Funeste play black metal with a tendency to emphasize atmosphere through the creation of spaces, voids within the music in a treatment of the style that is very modern. In Le Triomphe du Charnier
one is able to identify great potential, as some of the elements in the music are very well-written, solid and balanced musically, consistent while not forgetting to create the movement necessary to give life. On the other hand, there are also more regrettable decisions here that can lead a fan of the old school to cringe. What the reader needs to understand is that those who understand the old school have this sort of reactions to many methods of the “new school” because the latter tends to lack a center, favoring whims that border on an experimentalism that is little more than ignorance of composition in its complete sense (and not just attending to its most basic and superficial necessities like playing in a key or using a particular mode).
On Le Triomphe du Charnier, Funeste often use arrangements in which three guitars playing distinct parts may be recognized. Sometimes there are only two or even as little as one guitar present. The transitions between these are reasonably smooth although sometimes tend to verge towards the modern tendency of lazy contrast excused as surprise. When the guitars are treated like melody lines, sometimes collaborating, sometimes providing accompaniment and counter-melody, sometimes just forming a mega-riff, Funeste show us the amazing arrangements that can be applied to metal guitar styles without having to sound superficially “neo-classic” or to resort to jazz-mongering.
There is a particular element on this album that stands out as the rotten apple in the barrel: the drumming. While in the three-part guitar sections a guitar may sometimes engage in some indulging and completely unjustified (musically unjustified, that is, not connected to the rest of the music very clearly, but just floating as an extra appendage) decoration takes place, the drumming patterns seem disconnected from the music most of the time. It is not enough that the drums play in the correct tempo and time signature, but this instrument also has to blend in with the rest of the music in a way that subordinates it to the whole and not as a self-important and self-agrandizing member. I am sorry if the traditional metal’s balance consisting on having the drums play a supporting role hurts the ego of drummers but mindful and reserved composition should come before anything else.
Neo-metalists of recent times take this to be a kind of close-minded imposition on their creativity and will try to release drumming from its subservient role and let it run around unchecked, affirming its presence and new-found freedom as a child who’s been chastized for the least of things throughout his life and grows up to suddenly find himself free of limitations and now runs amok performing actions of painfully self-referential significance. So it is that we find the drumming in this album attempting to take over dominance, fighting it out with the rest of the music, and accounting for the unnecessarily busy feeling of the music that is taken by neo-metallers as “creative complexity”. In truth, this is no more than lazy self-indulgence, this so-called complexity being no more than an increased quantity of notes. The drums should work from within the nature of the movement of melody and harmony to enhance the whole, adding to it not as something else occurring besides the rest of the instruments but as an indispensable breathing apparatus.
Here the main thing was to understand the combination and opposition of the three great factors in music- rhythm, melody and harmony; to understand, for example, that the cadence that is harmonically and melodically perfect will have a weaker effect if it does not occur simultaneously with the rhythmic cadence
— Johannes Brahms
Commending Funeste on its overall music-organization and especially on its very promising and mostly controlled guitar arrangements is in order. The band’s drummer is more than obviously technically gifted and definitely has talent but he or she must make decision here and now: will you write music as a “musician” looking for technical performance perfection or as a “creator” — a composer trying to give birth to an artistic expression? As a black metal drummer trying to achieve balance, it is recommended that one should first study the work of Fenriz in the albums released with Darkthrone around Transilvanian Hunger, trying to understand how and why he plays what he plays. After that a hard and long look at Adrian Erlandsson’s work in At the Gates’ The Red in the Sky is Ours will prove to be an invaluable lesson of drumming giving life to music in creative, varied yet reserved manner as well. Even though to simple minds it might seem that he is just being limited, others might understand his intention towards affording music with the necessary percussion while retaining proportion and a semblance that does not diverge too greatly from the intended concept.
Humanity follows this pattern: someone breaks away from doing the same stuff everyone else is doing, does something different and it resonates with smart people, so everyone else starts doing it but they use it as a new flavor for doing the same stuff everyone else is doing. They think this will let them be both new and familiar at the same time, and it attracts an audience who thinks like them, and then the different thing is destroyed.
Heavy metal goes through these bubbles every decade. Black Sabbath set the scene with proto-metal in 1970, but by 1976 most bands had hybridized that with heavy rock like Cream, Led Zeppelin, the Kinks, Deep Purple and and The Who. The result was “heavy metal” the sub-genre of the larger metal genre, and it quickly got so bad that the New Wave of British Heavy Metal (NWOBHM) rebelled against it with do-it-yourself (DIY) albums that hit hard but never quite got to the long phrasal riffs that Black Sabbath had innovated, in part in emulation of horror movie soundtracks. In the early 1980s, speed metal, thrash and proto-underground metal emerged to counter the calcified edifice of heavy metal which was currently dominated by glam metal, a Californian crossover between European heavy metal, surf rock and American album-oriented-rock (AOR). By the late 1980s, that bubble too had burst as speed metal bands very publicly sold out, and death metal and later black metal formalized themselves in response. But by 1994, both had spent their momentum and languished in inertia. What came in their place was a rapid succession of bad imitators, war metal, indie-metal, metalcore and finally a breath of fresh air with revitalized speed metal and classic heavy metal merged into power metal.
That was 21 years ago.
Currently, the metal scene languishes. The nu-underground fascinates itself with FMP/NWN bands that resemble three-chord punk translated to metal aesthetics, while the mainstream extreme metal scene uses late hardcore songs with metal riffs in random order. No “greats” have emerged, but there are plenty of favorites, and if you read most review sites, you will see praise heaped on the release of the week without any concern for its actual staying power. However, the audience who surged in to take advantage of the new metal-rock hybrids remains large, and therefore there are profits to be made, creating a “metal bubble”: a zombie genre kept afloat by inertia, lacking any real substance, and worst of all, one that blocks any actual innovation by the sheer popularity of imitation.
Current bands are distinguished by being hipster bands. A hipster is someone who has nothing to believe in, so uses things that might be worth believing in as a way of accessorizing and making himself look interesting. Hipsters love bands that no one else listens to, ironic use of instruments or lyrics, and most of all, anything that sounds like nostalgic indie rock but with new exciting combinations of flavors. Hipsters love pirate metal, jazz-metal, post-metal and other variants of the late punk songs with metal riffs in random order that is metalcore. Witness the hipster:
Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.
But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”
An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.
Hipsters also have their own ideology, called “social justice,” which is their way of one-upping you by being better than you on a level that joins morality and politics. It is like the neighbors who, on hearing you went on vacation, inform you that instead of going on vacation they went to some impoverished country to help the poor. It is the people in the office who make a show of giving lavish gifts to charity. It is politicians kissing babies and making speeches on the site of tragedies. In short, hipster is everything wrong with humanity, and its ideology is not even an ideology; like all things hipster, it is a pose designed to convey that the person making it is morally superior, politically more well-informed, socially more empathetic and compassionate, and most of all just more interesting than you. That is hipsterism in a nutshell.
The point is not that their ideology would be wrong, if it were adopted out of belief, because that is beyond the topic of this article. Their ideology is fake like their bad metal bands which created and maintain the metal bubble. You may be a hipster if you only listen to metal bands with theremin because they are different, or if you collect rare kvlt underground tapes that only 42 other people have because they are obscure, or only listen to bands with “socially conscious” (a more antiquated cliché is hard to find) lyrics because they are more righteous. Most people in metal now are either hipsters or the mainstay of metal’s transient audience, which is suburban kids desperate for some way to rebel against their parents that will not get them in actual trouble, like a school shooting or hacking the local newspaper, among other alienated white kid pastimes.
In the meantime, the metal bubble is popping because of a dearth of bands of actual musical importance, which makes metal just like everything else on television an oversold nostalgia item from previous generations foisted on today’s youth because aging once-hip people in media are desperate for a tangible symbol of rebellion that is simultaneously innocuous enough to sell products for their advertisers. Metal itself has become clich&ecaute;. Think of the big name movies: when a character is introduced as rebellious, they trot out the hackneyed symbols of conformity safe rebellion like heavy metal, motorcycles, tattoos and cigarettes. These things no longer threaten any social order and are generally accepted, so they can be used to sell an image. At the same time, the audience recognizes these tropes to signal rebellion, so they are useful when you want your brand of artisanal organic free-trade rooibos tea to stand out from the rest as being “edgy” and “different.” Cliché is a language that advertisers and consumers speak to one another.
I think the music business itself sucks. It’s turned into a very corporate, materialistic… I mean, even artists are trying to conform to the record industry now. It used to be the artist was for the artist and there was a conflict of interest between the creative artist and the record company wanting to make a lot of money, and eventually they’d sort of work it out. Because then, they used to develop artists, and now it’s just like Top 40 — everybody’s trying to be Top 40. Even heavy metal bands are trying to be Top 40. So it’s not a big turn-on, like it was for me in the ’60s and ’70s and ’80s where it was exciting and there was a sense of rebellion and whatever…And even if you have a good band — you’re talented musicians and songwriters and whatnot — it’s, like, if you don’t have a Top 40 success on your first single, there you’re done. And in order to get a Top 40 success on your first single, you have to make compromises for your material for the record business itself.
And so this thing about the Internet, it’s great to get your music across quickly, it’s very simple to get your music to the world, but it’s very difficult to break through the clutter, break through all of the noise.
While he blames the internet, much as later underground metal musicians would, the question we must ask ourselves is whether the problem is breaking through the clutter or the clutter itself. When a genre is littered with many bands that sound different but offer nothing musically or artistically — a fancy word for the content of their music, what it expresses emotionally and as commentary on life — then quality will not be recognized because people are accustomed to mediocrity. They will buy what they recognize and literally pass over good bands in favor of more of the same old stuff because it is safer and their friends recognize it. Kerry King chimed in with another damning statement:
We were at a festival in South America a few years ago and we were watching a video feed of the band that was playing onstage. I was watching the screen and I just did not get why this band was popular at all. I pulled [EXODUS/SLAYER guitarist] Gary Holt aside. I pointed at the screen, and asked him, ‘Hey, Gary, would you aspire to be these guys?’ He said, ‘Not at all.’ It was because they were the most boring and lethargic guitar players I had ever seen. I would never want to be these guys. I’m looking at a lot of these bands and it looks like it’s the road crew soundchecking to me. There’s no vibe. There’s nothing that gives you aspirations to be awesome.
This sounds like the doldrums for metal. You cannot be a rebel if you are doing what is safe and what affirms the illusions by which most people live. Heavy metal has always been about smashing a single boundary, which is the line of denial that most people have about reality and from which they flee toward “socially accepted” pleasant illusions in fear of the difficult questions of reality itself, and when it fails to do that it fails to live. Its guitar heroes leave, its innovators go to other genres, and worst of all, its best up-and-coming musicians, writers, artists, producers, editors and photographers stay home or get into jazz. With that in mind, here is the latest installment the podcast from anti-censorship/anti-repression movement Metalgate, which hopes to renovate metal by smashing the denial line and popping every bubble it can:
It is our regrettable duty to report that Frank Dancsecs, founder of the legendary ACES Records in Tampa, Florida, has passed away on June 29, 2015. ACES was a gathering point for the early Florida death metal scene and invested support and belief in the early genre when it was rejected by most others.
Necrotic dungeon synth/cosmic ambient band Khand plans to release two upcoming albums. The band issued the following statement:
This hasn’t been announced yet, but there will be two albums released right around the same time: the aforementioned space/Mars concept album, and also one with Medieval/Fantasy elements. I have been working on both at the same time; recording the Mars album slowed down as I had to purchase some new equipment and and a new rig. But alas, I hope to have both of them out soon. As always, thanks for the support. There are still cassettes available as well, please contact me here if you would like some.
Album arts and/or newer track to be released soon.
It is our sad duty to report that Jaime Gonzalez, manager at San Antonio, Texas, metal record cavern Hogwild Records has passed away on July 4, 2015 after a long battle with cancer. For those who remember Jaime, he was an affable man who adored heavy metal and did not hesitate to extend a kind word to fellow metalheads. He will be missed.
Following up on Brett Steven’s review of Kaeck’s Stormkult, the present review starts off where he left off: the fusion of styles in Stormkult that are brought together under one unifying banner. The truth is that trying to split this album into its influences is almost pointless as it broke them down to such atomic and almost indivisible parts to build something that is completely their own. We may hear a trace of what Sammath or Kjeld sounds like almost only because we were told that members from these bands participate here. Otherwise, we would be hard pressed to find concrete influences.The previously mentioned review does a very good job at describing the album both in an evocative way, as in describing a picture and by summoning the presence of other bands as to give the reader some idea of how Kaeck goes about building their music, but in no moment does this imply that Kaeck actually sounds like any of them (except, of course, for the fact that they are all black metal).
Kaeck’s “sound” can be broken down into the layered functions that the instruments fill. First we have the drums at the bottom. These are used more like a heartbeat rather than a metronome. A typical background black metal drum pattern will keep the beat with standard beats, but here the drum patterns are reduced in such an intentional manner to something that can only be described as primitive battle drums whose sole function is to drive deep and resounding vibrations in the martial host’s body. Guitars distorted to the poing of disfugurement provide the thickness of the sound, notes and chords themselves being barely recognizable through the fuzz and chaos of frequencies bent to the whims of an unfathomable will. Riding the maelstrom of riffs comes a coarse voice which simultaneously commands us out of lethargic inaction and commends us to embrace the defying and righteous — though heretical — mission of the Angel of Light. A luminescence that, contrary to what the waylayer Paul would have us believe, is in all truth the true essence of that entity shrouded in damned robes of exhile. A garb worn as camouflage to avoid the tyrannical embrace that paralyzes thought from within in exchange for blissful mental atrophy. Echoing across the catacombs that serve as an imaginable setting for Stormkult we can hear a keyboard that outlines short melodic motifs counterpointing and delineating the whole in a loop, only changing with the tempestuous guitar and arising from within its bowels only to go back to them as a lost, desperate soul attempting to escape imminent destiny only be pulled back by a reality that admits no denial.
What we have now, is a static picture of Kaeck. But the enduring power of Stormkult resides in the living movement through temporal dimension that music is. Affirming dominance over the elements of music, bending them in an abuse characteristic of a necromancer trespassing the bounds set by divine order, we hear the violent plight of Godless Arrogance coming to fruition in the reining in of a beast of unnatural origin. The experience through which Kaeck hauls our terrified soul appears at first as an indistinguishable blur. It is only after our eyes have time to adjust in the dim light pushed into corners by an overpowering darkness that we see a pattern emerge in the frescoes on the walls splattered by blood old and new. And from the synchronized layers of sound we hear subtle transformations that a moment ago seemed to comprise only one motif in repetition. Once we latch on to the combat-inciting beats, and the voice guides us over the patterns of the riffs as the melodies produced in the keyboard and a soloing guitar move in and out of our field of view, we start to envisage this humble temple in all the dimensions conceived by its creator: the evolving motifs on the timeline as well as the entities represented in the melodies existing as reflections of the riff itself on parallel worlds.
While any music can rightfully pronounce themselves as comprising all necessary dimensions, seldom do creators actually think fully in all of them. It is usually the case that the whole is forgone to give prominence to one of the elements, no matter what is claimed. When the goal is the whole, all the parts are cared for in an obsessive manner in attention to how they affect the whole and not according to how they stand on their own which often leads to an imbalance in the relation of the parts that obstructs communication, for what is intended by the whole is either distorted or fades into the background to give way to the prominence of egos. These considerations must include the temporal relations of things, it is not just how the instruments in the present riff interact, but how they interact with different parts throughout the song. Balance, then, does not imply a static situation where everything is still as a result of equating forces pulling in different directions, rather, a stable condition is attained without which a clear direction would be very difficult to follow. And although one should also keep in mind that there is no one singular formula to approach composition, each tradition has its guidelines based on conventions without which music would only be what modern popular music wants it to be: personalized pleasure fountains.
Kaeck approach this ideal of balance in all dimensions from the particular filter of minimalist and raging black metal. In Stormkult the tempered voices of the outward chaos of late Sammath and the adventurous impulse of Kjeld are not just channeled but fused and distilled to the point where only the most basic of essentials remains. This is why although we cannot actually hear Sammath or Kjeld in the music (apart from predictable superficial observations like “the vocalist is the same” or “it’s also aggressive black metal”), their approaches to music construction — from the naturalistic violence of Sammath that defines consistent yet distinct riff-writing to the refined delicacy of movement of Kjeld provided by a melding of sections through simple yet perspicacious rhythmic and melodic devices that makes such changes almost imperceptible, Stormkult is the titan born of a god and a primordial monster.
This drivel sells under import prices when it is essentially repackaged American beer. Gone are the Dos Equis highlights of the 1980s, when XX brown was a thick flavorful beer that provided an alternative to the dreck on the big shelves. Now you get the watery drivel that happens when a firm decides to maximize profit based on the — not lack of information — low ability to discern shit from gold that identifies the average consumer. This liquid tastes pulpy and soapy and has low alcohol content, or at least low effect. It may be because if not drunk absolutely cold, it resembles the pulque substance they make in prisons more than beer. Any pretense that this is superior to Michelob are nonsense; it is a pale shadow of its former self, made fruitier and vapid so that Average Citizen Idiot can bob his head while listening to the “edgy” Ramones cover band at his local icehouse and talk up the fat women hanging like vegetative overgrowth around the bar, as everyone around him imitates past edginess in an attempt to seem like anything but the corporate stooges they are. Seriously, this is Mexican-flavored Miller Lite. Every burp feels like a vomit about to happen, except it is just the taste of this bilgy sweetened pond water masquerading as beer. Speaking of corporate stooges, this beer is undrinkable, unless you have already numbed your taste buds to the point of accepting the mediocre as the norm.
I’ve been meaning to write a review on Nadia for some time but even though, emotionally, I am deeply touched by this album, it has been impossible to bring myself to do so for this very reason: the overwhelming impression this music makes on me makes it difficult to develop an unbiased and piece-wise discussion. Listening to Nadia each time feels like falling in love once and again; one’s brain so full of endorphins that any effort to produce coherent verbal expression is rendered futile. I readily recognized this latent danger with Cóndor’s second album, Duin, and rather than try and present a crippled analysis, I embraced my impressions and came up with a description using everything that was on my mind at that point in time. The result was a mish-mash of philosophical and historical references, amateur attempts at designing metaphors and contradiction-based descriptions in the manner of mystics that pleased few people apart from myself and those in tune with that expression. More than a review, it was a picture of disjunct images. With Nadia, I have been afraid of not being able to give her everything she deserves. Just as we may shy away from a platonic love, a stalling of a well overdue caress whose occurrence suddenly becomes reality, inducing irreparable shock.
But now, the time has come to take on the undeferrable task of examining this portrait of romantic idealism and longing for a land and people that is not far from illusory. An admittedly Heideggerean notion of respect and admiration for an invisible essence or spirit that is found in all things yet in no single one at all. The related idea of technologies (techniques, approaches) as means to an end as the ungraspable static-immanent essence of things shone through in a sequence of truths that continually come into view and recede into the past permeates this album in its methodology.
First impressions of Cóndor’s debut invariably surround its stylistic menagerie and maudlin character. A basic technical analysis of an album like Nadia should be easy enough for most musicians to carry out successfully. Even without it, we can easily sight its modest means, perceive an almost too-sincere humility that becomes the target of disdain by those who have learned enough musicianship to play an instrument proficiently (and perhaps even developed the basic and undeniably necessary imitation-based creation skills) but not enough about music to grasp its essence, which they confuse with their own emotional reactions alone. One must not only become the receptacle of this essence, but one must also be equipped by experience, insight and meditations with a referential awareness that can connect the music to both its intentionality and context, judging its balance in accordance with its musical premises and contextual relations.
Here, I choose to avoid the incursions behind the the scenes of the music that a good review would normally entail, in fear of causing unnecessary degradation of the illusion that this artwork is in my eyes. This is not to say that there is a lack solid musical substance at the level of structures here. On the contrary, it is a sparse and opaque painting that transmits a story that flows from within the pigments in an ethereal stream of experiences that fade in and out of focus. We could go step by step in each song and show on a score (for a reference to patterns and structural framework) and with the recording (for references to dynamics and other performance-produced factors) how this occurs musically.
Many, many listens and a familiarity from the audience’s (rather than from the analyst’s) perspective with it may still reveal these ‘secrets’, but in a natural way and in due time.It is rather because of the modesty of the individual elements in the music that focusing on them would be an insult to the grand work that is produced from them. Furthermore, a too-detailed acquaintance with every implementation detail also runs the risk of causing the inability in the listener to properly distinguish the living spirit of the music: the unified whole. Deep familiarity with every gesture of the music from the functional point of view becomes an obstacle to perceiving it as ecstatic experience instead of as a collection of contraptions in a device. We must preserve the unified and spiritual dimension of art in mind first before diving further, which is precisely why it is paramount to go about analyzing music in a top-down manner.
In Nadia, Cóndor musically mirrored what the American continent represented for Europeans and other Old World immigrants after South American independence: a new vision, a new path that started at the meeting point of many other paths of distinct origins. This very nature that leaves undeniable traces in the structural dimension of its music, is what lies at the heart of my decision to not dwell in the minuteness of a melody or a riff. It is, nevertheless, worthy of our attention pointing out that the album is full of powerful and memorable such tributaries to its main current. In time the album reveals itself as unified in meaning and style, the erroneous perception of disalignment receding from perspective and displaying the mosaic that makes up the condor’s own featureless figure.
While the special acknowledgement to Felix Mendelssohn in the credits of Nadia may puzzle some and amuse most, the key lies in understanding the album’s relation to the romantic composer’s Violin Concerto in E Minor, Op. 64. Alas, contrary to what one may expect, Nadia is more dependent on the concerto by Mendelssohn than even Duin is on Smetana’s Die Moldau. But the dependence manifests itself in a different dimension. In Duin we find a band that is differentiating itself, its expression becoming more and more distinct. It is a metal oeuvre utilizing and manipulating Smetana’s melodic themes for its purposes. The first album, on the other hand, took a hint from the Mendelssohn’s concerto as a seed for a physically (structurally) deeper motivation in the music: it learned from it a way to build and structure music, its way of carrying music through. In fact, like a concerto, Nadia is replete with solos that for very long spans of time are actually the music itself while the rest of the instrumentation plays the role of emphasizing and coloring in a sparse and laid-back manner to the point of being strongly reminiscent of the classical way of going about this which reduces accompaniment in many middle sections to almost complete silence.
But Cóndor is careful enough as to not mar its spirit in search of a foreign inspiration and template for structure. Despite all the interludes which are the backbone of the album, the importance of riff sections as tutti sections in a concerto is still prominent and on equal ground as the solos themselves (differentiating itself from both the concerto and from traditional metal methodology). In this and many other ways, Nadia thus remains decidedly a metal album that wisely and inspiredly uses metal and rock techniques with a classical approach to structure within a metal framework and use of texture.