Death metal folk wisdom tells that the epithet “technical” generally connotes music that is bad for a unique reason: it tends to get trapped in technique, including cute tricks from music theory, for its own sake, which in turn deprecates the art of composing memorable and relevant songs.
Autechre‘s elseq 1-5 is a four hour anthology consisting of five individual EPs, each compiled together loosely upon conceptual coherence between the constituent tracks. elseq 1-5 is an exercise in release format rather than just content; the artists behind Autechre seek to utilize the immediacy of the digital age, releasing tracks “as they go” without traditional limitations imposed by the “album.” Granted of course this collection appeared as a hulking and impenetrable dump rather than a sequence. This point bears worth remembering as this overview proceeds as the temptation to view elseq 1-5 as a complete work, or works, is ingrained in popular habits.
Graveland‘s 1050 Years of Pagan Cult rerecordings of Rob Darken’s greatest hits from the best of Graveland‘s black metal period is available now for download on Bandcamp. This release appears to be another rerecording for losers with iPhones who want to hear old songs with a modern, less necro production.
During black metal’s most creatively fertile period in the early 1990s, a handful of Greek musicians forged an alternative musical path noticeably different from that of their Nordic peers. Their efforts would subsequently crystallize into the Hellenic black metal sound or style.
Death Metal Underground staffers Lance Viggiano and Corey M. reviewed Marko Laiho’s new ambient mix he created for Radio Helsinki.
Marko Laiho’s forays into electronic music can be described as anything but explorations of the myth of the machine. Though his aesthetic pallet draws from future invocations – anything we say of the future is always about the present – he blurs the line between the biological and mechanical unlike so much of the greater genre proper. For this mix, created for Radio Helsinki, the bohemian devil troubadour crafts an enveloping near-ambient journey using samples of original work and that of other artists as well. The success or failure of music in this mode is dependent entirely upon pacing over the course of an unbroken set which in this case does not falter. Broken into halves, the latter is more recessed while the former is more pronounced.
Graveland announced a new album of studio rerecordings of prior material and premiered a new music video for “Thousand Swords” on their Facebook page. 1050 Years of Pagan Cult comes out this November.
One clear sign that a band’s direction is compromised can be seen through unity of style. In this case, we see Gorgoroth lacking a clear voice of their own, in place of which Instinctus Bestialis offers three main ways of constructing sections and a rather pop-oriented way of building whole songs. The first is a bare bones neoclassical melodic method using two guitars, which is an interesting addition to traditionally more modal and harmonically chromatic genres such as death and black metal. Due to the foreign nature of these, the incorporation can be quite delicate and ought to be treated with the utmost care. The second is a collection of standard modern metal tropes ranging from the rhythmic intonations of deathcore with a low-string chug riff, probably inherited from the most prosaic speed metal. Last is the most important of the three in a rather unexpected choice in anthemic heavy metal, which happens to be the customary choice for commercial metal acts which have become barren of inspiration and direction.
It’s ten thirty, you’ve just park your primer printed Ford Escort next to a mail box. As you approach the house party, you hear the faint but present rolling of open e rumbling which causes your fist to clench; unconsciously clamping the thirty rack of PBR you are carrying with heightened anticipation. As you approach the house, the scent of tobacco and descending drum fills leaks through the cracked garage door while brief phrases of frantic power chords begin alighting a fire deep inside… Insane fun awaits.
Article contributed to Death Metal Underground by Anton Rudrick.
Septic Flesh have always oscillated between dark goth rock and simple death metal. Esoptron1 strode past both genres with expressive ambient interludes and enveloping everything in arcane rock akin to Fields of the Nephilim, reorienting Septic Flesh’s sound towards a suitable incarnation of their music’s abstract themes.