Review by Tobias on February 28, 2001.

I believe what happened was Theatre of Tragedy started doing lots of psychotropic drugs and partying with the B-52's, resulting in this freakin' weird ass album.

What we're used to hearing from ToT has been overrun by little gay elves that time travelled from the mid-eighties with every intention of having a monkey-romp disco party in the ass of a great band.

The music isn't horrible, it's just... well, funny... and definitely not ToT. In fact, I laughed my ass off and enjoyed, in a perverted way, the last track the most because that one sounded like it belonged on alternative radio from 1985 amongst the likes of The Primitives.

Bottom Line: Weird and not metal. Amusing and sometimes very discotech. These guys need to go to rehab if they want to continue touring with metal bands.

Rating: 4 of 10

Review by Krys on January 22, 2001.

Did someone make a joke by inserting disco CD with TOT label on it? Is this the album we’ve been waiting for? If so, I’ve got news for you. Go to your nearest store, buy some shiny pants, dance boots and run to your nearest night club, cause that’s the new home of your beloved TOT.

If not for Machine, the first single, City Of Light and Crash/Concrete, I wouldn’t even want to review this album. The First time when I heard Machine I thought "WOW! This going to be a surprise of the year", but still in a positive way. The song was fast with catchy and still heavy guitars. Liv’s voice was still one of the most beautiful female voices in the world and only Raymond’s vocals have radically changed. Somebody just stocked a piece of metal in his throat and he sounds like a robot, but I thought I could live with that. Unfortunately, after listening to the whole album I can’t. Those songs are the only pieces worth mentioning. Rest is just fucking disco and not even a good disco.

I’m sure this album will bring better sales and maybe even some awards next to N’SYNC or some shit like that, but for most of us it doesn’t mean anything and never will.
See you all in the night clubs…

Rating: 3 out of 10

Review by Adam M on November 8, 2016.

Barishi performs a style that mixes hardcore with post music. It effectively recalls the likes of old Mastodon and Converge simultaneously. The entirety of the music is mixed together in a creative manner that pushes the band’s thoughts forward. The music has a very hollow sound to it that is very mechanical in nature. This is part of the band’s atmosphere that they are trying to convey.

There is a heavy reliance on the rhythm section for this release and the backbone forms the standard for these solid songs. Although it seems like the music is borrowing things from various genres, it really is an original and full of life recording. The post aspect of the music adds the most mood and fully immerses the listener in the band’s sound. It is also the portion that draws the similarity to Mastodon, but also the likes of Neurosis. The music is structured around this center of gravity and still manages to breathe enormous life into the sub-genre. This is because the ensemble of sounds doesn’t sound particularly like anything else and is wholly original in nature. The vocals are very erratic sounding, yet suit the music well. It’s the swirling guitars that are the most suitable to the type of music being performed. The guitar work on the album is as interesting as the album cover might lead you to believe.

There is plenty of room for adventurousness to be found. These songs certainly uncover many sonic territories that are new to then metal world via this need to explore. The infusion of many sonic ideas leads this to being one of the most interesting heavy metal platters of the year. Fans of the bands namechecked and other similar acts will find plenty to enjoy with Blood From The Lion’s Mouth.

Rating: 8 out of 10