Upcoming tours: Deicide

deicide 2016

A lineup of Deicide (not the classic one with the Hoffman brothers, although the odds of them returning are nil) arises from its torpor of the last few years to play a tour. The band announced their “In the Name of Satan” tour yesterday through their official Facebook, and as result they’ll be playing concerts in the Midwest and Pacific coast in late April and early May. Admittedly, Deicide is very far from their glory days to the point that the CIA used their mid-period work explicitly for torture and brainwashing. On the other hand, Brett thought their latest album (In the Minds of Evil) was a partial return to form. I’m expecting Deicide will focus more on their later recordings on this tour, so yet again I can offer no guarantees of quality or competence.

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Blood Incantation – Interdimensional Extinction (2015)

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Article by Corey M

Blood Incantation released their debut EP Interdimensional Extinction last year  to little fanfare. Having heard one of the US death metal band’s songs on a Dark Descent compilation, I was highly anticipating this release and was not disappointed. However, other respectable authors have dismissed it without giving it the attention it deserves. Because I’ve only grown to appreciate this EP more over the last several months, I intend to elaborate on Blood Incantation’s strengths, because I believe they deserve more coverage.

Guitars are the focus of and main engine of Blood Incantation’s music. Typically one guitar plays chords in rhythmic bursts to support the other guitars which harmonize faster-moving and more complex melodies. An excellent balance between the low-register rhythm chords and the weird-and warbly-leads is always maintained. During high-tension segments, the guitars mainly play in unison for maximum impact, and during some of the more paranormal passages, the drums and rhythm intensity are dialed back just enough to open up space for the imaginative and unpretentious leads. The best of the guitar solos remind me of those on In the Nightside Eclipse, sharing that ability be technically modest yet very evocative. Blood Incantation’s flailing-tentacle leads mysteriously manage to reflect or echo the dynamics of the chord pattern underneath, achieving symbiosis with the rhythm guitars and drums, even while ratcheting up the tension to the point of anticipating a total musical disintegration. Other times, leads are used to gracefully close out a song, resolving the musical stress by harmonically tying together the wildly whipping threads of various melody.

Vocals are perfectly competent and never interfere with the shape of the riffs, partially due to having a more forward-sounding presence in the mix, compared to the guitars which cast a broader curtain of sound and envelop the rest of the instruments. Drums are in thrall to the guitars, and when the guitar rhythm turns odd or just a little unorthodox, they provide an unobtrusive, robust foundation on which the highly melodic riffs build. Special mention must go to the session player with the fretless bass, who plays in the technically adventurous death metal band Stargazer. Giving each a riff an uncanny, slithery feel, the fretless adds another layer of harmonic depth and texture in a way that is underutilized or outright ignored by many death metal bands.

On the extra-musical side, Interdimensional Extinction‘s cover art is not only very cool, but an effective visual representation of the themes present in the music, featuring a distant planetary body surrounded by an orbital ring of human skeletal bits. Human skulls are always related to human death and sometimes death in general, as a concept that extends further than the merely personal, into the planetary, the celestial, and yes, even the “interdimensional”! This far-out unearthly realm is what Blood Incantation attempts to explore, as their perspective encompasses not only human death, but death as a common fate for all for all systems of organized energy, from a single bacterium to the largest galactic cluster. Does the band intentionally attempt to establish a sympathetic link between humans and non-human things by relating us all under the empirical inevitability of death? Maybe; maybe not, but these are the sorts of imaginal realms that great death metal can take a listener’s mind.

All four songs on this EP are proficiently crafted and offer the very thing that most lovers of death metal are either actively searching for at least glad to hear; death metal in its unadulterated language, but through a distinctive dialect. Perhaps the band’s native Colorado landscape has informed their intuitive songwriting, as each song moves through jagged peaks and rolling valleys, organically and without pretense. Due to the clarity of the arrangements and mixing, the songs are actually relatively easy to follow, and riffs do not hide behind distracting, murky guitar tones or gratuitous reverb. There may appear to be similarities with Demilich or Immolation, but they are only skin-deep, and Blood Incantation use intriguingly idiosyncratic methods of riff development and song structuring. All things considered, including that I have been listening to this solidly for six months now, I can only think of good reasons to recommend this EP.

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A Playlist: Going Under

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Article by David Rosales

It is no secret that we believe that the best of metal has come out mostly of what we now call ‘the underground’, a tradition that has been characterized by standing outside of the wheel of commercial production in the arts. The moment a band signs a contract, lands big deals and makes a break through while effectively becoming shackled to the money-making industry, it has sold out. This is because as a commercially-oriented product, its main purpose is to be able to sell, it has to pander to the preferences of a certain audience, however whimsical they are.

It is true that music must retain a natural connection to man and its true test is how different people receive it. But this is not the same as the populist idea that the best music is that which appeals to the largest number of people, which is nothing more than a dumbing down to the least common denominator. The authentic underground stands between independence from commercial pandering and the need to communicate naturally through organized sound itself (Editor’s note: At the best of times, it furthermore isn’t simply content to dwell on its alleged authenticity; cue the endless mockery of albums that are too “kvlt” to be any good).

The following are short underground metal works released throughout the nineties. These represent specific moments and sides of metal that were, at that particular moment, true to their roots and the spirit of metal. They stand out in each particular moment as either outstanding examples in a times of superficial distraction, decadence or a complete lack of direction across the underground metal movement.

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1. At the Gates – Gardens of Grief (1991)

A favorite underground EP of many for the wrong reasons, this first official release by At the Gates stands squarely on the pillars of traditional old school death metal while innovating a unique approach to songwriting which built a whole platform on top of its basis, elevating the progressive art of death metal to a whole other level of refinement.

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2. Divine Eve – As The Angels Weep (1993)

This single nostalgic (inherently, not in retrospect only) release from back in the day by this Texan outfit brought together gestures from early Celtic Frost and Cathedral within a Scandinavian death metal frame, succeeding in climaxing in its own voice during certain moments in between.

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3. Ancient – Trolltaar (1995)

A condensation and evolution of their soul-enchanting debut, this EP shows Ancient at its darkest and most minimalist state, while displaying its most potent emotional impact that reaches out as an invisible hand to clutch at the listener’s heart (Note: Infamous’ Of Solitude and Silence seems to echo the feeling of this ancient-souled EP).

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4. Absurd – Asgardsrei (1999)

Crude and rhythmic, a simple and punk-like punch to the face in the time of metal emptiness, superficiality and posturing, Absurd’s roughness disguises the poetry of the tribesman’s spirit, the man following his instincts untouched by modernist presumptions of what reading of history and human nature better fits their interests.

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Sadistic Metal Reviews mini-feature: Deathraid – Submit to the Will of Chaos (2016)

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Article by David Rosales

It is always amusing to watch one of these clueless bands take a stab at making an album that falls into the mythical yet non-existent genre of black speed metal. It does not exist for a good reason: it is only a creature in the imagination of those who cannot tell the two genres apart. It is probably also what Venom fans consider to be “first wave black metal”. You gotta have some compassion for these nitwits. Or not.

The music on Deathraid Submit to the Will of Chaos (originally released in extremely limited quantities in 2001) is typically messy, grindy and when it comes around to its most clear-minded, it sounds like a try-hard Hellhammer, without the ability to maintain atmosphere and therefore devolving into boring streamlined noise. From the modern perspective, it is just another variation of war metal stupidity or modern “atmospheric” black metal. Irrelevant as it is lame, this may just be what some of us were looking for – it’s the perfect music for goat love-making.

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Suffocation is touring again, this time with Soulfly

soulfly and suffocation on tour

Back in November, Suffocation played a few concerts in the United States. This April and May, they’ll be following up on that by supporting the nu-metal gone generic modern metal band Soulfly alongside some other bands that I’m entirely unfamiliar with, but suspect would get poor reviews from the DLA just going by precedent alone. This is definitely a more comprehensive tour than the last, although a decent chunk of the United States is being left out. The lineup also reminds me of the last tour I announced/advertised on DMU – you’ll have to decide whether or not the other bands are worth sitting through for a chance to see Suffocation.

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Reissue Radar: Morbid Angel – Altars of Madness (1989)

altars of madness

Earache Records is doing another one of their brief, ultra-limited record sales. This time, they are releasing Morbid Angel’s classic Altars of Madness on vinyl; they claim that this release will be one of their “Full Dynamic Range” remasters, which purport to not be afflicted by the brickwalling that took over popular music with the advent of digital recording. Needless to say, this is certainly a classic of death metal, although many on DMU prefer the versions of the songs here that appeared on Abominations of Desolation. Anyone who isn’t fortunate enough to grab this vinyl and wants a version of this album with improved dynamic range regardless will probably have to scrounge up some cash for an original pressing.

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Darth Vader’s Top 10 Underground Metal Songs

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Article by David Rosales

Child prodigy, genius wielder of the Force, Darth Vader was the result of an excess of talent and aptitude leading to a complete disregard for standards and rules, tradition and caution. The Dark Side’s poster boy was kind enough to impose his favorite 10 underground metal songs on us:

10. Master – Funeral Bitch

Don’t fail me again, Admiral.

9. Merciless – Dreadful Fate!

I am altering the deal. Pray I don’t alter it any further.

8. Massacra – Researchers Of Tortures

Perhaps I can find new ways to motivate them.

7. Bolt Thrower – World Eater

The Empire will compensate you, if he dies. Put him in.

6. Torchure – Genocidal Confessions

Join me, and together we can rule the galaxy as father and son.

5. Blaspherian – In the Shadow of his Blasphemous Glory

I hope so, Commander, for your sake. The Emperor is not as forgiving as I am.

4. Brutal Truth – I See Red

He is as clumsy as he is stupid!

3. Celtic Frost – Visual Aggression

No. Leave them to me. I will deal with them myself.

2. Destruction – Bestial Invasion

You underestimate the power of the Dark Side. If you will not fight, then you will meet your destiny.

1. Profanatica – Angel With Cock

I have *felt* him, my master.

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Chthe’ilist – Le Dernier Crépuscule (2016)

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Article by David Rosales

Chthe’ilist’s debut has been expected by underground death metal fans for some time.  To them, it seems like a promising project faithful to the ideals of atmospheric technical bands such as Demilich and Timeghoul, from whom it takes unmistakable cues. Less fortunate are the influences of popular (in the underground) but ultimately less effective acts Rippikoulu and Crematory. The first two lend a constructive helping hand while Crematory’s contribution distracts with purely technical and empty nonsense detached from clear evocation, and the unimpressive Rippikoulu lends its spacious approach that suffers from the blunders of Wagnerian operas: sparsely located treasures in a sea of boredom. Worth mentioning are a couple of very Voivodesque moments that are surprisingly integrated in a way that they do not seem out of place.

There are several reasons why this release is worth taking a close look at independently of how close we consider it to come to a masterpiece. Existing reviews come awfully short of a real musical insight, opting instead to spend a huge chunk of the time in talking about how cool the guys in the band are, or how ‘awesome’ the vibe is. They are utterly useless when they reach their faux attempts at providing any meaningful observations on the technical side of things. At most, they manage a colorful picture of the mental impressions that the music gives them; this at least is inspiring. Chthe’ilist’s album gives us so much more to discuss not only from its plentiful contents but what they relate to as descendants and composers.

In the interest of a well-rounded critique, Le Dernier Crépuscule should be observed from two different vantage points. The first is to place it within its historical context, and keep present whatever musical influences it appears to have. The second is to ignore everything but our intuition (which is dependent on past experience and understanding, in any case), so that we allow it to articulate and speak out for itself as it draws energy from predecessors we take notice only as an afterthought.

I. Technical Overview

Le Dernier Crépuscule can be roughly divided into two sections, the first consisting of the first five tracks and the second of the remaining two. The first track itself should probably be excluded as it is little more than an intro. The structuring of the next four follows a certain pattern while the last two each follow a freer approach than the one preceding them. The first is Crematory-dominated, while the last increasingly shows a predominant Timeghoul presence. Throughout the record one finds Demilich’s riff style in about half of the individual riffs. This emulation ranges from almost outright shoplifting from Nespithe to more respectable yet still recognizable inspiration. The rest of the riffs also contain the less distinct (read as ‘more random’) but technically recognizable influence of Crematory and some war metal filler while the more creative and original single sections probably come from general Timeghoul influence, which allows for more open interpretation.

Tracks two to five follow a rough plan of riff variations1 lined up one after the other until the solo comes to mark a climax, after which there is a reiteration of previous material and the song ends. It is the “easy way out” of death metal structures, albeit expanded by a greater quantity of riffs. Le Dernier Crépuscule takes the most relaxed route when it comes to conceptualization as well, choosing to go for Crematory’s2 brand of strands of riff variations connected in riff salad manner. Now, Crematory’s style is marked by another particular aspect, and that is that it places technical flare and variety at the top of its priority list. Its choice of allowing runs of related riffs is more the following of what was in vogue at the time, since one can observe that songwise, there is very little keeping it all together but the general tag of the genre. Something similar happens to these first songs by Chthe’ilist.

The sixth and seventh tracks are clearly steeped in a more progressive mindset, allowing for creativity to bubble up as the band tries to craft a narrative. This is conducted with far more success on the last track, ‘Tales of the Majora Mythos Part 1″, than on the hybrid ‘Vecoiitn’aphnaat’smaala’. This emphasis on following a far-reaching narrative reaches formidable proportions in this last track where I would venture to call it a storyline. Variety in riff type is actually richer here than anywhere else in the album, yet through this story-telling technique (that is very much reminiscent of the dramatic flair of Timeghoul on Panaramic Twilight) Chthe’ilist achieves something beyond mere coherence — a smooth flow of ideas connected through careful considerations in texture and rhythmic contrast between sections. These considerations must reach further than adjacent riffs or mere riff-strands so that the song itself does not fall apart.

Unfortunately, although this last track shows us the brightest future for Chthe’ilist, Monsieur Tougas has yet to learn how to finish a song, and what could be an incredible opus is watered down by an unsure appendage after the coda following the solo, a four-minute long welling up of unnecessary nothingness. Content-wise, this adds nothing to the song except confusion, since it is mostly noise and blast beats, which we may presume is an ill-achieved attempt at creating ambience3. The rest of the song itself might be as clear-minded as Timeghoul’s best work, but it is still a work in progress.

I. Aural Impressions

Le Dernier Crépuscule is constantly touted as “Lovecraftian death metal”, and while I get the reference, it seems to me that the character of the music is much more cartoonish than even the original stories, which is saying a lot considering that Lovecraft’s work is already minimalist pulp horror. Taking only a chunk from this author’s work and making a concept album out of it becomes a bit redundant after 2 or 3 songs, and in this album I mostly hear At the Mountains of Madness with some more general references to the Cthulhu mythos towards the end. This limitation results in a bloated album with more words than actual things to say.

In fact, I’d say that for a Lovecraftian experience this is too limited. Timeghoul’s sound, for instance, is very appropriate for expanding on the whole range of cloudy feelings and visages that Lovecraft exposes, not only the mouth-tentacles of his famous monster-deity. Proof of this is that while a Demilich sound on a Crematory template can at most show entrails and guts and an in-your-face horror, the last track had me catching glimpses of R’lyeh through the oceanmist. In Lovecraft you find not only the gnarly gore of slimy and ghoulish creatures, but visitations to otherworldly views in a variety of dream states, alienation from reality expressed through either an increasingly horrifying vision of the world or just not knowing at which side of the sleep curtain it lies.

Lovecraft condenses the very essence of the death metal spirit in its several manifestations and a project with the gigantic potential of Chthe’ilist is surprisingly limited in its choice of evocation, while playing around withtoo many riffs than needed in what appears to be that Crematory-like bloating of content for its own sake with little reference to anything beyond it. Chthe’ilist has a potential of ‘epic proportions’, as the common saying goes. It could have us contemplating at Algol, wondering… it could take us on a bizarre journey through perilous Kadath, and it could make us doubt the very truthfulness of our material existence. In short, it could be the long-awaited metal Messiah that crystallizes the whole of Lovecraftian experience from the essence of the most meaningful obscure acts of the past. But it isn’t.

III. Integral Critique

Bringing together the last two discussions allows us to properly discuss the results Chthe’ilist has achieved. Most bands seem to create a division between music making and lyrical topics, which is not necessarily a bad decision if everything is flowing from a same wellspring of inspiration. The pitfall of this approach is that the sources could end up being distinct, even if compatible, so that the impact of either is dulled by even the slightest hint of cognitive dissonance. This dissonance may even occur in music that is supposedly unified with its lyrical content, and in the case of technically-oriented bands like Chthe’ilist it usually comes about in the form of what could be called ‘riff distraction’.

Riff distraction is a phenomenon that consists of the metal artist losing sight of perspective as he lies on the floor, dull-sensed on proverbial soma. This sends riff-writers off in a mythical quest for the perfect riff combination until they end up with a mass of exciting but ultimately meaningless mumbo jumbo. This is the plague that afflicts this release; its most obvious priority seems to be riff-making, and the clearest sign of a climax is the guitar solo. This album’s is very intentional and varied, but with no precise evocative purpose in mind, so that this huge ball of varied rhythms ends up being a uniform mass when seen from afar. The guitar solo, then, becomes the only way of bringing the song to a breaking point so that at least something in the landscape stands out as a signaling agent for the ending to come with at least a semblance of an excuse.

Alas, the limitation that is holding back Chthe’ilist lies in the mindset of Master Tougas: his towering talent and creative juices ooze with latent power, but his imagination appears to be held back by rationalist prejudices of modern thought that reduce a powerful mythos to mere cartoon. This results in tongue-in-cheek funny horror, which may be an overplaying of the purposely awkward feeling of Demilich that is often perceived simply as funny yet interesting. Timeghoul’s immense aural depth could be the answer here, as the flexibility of its approach lies in the dramatic expansion of predefined techniques within a limited (yet more varied, at the same time) vocabulary that makes even its most complex statements convincing and manifestly intelligible4.

IV. Final Remarks

As pretentious as the thousands of words I’ve already written might make me sound, I would still like to encourage Monsieur Tougas to continue this general line of thinking, while paying closer attention to composition and evocation aspects that lead to a stronger narrative in longer songs. These seem to possess, at least in their present state, the greatest potential of his technical and atmospheric style. His work can bring to reality not only what Timeghoul could have become, but something beyond it, with a long-awaited deftly and graciously applied riffcraft inspired by Demilich. Ditch the Crematory when it comes to structuring decisions, and refactor out any content that isn’t completely indispensable5.

Personally, when it comes to heavily-charged albums such as Le Dernier Crépuscule, I hold a 10-time listening policy: testing how well and in what manner a music album holds up after listening to it completely the first ten times in less than a few days. This has several interesting effects, the first of which is that initial shock effects fade away, technical flare appears more fixed to context, everything gains perspective. Sadly, this album only made it to six listens before losing its luster, and this is mainly because the overall structure of songs and the character they evoke fall into place as an integral whole, revealing the utter simplicity lying behind the tons of riffs and tasty guitar licks.

The reason why the most convincing underground metal has almost always come from the minds that are most “out there” is because their music flows from deeply-ingrained convictions, veritable nightmares that are as real as the sun’s burning sensation, or the excruciating pain of sincere longing for a different reality. While your metal remains “meta”, while it remains only a “fun” way of exploring “spooky” images that are “not real”, your metal will also remain a laughable cartoon.

In earlier ages, as instinctive concepts welled up in the mind of man, his conscious mind could no doubt integrate them into a coherent psychic pattern. But the “civilized” man is no longer able to do this. His “advanced” consciousness has deprived itself of the means by which the auxiliary contributions of the instincts and the unconscious can be assimilated. These organs of assimilation and integration were numinous symbols, held holy by common consent.

In earlier times, these principles were worshiped in all sorts of rituals, which at least showed the psychic significance they held for man. But now they have become mere abstract concepts.

— Carl Jung, Man and His Symbols

1 By riff variation, I mean a grouping of related riffs that arise as variations from a seminal idea.

2 When taking Crematory’s Denial as a point of reference, we can observe how Crematory cannot hold a mood and a line of thought for too long. The music is based on providing variation; for instance, it introduces contrasting ideas in rhythm in extreme fashion so that even very Latin African rhythms pop up right besides more grindy ones with no particular purpose. It may be more difficult to notice, but Demilich already contains such range of variation, but it is much better organized, so that it does not feel haphazard. Furthermore, Demilich is able to stamp their own seal on each section by delimiting certain combinations of rhythm and mode, while Crematory pretty much just throws whatever it can find in your face as it desperately clutches for more content to display a different drum technique.

It’s not that Crematory plays no positive role in the music of Chthe’ilist, but it should be used within its effective scope: the riff variation; and taking note from those who excel at long-range composition when organizing structure.

3 This is a distractor that infects the mentality of modern death metal musicians; it’s almost as if they feel that the music is not enough, that they need to add more “stuff”, whatever it is. This fools the less-focused sort of listeners (apparently, the majority), but not those who would listen to music from multiple angles so as to extract all it contains and more.

4 That is to say, although the difference between the opposite styles within Timeghoul’s vocabulary (from pounding, crowded gnarly riffs to clean-vocal lamentations) may be wider than Crematory’s, the consistency with which they are used imbues them with a more meaningful sense of purpose.

5 A lesson might be learned from Ludwig van Beethoven’s own methods. He is probably the most respectable of classical composers with an inclination for “wild progressive” ideas, since he did not slip into avant-garde stupidity. Beethoven’s music was shocking in its own time for its juxtaposition of apparently contrasting ideas, but he would not leave them there. They were justified, as it were, through their careful development and envelopment throughout the rest of the piece or even in later movements, creating an unprecedented technique in bringing together content in long-range fashion through a process of entanglement.

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Illusions Dead – Celestial Decadence (2016)

illusions dead

Article by Corey M

Illusions Dead put this descriptor on their Bandcamp page; “black/death metal with influences from bands like Gorgoroth, Anata, Insomnium, Intestine Baalism and more”, but what these Finns actually offer with Celestial Decadence is a shareware version of Slaughter of the Soul 2.0, now with even sappier melodies that won’t alienate the ex-emo kids who are looking for the next edgiest music culture from which they can leech a persona.

Generally, any given song on this album starts with two guitars playing some volleyball-style counterpoint with a relatively cool-sounding riff. The drums punctuate when necessary, and then the vocals come in and the whole experience deteriorates. Aside from the opening track (which features a more effective low-end growl), all of the vocals sound like a half-assed take on later Gorgoroth’s shrieking style, but more forced and less congruent compared to the brittle guitar tone. The vocals (and drum mixing) only deserve a minor critique though; the real problem with Celestial Decadence is the total lack of energy and motivation that bogs the entire album down.

The best riffs in the album are short-lived and are essentially half-assed plagiarisms of At the Gates melodies. Spontaneously switching between up-and-down single-string melodic patterns and chugging percussive cadences can’t save the utter lack of passion and purpose in every musical segment. When I imagine the recording process of this album I actually picture a couple of rock band guitarists being held at gunpoint and forced to jam out pointlessly “metallic” riffs that will later be organized by a randomizing program and pieced together by a computer that doesn’t know a thing about composition except for the absolute minimum level of human tolerance for illogical irregularity.

Lacking a single distinct riff (except for the particularly emo-sounding middle-and-end section of “Shadow and Flame”), this album flew right past me even after several listens. The musicians definitely have a refined sense of when a melodic pattern becomes too boring to repeat, but they seem clueless as to the efficacy of the melody itself in the first place. I can’t recommend this album to any sane person, except for maybe masochists.

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Sadistic Metal Reviews mini feature – Aluk Todolo – Voix (2016)

aluk todolo

Article by David Rosales

Avantgarde-isms do not belong in metal. Avant-garde is the area where musicians go to publicly masturbate with their “interesting” ideas that may or may not (more likely the latter) contain abstract implications which must be explained by the author. Metal is about embedded communication through codified tradition, about rebellious purposefulness and a rejection of your posturing. Aluk Todolo presents us with tracks that are meant to be trance-like, and in their impetus end up mixing what is essentially an African ritualistic beat with post-rock noises and an ostinato bass without understanding how out of place all of this is beyond their sterile academic conceptions. To anyone who sees the spirits in music, to anyone that will see music come alive, this is the sort of travesty that modern thinking wants to pretend is music.

On the emotional side, anyone may enjoy this like they might enjoy a crack injection; after all, this is about as coherent as that little trip appears to be when you hear crackheads speak. On the intellectual side, there are plentiful experiments that provide a listener with new patterns and textures to brood over. However, these are interesting not for what they tell, but only for their outer craftsmanship. As an integral whole, however, Voix is nothing except in the minds of those who would impose on it an artificially-created meaning from the outside.

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