Review by Carl on October 29, 2024.

Nigh on an illegible logo? Check. Impossible band name? Check. A cover depicting a writhing mass of tentacles and inhuman beings? Check. Well, with all those cliches in place, I have a pretty good idea about what this is going to sound like. Next stop: Slam City!

As it turns out, I need to stop with making assumptions like that, because this sounds quite different from what I expected. It looks like this is one of those 'the book and its cover' deals because while the cover screams 'slamming death metal' at me, this band is actually a lot more than that. Yes, there are of course the almost mandatory gutturals present, and there are indeed some slamming sections involved, but the distinguishing factor here is the guitar playing. I have a sneaking suspicion that axe-slinger Lee Bong-soo is no stranger to the works of acts such as Morbid Angel, Rebaelliun, and Angelcorpse because the riffs and tricks he utilizes here bear a big resemblance to those bands. It's a pretty busy and intricate style of playing, and it has to be said that this approach works very well when combined with the brutal death metal elements included. In place of tracks going from blast to slam and back again, there is a more thought-out and technically proficient way of composing at play here, and I have to admit that this method of riffing goes extremely well within the band's blasting and slamming frame, sounding aggressive and brutal while still maintaining a welcome sort of transparency over the music.

The production is more on the expected side, with a digital sound to the percussion, and the blubbering vocalizations well up front, but luckily with a good deal of attention for the great guitar work too. While this type of sound engineering isn't completely my cup of tea, I will admit that I have heard it worse throughout the years, so I'm going to have to admit that it isn't that big of a nuisance here. The music sounds massive and punishing, while the riffing comes through in well enough fashion to clearly hear what is going on, and in the case of this band, that's more than a good thing.

As I see it, Xenotropic Mutation is a band well on its way to establishing a face of its own, and that is something that can only be cheered on. If the idea of splicing the genes of late 90's Morbid Angel with those of Guttural Secrete or Vulvectomy appeals to you, then these South Korean gentlemen are a band you must check out, because this is some very promising stuff.

Rating: 8 out of 10

Review by Carl on October 29, 2024.

Nigh on an illegible logo? Check. Impossible band name? Check. A cover depicting a writhing mass of tentacles and inhuman beings? Check. Well, with all those cliches in place, I have a pretty good idea about what this is going to sound like. Next stop: Slam City!

As it turns out, I need to stop with making assumptions like that, because this sounds quite different from what I expected. It looks like this is one of those 'the book and its cover' deals because while the cover screams 'slamming death metal' at me, this band is actually a lot more than that. Yes, there are of course the almost mandatory gutturals present, and there are indeed some slamming sections involved, but the distinguishing factor here is the guitar playing. I have a sneaking suspicion that axe-slinger Lee Bong-soo is no stranger to the works of acts such as Morbid Angel, Rebaelliun, and Angelcorpse because the riffs and tricks he utilizes here bear a big resemblance to those bands. It's a pretty busy and intricate style of playing, and it has to be said that this approach works very well when combined with the brutal death metal elements included. In place of tracks going from blast to slam and back again, there is a more thought-out and technically proficient way of composing at play here, and I have to admit that this method of riffing goes extremely well within the band's blasting and slamming frame, sounding aggressive and brutal while still maintaining a welcome sort of transparency over the music.

The production is more on the expected side, with a digital sound to the percussion, and the blubbering vocalizations well up front, but luckily with a good deal of attention for the great guitar work too. While this type of sound engineering isn't completely my cup of tea, I will admit that I have heard it worse throughout the years, so I'm going to have to admit that it isn't that big of a nuisance here. The music sounds massive and punishing, while the riffing comes through in well enough fashion to clearly hear what is going on, and in the case of this band, that's more than a good thing.

As I see it, Xenotropic Mutation is a band well on its way to establishing a face of its own, and that is something that can only be cheered on. If the idea of splicing the genes of late 90's Morbid Angel with those of Guttural Secrete or Vulvectomy appeals to you, then these South Korean gentlemen are a band you must check out, because this is some very promising stuff.

Rating: 8 out of 10

Review by Allan on March 25, 2002.

Before releasing their next record, “A Night At The Opera”, Blind Guardian treated us to this two song EP. I won’t say much more about the second track, 'Harvest of Sorrow', except that it is a good track. But the real reason you want to listen to this EP is because of the song 'And Then There Was Silence'. This is one of the most ambitious pieces of music that the band has ever written!

Some of you may have preferred early Blind Guardian where there were humungous solos, but with the later Blind Guardian, especially this track, they have grown in the ability to create a well-rounded and well-structured song. With its seamless transitions through all 14 minutes, ‘And Then There Was Silence’ is full of huge choruses, rich vocal harmonies, excellently keyboards, and many other things. When I say huge choruses, I mean it! These are tremendous! The song takes you through a plethora of emotions that can sometimes be too much to handle, but I love it! Hansi’s vocals are sung with so much strength and courage. He is the best vocalist in the power metal scene, and I stand by what I say. “And Then Their Was Silence” showcases that band at their strongest as musicians and songwriters yet.

Bottom Line: An epic adventure and preview of 2002’s “A Night At The Opera”. An excellent EP for fans of Blind Guardian, but since it is an EP, probably not something to get unless you hated the rest of “A Night At The Opera” or are a collector of all things Blind Guardian.

Categorical Rating Breakdown

Originality: 10
Musicianship: 10
Atmosphere: 10
Production: 10
Overall: 10

Rating: 10 out of 10

Review by Krys on December 12, 2001.

How many clones of Helloween have you heard this year? Don’t remember? Well, me too. Too many to even bother thinking about and that’s why with the biggest pleasure I introduce to you a preview of Blind Guardian’s next full-length album “A Night at the Opera”, a single - “And Then There Was Silence”.

I usually don’t review singles but since Century Media made an exception and released one I feel a little obligated to comment on their effort. Even though it’s just 18 min. of music plus a video, it’s some of the most satisfying minutes of power-heavy metal I’ve heard this year.

The 14 minute title track embodies everything that’s unique about this band. Outstanding production, prodigious music structures, monumental choirs and top class musicianship, everything perfectly arranged into an epic-size song. It’s like a ship during stormy weather, a non-stop journey from the bottom to top of the a mammoth wave where every crescendo is branded by a chorus that is just an incredible display of multi-layered vocals that create such a magical atmosphere you can only imagine in the best music operas around the world. After fatiguing you with such a journey, the serene classic guitar on ‘Harvest of Sorrow’ will ease your mind and transpose you to a lonely island to calm your nerves.

The closing video, 'Born in a Mourning Hall' is a perfect end to a great preview of Blind Guardian’s new album and for those of us who never had a chance to see them live, it is a mesmerizing introduction to the band’s live abilities.

Bottom Line: If the full-length, “A Night at the Opera” that most probably will see the light in February of 2002, is at least as good as the two tracks on this single then I suggest you start saving your gringos ‘cause you can’t afford to miss this release.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 8
Production: 9
Originality: 8
Overall: 8

Rating: 8.4 out of 10