Andrew Danso

No, it's not a progenitor of SYL. And it's true, just because the trio consists of SYL members along with Townsend handling mixing and production duties, doesn't automatically point fingers at a smug comeback under a different heading. Zimmers Hole is known for its parodies of the genre, and combining them with semi-death metal, thrash and power elements (the power aspect is a subject of debate), and on that topic, it's all here, as you would expect. This album is actually somewhat masterful, authentic, and generally kicks ass.

It begins, carries and stops with usual SYL elements, so what's there to complain about immediately? Sure, the supposed comedic value of the album does not appeal to myself; (actually it's really not funny. If you read on iTunes supposedly this release is littered in satire; trust me, it's just not) but the album is packed complete of excellent musical features which exceeds the wasted silliness, and I believe that the records' most vocal points - regardless of my personal opinion on it's stance on metallic comedic value - are its musical content. The record is also paced excellently, but again, I wouldn't have expected anything less from the SYL members, and this is were I will differ with "Rock Reviews". It claims this album stands apart from the "plain bread-and-butter releases that crowd the market these days", but rather I believe that's where it certainly belongs. What's the record really deviating from? Not being funny? That’s almost certain. I'm also not attempting to criticise this record on the subject, because I really liked this one. If anything, to say that this record is doing a great deal different within the genre, is a clear misinterpretation or an impulse thought of giving it decent critical acclaim. To myself, this record appears to be more of a solidified metal record, combining typified SYL elements like song writing, song structure and perhaps even production. And here's the cleverest part that should end my, almost, contradiction of what I mentioned at the beginning; it won't remind you of a single SYL record. Of course, you're hearing the same group play, but it's ambiguity with similarity is incredible and this is another huge debt to the group, of what they're attempting to achieve.

ZH, you definitely don't rule the land, but you've certainly been ruling it for thirty days - 4/5.

Celtic Frost's comeback stroked climacteric perfection with the release of Monotheist, and was my favourite of 2006. It is beautifully paced, poised, challenging, excellent, and meritoriously unconventional. The release being unconventional, I believe is one following its stylistic movement within the genre, and on the topic it's difficult to really home onto placing it within a simplified genre or six. A modern doom feature, perhaps? Or more avant-garde modern gothic doom may be a further suitable generic standpoint.


"Progeny" contains more obvious, (typical blackened thrash metal) CF qualities we've heard throughout the years, and as we change gears, and carry onto "Ground", we're introduced into an album riddled with degree-less atmosphere, and motionless characteristics which follow suit. There's a delicacy, and sheer brute within "A Dying God Coming Into Human Flesh". It's characterised by the teeth (and fist)-clenching grind its choruses appear to have, along with the contrast of the absolve, the tracks beginnings and bridges appear to have, which are tense and still. The doom idler follows throughout the next phase of the album. One of my favourites is "Os Absymi Vel Daath", whereby its movement is simply drone-ful and indulgent, carrying heaps of brutality, and simplicity, I'm often retained contemplating "Why haven't I thought of this already!” We also get a dose of that industrial ambience within "Os Absymi Vel Daath" and, "Obscured". Furthermore Monotheist is intricately complex, accompanied with wildly towering expectations; which it arises too. Finally departing with "Synagoga Satanae", we finish with the lush fourteen minute harmony and feedback tracking combined with the slow rot doom riffing toward the last third of the track. It feels brilliantly dark, sombre, plaintive, and brutal.


Another definitive design by Celtic Frost, which complemented there comeback justifiably - 5/5.