Zero Tolerance

Are you ready for the one and only zero tolerance joke that will be made in this review? If you have zero tolerance for sad, sad attempts at Fear Factory and/or Ministry, stay far away from this waste of space. Seriously, if you’re looking to hold a round object, roughly this size, with a hole in the middle of it in your hand – why not go for a donut instead? Or maybe George Michael’s sliced off, distended sphincter? Or none of the above.

So what we’ve got here is a dude who’s famous from Venom. One day in 2003 he is browsing in his local record shoppe, drinking a cup of tea, eating a scone, and subjugating a native population (all at the same time, UK style). And what did he come across in the bargain bin – nothing other than the classic albums “Psalm 69” and “Demanufacture”. He listened. He liked what he heard. Man-tits knew he could attempt to make this type of music himself, but it probably wouldn’t be even close to as good as his predecessors.

Undaunted, Man-ass wrote the songs then grabbed a handful of musicians and set to work on his new opus, “Zero tolerance.” Pay no attention to the fact that there are five bands called Zero Tolerance out there in the world of metal, or that Death already wrote the song that comes to mind when you hear those words. This HAD to be the album title. He was tired of being tolerant towards all the bleedin’ arseholes out there. From now on, it was inbloodytolerance all the way.

The drummer chick was excited to be a part of the recording process. Tony “Demolition Man” Dolan knew that on an industrial metal album his bass skills might actually be noticed by someone. Alistair Braacken knew his weak guitar riffs would at last have a home. Bry (he of one name, like Sting) anticipated finally releasing all the rage he had against nothing in particular via distorted hardcore shouts. And of course, Mikey Mantastic was running the whole show.

So after what I’m sure was a painstaking process, what Manny and the band had was an album full of similar industrial-metal songs with some of the most inane lyrics this side of the Misfits’ “Ratfink.” Most of metal is known for having lyrics that appear to be retarded thanks to either translation errors or low-watt bulbs with a pen in their hand. Since Mantas and crew are from England, the home of English, retard reason numero uno will have to be thrown out. We’re left instead with the explanation that Manatee may not be the sharpest tool in the shed. A tool, yes. Sharp, no.

They were proud of their creation nonetheless. Demolition Records threw a record release party. No one came, despite the free booze. A single, lonely tear welled up in Praying Mantis’ eye. He quickly wiped it away, and cheered his band greatly by shouting,

“Drill! Kill it! I’ve got less tolerance than ever for those sods who don’t understand our music! BOLLOCKS!”

But that night, as he lay alone in bed, Jeff “da Mantas” Dunn couldn’t help but wonder what had happened. Why was his new album so universally ignored? Had he chosen the wrong path in life? He was finally able to drift into slumber by repeating to himself, over and over again, that he was a great musician, a talented guitarist, a gifted songwriter, and a living metal legend. But deep inside him, another voice kept whispering in a strong Cockney accent,

“It ain’t true.”

2 sad revelations 10.

Originally posted at: www.globaldomination.se

I love Venom and was disappointed in the first Mantas CD but he has redeemed himself from the hole Dokken wannabees. Mantas' second solo release comes in with a gun blast (a sound repeated throughout the album).

The sound has changed enormously from the first CD with a little influence from what sounds possibly like Fear Factory. It has a very industrial organization to its sound. Heavy bass with guitars following the drums in a rhythmatic pattern that kind of sounds like machinery punching into your cranium. Unfortunately, very few guitar solos are present in the music.

Most of the songs sound very similar to each other with heavy duel guitar riffs that follow a very steady drumming pattern. Add the harsh vocals in the mix with either no chorus (Zero Tolerance) or a very simplified chorus (Rage, Drill, Kill It) and you have yourself a song. Even with downfalls as these the element that makes this CD work so damn well is the extreme, and I say extreme in the most extreme way possible, anger that spews through the lyrics and music like hot lava to devour the listener.

With this all said, I give the CD a 95 because Mantas did exactly what he is his best at. Volcanic anger explsions with all that there needs to be. In other words, this CD is so in your face with power and anger that placing in a guitar solo (which we all know that Mantas is able and willing to do with Venom) would take you completely out of the flow of the CD and the listener would lose that intensity that the CD is made for. I am completely in awe of what Mantas pulled across with this cd. He did exactly what he wanted.

I have been a huge fucking Venom fan for years and I love every form of Venom, whether or not it included Mantas, Cronos, or Abaddon (The 3 founding members). Since I love Venom so much, I also collect those members solo albums.

For those of you who don't know, Mantas releases a solo album called Winds of Change in 1988. It was a far cry from his black metal Venom sound and it was surprisingly melodic and keyboard filled. Now if you have heard that album, totally forget about because Zero Tolerence is a whole new Mantas!!!

When venom released Resurrection in 2000, it quickly became one of my all time favorite albums. I was saddened to hear Mantas left but I was glad to hear that he was working on a solo album. I had no idea what to expect but I couldn't wait. Well finally in late 2004, I scored myself a copy of Zero Tolerence. To put it simply, I was BLOWN AWAY!!! Total hardcore!! It's a little different from Venom as it sounds more modern, but that in no way takes away from its shear heaviness.

The album starts with a bang with the Title track which has one infectious riff and really great hateful lyrics. The next two tracks are REALLY hardcore, especially 'drill' which has a sick and twisted intro with someone being killed by a drill! The fourth track is the weakest as all it does is repeat Kill It over and over again. The song Look Who Died is a return to more Venom roots as it takes a stab at Christianity.

My only complaint about this album is there isn't enough guitar solo's There's a few, but with Mantas's talent, there could have been a whole lot more. I also wasn't big on the vocalist at first but he eventually grew on me.

Overall I was very pleased with the album and as long as Mantas keeps pumping out headbanging albums like this, I will be there to listen. Now I'm curious how Cronos and Venom's new album is gonna sound. I can only hope it's as good as this!