Cult of Endtime play a music that is actually both “melodic” and death metal. Taking the road of modified and expanded verse-chorus-bridge approach to music construction, this mid-paced death metal with a clear aftertaste of traditional metal maintains motific links within songs that ride clear phrasal riffs not unlike the manner of the early but already mature Black Sabbath. Although DMU does not usually hand out stars to shiny, mainstream packages because they usually are just uncreative or mediocre turds hidden under slick production, In Charnel Lights has definitely earned theirs.
A very well-performed and accomplished example of this style, the music stays within the boundaries of its chosen paradigm while introducing a variety of ideas without haphazard changes. This does imply a limited variation, a clutch of its chosen pop-format approach, which supports and defines it but cripples its movement at the same time. The nature of the music, then, reduces In Charnel Lights to a collection of songs. The result is pleasing and solid but can be repetitive in terms of musical ideas and in its adherence to its center it fails to bring enough variety to artistically justify a second half beyond the urge to produce more of the same.
In spite of this, the variation it does introduce is not only used gracefully and properly but is both meaningful and powerful. Each variation of idea or new idea included, each slightly differing approach to a riff was probably very carefully considered and integrated with an attention to detail worthy of praise. Cult of Endtime are extremely consistent in style although they bring different techniques under its umbrella and produce strongly coherent riff-variations with a relatively wide range of character.
Sounding like a Black Sabbath reborn into death metal, Cult of Endtime build their music on phrasal riffs with a basis on heavy-sounding support and featuring melodic passages that emphasize clarity of expression and musicality rather than technique itself, although anyone paying attention to such things would not deny the professional-level musicianship of the band. Probably one of the best, if not the best, we are likely to get out of the mainstream this year, In Charnel Lights is extremely recommended to fans of metal.
While most modern bands err on the side of so-called experiments and “open-mindedness”, Ashbringer tries to adopt a conservative posture in a manner that kills music with stagnancy. This may be either a product of a skewed appreciation of the classics or simply a good-intentioned but overzealous drive to keep coherence in check that might arise from an ignorance of music-writing procedures. Such procedures can and have been ignored by people with either great experience and understanding, or savants like Varg Vikernes who display an amazing instinctive talent for musical creation. Unfortunately, there is a myth that drives hordes of musicians of average talent (because that is the definition of average) to attempt to emulate the actions of those who are natural geniuses. Such combination of presumption with an unwillingness to educate themselves give us many sincere but ultimately deficient metal records (see early The Chasm).
In Vacant, Ashbringer present us songs which bear the mark of an intention of maintaining coherence by repeating the same idea and only venturing forth to use the same motif played in several different ways, offering carrying a whole song or entire super-sections mostly in this manner. The extent of these variations are limited to texture change and register change. Correctly sensing that this only creates a static picture seen through different-colored lenses, other ideas are introduced, but these do not bear a clear relation between each other beyond the concordance of similar technique, tonality and consistency in style. Akin to a series of unrelated pictures in a row in an album without a clear history to relate them, variety is forced, taking the songs out of painful and amateur-like stagnation in a forceful manner.
The few exceptions of progressions and and useful transformations are far and in between and should be saved by the band for future reference (the 5th and 6th tracks which should be one song as the first does not have the material to be an interlude but only a first-section to the following one), and Ashbringer could learn something about the use of related but changing and essentially different ideas. These should be related not by style, but by musical structure and patterns. The suggestion is perhaps a little too German-minded, but it is a more concrete beginning that is easier to grasp. Baby-steps before you can actually black metal.
The combination of true humbleness in creating music with a healthy dose of careful ambition is what is necessary here and in metal in general. A cycle of study, practice, introspection and revision in music-writing is what metal most needs as is shown by the limitations of this sincere but incredibly deficient album. These guys obviously have the intention of creating metal that is both elaborate and profound, technically proficient, musically satisfying and spiritually inspiring. They just need to face they aren’t musical geniuses and turn their heads to a more strict study and observation of the greats on the technical side at different levels of music composition.
This one came to me as a hand-me-down. A friend wrote it off as a clone of Dunhill London Mixture. Being an intrepid sort, I shoveled it into the pipe and lit up, expecting nothing. Surprise awaited instead: Villiger 1888 Early Day is a Danish take on English tobacco that calms its extremes and leaves a deeply satisfying flavor.
Generally, when we think of “English tobacco,” something like the Dunhill London Mixture comes to mind. But really, English tobacco is a state of mind. It is distinguished from the Danish interpretation of it by its appreciation of the clash of flavors. The Dunhill mixes are spicy, sweet and full-bodied all at once; the Danish interpretation balances the three, so that it is full-bodied with hints of flavor from the spice and sweet without overwhelming. In my inner self, I find this to be a better approach, as it reduces a riotous clash of flavors to a comforting taste that deepens the more it is smoked.
Open opening, the tin emits a thick earthy smell like mulch breathing alongside rich earth. When smoked, the characteristic tang of English tobacco appears at first but muted, then fades to a rich dark chocolate taste tinged with the taste of the air from the deep woods. It burns thoroughly, with thick smoke, and avoids becoming the greasy mess that many English tobaccos become after the initial taste. A satisfying aftertaste remains; it can be smoked either fast, or slowly, but burns roughly the same. A sense of balance pervades this entire blend.
While Villiger will never make headlines — in part for the unfortunate name which sounds like “villager,” a term in English that conveys simplicity and mundanity — this tobacco remains undervalued for those who want a quiet smoke that continually rewards the peripatetic puffer with muted flavor and an absence of the extremities that render trendier pipe tobaccos annoying. This would be a good all-day smoke, on a boat or in a living room, for someone who has worked through the need to define themselves with the radical extremes of external objects, and instead intends only to savor the bounty of life itself.
Influenced by artists ranging from Ihsahn all the way to Luc Lemay, single-man project The Clearing Path is ready to release its debut album, Watershed Between Earth And Firmament. The music of the Italian Gramaglia presented here is a modern take on black metal that has difficulty forming an image and rather desperately collects black metal cliches while it explains and justifies itself with words and artwork.
Colombian death metal band Carnal Blasphemy has recently released details for their upcoming debut album Liars Made Authority.
Featuring cover art by Karen Marin, Liars Made Authority was produced by Sander Bermudez at Soundtech Studios (Amputated Genitals, Carnivore Diprosopus, Evil Darkness) in Bogota, Colombia. The album also includes guest appearance by the likes of Jason Netherton (Misery Index), Julian Suarez (Suppuration), Ricaurte Triviño (Genetic Error) and Luis Vile (Ex-Undergrave).
Track list is as follows:
1. Liars Made Authority
2. Machine Of Destruction
3. Daily Atrocities
4. Your Suffering is My Pleasure
5. Perfect Crime
6. Purification Through Violence
7. Devoured Souls
8. Your Empire, Your Tomb
9. The Dead-End Ambition
10. Ignorant Facing Dominated
Liars Made Authority is set for release September 18, 2015 via Gore House Productions as CD and Digital.
Self-preening egomaniac solipsist hipster Brent Hinds, who plays with indie-metal (heavy alternative rock) band Mastodon, accidentally revealed the nature of indie-metal as indie rockers who enjoy metal ironically making imitations of better bands. Speaking between bites of arugula and sprouted garlic sandwich on quinoa bread, Hinds opined:
“I never really liked heavy metal in the first place. I came from Alabama playing country music, surf rock, rockabilly, and stuff like that.
“I just went through a phase in my 20s where I thought it was rebellious to play heavy metal. And then I met Brann [Dailor, drummer] and Bill [Kelliher, guitarist], and they were really, really, really into heavy metal.
“And ever since then, I’ve been trying to get Mastodon to not be such a heavy metal band, because I f–king hate heavy metal, and I don’t want to be in a heavy metal band.”
Playing metal to be rebellious is a hipster gig because it is entirely surface with no deeper connection to the music than to use it, as hipsters use all things, to signal your emotions to a world that could not care less. Metal musicians play metal because they love it, but giggin’ hipsters play it ironically to be rebellious and shocking. Hinds finally admitted his own insincerity, but with him he brings down a genre.
Indie-metal arose from the “alternative metal” of the 1990s which took metal riffs and put them in rock songs using the aesthetics of grunge and alternative rock. Although the result was an artistic disaster, it was more palatable than the hip-hop/rock hybrids and other pop experiments of the era, and so caught on. Unfortunately these bands are not metal, only metal-influenced, and so they bring in all of the dysfunctional mid-therapeutic behavior for which indie bands are notorious. The result has been adulterated quasi-metal like Deafheaven, Mastodon, Isis, Pallbearer, Babymetal, Pelican and Vattnet Viskar which has attracted a new audience of underconfident, neurotic and conformist fans while driving away the audience metal built up from the 80s-90s.
It is easy to recognize that this is a metalcore record. It is also easy for one to point out the problems in the music that arise as a result from the innate flaws of that genre. What is not easy is to understand are the developments that are taking place within some of the current tendencies of underground metal that bubble up even in bands with a metalcore background. From this origin Burial Vault attempts to build songs with strong sense of narrative, linking different sections smoothly with melody and consistent textures and using other devices on the meta-level rather than objective traits in the music structure to built a sort of soundtrack, a landscape to a story. All of this stands both in line and in contrast with the nature of their genre.
Many soundtracks being what they are, background ambience for stories, sometimes take the liberty to place incredibly disparate expressions to the point of incoherence in the music. As a background to the story, this supports the scene and is thus justified as a tool, a means to an end. But when we have music by itself, the music is not (or should not?) be a tool but rather the whole product itself. This is where music like late Dream Theater’s fails as music: it is only a background to a story. This is the pit where Burial Vault falls. In its impetus towards building a conceptual narrative, the concrete musical narrative is placed on a secondary level.
Following the precepts of metalcore, large portions of Unity in Pluralism move towards rhythmic hook introducing sharp contrasts that do not preserve the essence of motif-forms or themes. Even breakdowns with no reason to be except for fun make an appearance. The song-form is preserved and contrasting surprises are eventually placed in the place of priority. Song form is necessary for songs to maintain any semblance of coherence, by re-using ideas, lest they fall in near-total chaos and obliviousness to a coherent musical train of thought.
Going beyond the novel, Unity in Pluralism presents flashes of greatness that could be weaved into the fabric of a work that pushes metal forward. The future development of metal lies in its maturing, in its transcending the current subgenres and giving prominence to musical principles transcending both the adherence to cliche and the cult of novelty. Burial Vault have hinted at something, their sense as composers has guided them to stretch the boundaries of their constrictive genre but in preserving its aesthetics they are bound to the innate incoherence it is comprised of, balancing out the good in this album to make an interesting but ultimately overall wanting experience.
In a tug-of-war against the bases of their music, Burial Vault attempt, in some places, linking verse and bridge or solo sections by way of a smooth melodic transition that become almost imperceptible. In their most lucid moments, Burial Vault approach the aesthetics of a speed metal band with true progressive tendencies (that do not disregard consistency and coherence), but these are torn apart by the eventual advent of modern metal stuttering. The band would do well to take a hint from the likes of early The Chasm and bands they influenced like Cóndor (who have definitely a more whole work of art than the older band) from Colombia and the way they integrated metal into a true unity with different types of expression. But pluralism simply will not do. The work of art must be brought together under an over-arching principle that permeates the part, the whole and the relations.
Intent guide results and results reflect intent in a mirror-like relation akin the blurred causality presented by modern physics where the only ordering factor is time. We get a clear hint from the song names, but should not be hasty towards concluding everything abut a work without inspecting all the evidence. Being a work of music, it is our main interest to examine that, first and foremost, and then try to link our conclusions about the musical part with other observations and in an attempt to sniff out possible originating intentions.
While the likes of Napalm Death sought to shock, surprise or amuse in different ways and with different purposes (from insults and nonsense to social and political issues), their early albums were balanced out as a whole between the different concepts, to form a whole that was both entertaining and full of content while remaining constant in their choice for aesthetics. Grindcore must be strictly appreciated on an album basis, not a song basis. By themselves, many tracks lack any sense, but in the context of the whole work of art (not in the context of an extra-musical agent, which is a different topic) they attain a purpose and/or a meaning.
Napalm Death approached their goal using different techniques in a coherent manner and this gave albums like Scum a wide range of expression to produce a collection of songs of different duration and speed but like character. The technique would accommodate to the character and mold around it as needed. Songs with mid-paced sections are allowed to flesh out the groove before they enter frenetic trance. The tracks that are mini-bursts of demented blasting were also given their place and were not over-extended. In an undeterred flow from primal reactions to sonic expression, the early music of Napalm Death completely forgets about the self and like all great works of authentic art becomes an entity unto itself.
In Nekro Drunkz we see a band bent on projecting an image of disgust and fun. Admittedly a work of comedy, Absolute Filth has little staying power beyond the “catchy” brutality inherent to the grindcore genre. The reason for this lies in the poor and uneventful sections put together to support an ironic expression whose sole purpose is to shock. Musically, what we find in this album is song after of song that pair two or three riffs that do not do anything in particular. They do not escalate, they do not accelerate, they do not twist, riffs do not play on one another. Songs all express the same thing musically and lyrically. The lyrics are intended to tell you how disgusting they are and the music is only recognizably grindcore yet does little else than carry the voice while it blurts out its tired, “shocking” and friendly softcore gore.
While recognizing the intended goal of a work is paramount to understanding it, it is not an excuse for low quality. The argument usually runs along the lines of “And what if they wanted to make a piece of shit of an album?”. This is fallacy that assumes that if something is explained or is voluntary then it is exempt from any quality judgement. I do not see how this is so but it seems to be a popular belief. The fact remains that this album is, whether intentionally or not, a piece of shit.