A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Grade Scale adopted at MetalKings.com (starting from the lowest)

1 - Shite
2 - Could be worse
3 - Could be better
4 - Damn good
5 - Killer

4/5
ANNIHILATOR
Waking The Fury
2002
SPV/ Soyuz
thrash
In less than a year after his previous record "Carnival Diablos", Jeff Waters is back with another line-up and another album full of uncompromising thrash metal. Same as always, you think? Not at all. Of course, this is Annihilator all over, with trademark riffs and solos in every song on the CD, but the overall sound has now a lot of common with bands like Fear Factory and Pantera. It's not quite nu metal, it's a mix of the old and new, which works really fine in most of the cases. Tracks like "Torn" (a mega hit), "Lunatic Asylum" (fantastic guitar solo!), and "Striker" (track full of really unusual turns) stand out as obvious highlights, while the softest tune "Nothing To Me" and its follower "Fire Power" are just one little step below. Joe Comeau has progressed a lot as a singer, his voice may be not as ear-catching as that of Annihilator's previous singers Coburn Pharr and Randy Rampage, but that was apparently an intention, for the disc is focused on guitars. This is where the drawbacks start - first, I don't really enjoy this type of mixing when all instruments are put together to create a wall of thrashy sound, it's impressive but quite tiresome, and second, I think that early Annihilator records are considered classics not only because of heaviness, aggression and stuff, but also because of containing beautiful melodies, something that Jeff has been completely neglecting for the past four records. As a result, we get another "for thrash metal fans only release", and the old Annihilator classics remain unbeaten. Maybe next time… (Maniac)

3/5
AURORA BOREALIS
Northern Lights
2001
Diehard Music
black/death
The times they are a' changing, and the Americans who missed the church burning, gay-killing and other attractions of the European black metal heyday are now trying to make up for the loss. No, they have no intention to follow the bloody footsteps of Varg or Euronymous, they are building up the excitement by musical means only. Aurora Borealis, a two-man project based in Maryland and featuring an ex-Malevolent Creation drummer is playing raw black/death metal in the vein of late Immortal and Behemoth, no keyboards or female vocals whatsoever, but even though "Northern Lights" is bordering on true black, it's still still not quite it, for the recording quality is very good. Another advantage is that the songs are not long, averaging at 3.5 minutes, which actually makes it possible for a person who's not a black metal maniac to survive till the end of the record. Unfortunately, that's it on the upside, and as to the downside, Aurora Borealis are nothing special. They may be of interest to the American crowd that missed the intensity of the original black metal assault, but if you listened to Mayhem in 1995-1996 or even earlier, you won't find anything new here. Far from being copycats, Aurora Borealis are still in the second league of black metal. P.S. The European version of the album contains five bonus tracks from the band's debut album "Praise The Archaic Lights Embrace" that are musically very similar, but recorded a bit worse. (Maniac)

4/5
BLAZE
Tenth Dimension
2002
SPV/ Soyuz
heavy metal
To tell you the truth, I've heard "X-Factor" only a few times and "Virtual XI" no more than once. When Blaze was out of Iron Maiden and going solo, I was curious about how he's doing, but not enough to actually buy the singer's solo debut. Now he's back with a sophomore release, and I must say that he's doing really fine. "Tenth Dimension" embodies a combination of heavy and groovy guitars (trademark of producer Andy Sneap), melodic guitar soloing, excellent sound quality, Blaze's characteristic vocals and his songwriting skills. In other words, that's an improved, heavier and less epic version of Blaze-era Iron Maiden. Blaze knows capabilities of his vocals very well, and his new songs suit his voice far better than those written by Steve Harris & C. "Tenth Dimension" is a concept album about a scientist who realizes that the government is using his research for making a weapon, and it's no wonder that the CD is packaged together with a 28-page booklet and even a bonus disc with six tracks on a limited edition. However, the concept seems to be the thing that didn't allow Blaze to concentrate on each song and make every track as great as "Kill And Destroy", "The Tenth Dimension" and "Leap Of Faith", the three highlights of the album. Other songs can only be rated as good ones, which, unfortunately, does not provide for the highest mark on our scale. I believe that Blaze can do better next time. (Maniac)

3+/5
BLIND GUARDIAN
A Night At The Opera
2002
Virgin / GALA Records
bombastic neoclassic something
The one-time heroes of the Teutonic speed metal scene shamelessly stole the title from England's rock legends to name their latest effort. However they made a wrong choice - "Another One Bites The Dust" would suit more the result for their year-long studio marathon. At first sight, it looks like nothing serious has happened, Blind Guardian did not turn to rap or grindcore, they didn't even try to jump on a sympho power bandwagon. "A Night At The Opera" is Blind Guardian all over, but there is one thing missing - hits. I'm ready to take accusations of not understanding the band's need for development, their lust for experimentation and so on and so forth, but for me Blind Guardian's development is similar to that of Metallica - the style is basically the same, but all catchiness is gone. The only memorable compositions are "The Maiden And The Ministrel Knight" and "And Then There Was Silence", the latter already known from last year's monstrous single. The rest sounds very much in the vein of "Nightfall In The Middle Earth", but that record, though far from my favorites, did have its shining moments, while "A Night At The Opera" makes an impression of one 67-minute song that is very nice and professional, but… you know what I mean, especially if you love Blind Guardian for blockbusters like "Time What Is Time" or "Bright Eyes". Sad, sad, sad… (Maniac)

4/5
CANNIBAL CORPSE
Gore Obsessed
2002
Metal Blade/FONO
old grinds in a new way
The Florida meat industry veterans are still as fresh and full of energy as they had been some 12 years ago, when we first heard their divine hymns on 'Eaten Back to Life'. Of course, one has to admit, that since those glorious times the 'Cannibals' have certainly lost some of their profound heaviness and shifted over to pop music, descending from the crazed-ass grind-core to a more trendy brutal death with lengthy MTV- and radio-oriented compositions. (just kidding). Well in all seriousness I have to say that I have all the reasons in the world to belive that the new 'Coprse' record is very unlikely to strike anyone as radically original, however, no one would really expect that. The only serious change from the previous efforts of the band is the more Morbid-Angelesque guitar sound and riff layout, but slight as it is this change obviously has not spoiled the disk adding some extra charm to it. As to the rest of it, the legendary death-squad followed its old route and style - thick guitars, infernal roar and bleeding, and rotting lyrics. The limited edition CD features a cover of Metallica's 'No Remorse' as a hidden track. (Troll)

2/5
CRUACHAN
Folk-Lore
2001
Hammerheart/FONO
folksmetal
I have never actually thought that some day I would have to lash out at this extremely talented and original Irish act, but when you have to, you have to. As a short biographical note for those who are not familiar with the story of Cruachan, the band started at the now very sadly dead Nazgul's Eyrie Productions, that once specialised in bands, that no other label would sign. Indeed NEP was responsible for introducing the world to the Finnish black metal weirdoes from Barathrum, and releasing some of the grim Italian Mortuary Drape albums, and even the scandalous Countess project. Cruachan's debut 'Tuatha Na Gael' was also published by NEP. Back then the band played some sort of a non-compromising black metal brewed on a heavy Irish tradition. After Cruachan's original label went down, the Irishmen signed by the death metal-oriented Hammerheart Records, that was also making folk and near-folk CDs at the subdivision entitled the Well of Urd. In 2000 the group comes up with its second studio effort named 'The Middle Kingdom'. The album already had nothing to do with black metal, main vocal parts have been handed over to the freshly recruited female singer, and the music itself transformed into the more classical heavy metal with the same Irish gimmick to it. However 'The Middle Kingdom' still sounded quite fresh and interesting, and there was no grounds really for any fears about the band's future. With the release of 'Folk-Lore' Cruachan took special pains in doing their best to promote the new record, hiring the legendary Shane McGovan (ex-singer of the cult act Pogues) as a producer. However, unfortunately as it may seem, the promotion never lived up to the end product. Folklore ended up a dull and tasteless piece of gum that sticks to your teeth, consisting of endless self-repetitions, with the only exception of 'Spancill Hill', in which Karen Gilligan was assisted by the mane himself Shane. The rest of the new Cruachan is sadly a very typical example of artificial and plastic music a frustrated bunch would play just for the sake of playing something. (Troll)

3+/5
DARKSIDE
Cognitive Dissonance
2001
Season of Mist/CD-Maximum
Intelligent dark death metal with a slight touch of brutalizmo
Albeit of the somewhat thin and watery sound, this release could have been considered interesting at least to a certian extent, but with the ongoing repetitions of one and the same song structure and the composition part, that does not exactly sparkle with originality 'Cognitive Dissonance' would lead a saint crazy with its dullness. Whatever it was that seemed so unexpected and earcatching from the first sight, loses all of the novelty in a mere thirty seconds and ends up a boring and predictable cliche. Please note, that all of this is happening against the background of undoubted musical professionalism of the band-members, that have been around for the past 11 years. Luckily enough already by the fourth title-track the Austrian quartet managed to gain enough momentum to axe out some remarkable tunes spiced with commendable growling vocals, and the next-coming 'Fallen' is certainly a killer. But, all of this is happening in such a slow motion and has so little dynamics, that any surprise that Darkside had in their sleeve, flashes out al too vividly to be considered one. To add we have a pretty uncompetent frummer who is trying to make on average twice too many hits and kicks at a given time-span with the given rhythm and tempo. Summing it all up, I could only advise you to take Darkside in small portions (one song per day) and then eventually you could grow to like it, but checking out the whole album in one go would most certainly give you yawns and sticky eye-lids. (Troll)

4/5
ILLDISPOSED
Kokaiinum
2001
Diehard Music
death frenzy
I have always absolutely loved Dutch and Danish death metal, simply because for some weird reason these two countries never ever release any mediocre bands or CDs. Well Illdisposed here, who last year already made a present to all of the slicky-chop lovers coming out with a marvellous colleciton of almost unrotten and intact cover-skeletons (as it turned out even Motorhead can be turned into meat music), have thought it best to show no mercy and came up with their own version of 'Smell the Glove' on Diehard Music. The slight bluntheadedness, or to be more politically correct, straightforwardness of the music is easily compensated by the super-thick guitar sound, a slightly changed vocal pattern, that now voices a lot more authority, and the good ole' simple attitude especially on the self-titled 'Illdisposed' and 'Intellargent' (the latter also noteworthy for its complex and sophisticated lyric). A small bonus that is a very vivid nod to their grandpas from Black Sabbath, and you get the picture. (Troll)

4,5/5
IMMORTAL
Sons of Northern Darkness
2002
Nuclear Blast
patriotic black
An excellent specimen of an ideologically consistent product in the manner of 'New York, New York!' The band's love to Father-Northland and their willingness to fight for it runs all through the album. A concise but very vivid description of wilderness and the evers-treangthening moral principles of the northern national militia dismisses any attempts to make fun of patriotism. The main idea has to be realized by the audience clearly and distinctively or else the effectiveness of impact over susceptible souls is dubious. And in this case the weapon of convincing works with highest precision. The Sons of Northern Darkness improve their professional level with every release, without any loss in the ideological department. I was not a black metal fan in the past but Immortal kept falling into my hands regularly. Their early releases were not so interesting guitar-wise but the drumming frenzy was more than impressive. Nowadays the style seems to remain unchanged but the sound gained certain maturity and is deifned by the appetizing guitar tunes. The melodies lead you through the album like like Ariadne's thread. The riffs, presented by the main axeman Mr. Abbath himself, use only as much variety as needed. His voice is ripe is juicy. Author's fave: the acoustic interlude in 'Tyrants'm which is thoughtful and beautiful as the dark night sky on the cover; the unicast cannon-ball of 'Demonium' that varies from machine gun bursting (the love and pride of Horgh, I believe) to the unhurried tread of a heavy siege tank. The most percussive track is 'In My Kingdom Cold'. And of course the final story of proud northern sailors voyaging far across the Nmorth Sea to counquer the new land. A nod to BATHORY, without doubt.

Summary: Genuine quality! Tough optimistic black from real masters. I cut half a point off 'cause I'd like some rhythm change to happen oftener. In addition I recommend Demonaz lyrics as an example of true love for one's country in poetry. (Katafalych)

5/5
INSISION
Beneath the Folds of Flesh
2002
Earache/Wicked Word/Soyuz
brutal brain-damage from Stockholm
I can't even begin to tell you how much I'd been missing the good ole' death metal times. Something that would go crack right through the skull. I liked the album so much, that I cannot even think of what to write in the review. Everything here is done exactly the way you want it to be. Super-thick guitar sound, broken bass parts, which can actually be heard against the overall background, carpet bombings in the drum department, beefy growling, and optimum running time of 29 minutes. I wouldn't be able to find fault with this record even if I tried real hard to. An absolute must for any death metal fan. I only hope that bands like Incision, they fellow-countrymen from Throneaeon, Czech Hypnos and Polish Vader will be selling sufficient copies to enable them stay on this scene long enough to record more and more of such albums. I did try to figure out which track is the best, but it's useless. Well, with such a debut it's way to go indeed. (Troll)

5/5
BRAD GILLIS
Alligator
2001
Frontiers Records / CD-Maximum
progressive glam-rock
Brad Gillis is undoubtedly known best by his work as a guitar-player in the cult AOR act Night Ranger, as well as the man who replaced Randy Rhoads on Ozzy's 'Speak of the Devil' live album and a respective tour. His solo career started back in 1993 with the release of 'Gilrock Ranch' and, as it seemed, that was it. Brad continued his work with Night Ranger but for this reason or that did not rush the release of any own material. But seven years later Gillis teamed up with singer Gary Moon and recorded his second solo effort entitled 'Alligator'. 7 years of silence has pretty much the same effect on the musician as the same period of time would have had on cognac. Guaranteed you have not heard rock music of that quality since the release of Aerosmith's 'Get a Grip'. On Alligator Brad has collected everything best in hard rock, glam and AOR and wheeled it out on a silver plate before us like a chef in the most fashionable and expensive restaurant at Champs Elysee. All 10 tracks are completely different from each other in style and manner but are exactly the same quality-wise. This is the type of album you can go on listening to for eternity discovering new plains and dimensions with every passing spin. You can listen to 'Alligator' again and again and not get tired of it, you can listen to it at lunch, in a car, in company, alone at work, before going to bed, having sex or sipping on wine - no matter, the effect will always be the same - your moods will be changing for the better and stay that way through the rest of the day. (Troll)

3/5
MOONSORROW
Voimasta ja Kunniasta
2001
Spinefarm/FONO
pagan viking black from Moonsorrow
Judging by the presentation in the CD inlay the main musical asset, or as they usually call it salespoint, of these Finnish paganists, in their own opinion, is the enormous amount of handclapping throughout the record. Each of the musicians have proudly stated this, if you please, method of noise-generating among other instruments. The guest hand clappers are represented by Blastmore and Aveter from Thyrane, and Janne Perttila. Aside from the aforementioned handclaps and 'Oi-s!' and 'Hey!-s' "Voimasta ja Kunniasta" also contains as many as 7 compositions (two of the instrumentals) or, rather for lack of a better word, sagas telling the dark heroic stories of pre-Christian Viking Europe. The music presents rather standard and moderately original Viking pagan black metal, complimented with ultra-professional keyboard arrangements, and massive support from traditional acoustic instruments as well as other tricks and gimmicks. By principle I wouldn't say that this work is in any ways worse than the band's previous 'Suuden Uni', however I am still under the strong impression that there is something missing here. Maybe sincerity… (Troll) .

5/5
MORTIIS
The Smell of Rain
2001
Earache Records
dark wave
The latest work of the pointy-eared maestro has already stirred a bunch of controversy in several specialized press issues, some of which were praising Mortiis sky-high for his innovativeness and bravery, while the others stomped him in the dirt for "poppiness and trendiness", calling the last Ice-age Norwegian troll-survivor "a depechemode" and other names. I was not fortunate to receive this album soon enough and it took me another three months of spinning the CD in my player before I could finally put myself to reviewing it. Because, no matter what but Mortiis's style has indeed changed big time. 'The Smell of Rain' does not have the heavy ringing of a blacksmith hammer, nor does it have the hailing sounds of battle, nor that very mystic atmosphere of ancient times that had been so characteristic of all the previous Mortiis's works. Indeed signs of change have already been seen on the artist's previous album 'Stargate' still however I could easily understand if some people thought that this time Mortiis have gone too far in his experiments. The first and the main difference of the 'Smell of Rain' from all the other albums is the presence of the leading vocals in practically all of the songs. Secondly the music itself changed its mood, shifting from the grey woods of Norway to a new cosmic dimension. This is added by disco-like beats, distorted sampled guitars that have appeared from out of nowhere and the unexpectedly fast (for Mortiis that is) tempo of most of the compositions. Well, to cut a long story short, if you ask me there is no way of evaluating this work based on any objective criteria, because it is just too different. Being subjective to my opinion, though, I'd rate this at 5 out of 5. (Troll)

MOTORHEAD
Hammered
2002
SPV/ Soyuz
rock-n-roll
Rock-n-roll Nothing good be less rewarding than writing about Motorhead. Fact. Lemmy and folks have been shaking this freaking scene with their thunderous boogie for over 25 years now, and, as they never forget to point out themselves, despite this seemingly excessive serve-term, are still kicking our asses. It is pretty hard to analyze a CD with 1.5min cuts of each song, but we gonna try anyway. I mean there is nothing to analyze here really. Motorhead are Motorhead anywhere, even in Ghana. It cannot be good or bad either, it's either motorheadesque or not (to illustrate the latter refer to the unfortunate experiments of 'Sacrifice' or 'Another Perfect Day'). Well 'Hammered' is Motorhead 100% and no mistake, with all the natural consequences, and well honestly ranking the album by our standard 5-grade scale is just pointless. No one would rank, say, beer (I mean the drink itself not the individual brands) by a five-grade scale, now would they? Folks just like beer and drink it, and likewise folks just like Motorhead and listen to it (ironically Lemmy does not like beer, but then again like Monsegniour Kilmister is not the master of irony). And well as any fan of this foamy beverage would go on trying out new brands as a matter of principle and an integral part of beer-drinking culture, in the very same way any Motor-fan would go on checking out each new 'head's record as a matter of course. Cheers! (Troll)

3+/5
NERTHUS
Scattered to the Four Wainds
2002
CCP Records / CD-Maximum
schwarz metal melodische
Would you have the nerve to form a band without a drummer and that at the same time would have three singers, two of whom are just singers, nothing more? Well the Austrians from Nerthus would. They indeed have three singers each specialising in his own little aspect of vocals: one for clean vocals and whispers, one for screaming, and the last one for some sort of grunting growls. Fact. Seems though, that in the Alps they just do not know the old saying about the seven nurses and their eyeless baby, because the whatever that these three guys do on the vocals in, say, 'The Mountain Rage' is simply beyond good and evil. Mayakovsky would have grown pink with envy had he heard this distorted poetical rhythm that does not fit the music in the most unique way. The music itself is much less painful but given the programmed drums and keyboard arrangements this is not really to be considered as a point of pride. The only songs that the musicians seem to have taken a lot of pain with is 'Inanimated Frames' and it shows. Here you would find some very non-standard and interesting rhythms, precise keyboards, unspokenly beatiful acoustic inserts, and an overall balance and harmony, which basically means that once they try, they can... Another track that is of interest oon this record is the minute-and-a-half long instrumental 'Starlit Vesper' which could be best described as 'shitfaced Richie in Blackmore's Night'. The rest of the record is very standard melodic black with a lot of keyboards that is currently performed by approximately another 98432516571 bands all over the world. (Troll)

3/5
SAVATAGE
Fight For The Rock
1986 / 2002
SPV/ Soyuz
glam / heavy metal
"Fight For The Rock", originally published in 1986, is considered by many Savatage's worst record. It's easy to figure out why - if I had never heard the release and someone had played me a song like "Out On The Streets" I would have thought it was Dokken, but in no way Savatage. At least half of the album is commercial glam rock in the vein of the above-mentioned band with vocals that have nothing to do with Jon Oliva's characteristic singing. The other half contains some decent songs (not because they are much heavier, because they are more catchy) - the title track and "The Edge Of Midnight" are obvious highlights, but they are too few to make a good record. The 2002 re-issue does not help improve the effect of the album - the sound is far from top-notch and I get an impression that a pillow is lying on my speakers every time I'm playing it, the two live bonus tracks are recorded even worse and available in better quality elsewhere, and the booklet is quite thin with only one blurred photo of the band included. The best part of the re-release is extensive liner notes, but is it enough to buy the record? "You better listen to the power of the night',"Oliva sings in "Edge Of Midnight" obviously referring to Savatage's previous album. I agree with him, please do it. (Maniac)

5/5
TIAMAT
Juads Christ
2002
Century Media
Modern doom metal with positive attitude
Yes, like all of you, I also am a big fan of 'Wildhoney' and 'Clouds' and I am in complete agreement with the opinion that those were one of the best disks in the trade. I agree entirely and unambiguously. But so? What's next? Let me tell you what's next, ladies and gentlemen, next, please, try to entirely forget of the first Tiamat records as if they never were... With that accomplished take 'Judas Christ' and listen to it with you mindset clear and void of all biases. And believe me, then you might be able to appreciate this work by its face-value. The CD opens with the slow and heavyish 'Return of the Son of Nothing' a typically Tiamat track with nothing really special to it, strangely enough for a starter. However my attention was gripped by the second track - 'So Much for Suicide' is the name - a geniusly simple mid-tempo hit with a very good lyric. Next on the menu are 'Vote for Love' (the main radio-hit of the record, which is by far not the best song imho) - a fasty, poppy, lighty schlager for raido airing, 'Truth for Sale' - a punk-like Nirvana tribute, and also another good piece of lyrics and memorable chorus, an awesome ballade entitled 'Love Is as Good as Soma', which is probably the funniest love-ballad I ever heard, a brisk and fuel-pumping 'Angel Holograms' powered with heavy riffs and featuring a beat minimalistic solo, etc, etc, and stuff. Coupling all of the above with Tiamatt trademark structural integrity and magnificent melodies the result is qualified enough to spin in your CD-player for at least another week. (Troll)

3/5
2 TON PREDATOR
Boogie
2001
Diehard Music
hardcore
The hybrids of classic New York hardcore and stoner rock surely aren't a rare specie on the today scene. Honestly, with all the respect that I have for Black Sabbath I still cannot understand why such a great number of modern bands have decided that what worked in the 70ies would also work in the beginning of the new millennium. This adoration to one's roots is truly commendable but isn't it time to come up with something original? As it appears - no. Well, the Two Ton Predator from Denmark have also opted for an easy way, instead of trying to make a breakthrough (which would be fair weight-wise). As a result the output of their effort turned out as modern day Black Sabbath with an all too obvious fleur of Pantera, which is especially distinct in 'Broken Bond'. The material in itself is not bad, but it's simply too boring after the likes of Pantera, Down and CoC. And, last question - why boogie? (Troll)

4/5
VANITAS
Der Schatten einer Existenz
2002
CCP Records / CD-Maximum
dark metal
The number of dark metal releases coming from Germany and Austria is starting to look scary. Once started by the now bygone Crematory (R.I.P.) the trend is becoming dangerously big up to the point when it throws a huge shadow of doubt over Crematory's claims that their music does not sell well enough. I mean if so many bands would opt for this style, that would lead me to believe that it does sell, and pretty well too. But that's poetry. The cover is the part II of the pegion comic started by Mayhem in 2000 - here we see what have become of the poor bird: a splatter. Unfortunately my limited knowledge of German does not allow me to appreciate the lyrics so we'll have to move straight to the music. Everything here looks fine: good quality, good melody, moderately heavy and quite attractive. The traditional combination of growl and clean female vocals sounds greater than ever and the arrangemets made with the help of allegedly real acoustic string instruments are beyond praise. And although it is very unlikely that I would rate this as a masterpiece of world's dark metal, I honestly recommend the CD to al the genre fans and people who enjoy melodic and beautiful music. (Troll)

2/5
VHALDEMAR
Fight to the End
2002
Arise Records / CD-Maximum
freaking power
A suspicious looking dude, with a remote resemblance to the great-great-great-grand-father of ZZ-TOP was staring at me from the CD cover. The ZZ-wannabe was welding a sword and mounted on a horrible hybrid of a horse with branchy rain-deer horns. Having thoroughly inspected the cover and arriving to a pretty logical conclusion that this bearded barbarian must be Vhaldemar himself, I proceeded by familiarizing myself with the contents of the CD/ Well, to be 100% honest, the album is not THAT awfully bad, at least music-wise. You know this typical Hispanic power with influences for Manowar and plain old rock'n'roll, well if you'd heard Tierra Santa or Mago de Oz, you'd know what I am aiming at. However the shining idiocy of the lyrics and the blatant and unquestionable pathos of presentation of this crap restrained me from evaluating this at anything higher than 2. Y'know, I used to smirk at the most of the local bands who were trying to sing in English because their lyrics impressed me as unbelievably childish if not plain dumb. However having read through the jumping verses of Vhaldemar I felt that it yet can get worse. I shall not waste the valuable and expensive web-space to go into details with graphic examples of these scripts, but believe me, the stupidity of the texts alone is worth buying this CD. I haven't had so much fun since 'The Gods Made Heavy Metal' and 'C'mon and Love Me'. Although if you do not go the deep into the sense and listen to Vhaldemar as just background music it will likely cause positive emotions. But still… it's too funny... (Troll)