GALLERY OF MITES belong to the ‘supergroup’ category, as it is made up of members of other big names of the stoner scene. The ten-member line-up includes: John Kleiman, Tim Cronin, Phil Caivano, Joe Calandra and Ed Mundell (MONSTER MAGNET members), Stugollin (HALFWAY TO GONE), Tommy Southard (SOLACE), Jim Baligno and Mike Schweigert (LORD STERLING) – now how is this for an all-star gathering of stoner souls?

Musically, GALLERY OF MITES is an homage to the band members’ references, as Bugs on the Bluefish is a powertrip to 70’s hard rock and some of the 60’s (lack of) charisma. Bands that immediately come to mind: STOOGES, early ROLLING STONES and a truckload of other well-known acts the traditional stoner will undoubtedly recognise. Speaking of which, there is yet a track with MONSTER MAGNET members backing former KYUSS/ current HERMANO vocalist John Garcia, probably a cocktail-molotov of orgasmic nature for thousands of stoners around the world (100 Days).

Despite the good technicality and the obvious quality of the musicians, Bugs on the Bluefish did not really sound that magnificent, but it should please very man die-hard revivalists anyway. This is probably ideal as a soundtrack to a crazy Summer.

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All hell breaks loose – especially since DAMNATION saw Resurrection of Azarath released, a compilation and celebration of the good old DAMNATION times. There are no new tracks here, only a selection of past hymns, as well as some rare and previously unreleased songs. The sources vary from previous demos to full-lengths, including two bonus cover versions of KING DIAMOND’s Mansion in Darkness and MORBID ANGEL’s Bleed for the Devil.

Highlights of the album are without the shadow of a doubt Rebel Souls and Coronation. Resurrection of Azarath is thus an excellent means to revive glorious moments of the DAMNATION era, as well as grasp the very rare tracks of Promo 1998. Ogverall, I found the compilation CD rather attractive and musically worthwhile, were DAMNATION not one of the milestones of the Polish scene. Now it is off to a new album!

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Once breathing under the moniker DE PROFUNDIS (I still wonder why it is that Symphonic BM and Goth bands seem to choose this name), AD INFERNA play a not very innovative variant of symphonic BM. Generally speaking, there are a number of obvious (DIMMU BORGIR, CRADLE OF FILTH, EMPEROR) and other not so obvious influences. The first time I heard the CD, I even thought there were some LIMBONIC ART touches to it, but fortunately or not, AD INFERNA never come close to what the Norwegian duo create.

Magistralec Ouverture is a quite long intro to L’Émpire des Sens. Some might consider it way too long. Others might praise it for the interesting arrangements. My personal opinion lies somewhere in between ~ I quite like the arrangements, but agree to it being interesting only at first listening sessions.

Votre Déchéance is not quite as aggressive as I had imagined ~ there seems to be at least one instrument (be it the guitar or keyboards) that cuts all the aggressiveness.

By the third minute of Mon Âme Noire I had already surrendered to the calmer part of the song ~ though I would gladly do without the female vocals.

In To Enter the Tragic Symphony, keyboards tend to become interesting every now and then.however, there is the problem of the too obvious COF influences, also in vocals.

The album features two guest musicians: Marco B. of OBSIDIAN GATE, who performs the orchestral introduction of L’Émpire des Sens and Robynne of DAEONIA, who performs the female vocals. Furthermore, a cover version of FALKENBACH’s Balturs Tod has been included and is sung by ex~SETH’s Vicomte Vampyr. Definitely one of the highlights of the album (or is it because I adore the original version?), alongside the title track.

Not generalising to the band as a whole, I would say the biggest problem with L’Empire des Sens is that this debut album sounds too much like DIMMU BORGIR and CRADLE OF FILTH, which comes as a result of keyboards and female vocals being close to the above mentioned bands’. AD INFERNA could definitely be more original. After a while, I get the impression I have to listen to the CD to the end for reviewing purposes only, that is to say: the album has a tendency to become boring ~ which is not a very healthy feeling.

Musicians are good, but somehow somewhat ‘artificial’. Although the album is above the average, I would not consider it that striking. There seems to be something lacking. Future albums might help overcome the absence of this vital element.

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Sometimes, the French scene presents the listener with quite some jewels. Alongside SUBLIME CADAVERIC DECOMPOSITION, French independent INHUMATE are like icons of the UG Grind scene. Never yielding to labels’ pressure and/or demands, the band created their own Grind Your Soul thing, a platform simultaneously used as label and distro, through which they have released most of their (extensive) discography. Independence does not leave quality out, for these blokes do not seem to lack professionalism. A situation which is further enhanced by the fact that he line-up has been stable for the past 10 years.

Now to Life, the first real contact I have had with INHUMATE (at long last). It took three or four years for the band to release something ‘new’ since the Growth album – in the meantime, they have been rather busy playing tens of shows all around Europe and releasing numerous split tapes, split EPs, compilations, etc. Back in 1996, INHUMATE set themselves for the development of a conceptual series of albums – an heptalogy based on the concept of Life and the Abolition of Time (how is that for a change?…). It all started in ’97 under the moniker Internal Life. This first part deals with a preoccupation with presenting an illustration of the antenatal life. Ex-Pulsion represents the moment of the birth, whereas Growth does not need much explanation. The present album Life is the middle album and attempts at portraying the maturity of a life form (perhaps of INHUMATE too). The future albums are the development of the heptalogy and should be titled The Fifth Season, Expulsed and External Life. According to the band, this last step ends life on Earth of all men and opens Mankind to infinity. Does it mean it will bring INHUMATE to an end too? We hope not.

I have been hearing all these good things about INHUMATE for the past years, but now I see they were founded. These French goresters appear to have developed their music to a different level – most songs are actually quite enticing, With many movement-impelling rhythms, grinding guitars and the occasional blast drums. And what is the more, the recording is not the kind of Underground thing which does not allow one to understand the instruments separately. Life was recorded, mixed & mastered at Down Town Studio and no vocal effects were used.

Apparently, INHUMATE keep up the tradition of three-second-long tracks in I Want to Kill Some… (Part IV). Let me guess what the three previous editions of the episode sound like… Favorite tracks are For Lust, N.D.S. (brilliant!), No Answer and A Trip. But INHUMATE do break with tradition in one aspect: Life features no sample of any kind – which is a fresh breeze on the scene, huh?

The Life/ Live feeling is very much present in the booklet’s artwork, which features tons of pictures of the band live, fliers and the likes of. Those who still have not seen INHUMATE live (like myself) may be curious to see/ hear the band live on stage. INHUMATE thought about it too, and as a result they included a number of live tracks. I was not at all disappointed by the tracks, though I must admit to finding it slightly awkward to hear such a violent band speaking French at intervals, haha. Somehow it does not seem to fit. Fortunately, you don’t get to understand that the lyrics to N.D.S. are written in French. Mean me.

By A Trip, I thought these guys sounded a bit like SIX FEET UNDER, but N.D.S. brought a distinct HATE ETERNAL feel to the music. None of these bands happen to be Grind, so it is not really an indicated way to give you a general overview on the music, is it? The best solution is quite simple actually: visit the band’s website siteinhumate.com and download songs and videos – then you will get to know INHUMATE. Or buy the fucking album!

Official Site Siteinhumate.com | Myspace Inhumate

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DEBODIFIED were formed by Jordan Varela (also in the ranks of LUST OF DECAY) in late 2000, alongside guitarist Chris Braunstein. The two musicians set high goals in trying to create the most intense manifestation of Death Metal possible. The debut full-length, Utopia in the Eyes of a Beast, was preceded by a successful 5-song demo which granted DEBODIFIED a deal with Comatose Music. This is the point where Jarrod Sternes joins the band to fulfill his function as a bassist.

«Intense» is a good word to describe the album (although not quite as intense as they would have it), characteristically American in nature (and for once I mean this in a positive sense): technical, brutal and grunted through and through. Drums are good, guitars are now and then hypnotizing, and the songs sound well thought-out. There are breaks, dragged rhythms of chaos, but mostly Death Metal violence. For fans of DISGORGE, IMMOLATION, DISAVOWED or DYING FETUS.

Conceptually, DEBODIFIED are heavily war-inspired, and the cover artwork (by Jon Zig) reflects the album title – my view of Utopia in the eyes of a beast can also be illustrated by the war panzers, helicopters and related warfare, dictating the onslaught and mutilated, maimed and burning human corpses. The everlasting struggle against the Human scum – innocent or not. Or maybe the Beast is none other than the very person who holds a speech at the beginning of Terminated with Prejudice – Mr Adolf “Swine” Hitler.

Recorded October 2002 at the Soundlab Studio, produced by DEBODIFIED and engineered by Joey Rhyme, Utopia… features Jay Barnes (of LUST OF DECAY) on backing vocals (Instinct for Malevolence).

But I might as well have conjugated the verbs in the Past Tense – you see, DEBODIFIED was disbanded two months after the release of Utopia in the Eyes of a Beast, due to turmoil within the band. This is the band’s legacy. And it is a killer.

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The name CROTCHDUSTER might surely trigger opposite reactions, depending on the musical inclination, the state of mind, amongst millions of other factors. For some, it might imply absolute grind – when nothing could be further from the truth. CROTCHDUSTER is a gem that means humor, sarcasm, good musicianship, excellent concept and is also an excellent means to sum up in one CD virtually every musical style you can think of.

Conceived and bred by the malignant mind of Jason Suecof (CAPHARNAUM), CROTCHDUSTER come up with a rare set of songs, also spasm-inducing for the weak-minded, as well as for the less attentive ones. The first song, True Nature of Williams, is an amalgamate of completely different sounds, and the parodying intention is immediately noticeable. The target is, of course, bands and songs of all genres, be it metal, pop or whatever. The moment I heard the first few seconds, I immediately wondered whether the right CD was in my stereo, and yes, it was. Even though CROTCHDUSTER did not at all seem like a band given to slow music, pop or semi-pop, that is exactly what you get from the first song. Add a unique impression of Holy Wars (MEGADETH), early SEPULTURA and BEE GEES with a Mask-like soundtrack, and your next step is Big Top Williams. It is inevitable to get into the spirit of the song and the band. Once there, there is no way in hell you can stop listening to Big Fat Box of Shit.

The most significant and perhaps the most representative song of the band is undoubtedly Mammal Sauce, a hilarious hymn to a substance who ingredients only Bill Williams (band member) and people from another dimension seem to know. The upsurge of Chinese diarrhea, in a THERION-like environment, followed by really squeaky and miserably frustrated power metal-like vocals carry on the concept behind Big Fat Box of Shit: to mock uncontrollably. Fornicus “Fuckmouth” McFlappy and Slippery Jim are supervised by their faithful producer and composer, a dog by the name of Cain, who may have been part of the inspiration for the Cher-like vocal effects. In all fairness, the vocals are just great and extremely versatile, regardless of genre. Now picture Barney – that mythical Simpsons character, singing the chorus a la Cher. The Mike Patton/ MR. BUNGLE influence stands out rather prominently, so if you are into both, you will probably also appreciate CROTCHDUSTER. And in the band’s own words: If you don’t like Mammal Sauce, you might as well be gay!

The image department also reflects the parody, and we are given certain Beavis & Butthead-like characters under an Africanised perspective, as well as some other hallucinogen-induced creatures. The booklet includes lyrics, product of a brilliant evil mind, centered on the spiritual, carnal and sensual world of Williamburgsland.

An album to watch out for, for the straight-forwardness and daring spirit, one of those truly unexpected moments which leave a sour taste in your mouth when a growl and grunt session is expected and, instead, we get to hear weird versions of some crazy old metal classics followed by BEE GEES or BLUR-inspired music and other related squeaks. Even though this may not be the usual 24/ 7 type of album, you might as well become severely addicted, for this is simultaneously one of the most original, uncompromised, satirical, competent and audible albums I have had the pleasure of listening to over the last few years. Ad as if all of the above were not enough, the album features special guests Richard Christy, James Murphy and John Tardy.

Big Fat Box of Shit finishes off with the band members reading aloud some hate mail and providing the writers with hilarious replies (Cain’s reply is naturally verbalized by fellow band members). Towards the end, we are also told of the latest Black Metal band, Hellspawned Warhammer of the Nordic Wind. Do not miss this album – buy it now!

Myspace Crotchduster | Encyclopaedia Metallum Crotchduster

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