Centinex releases Redeeming Filth

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2015’s Redeeming Filth
, the successor to World Declension (2005), was recorded at Amplified Studios and mixed & mastered at Garageland Studios by Ronnie Björnström (Aeon) during the spring of 2014. Album cover has been created by Twilight 13 Media (At The Gates, Arch Enemy, Darkthrone).

Tracklist:
01. When Bodies Are Deformed
02. Moist Purple Skin
03. Death Glance
04. Stone Of Choice
05. Unrestrained
06. Bloodraze
07. Without Motives
08. Rotting Below
09. Dead, Buried and Forgotten
10. Eye Sockets Empty

Line-up:
Alexander Högbom – vocals
Sverker Widgren – guitars
Martin Schulman – bass
Kennet Englund – drums

The album  is available in: digipack CD, digital format, black vinyl, limitedbrown vinyl and digital formats.
CD/LP/TS/LS:
http://tinyurl.com/CentinexOrder

Digital copies (via Bandcamp):
https://agoniarecords.bandcamp.com/album/redeeming-filth

Follow the band:
https://www.facebook.com/Centinexofficial

Agonia Records:
http://agoniarecords.com
https://facebook.com/agoniarecords
https://twitter.com/agoniarecords
https://soundcloud.com/agoniarecords
http://youtube.com/AgoniaRec

Zealotry – The Charnel Expanse

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Boston’s Zealotry made a startling contribution to death metal in 2013 with their debut album The Charnel Expanse. Plodding, grim death metal inspired on the vague harmonic coloration of Immolation, the watery flow of tremolo-picked melodies of Adramelech and the syncopated off-feeling of Demilich. A non-explicit disciple of the abstract concepts underlying the strong and clear structural construction in the death metal of At the Gates’ Gardens of Grief, Zealotry’s offering makes strides in the direction of the ideal and whole technical death metal.

A superficial glance over the record can give the impression that this is a retro band and that this is an “old school death metal” record. The only truth in that remark lies solely on the fact that Zealotry picks up where old school bands left off before death metal hit rock bottom in the mid 1990s only to branch out helplessly in a multitude of retrograde subgenres. Zealotry shows us the way the obsession with technique and extremity in performance of the genre at the time (which became its focus roughly after 1992) could have been channeled into the sculpting of true works of art rather than demonstrations of narcissism and inadequacy.

Condensed into one sentence, the reason why this effort falls short of its mark is related to the how monumental that goal is. Were they to pull off the record they were looking for, it would have single-handedly given the current death metal landscape an example to follow and at the same time it would have marked the end of a chapter in the genre.

But the naivete that cripples The Charnel Expanse gives the metal student a clearer study of death metal construction. The way each riff and section is rounded off and resolved makes the record overbearingly predictable. The thoughtful enchantment of each next riff is what allows the listener to pull through despite the somewhat conclusion-less songs. Here is where the influence of The Chasm is made most clear. It is as full of fervent candor as it is clueless regarding to how to close off ideas or give them more than a transitory character.

Centinex reveals “Moist Purple Skin” video and announce summer dates

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Centinex has revealed the music video for Moist Purple Skin, from their upcoming album titled Redeeming Filth.

The band will perform a short string of selected dates this summer, including the following festivals:

12.06 2015 ROM – Bucharest – Metalhead Meeting Festival
26.06 2015 GER – Protzen – Protzen Open Air
10.07 2015 CZE – Trutnov – Obscene Extreme Festival
25.09 2015 SWE – Hultsfred – Mörkaste Småland Festival

Classical String Quartets for the death metal fan, a first look

circa 1800:  Ludwig van Beethoven (1770 - 1827), German composer, generally considered to be one of the greatest composers in the Western tradition.  (Photo by Henry Guttmann/Getty Images)shostakovich01

The purpose of this series is to present the death metal fan (and by extension, the death metal writer/artist/composer) with a look into great classical string quartets that evoke the same violent and stark atmosphere that is typical of death metal.

The metal fan is encouraged to look beyond superficial parallels or differences so that he realizes how these string quartets by master composers developed into a cornucopia of expressions, patterns and details. I wish this would also be an aspiration or at least an inspiration for the artist (or would-be artist) that has the chance of reading it.

Another good reason to listen to string quartets in general is that they tend to express a more sincere and private facet of the composer while also being a test to his prowess in composition.

Ludwig van Beethoven: Op. 133, Grosse Fuge

Originally written as the last movement of his Op. 130, String Quartet No. 13 in B flat major, this massive movement was once commented on by Stravinsky saying that it is “an absolutely contemporary piece of music that will be contemporary forever.”. Stravinsky was referring to the absolute character of the music and its jarring disparity with temporal conventions.

 

Dmitry Shostakovich: String Quartet No. 10 in A flat, Op. 118

The well-known dark personality of Shostakovich’s compositions comes through in distilled and intensified manner in his string quartets. In here we find a mature Shostakovich channeling visions of a personal hell. We can imagine his will to fight through and see the light at the end of the tunnel despite facing terror and dread.

Carcass is a retro heavy metal act

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Carcass lead guitarist Bill Steer stated in an interview with Loud Magazine that he prefers to keep listening to older music as his taste does not include newer developments in metal.

Here is the relevant quote from the interview:

Q: Do you keep tabs on new developments within heavy music at all?
A: No, not really. I listen to music all the time, but I guess I’m the first to admit that I’m living in the past. When it comes to heavy music I really only listen to the old stuff. Occasionally someone will play me something by a contemporary band, and sometimes it’s something that’s quite impressive, but I don’t think I’ve heard anything lately that I would say makes me want to go out and buy the album, listen to it at home, or be inspired by it for new music. It’s just a personal taste thing, because I know there’s other people out there who are equally passionate about that music, but for them it’s all about what’s happening now, and the next thing. So it’s just down to the way your brain works, and what turns you on musically.

To many of us, this gives an interesting insight into Carcass stylistic changes throughout their discography. Many point their fingers at Michael Amott for the change in Carcass’ music towards their third album. But Bill Steer’s declaration is revealing of what his band is about regardless of Amott’s contributions.

Michael Amott’s previous work with Carnage revealed someone more in touch with the developments of death metal. Of course, the eventual paths each of these artists took with Arch Enemy and Carcass both show a penchant for 1980s heavy metal. But Stigmata still shows a more forward vision than the infamous Swansong.

While staying in touch with your roots, or any roots, for that matter, is important for convincing artistic development to occur, there is no development without looking forward towards a new horizon. By its very nature, music that attempts only to emulate what was is doomed to be an empty husk.

KAECK releases Exclusive Tracks from Their Upcoming Album

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Black metal onslaught Kaeck, formed from members of Kjeld, Noordelingen and Sammath, brings a war metal style intensity to classic European melodies and elegance in this unrelenting assault of violence and beauty. The band has released a new track, “Afgod” from the upcoming album Stormkult, which shows the relentless intensity with which this new band pursues its vision. With this release the band unveils the title of the album and shows the direction the full-length will take.

Exclusively streaming at DeathMetal.org, “Afgod” shows a newer look at a unique combination of older styles of black metal, merging the arch compositions of Gorgoroth with the raw blasting aggression of Zyklon-B or Blasphemy. The result will please both war metal fans who relish the militant attack and high-energy combat of their genre, and fans of traditional modern black metal who like songs united by development of melody and form. Not surprisingly, a number of labels have expressed interest in Kaeck.

Manifesting themselves from the Dutch scene which has rewarded martial but melodic material since the earliest death metal days, Kaeck uphold this tradition by integrating into their black metal the more trangressive and brutal sounds of war metal, creating a release that avoids the pitfall of a death/black hybrid by simply making a more technically-precise version of war metal with the more expressive song forms of black metal. Expect nothing but war, brutality and a vision of the heavens rent to pieces as Kaeck Stormkult detonates!

 

Delirium – Tiempo, Limites y Espacio

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Delirium was formed in 1990 as Delirium Tremens. In 1995 they debuted with a self-titled album considered to be a Central American classic. It was a particular style drawing influences from many different styles of metal ranging from NWOBHM, Speed Metal, Thrash to punk and alternative rock without falling into the carnival approach of modern metal bands. The influences blend and boil down to form an almost concrete and new street-dirty heavy metal style. A close look at Delirium’s discography shows how the band has evolved through the years gradually taking in more mainstream influences after having parted from a mixture of early Iron Maiden and Metallica. Looking under the hood of post-debut Delirium one can find a weakening of an original voice and the more obvious influence of 1980s Rush and late, prog-bent Iron Maiden.

Tiempo, Limites y Espacio is a collection of acoustic arrangements of older songs. The band retains a professional musician’s touch for pacing and pausing, showing us why they are still one of the leading acts in central america. We find Latin-styled acoustic guitar leads, understated popular drum rhythms along with Latin hand-percussion in some interludes, bridges and intros. Occasional use of maracas for rhythmic emphasis are use in very limited instances. Verses reduce guitar to chords supporting the vocal melody line. Characteristically 1970s synth effects are used for melodies and even a solo on the track Abismo, while the remaining use of keyboard functions are simple and direct organ and piano chord outlining. The refreshing presence of bow instruments grace brief interludes. The aura these exude may remind one of Empyrium’s Into the Pantheon, a personal favorite of the writer. It is also clear that the singer is consciously aiming to emulate the overt style of Adrian Barilari, of the late Rata Blanca, and by extension the style of Bruce Dickinson.

What we find here are original Latin street heavy metal and alternative heavy metal styled songs fine tuned and made ready for mainstream radio exposure for quick acceptance with a mainstream audience. This acoustic release (as is any faithful acoustic arrangement of metal music) is a highlight of the qualities behind the music and the songwriting capabilities of the band.

The album can be downloaded for free here.

https://www.youtube.com/watch?v=wphEkDrQq9Q

Thoughts on Obliveon’s Nemesis

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The first album by the virtuoso technical death metal Obliveon, From This Day Forward, is a highly recommended release. Intricate and sophisticated guitar riffs along with clear, bright, shining bass grooving lines that are not just the echo of the guitars really catches my attention. The whole album is evocative, setting the epitome for technical bands today.

Which brings me to the following considerations. I turned down the second album, Nemesis a few days ago merely because I couldn’t find what I liked when it came to Obliveon: interesting bass lines that are composed in a way in which it is obviously competing for center stage with the two guitars. All without being too boasting, or too technically-oriented for the sake of showing off.

This is the reason why I love From This Day Forward.

With disappointment and bewilderment, I judged Nemesis as an album of low quality song-writing. But after I went through the whole album again, I realized this conclusion was just naive and ridiculous. We can’t just say Nemesis lost the spirit and the original intention of the band, but more specifically that they worked on a different dimension to explore how the sound of Obliveon could go on.

You can hear more complicated and fantastic guitar riffs which are connected tightly together in the way of unprecedented reach. Of course, undoubtedly, the bass parts in Nemesis are not as catchy and flexible as before, ending up being the echo of the guitars. This apparently unreasonable (I assumed they would carry this character on forever) change even made me check whether the line-up was preserved between the two albums. But by appreciating the more sophisticated guitars that make you catch your breath at every moment, this album succeeds in bringing an intense experience for technical death metal fans..

Unfortunately, their second album does not seem to bring the same feeling of overall fulfillment as From This Day Forward. Maybe I did not explore or experience the album thoroughly, failing to catch what Nemesis is supposed to deliver as a whole.

Crypt Sermon – Out of the Garden

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Heavy-Doom Metal, as I like to call everything that is merely slowed down heavy metal, is not known for being fertile ground for originality. It is a rather narrow sub-genre (more like sub-subgenre) which gives its adherents a very specific and rather primitive set of tools to work with and is at this point a retro-worship of classic and original acts like Candlemass. Hailing from Pennsylvania, USA, Crypt Sermon make no attempt to break off from this role of obvious emulation.

Out of the Garden should by no means be simply reduced to Candlemass-worship, but the influence is unmistakable. This is encouraging as one listens to the album for the first time and finds all the bells and whistles in the right places. The big, epic, long-drawn choruses, the guitar melodies, the climatic solos. It all harks back to the “catchy” selling points of Candlemass.

Once the brume has dissipated as the winds of repeated listens blow in, one realizes that this is everything Out of the Garden has to offer. This makes it a great release for those who want Candlemass without the trouble of having to digest all the meat of acts like Atlantean Kodex. The casual fan of epic heavy metal will have a blast with this new release.

New Editor on DMU

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As many of you might have already noticed, all of the articles posted on DMU today are under my name. As many of you might have already guessed, this is because I have joined DMU’s team as an editor.

DMU’s vision remains the same, but we move forward. Horizons expand and we aim higher. The site will be more active than it has ever been. Not only will we keep you up to date with new releases but more in-depth articles with different emphases and by several different authors will grace our archives.

You can continue to expect a view into metal that no other website on the Internet offers. Upholding metal as an art form has and will always be DMU’s priority.