Sadistic Metal Reviews 05-24-2015

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Purging the releases by posers, the hipsters and the lowlifes from metal is the only way to rise from the decadent state of affairs and into glory. This is why Sadistic Metal Reviews exist in the first place. Slaughter them!

Blastomycosis – Covered in Flies and Afterbirth (2015)
Ignoring the stupid band, album and song names which already betray not only the intention but easily distracted mind with a penchant for gore themes that make little sense, the music they represent is as aimless as it is self-indulging in the most base of manners. Consisting in a quasi death metal which underneath is more akin to deathcore, Blastomycosis builds excuses for songs on changing basic rhythms that have become a staple of that sorry sub-genre. Filing rhythmically catchy and extremely simple riffs long enough to fill up space to say all the ridiculously disgusting things these subhumans want to say, I am reluctant to even call this music. Even if we could take this as grindcore, it would fail, as it lacks the forward momentum and drive of that style.

 


Druzhina – Third Henosis (2015)
While not outright offensive to the sensible music listener, Druzhina make the kind of music that is too moment-based. The band knows this type of Slavic power – pagan – black metal has to allow the listener to fall into each moment, letting each melody become part of the familiar landscape. However, like most second-rate bands, it lacks the long-distance vision of musical construction that knows where it is going. Instead of going somewhere, developing in any significant way, Third Henosis sort of just floats where it first appears. A still image of Slavic sorrow.

 


Insane Mind – Strip Club Cannibal (2015)
As the name implies, yet again, this music is pure ironic brutal posturing. I believe that the IQ necessary to like this is limited to around 90. If you even slightly above this, the stupidity of this “music” will be too unbearable for you to stand more than one of these songs. Like the Blastomycosis above, there is little to say about their lacking songwriting. A useful note here would be to point out that much more elaborate bands like Ara basically use the same nonsensical template, except that the upper levels of the music are refined and details are many times more polished than this embarrassment of an album.

 


Leere – Bleak (2015)
Beware of self-pitying, crying black metal. It isn’t black metal at heart, which is why the musical style displayed is more of an imitation than a proficient elaboration. Black metal builds on repetition, not only changes to maintain an atmosphere. Some excellent black metal writes about desperation and madness, but it never falls into the emo-sobbing we hear here. Incredibly boring music for depressive people.

 


Nikharsag – The Blood of Celestial Kings (2015)
D-beats, descending-bass progressions, catchy and melancholic melodies over power chords, this is the late At the Gates – inspired death metal. As a result of the voice, some cliché use of chords and rhythms, someone may want to say this is black metal, but it really isn’t. They even try really hard to make this obvious by inserting unimpressive but recognizably black metal sections in the middle of the song. The songs end as uneventfully as they begin, having gone nowhere. While retaining some decency, The Blood of Celestial Kings is ultimately a forgettable affair no metal fan would want to listen to a second time.

Nekromanteion – Cosmic Horrors (2015)

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Cosmic Horrors is a Lovecraft-inspired affair standing somewhere between the primitive black metal of South America and grindcore-influenced death metal. Unlike most bands that could fall in this general description that encompasses a common cliche in underground metal, Nekromanteion stand out as a focused band making music balancing music aesthetics with a drive and intention that seems to lead the music, rather than the common mistake of letting the outer traits themselves dictate the music.

 

Displaying a progressive tendency in construction within healthy bounds alongside a reserved and rough technical expression, Cosmic Horrors present us with the ideal “atmospheric” death metal that war metal bands, for instance, are trying to deliver. The mistake of these or other atmosphere-oriented death metal bands like Phobocosm is that they are too steeply bent on trying to make the music have this effect. So much that they push the music to become the mood itself. Nekromanteion keeps a balance between evocation and satisfying musical aesthetics, which together have resulted in an outstanding EP.

 

Necrophor – Exterminatus (2015)

Cover
Playing a black metal with structural tendencies that border on death metal, Necrophor delivers mid-paced songs grounded in orthodoxy in terms of technique and construction but taking the listener to unexpected places within this expression. The mid-paced characteristic of Exterminatus should be emphasized because this allows the band some leniency in regards to the types of riffs it will use. We find a very few chug-based moments that are just enough to serve as a neck between sections and only as accompaniment for measured time spans. We also find the typical moving minor chords that have become a staple of black metal. Strummed sections, slight tremolos, picked chords also make an appearance in this release.

 

Necrophor’s composition capabilities cannot be overstated in regards to the way all these techniques are integrated as hues in the artist’s arsenal. Too often do we see bands falling and depending on a particular technique to automatically provide the music with all it needs. Necrophor, on the other hand, are using the techniques to mold a vision that has been captured in the mind’s eye first. It isn’t only a matter of planning and intention, the technical capabilities of the band as arrangers are absolutely necessary for the elements in these songs to blend as they do. Exterminatus represents an excellent example of a band creating music inside to outside, not only because of the way these techniques were brought together to shape the music, but because they also seem to revolve around one point, a mood that changes character naturally and never too abruptly. A release that will definitely fly over most heads because of the production style not fulfilling brutality requirements and not being frost-bitten enough, or for the musical style not being close enough to a clone of a classic or a complete trashing of influences, Exterminatus is one of the most artistically accomplished releases I have had the pleasure to listen to from 2015.

 

Deiphago to release new album

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Filipino violent black metal band Deiphago are set to release their new album, Into the Eye of Satan, on August 7th.

Tracklisting for Deiphago’s Into the Eye of Satan
1. Intro: Abomination
2. Evil and Adverse
3. Bloodbath of Genocide
4. (6 x 6 x 6) / 3
5. Serpentine Anti-world
6. Calculated Acts of Cruelty
7. Red Dragon of Chaos
8. Ritual Death of the Enemy
9. Into the Eye of Satan

 

Encyrcle to release new album

encyrcleDanish Power-Speed Metal band Encyrcle will be releasing their new album on June 2. You can listen to a preview of the album on Soundcloud.

While the label and the media would have you believe the band is playing some innovative form of mixture of genres, this is a laughable marketing attempt at disguising what is just a band playing a refined and expertly played Speed Metal in the vein of Epic Power Metal full of hooks.

 

 

Deathrite to release new album

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German Death n’ Roll band Deathrite will be releasing their new full-length album Revelation of Chaos on July 24.
Featuring artwork by Mark Riddick (Mutilation Rites, Aborted, Fleshgod Apocalypse), the band’s 10-track label debut was recorded, mixed and mastered with Jan Oberg in Berlin at Hidden Planet Studio (The Ocean).

The album’s track listing is as follows:

1.  Melting Skies (2:57)
2.  Circle of Destruction (2:23)
3.  Determinate To Rot (4:55)
4.  Toxic Hammer (3:32)
5.  Mayhem Remains (3:28)
6.  Wrathbringer (3:03)
7.  Salute To Death (1:57)
8.  Swords and Revolt (3:35)
9.  Predator (3:29)
10. Infernal Domination (4:59)

A video teaser for the new album can be seen at this location.

Sadistic Metal Reviews 05-23-2015

burncarcass

Sadistic Metal Reviews: Uncompromising judgement and merciless punishment for the mediocre, the pretentious clueless and the posers. The releases shown here could be seen by kinder eyes as “not truly bad, just amateur imitations of better albums”, but those kind eyes fail to see the true evil of this plague. What do you do when the health of specimens is compromised beyond repair and they threaten to bring decay to the rest of the group? You round them up you end their misery.


Biotoxic Warfare – Lobotomized (2015)

Lobotomized is one of the most difficult albums to judge when releases go through the first quality test on DMU because it is not an outright offensive album, the production is satisfying and does its job appropriately, the songs are not messy and the musicianship is appropriate. Then, what is the problem? Biotoxic Warfare cover the basics. Songwriting 101, if you will.  But that is not enough for art. Each section appeals to a cliche. Furthermore, the music is advanced through rhythmic hooks. These two things together are basically the engine of this music. It is basically cheap metalcore that does not know how to end songs. They put some cool and simple catchy leads together with some pumping rhythms and then call it a day. Average trash.

Cromm Cruac – Senecio (2015)

This music is as funny as the name. Pretentious in the way only pseudo-prog speed metal can be, Cromm Cruac play carnival rhythms that change every half a minute, only to introduce a meaningless, long, emotional melody. This is one of those mindless acts that in confused masturbatory delirium confuses randomness with open-mindedness and exploration. Exemplifying the fraudulent “experimental” genre tag, Senecio is an insult to music composition.

Infection – Acrotomophile Mutilator (2015)

Cannibal Corpse – influenced nonsense. Death metal deals with reality. Impending reality. Especially the heavy reality beyond human affairs or complete human control: death, violence, madness, strife and even abuse. But when this is made into an ironic joke it becomes a cartoon that cannot be taken seriously. The intention that goes into the topic and lyrics of a musician inevitably influences the music. Just as the embarrassingly pointless gore lyrics are offensive to the intellect, so is this average death metal full of tropes lacking in any major goal beyond “having fun”. Far from being “brutal”, this should be labeled moronic death metal for the brain-dead.


Nocturnal Depression – Spleen Black Metal (2015)

Beware of bands named after pathetic emotions and generic album names and covers as they betray a lot about the intention of the band. A band that understands repetition of riffs only for what it superficially entails, Nocturnal Depression play an aimless sentimental black metal consisting of a few riffs per song that do not precisely continue or build after each other but are just chosen for their tongue-in-cheek sweetness bordering of self-pitying whining. Uneventful and boring black metal that exists for the sake of existing, not because it has anything to communicate beyond a lolita’s self-centered quiet emotional manipulation.


Ygodeh – Inside the Womb of Horizonless Dystopia (2015)

Why this was labelled grindcore is beyond me. Its defects are those of most terrible music. Which is at least 90% of the music out there. Aimless music writing, self-absorbed individual sections that mean nothing in the larger context. The point of each of the tracks is to introduce a mood. Very cliche and in the style of modern soundtracks that put together rap, electric guitars, synth-strings and electronic music, Inside the Womb of Horizonless Dystopia is aptly name as it represents some of the worse outcomes of lacking songwriting. Having no horizon at all and reflecting the expectations of a mainstream audience rather than having something to say, this is a collection of preludes to nothing.

On The Underrating of Recognized Classics

chaosHeresy

Two of the most pervasive topics in metal are the “underrating” and the “overrating” of a band or album. Given that most people are prone to confuse their emotional attachment to music with a sign of its quality, most of these claims are specious complaints that reflect the need for acknowledgement from other people as a fan more than anything else. Claims of “underratement” usually occur in regards to cult bands, and less often, to personal favorites that should be recognized by each fan as a mere guilty pleasure. Statements of “overrating”, then, comprehensibly come about when a disgruntled fan wants to bash any band that does not appeal to him, independently of the reason.

 

However, when leveled as a result of balanced, informed and insightful judgement, these observations become meaningful in that they have solid foundation and a motivation outside selfish emotional need for attention. Contrary to popular opinion, these arguments only need to be based on objective observations but need not be objective in the full sense of the word themselves. The reason for this is that the concepts of objectivity and subjectivity represent a false dichotomy inapplicable in the context of art appreciation. Appreciation rests outside any single preference, it always lies outside the emotional reaction of any one person, but is nonetheless attached to a social group’s set of principles. And principles are a human construct, not tangible, objective reality. In other words, it entails the individual perception through the lenses of convention of objectively observed qualities.

 

Art appreciation can be reduced to the appreciation of beauty. The concept of beauty has always been a complicated one, and like anything complicated, it gets reduced to the absurd by small minds that feel the need to fool themselves into believing they have everything under control. A sense of what is beautiful rests on what is considered to be good taste. The nature of both beauty and taste is neither objective nor subjective. If it were objective, beauty would be a hard, flat fact measurable by scientific instruments, and not the esoteric – perhaps mystical – sign existing completely and individually in meaning, perception and medium but also in the whole of an object, all at the same time. A divine omnia in omnibus, as it were, perceptible to the unconscious but only vaguely grasped by the conscious as an ethereal idea. The duality that implies being human,  having one eye on time and the other on eternity. On the other hand, if it were subjective, it would be completely pointless to talk about beauty or taste, as these would be demoted to euphemisms for what is simply our personal preference.

 

It is therefore, unsurprising that beauty is sometimes linked to the presence of the divine, and therefore of that which is natural, full of meaning and in balance. Again, simplified misconceptions come to distort each of these and in an increasingly individualist society that is just so for the sake of individualism itself, renders them powerless, trapped in small containers as catchwords for egotistical affectations. In other words, beauty has indeed been stripped from its cosmic framework and taste has become personal rather than communal. Both have lost any of the usefulness they had for communication of hermetic meaning.

 

This egotistical individualism is deeply entrenched in group-oriented thinking, paradoxically self-indulging as it is unoriginal and lacking in personal identity. This is to be expected since unthinking compliance to the system goes hand in hand with a deep-rooted cowardice of the mind. So, taking refuge in the rise of science, humanism and tacit nihilism, our brave new world does away with meaning as it has forgotten why man created it in the first place. Our modern society, contemptibly lacking in any courage to face reality and the pressing matters of our times, turns away from an understanding of the transcendent in favor of self-validation.

 

Art and its appreciation suffer first in this headlong plunge into the shadows. The reason for this is that art (artificial) arises entirely from man-given meaning. The greatest art has always had the power to communicate and bring forth an awareness of enduring meaning through individually-perceived universal truths of the human condition. Forsaking the use of any actual meaning in beauty, and consequently in art, music becomes a vulgar tool for individual satisfaction.

 

While quiet deference is directed towards names like Yes, King Crimson, Black Sabbath, Slayer, Bathory or Morbid Angel, my experience tells me that most fans who hold these bands in some kind of respect do not understand half of the reasons why these bands are great. The case of directly disrespected and underrated but equally excellent art like that of selected works of Burzum or early At the Gates is a different although related matter into which I will not go here. In the meantime, let’s turn our attention to canonical works of the metal underground.

 

It seems rather unfortunate that after achieving canonical status in any genre, a classic work is condemned to be defiled in two stages. The first is one in which the cause and effect relationship between being a classic and achieving canonical status is not inverted but flattened, the popular conception of the relationship between the terms being one of equality and interchangeability. Something then happens as a direct consequence of this misunderstanding along with an ignorance of the nature of classical works at several levels. In this second stage the distorted image of what being a canonical work implies is rightly questioned, resulting in an at least partial repudiation of their validity. The term classic is then also demoted into a euphemism for “what many/most people like”. Equating popularity with quality in art is a direct consequence of the loss of meaning discussed earlier.

 

This is why it is important to clarify what is originally meant by classical. It is closest to the condition of being an epitome, except that this latter term is neutral and can signify an accurate representation of the qualities of a group or classification. Classical refers to the highest degree of excellence in regards to quality, which implies distinction, perfect balance and adequacy in a work within its genre. Disquieting as the perversion of this concept is, simple and effective education coupled with the audience’s willingness to let go of their ego would be enough to remedy this situation. As with many things, it is easier said than done.

 

An additional third stage also bears mentioning which can then be appended to the steps in the process of decay in the perception of classic works. After the flattening and disavowal of the aforementioned terms has taken place in the collective mind, a confusion ensues which brings forth the nominating of undeserving artists or works into what used to be a pantheon of the gods. As I see it, there are two main ways in which this happens. The first was already mentioned, very popular works are inserted into the lists by virtue of their popularity itself. The other is the result of the backlash classic works receive from the lack of understanding towards their classic status. The original and true classics are reduced by a narrow-minded audience with a lack of depth perception to a collection of tropes to be imitated. A collateral effect of this in metal is that after a certain amount of time, since the audience cannot understand what a classic actually is, seniority is equated with relevance and quality, and then novelty is equally mistaken for innovation.

 

Without control or awareness, these things happened lightning-fast in progressive rock and metal, accounting for the extremely fast evolution of metal genres running away from the mainstream limelight and into increasingly obscure territories. Giants like King Crimson, Yes, Emerson Lake & Palmer and Genesis were then piled up with second-raters from all over the world. Nowadays it is customary to see Rush, Camel or Jethro Tull mentioned besides the first. Childish and musically wanting works belonging to the catalogues of Schuldiner’s Death and Cannibal Corpse even take precedence over the monumental early Morbid Angel. A closer and more knowledgeable and perceptive look into the qualities of their works reveals an enormous chasm in musical excellence and refinement separates them. They belong to completely different worlds.

 

Metal is encumbered by an additional hindrance: a recurrent appeal to cavemanish foolishness by the audience. This is the belief that as an essentially underground movement, metal is a blue-collar music which needs to be kept rough, dirty, mean and, well, ignorant. It is a combination of something similar to communism’s appeal to the true sense of the young masses and the testosterone posturing of a macho Homer Simpson. This idiotic claim basically consists in the stereotype that metal’s nature resides in young and unlearned spirit which yearns for adventure, rebellion and hedonism.  They do not realize that these are closer to the hippie ideals than to the true metal spirit which actually resides in a warrior’s mysticism that stares reality in the face without losing sight of the transcendent.

 

While metal needs to grow up and continue in its journey towards higher peaks, it must do so through a profound understanding of its roots and thereby a correct appreciation of its own classics and an embracing of its core and true ideals. The mainstream would have metal become a compliant rock music in disguise, an edgy but safe expression of castrated dissent. Absorbing or becoming other genres is not progress, it is only regression or distraction. This must be rejected at all costs and a unique path into the maturity of the genre must take place in a truly forward-looking but conservative manner. Metal has always made its most significant strides in those albums which on the surface seemed orthodox but which brought meaningful innovation at the level of musical thinking, information and communication. It was not the experimentalists who revel in the strange, the unexpected and the new, but the disciplined adherents to the tenets of metal who look for their own voice while keeping the spirit of Vir at the heart of the music who move metal forward.