice cover of A-Ha’s “Take on Me”, so I was happy when the band, named Strangers with Candy, won. Since then, they’ve changed their name to Lifer, and made a record of original material. Was I correct with the angry white rapping band judgment? Well, yes and no. With songs titled things like “Ugly,” “Boring,” and “Disbelief”, there’s that angry white guy thing going on. Musically, however, this is more rock and roll (with some sonic hooks), though there are DJ scratches from time to time that add nothing. The vocals sound more Deftones/Tool/Incubus than anything else, which is actually a good thing, because it means the vocalist can sing. Lifer’s sure to be new rock/alternative radio contenders this upcoming year. They’re better at what they’re doing than most of the other slouching boys.  -Whitney Weiss
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