Paradise Lost releases “No Hope In Sight” from The Plague Within

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Seminal heavy metal/doom metal band Paradise Lost will release The Plague Within on June 1, 2015 in Europe (June 2 in USA) through Century Media Records. During the early 1990s, this band inspired death metal and black metal bands to experiment with layered melodic lead rhythm guitar over distorted power chords, and to this day holds a position both close to popular music and using underground technique.

Paradise Lost comments: “Check out the first track from our new album ‘The Plague Within’. ‘No Hope In Sight’ was one of the first tracks we wrote and it reflects a blend of styles. From death metal to gothic to classic rock. It’s like all eras of PL wrapped up into one track. We hope you all like it!”

“No Hope in Sight” follows a familiar format, which is as much Iron Maiden as Black Sabbath, using melodic hooks contrasted by slow bass-heavy chord progressions in an extended pop song format that made its debut back in the early days of MTV. The result is infectious and on the lighter side, but dark enough in spirit to attract Gothic and metal fans alike who enjoy well-composed straightforward music.

PARADISE LOST live:
29/05/2015 – Rockavaria – Munich – Germany
30/05/2015 – Rock im Revier – Gelsenkirchen – Germany
18/07/2015 – Castle Party Festival – Bolkow – Poland
15/08/2015 – Summer Breeze – Dinkelsbuhl – Germany

Century Media re-issues Gorguts Obscura and From Wisdom to Hate

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Century Media Records has recently re-issued the death metal classics Obscura and From Wisdom to Hate by Canadian band Gorguts. The 2015 editions of these records were created in close cooperation with guitarist and songwriter Luc Lemay, who describes the history and context of these releases in accompanying liner notes. The re-issues are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002).

GORGUTS Obscura (Re-Issue 2015)

  • Gatefold black 2LP
  • Gatefold mint 2LP – limited to 200 copies (only available via CMDistro.com / Europe only – sold out in the US)
  • Gatefold lilac 2LP – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Gatefold transparent blue 2LP – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)
  • Standard Jewelcase CD (offered at mid-price)

GORGUTS From Wisdom To Hate (Re-Issue 2015)

  • Black LP+CD
  • Silver LP+CD – limited to 200 copies (only available via CMDistro.com / European & US webshop)
  • Transparent red LP+CD – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Clear vinyl LP+CD – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)

To order:

The historical background of MetalGate

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From a recent interview with our editor:

You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?

These metal albums have stayed in weekly rotation over the years:

  1. Massacra – Final Holocaust
  2. Slayer – Show No Mercy
  3. Incantation – Onward to Golgotha
  4. Sepultura – Morbid Visions/Bestial Devastation
  5. Deicide – Legion
  6. Beherit – Drawing Down the Moon
  7. Cianide – A Descent Into Hell
  8. Atheist – Unquestionable Presence
  9. Demilich – Nespithe
  10. Demoncy – Joined in Darkness

The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.

I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.

What contemporary bands should we be paying attention to?

In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.

Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?

SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.

Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.

Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.

When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.

Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.

Grotesque In the Embrace of Evil plus At the Gates Gardens of Grief re-issue

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Hammerheart Records will re-issue Swedish black/heavy/death metal band Grotesque In the Embrace of Evil plus the first release of the band which shortly succeeded it, At the Gates Gardens of Grief. These will be released on vinyl on August 21, 2015.

Grotesque, like Merciless, Morbid, Slaughter Lord, Tormentor (Hungary) and Sarcofago, represented an interstitial state in black metal where bands still in the style of older speed/death like Possessed moved into a sound that approximated black metal without the musical developments of the full genre as came bursting out of Norway shortly afterwards.

When members of Grotesque moved on to form At the Gates, they took their music more in a direction of melodic black metal, starting with their first EP, Gardens of Grief, which showcases their unconventional approach to songwriting and solid melodic development.

Should metal be a hobby or a career?

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A recent article on Gene Simmons observed the following:

Rock star Gene Simmons says that when it comes to making money he is like a great white shark.

And that despite being worth more than $300m (£200m), he will never stop wanting to make more.

…”I’ll never stop hunting more money, I’ll never have enough.”

On the other hand, many excellent metal bands are probably clearing $300/month in royalties or less. At that point, we tend to call the making of metal a hobby and talk about their day jobs. The advantage to that approach is that the metal can remain un-tainted by commerce and with consumerism, the need to appeal to an audience by jumping on trend bandwagons or otherwise showing them what they already know they like, sort of like how baby food is ground-up vegetables.

Looking at the other side, it must be nice to be worth $300m and to have the power to do great things with that. Maybe Mr. Simmons has done so. But one might think that at some point, the money becomes more important than the music, which turns metal away from its mission of brutal realism and makes it a friendly, happy, warm and fuzzy product like your average American beer or hamburger.

Perhaps a middle ground exists, where fewer metal bands make $300m but also fewer worthy metal bands subsist on $300. Most metal musicians would be very happy with $60-80,000 a year. They tend not to be materialistic, except for collecting vinyl and guitars, but in the grand scheme of things those aren’t very expensive.

#metalgate: SJW-controlled Metal-Archives.com censors realist reviewers

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SJW-controlled site Metal-Archives.com, famous for its desire to regulate what is “metal” and exclude non-leftist viewpoints from the site, has deleted user “bitterman” who gained notoriety for his realistic, masculinized reviews which expressed extreme intolerance of insincere, manipulative and mediocre metal. All of the writings of this person are now removed with no chance for the user to recover the hours of effort he put into the site.

Bitterman made a name for himself for thoughtfully but viciously reviewing the excess and stupor of contemporary metal, using a somewhat tongue-in-cheek “metal warrior” style as he skewered perpetrators of false metal like Watain. According to one commentator, “he paid the price for holding for-profit poseurs to the same standards as Onward to Golgotha and early Burzum” because of his vicious attacks on all that pretended to be underground metal and failed. Many of Metal-Archives.com’s staff are gamers who undoubtedly are aware of the SJW incursion into gaming that prompted #gamergate as well.

Wherever SJWs go, they censor all that is natural and right: masculinity, warfare, conflict, elitism, quality and excellence. Then they replace these with twee indie-rock metal hybrids and a policy of “acceptance” that rejects quality bands under the same excuse that Wikipedia uses, “notability,” while promoting the kind of hybrid dreck that 90s underground metallers would have thought belonged in the bin with Sonic Youth and Rites of Spring, not raging death metal and black metal.

Again we see the problem of allowing SJWs to infiltrate metal through media as, using that power, they change what it means to be “metal” while trying to purge metal of what makes it unique. At the end of this agenda, they will create a neutered form of metal-rock that will promptly collapse because it lacks all of what makes metal appeal to its audience, and the genre will collapse like the Soviet Union or Pol Pot’s regime. The SJWs will not care, because they got their 15 minutes of fame.

Thantifaxath – Sacred White Noise (2014)

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The audience for this album are the same people who are fooled by magic shows at carnivals, speak in tongues at revivals, buy the latest iGadget sight unseen, and smoke in bed. If you claim to like this album, you are either not paying attention or merely a fool. Like every sell out, it is designed to cater to the lowest common denominator, which generally recruits idiots.

Thantifaxath combine trivialist “progressive,” minor key black metal riffs, and indie rock to make what they call “depressive suicidal black metal.” Songs start with basic black metal-ish riffs, but instead of featuring a varied internal texture, these are uniform with an equal number of strums per chord and chords generally changing on the beat, creating a drone effect. The band then play “progressive” riffs that amount to showy but not all that complex guitar and sonic technique used as distraction, and then get to the main point, which is minor key indie-rock riffs that feature the hook to the song. If you can imagine LSD guitar practice plus a basement black metal band ending up in a cover of someting off Daydream Nation, that is the sum total of Thantifaxath.

While the sin committed by Sacred White Noise is insincerity, its musical failing comes from being essentially contentless and relying on fireworks or pop techniques to fill in the void. What does this album communicate? According to people who claim to love DSBM, they find an emotional rush from this in realizing how horrible life truly is. But how is that different from emo? Late 80s emo achieved the same thing but it kept the pop more visible, so it could cry through the tears, as the saying went. This band wallows in its sadness and then plays random music over the top to distract from how fundamentally simple it is.

Thantifaxath use questionable “black metal” riffs. The riffing is essentially static such as that which bands like Nile or Necrophagist used, where the point was to play a chord in a certain rhythmic pattern and then add an extended fill so it seemed like a death metal riff, despite having more in common with Elvis or Lynyrd Skynyrd than death metal. These parallel the “progressive” playing, which seems to focus on finding a whacky guitar technique (whacky: odd, ironic, rarely used — because it is useless for expressing anything but musical confusion) and repeating it at different notes quickly and erratically. Sometimes this becomes comical when these patterns resemble familiar phone numbers or radio jingles. Its indie rock is clearly its heart, because the full melodic hook comes out here, but it does not distinguish itself from thousands of other bands in this area.

In summary, Thantifaxath create directionless melodic wandering at a slow pace with a hookish atmosphere in three styles, doing none well and fooling only those who have no particular ability to pay attention for prolonged periods of time. At its best, its melodies resemble the wandering style that Celestia brought out, but this style owes more to lack of purpose than to any idea or feeling it communicates. An astute observer will notice that for all of its supposed variation, this album expresses only one mood and it never changes — only is interrupted by distraction — and that it applies technique uniformly to create sonic wallpaper from even the most “different” pieces. To its audience, who apparently are so deep in self-pity that “depressive suicidal black metal” seems important, I have a word of advice: cut harder.

A brief history of the Death Metal Underground

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In response to recent questions, I present the following (brief) history of the Death Metal Underground:

The predecessor of the Death Metal Underground, the Dark Legions Archives, started as the project of a hacking group back in the 1980s of which I was a member. Most people did not use computers and saw them as “totally uncool” and for nerds only. A loose network existed of bulletin board systems (BBSs) which were accessed by using a modem to dial over phone lines and connect to another computer. These offered information in the precursor to web pages called “g-files” or “text files” which were ASCII documents containing information cribbed from other sources or written from personal experience. Many of these were of a hacker nature, describing the workings of the phone systems and different computer systems, but others focused on music. Crossover between the hacker community and the metal community occurred frequently since many middle-class kids had access to C-64 or Apple II computers. I describe this event in my article “Hacker Metal”, which talks about how a lack of information prompted hackers to share files about metal.

Free speech became an important issue. BBSs were individual property and system operators (“sysops”) often deleted messages or users that disagreed with them. This was my first glance at the tyrant present in ordinary people and how even the best rules failed to prevent it. For example, some sysops formed an alliance of free speech boards, and their first act — before the digital ink was even dry on the words “free speech” — was to determine what speech was acceptable and what was not. The vast majority of users simply saw the words “free speech” and took it at face value.

This hacking group appeared one evening through the work of a small group of people. We wanted to make a force for free speech and rebellion against the choking society of the 1980s, which was caught between its 1950s commercialism and its 1960s libertinism. While contemporary writers often focus on the political aspects of the 80s, the real story was in the massive social conflict going on at this time. We ran a series of boards on which you had actual free speech. We let anyone post anything. This meant that perfectly ordinary political discussions overlapped with the release of hacked information and any number of radical theories, including anti-government sentiment, violent atheism and blasphemy, racialism, Satan-endorsing metal lyrics, Communism, and holocaust denial. It was like getting launched into the roughest crowd that one can imagine, where self-described intellectuals rubbed shoulders with complete society dropouts who lived under bridges in the light of their monitors. We were fortunate to have as users not only members of one of the most thriving hacker communities in the world but also students from nearby universities and advanced placement style high schools. This was a brainy bunch but they were not prone to following rules. Since that time, I have viewed this kind of “free speech” as essential to actual communication, and it has made me wonder how much privileged information actually needs to stay secret.

The files that I had been writing since the mid-1980s on topics ranging from anarchy to hacking to heavy metal had attracted an audience back in the BBS days, specifically on a type of single-password BBS called an “AE” (for Ascii Express, the software that allowed the standalone mode required to achieve it), continued to find an audience. A site named the “Metal AE” was a world-wide HQ for metalhead hackers back in the day, and I started posting them there. As technology proliferated, I moved the files to an anonymous FTP site, then a Gopher site, and finally to a web site. At first it was a simple server running on one of my computers, but later, it moved to commercial hosting. At this point, the “free speech” notions of our group began to conflict with the need of commerce to control its public image by avoiding the type of “offensive” material that it hosted. For the next decade the site moved constantly as complaints drove us off ISPs and free hosts.

As time went on, I saw that people were reading the philosophy writings as much as the metal ones. I had pioneered “e-zine” or electronic zine publishing, combining 1980s g-file culture with the rising indie music zine scene, with a literary publication called “the undiscovered country” during the early days of the 1990s, but now, I began publishing in a style that would later be assimilated by web logs. I wrote small essay-screed hybrids and posted them to the web site. The essay form took inspiration from early French and American writers who put together pamphlets and newspaper articles in which they argued strongly for a mixture of political and social changes. As a result, these essays did not resemble the kind of conversational material that most people posted to their internet sites, in which they intermixed personal events with political or social analysis, and that enraged people even more, which encouraged me to work with more extreme ideas. This is why the Dark Legions Archive in the early 1990s was a bizarre mixture of occultism, death metal, trolling, blasphemy and realist philosophy.

If you, Dear Readers, have further questions based on the above, feel free to ask them in the comments.

Wülfskol Hellshock 7″ released for Record Store Day

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Imprecation composer/vocalist David Herrera unleashes his new project, Wülfskol, with a 7″ entitled Hellshock which has been released in time for Record Store Day (today). To kick off the release, the band is handing out free copies of a CD version of their songs at local record stores in their hometown of Houston, TX.

If you are at Vinyl Edge or Sound Exchange tomorrow, pick up a free Wülfskol cd while you are there. There will be 20 copies at each store, with 2 songs “I Am The Devils Blood” and a cover song of the Dwarves “Satan”. Hails!

The band, which describes its music as “songs in the tradition of early Bathory, Sodom, Misfits and Broken Bones. All about drugs, death, and the Devil,” also released cover artwork for the new release by underground artist Daniel Shaw:

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This might kick off Record Store Day 2015 with a bit of a celebration.

Molested Blod Draum and Stormvold reissues inbound

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The classic releases from pre-Borknagar death metal band Molested will see re-issue on Dark Symphonies Records in their original form. The 2009 re-issues on Galgenstrang Produktionen and Ars Magna Recordings provoked criticism for their modern, compressed and loud sound that some felt reduced the clarity of the original.

Known for being a boutique label that re-issues classic metal releases on vinyl with collector-friendly exclusive packaging, Dark Symphonies Records and its imprint The Crypt have decided to issue the Molested re-releases as jewelcase CDs. These include bonus tracks on Stormvold and will be faithful to the original recordings. Dark Symphonies Records released the following statement:

DARK SYMPHONIES / THE CRYPT is honored to work with Borknagar mastermind Øystein G. Brun to reissue official stand alone CDs of the brutal, classic debut album “Blod Draum” and the classic EP “Stormvold” from the legendary Norse death metal act MOLESTED.

We are proud to announce that we are working directly with Øystein to obtain a wealth of material. “Blod Draum” will include the original film negative of the cover artwork for best visual presentation, unpublished band photos, lyrics and new liner notes. The CD will include the original 1995 studio recording, which was carefully mastered from the original DAT source as well a revised version of the album, which will be remixed by Øystein from the original multi-track studio tapes. This CD is designed after the original 1995 CD release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.

“Stormvold” will include the band’s “Stalk the Dead” and “Unborn Woods in Doom’ demos. Including the original cover artwork, unpublished band photos, lyrics, new liner notes and the original 1997 DAT tape for the Stormvold audio source and original analog tapes for the DEMO audio sources.

“Stormvold” will be presented as a metallic gold printed insert and will be designed after the original 1997 Effigy Productions release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.

No date has yet been announced for these re-issues.