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.

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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!

 

https://www.youtube.com/watch?v=k8TiPoTtitU&feature=youtu.be

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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

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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.

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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.

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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.

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Obscura and Osho

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If, like me, the reader has also purchased the latest reissue of Gorguts’ Obscura, he will find that the booklet’s back side is graced by the following quote by Osho:

The journey is long and the path is pathless and one has to be alone. There is no map and no one to guide. But there is no alternative. One cannot escape it, one cannot evade it. One has to go on the journey. The goal seems impossible but the urge to go on is intrinsic. The need is deep in the soul.

Although definitely not typical of a 1990s death metal record, these lines describe the drive that produced this almost accidental album. But aren’t all such savant releases at least partially accidental?

The spiritual and existentialist atmosphere that this quote evokes actually reflects the nature of the album as a whole and are in perfect alignment with its lyrics.

Some metal albums have beautiful lyrics accompanying the music. But the best albums bring sound and word together to shape a living entity that takes lodge in man’s heart.

Latest being drowned
In fictive degradation
Coming depression revolved
Around an Earth
Nostalgia excludes the whole

As spleen takes over me
Resound, the echoes of my threnodies
And then the fact of being
Has no longer meaning
The hymns of light
They’ll sing once I’ll be gone

Reverie appears cause
Existence collapse

Nostalgia
Sadness shall obnuilate

Sadness, feels, the desolated

Desperately lost within
Lament, pain and misery
The more lies burden lives,
The more I am dying
The realm of light
I’ll reach once I’ll…

Latest feeling drowned
In lucid contradiction
Coming relation revolved
Around a heart
Nostalgia excludes the whole

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Rush – Permanent Waves

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Emerging from a hard rock background, Rush made increasingly ambitious attempts at being on par with the European progressive acts of the early 1970s. Although dubbed a progressive rock band, Rush’s music would be best described as a “poor-man’s” progressive rock. A naive and straightforward attempt at emulating the workings of the music of more refined bands like Yes or King Crimson. As such it has been one of the most easily comprehensible progressive bands to the general public.

Released in 1980, Permanent Waves is the Rush album that most closely approaches the ideals of the by-then defunct progressive rock movement. Being the highlight of the band’s technical competence, here we find Rush at its most bombastic and dynamic. As a preamble to later so-called progressive rock and metal (henceforth referred to as pseudo prog), this album features songs which make use of elements of contrasting musical styles (the listener will even find a reggae-styled section) to break the spell of a mood. In doing so it aligns itself with music appropriate for listeners who prefer a casual but engaging distraction.

Despite this stylistic digressions ,Permanent Waves manages to be generally constant in its artistic voice. Rush’s expert and moderate use of synths, the ease of transitions, and the satisfactory clarity of the goals in their structure-building-oriented songs make this release the peak of Rush’s works.

 

https://www.youtube.com/watch?v=vV6k1JRMgN8

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12 Months of Rush

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With the exception of the debut album, Rush’s remaining 14 albums originally published by Mercury will be reissued through 2015. The reissues are made available in vinyl format with an accompanying download card to access the digital audio files corresponding to the release.

Additionally, three of the releases will be released on Blu-ray Pure Audio. The three albums to be released in this format are Fly By Night, A Farewell to Kings and Signals.

The albums release schedule is as follows:

1. January 26: Fly by Night (Vinyl+Download Code / High Res Digital Audio / Blu-Ray Audio)
2. February: Caress of Steel (Vinyl+Download Code / High Res Digital Audio)
3. March: 2112 (Vinyl+Download Code / High Res Digital Audio), All the World’s a Stage (Vinyl+Download Code / High Res Digital Audio)
4. April: A Farewell to Kings (Vinyl+Download Code / High Res Digital Audio / Blu-Ray Audio)
5. May: Hemispheres (Vinyl+Download Code / High Res Digital Audio)
6. June: Permanent Waves (Vinyl+Download Code / High Res Digital Audio)
7. July: Moving Pictures (Vinyl+Download Code / High Res Digital Audio), Exit… Stage Left (Vinyl+Download Code / High Res Digital Audio)
8. August: Signals (Vinyl+Download Code / High Res Digital Audio / Blu-ray Audio)
9. September: Grace Under Pressure (Vinyl+Download Code / High Res Digital Audio)
10. October: Power Windows (Vinyl+Download Code / High Res Digital Audio)
11. November: Hold Your Fire (Vinyl+Download Code / High Res Digital Audio)
12. December: A Show of Hands (Vinyl+Download Code / High Res Digital Audio)

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Corruption – Demos

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Following in the steps of Repulsion, mid-period Blood and Napalm Death, Honduran band Corruption write mid-paced Grindcore with lyrical content ranging from the socio-political to the more gore-oriented character. Corruption’s music also features tonal guitar solos that stress a dark mood rather than a wild outburst of chaos.

This self-titled demo released in early March 2015 is the culmination of a 5-year interaction between guitar player Manuel Velásquez and vocalist Ángel Mejía. The demos were recorded in december, 2014, under the following line up:

Manuel Velásquez – guitar and vocals
Christhofer Ayestas – guitar
Roberto Molina – bass
Arnold Flores – drums

The band has made this demo freely available. It has been reuploaded and can be downloaded here.

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