diSEMBOWELMENT’s only full-length release is one of those classic Metal albums that takes the most rudimentary elements of the previous generation and arranges them in accordance with a unique and evolved artistic and spiritual vision. Though initially reminiscent of the blasting, grinding chaos of bands like Necrovore and Napalm Death, diSEMBOWELMENT waste no time setting in motion the epic, spiritual journey that they have clearly defined through the course of the album. The resonant tremelo riff that suddenly mystifies the raw and brutal, typically Death Metal soundscape is actually the centerpiece of the entire album. It’s a phrase that will recur throughout, and as it strummed, chanted, plucked and synthesized, it reflects an elevation of consciousness from the realisation of mortality, suffering and the nothingness that envelops it all to a state of serene understanding. The frenetic riffing more often gives way to monumentally heavy and meditatively slow passages, crafting a sense of silence or stillness that is at one with cold and impersonal reality. These are punctuated and layered with primal rhythms and manifestations of that central theme, as the journey unfolds to illustrate the gruelling path of spiritual awakening. Transcendence… is an album that should be approached with the same discipline that the band itself put into it’s creation. It’s one of the most thoughtfully crafted works of Death Metal that deserves a place as more than just an unusual, cult classic.
diSEMBOWELMENT – Transcendence into the Peripheral
Review by Alexis
While the doom metal genre during the early ’90s in general followed the melodic style of bands like Candlemass, Australian Disembowelment pushed the genre forward by concentrating its topics into esoteric territory, in an attempt to re-discover the abstract language behind metal. Traditionally seen as one of the main innovators of the death/doom crossover, this band fused grindcore influences with the technical patterns of death metal, distilled in epic-long compositions.
Transcendence into the Peripheral from 1993 is their only full-length album and marks the height of the band’s career. The first compositions roughly follow a sonata form, with melodic introductions accentuating the main theme, long passages of structural improvisation, and ending with a repetition of the introductory theme, sometimes fading into technical percussive patterns, hailing its death metal language roots.
Often pending between fast paced moments and longer, intricate passages where the symphonic and droning riffs melt in with the cathedral-like sound production, this band adopts the staggering, epic phrases of Black Sabbath, discarding melody in favour of a rhythmic-harmonic aesthetic. This gives the music its spiritual, ritualistic aesthetic, setting this band apart from most other doom metal bands at the time. The droning sound of the bass and guitars, melting with the drums that pound like gigantic timbales for a funeral ceremony, invokes a sound picture of huge reverb, letting each sound slowly die away like space dust in the universe.
The second half of the album somewhat loses the sonata intention and instead builds up 9+ minute improvisational compositions, where the structural changes in the music require full attention from the listener. Not dissimilar from a mental ritual, the language of Disembowelment is both hopelessly beautiful and heroically assertive, expressing in both content and form the Sumerian concept of the tree of life and death, stretching from the ocean of eternal truth (Abzu) to the divine heaven (Anu).
Although lacking in the department of melodic development, and despite a compositional coherence that could have tied the intricate riff salads together into more central harmony from the lead guitarist, Transcendence into the Peripheral stands apart from the rest of the metal clones to date through its direction into the abstract foundation of metal language. Macabre, stylistic, technical and emotionally heavy, this is a musical manual into personal development–and during its heights, transcendence beyond the mundane world of humans.
As these Observer posers speed past 2017’s halfway point, they present a selection that is indeed a dumpster fire representative of the shit pool that their mainstream metal listening provides them with. Only those who need to be eradicated (rapists, communists, child molesters, serial killers, hipsters, etc.) genuinely think that stoner rock and boring, slow heavy rock bands are examples of heavy metal. Their piss-poor “culling” (badass, huh?) from the “metal cauldron” of mee-maw’s recipes was as follows:
This interview was completed with Blender Jeremy Reeves, Adam O’Neill and Ted Swearingen.
Like many Hessians, I enjoy Nicotine, not only for its calming mental state but for its cognitive benefits. While I love cigarettes, snuff, chew, cigars and cigarillos, my ultimate love is the pipe: a method of absorbing Nicotine slowly, with maximum flavor, that rewards the contemplative mind.
Cornell & Diehl is releasing a new The Beast tobacco blend. Some have said this is just an extended April Fool’s joke. Is it for real? When does it come out?
The Beast is certainly for real, and will be C&D’s second Small Batch release. There will be 777 tins made, and the official retail release date is April 29th.
What will The Beast be like, and will it feature tribute to Crowley’s lore-famed mixture of rum-soaked Perique?
The Beast is quite powerful and very heavy, being mostly Perique, and the whole blend has been soaked in rum for 7 days. It is undeniably Crowley inspired, and that in and of itself is our tribute.
Have you ever smoked rum-soaked Perique straight and if so, what did you think of it? How will The Beast compare?
I have and honestly I rather enjoyed it. I actually smoke our long-cut Perique straight occasionally on my drive home. If you puff like a freight train, it will knock your socks off, but if you just keep it simmering, the depth of flavor is mesmerizing, and the nicotine is slow to come on and builds nicely.
The Beast is a powerhouse, but it is not straight Perique. I like to think that we have tamed the beast a bit.
How long does it take you guys to invent a new blend recipe? Is there a lot of trial and error? What’s the most fun part?
That all depends on the specific blend in question. I always make several versions of a blend and try different approaches or methods. Sometimes I get it in the first few tries, and sometimes it takes weeks or months of experimentation. There are two blends that I have been working on for about 6 months, and they are getting close to completion but still aren’t quite right.
In the case of The Beast, Ted Swearingen and I collaborated on the blending. We each came up with several recipes and then smoked through the lot together with Shane Ireland and Sykes Wilford. What a time that was! Four guys in a little room smoking seven different versions of this really heavy, rum-soaked Perique blend for about an hour. By the end of it, we all were glazed over, dazed, sweating, and dizzy!
With the new C&D “small batch” line, you’re trying something different. Is this a way for C&D to “test the waters” with new blends? About how much of each small batch do you initially produce?
Yes and no. I don’t necessarily think of Small Batch as a way to test the waters for large scale production, but rather a way for us to be creative and try new things without having to commit to a blend that may be too niche to produce on a more permanent basis.
The C&D line is quite large already, so this model gives us more freedom to try things that might be be difficult in regular production or to use special ingredients that are in limited supply. The possibilities are a lot more open in Small Batch, because we are only going to make the blend one time.
The first round of Small Batch was “Straight Up English,” and we did 400 tins. They all sold in two hours. There will be 777 tins of The Beast released. Next time? That’s anybody’s guess.
Did this approach grow out of a previous marketing strategy by C&D? It seems like you were very adventurous in putting a lot of blends out there and seeing what “stuck” with the audience. How do you know if a blend “sticks”?
That’s actually a remarkably pertinent question given that The Beast is coming out under our Small Batch label. Our main vision for this line was to be able to be more flexible and creative in the blending process without having to commit to production of a large run. In the case of Straight Up English, we’d received some particularly good bright Virginias from Canada and wanted to showcase the interplay between those leaves and Latakia. In the case of “The Beast,” we just wanted a chance to tinker with Crowley’s famous blend, which is an idea we’d always toyed with, but we could never do before now.
As for whether or not a blend “sticks,” we use a combination of feedback and sales. Some blends might not sell so well, but get a lot of positive feedback. In these cases, we’ll usually just scale back production and keep the blend around.
When your team designs a blend, how do you handle the balance between “I would like this” and “our customers would like this,” or are the two very similar?
My approach is to blend things that taste like I want them to and then to consider whether there is broader appeal by taking it around the office and getting feedback. With a quite diverse group of pipe smokers with varied style and taste preferences all in one building, this approach helps me to hone ideas, improve blends, and gain insight into what other members of the pipe smoking community might think of whatever the blend in question might be.
Did you read any Crowley, practice any rituals or listen to any occult-influenced tunes during the invention and production of the blend?
Ted has read quite a bit of Crowley’s work, including The Book of Law, The Book of Lies, The Book of Thoth, and Liber 777 — the title that inspired the number of tins for this blend.
There was not enough room in the production area to make a proper altar, and not enough time in the work day to draw a sigil, but I listen to a lot of occult inspired music of many different genres. Pentagram, Diecide, Asphyx, Possessed, the Devil’s Blood, Celtic Frost, Bathory, Diamanda Galas, Skip James, Iron Maiden, Axe, Black Widow, Sabbat, Black Sabbath all find their way into my regular listening rotation.
Why a tribute to Crowley? Will you be doing tributes to other “interesting” writers?
It seems that Crowley’s idea of smoking Perique soaked in rum in order to reach an altered state for the purpose of performing the dark arts has really resonated with a number of people in the pipe community, inspiring many to try it, and many more to talk about it with varying tones of trepidation, disgust, or fascination.
We wanted to do something that was evocative of Crowley’s mixture but would also be a little tamer and more interesting than just Perique and rum.
I can think of no other author who has inspired such an intriguing bit of pipe lore than Aleister Crowley. That said, you never know where our next inspiration might spring from.
I write for the net’s oldest underground metal site and our audience are rabid death metal fans. Do you all listen to any heavy metal or death metal over there, especially when mixing up Perique? Why should a death metal fan adopt the pipe?
That’s really cool to know! I will have to check out your site!
As I mentioned earlier, I do listen to a lot of metal, and old school death metal is some of my favorite music. Cancer, Disembowelment, Death, Slayer, Onslaught, Monstrosity, Exhorder, Goreguts, Cannibal Corpse, Pestilence…. not counting my physical collection, digitally I have over four months of music, and I’d guess that about 60% of that is metal of various styles (doom, thrash, death, tech, grind, classic, prog, shoegaze, etc.). A couple of the other guys here listen to metal as well.
I think that pipe smoking goes beautifully with classic doom like Candlemass or Solitude Aeturnus, or even the sludgy kind of stuff like Crowbar. I find that I have to concentrate a bit more on keeping my smoking cadence slow if I am jamming to something really speedy like Origin or Pig Destroyer.
How did you get into smoking pipes, blending and eventually working for an innovator like C&D?
Really, that all started in 2003, when I took a position as a sales clerk at a cigar shop in Chicago called Blue Havana. The owner of the shop rented a number of properties in the area, and as it turned out, one of his tenants was our shop’s Lane sales representative, Jeff. I smoked cigars and cigarettes at this point, but Jeff was a dedicated pipe smoker and gave me my first pipe, an old Stanwell sandblasted Billiard that was well smoked.
This pipe and Jeff’s careful tutelage really started my curiosity and interest in pipes and pipe smoking, but it wasn’t until I left that position in 2006 and went to work at Iwan Ries that pipes really clicked. I have always been an adventurous smoker, always looking to smoke something new, and Iwan Ries certainly offered more pipe tobacco and pipes in one place than any other shop. Suffice to say, I tried as much as I could get my hands on. It was also while employed at Iwan Ries that I first became aware of the greater pipe smoking community, eclectic and strange as it is. This was also the first time that I became aware of Smokingpipes.com.
When I left Iwan Ries in 2007, I went back to working in restaurants, and when I left Chicago to move to Portland, OR, Smokingpipes became my primary source of pipes and pipe tobacco. I was continuing to work in food service, making wood-fired pizza at Pyro Pizza. We were using local ingredients, making our own mozzarella, butchering, and curing our own meats, making our own sodas, growing our own herbs, etc. I had always cooked from a young age, but this was really creating food on a whole new level. I also had the opportunity to build two wood fire ovens for the company, which was really cool.
After a few years at Pyro, I learned of a job opening at Smokingpipes and decided, at the urging of my girlfriend at the time, to apply. They called me the next day, and a week later I flew to South Carolina to interview. I was hired in the Customer Service department for Smokingpipes.com. Cornell and Diehl had become my favorite blending house, and I was delighted to learn that they were merging with Laudisi, SPC’s parent company. Later it came to light that when C&D was to South Carolina, head blender Ted Connolly would be taking retirement, and toward the end of 2014, I was offered the position as his replacement, which I gladly accepted.
I began traveling to Morganton to train with Ted C. and the team in the beginning of 2015, and in May of that year the company relocated to join the rest of Laudisi in the new facility, located in Longs, SC. That’s the condensed version, anyway.
If people like what you’re up to, how do they follow your activities and those of C&D online? Is there a C&D tobacco you’d recommend to start with?
We’re pretty active on all of the usual platforms — Instagram, Twitter, Facebook, and YouTube — plus, as you know, we tend to lurk around the forums.
New pipe smokers tend to roll with Aromatics when they first start out. As such, Autumn Evening (by far our most popular Aromatic) is perfect for newbies, as it smokes dry and cool, which means less relights and tongue bite. Plus it has the same unique red Virginia Cavendish we’ve used in The Beast, only with a topping of boozy maple.
A small distro portraying Skopje’s (Macedonia) gloominess and fucked up street reality through records and gigs since the early 2000s, FUCK YOGA has since grown into a label that makes obscure hardcore and metal gems somehow available to the few heterodox freaks roaming this city. Its presence has grown during the years. Today, it is home to some of the more obscure acts that seem to have acquired a cult following in the margins of hardcore and slow-paced metal. California’s Noothgrush and even Boston doomsters Grief have gone through FUCK YOGA.
We’ll dive inside and try to dissect everything up in an interview with Ivan Kocev, the man behind this freakish abomination.
1. Ivan, you seem to be heavily attached to gruesome acts of human abhorrence. Well, at least one’s first impression is similar, whilst viewing Fuck Yoga through the lenses of conventional societal pattern.
I accept it as part of nature’s condition, hidden behind the veil of social conventions. It is important to familiarize oneself with all aspects of existence in order to gain more knowledge and bring more truthful judgments further in life.
2. What’s up with you and yoga anyway? Why all the hate dude?
When we were plastering posters for shows, they were often being covered by a yoga class. What also contributed to choosing the name was the “instant enlightenment” vibe that radiated from these people… I also read that the purpose of yoga was “becoming one with the great power that you were never actually apart from” or something like that, which I found bullshit at that time. So over 10 years later, the name remained- it’s not something I actively live by.
3. You pretty much nailed it with a few issues lately. Apartment 213, Noothgrush, Grief…some pretty cult stuff right there. How did you manage lurking them into your lair? Isn’t there a shitload of labels, some highly reputable I might add, in these guys’ states?
I’m a big fan of the mid-90’s mutant hardcore. It might as well have been the final progressive effort of sonic alchemy in it’s respective genre- acknowledging the past, yet branching out into unorthodox forms. Of course-with varying degrees of success, but the general feeling of actual creation and boldness was highly inspiring to my younger self. The bands you mentioned would have no trouble finding a “bigger” label then FUCK YOGA to release their records, but standard scaling doesn’t necessarily apply in this world anyway. They might be considered “cult” nowadays, albeit most of their records were issued on labels strongly rooted in the underground. I cultivate the DIY spirit while providing a very decent representation of their body of work. I salute staying underground by choice, not by necessity.
4. I guess you’re exposed to much of the sensibility of this genre. You collaborate, tour and run a label. You’ve grown to understand the scene from within. Do you think it is an all inclusive club that has built itself upon an egalitarian belief of indisputable equality? Or has this been the distorted image that we have been served by potential pests? My question seeks to disclose if ubermen who breed elite ideas are still present within these circles.
It is up to the individual to choose on which of the many conflicting attributes it pays attention to. You don’t have to look hard to come upon hypocrisy and shallowness in the underground- why would it would be devoid of? I encourage self-sufficiency, yet it’s funny how the bigger picture you see, roles start morphing. It is important to learn from experience and stay alert.
5. What are some of the shittiest bands out there that have been bringing a lot heat lately? I’m all obsessed with negative lists and would really want to hear your opinion.
I am not following “the heat” really. As time becomes more precious for me, I have to spread it out as productive as possible.
6. How do we kill this whole revival trend that has been busting our balls? Resurrection is cool sometimes, but if every idiot is given the opportunity to bring stuff back to life, pretty soon we might even see Christian metal bands or some fucked up shit like that rocking the scene.
Simply judge for yourself instead being told what’s good for you. Easier said than done, I know… If your acceptance filter can handle a copy of a copy of a copy- who cares? I try not to focus on what I dislike, rather use my effort in directions that excite me. The underground will always survive through mutation- some will lose sight, interest or power- but it implodes forever.
7. Are you a fan of population reduction? I am. Who do you think is doing the job well in aiding the process?
It’s difficult to imagine oneself as a 1/7 billionth part of a system. I try not to get too global, it feels depowering. I believe in eye-to-eye centrifugal action, as a real change needs a strong core. Much more efficient then just poking all over the place.
8. What’s on your schedule with Fuck Yoga?
Any day now (late November `15) I’m releasing a new batch of records; GRIEF s/t 12” and “dismal” LP/CD, MOSS “sinister history vol.1” (the first in the series of several records spanning the early, obscure years of the band), DESPISE YOU “west side horizons” LP, and BILLY BAO “communisation” LP. Next would be a NEW WORLD 3”/4” record, SETE STAR SEPT “vinyl collection” CD and HERPES “medellin” 7” repress. 2016 will see records by BASTARD NOISE, DAZD, GOLI DECA…
9. Do you think we’re battling an inside war against our own when facing the fury of SJWs who are censoring us with their PC crap? Fucking hipster pieces of trash!
I will have to disappoint you again with my detachment from cliques. I do not practice any organized political belief- It takes a lot of skill and practice to become independent. I can’t completely deny my social presence, and I am continually learning how to minimize compromise in favor of saving energy for the long run.
10. Briefly explain everything I missed out due to this interview being conducted by me in my utmost hung-over state. I didn’t ask you anything about Fuck Yoga’s roots, plans, presence etc. Neither did I ask you about the 3-4 bands you’re currently in (there’s at least one of them that I dig). Hell, you run a bizarre label somewhere in Southeastern Europe, where such things are true rarities and I didn’t ask you anything the domestic situation – that’s pretty lame of me; I bet it’s fun to hear some bone chilling stories of Balkan underground. Plus you’re organizing this festival in December and I totally skipped that. Preach the gospel!
Here’s what bands I’m currently involved in: GOLI DECA – the music is slow, but not “doom”- it’s devoid of the traditional rock/metal attributes- along the lines of what SWANS were doing on the first few records. VKOZUREN is musically comparable to early BURZUM- primitive and escapist.
The longest running, yet still unnamed band is somewhat a continuation of my previous band, POTOP- only more feral and surreal. I have used musical influences from WINTER, DISEMBOWELMENT, (early) MORBID ANGEL, EARTH 2, (early) DEAD CAN DANCE. Another unnamed, featuring Oleg Chunihin also of the band above and GOLI DECA, is trance-like bass-driven micro-compositions- think HELLHAMMER, BARATHRUM… There are a couple of rehearsal clips online, studio recordings and eventual releases are planned for 2016. MILITANT ZAZA is the name of the mini-fest we’re organizing for the first time this year, with exclusive performances by VERMAPYRE (nightmarish horror soundtracks), REGLER (the new project of BRAINBOMBS/ BILLY BAO personnel), PROPOVED (amazing ancient heavy doom from Serbia) and GOLI DECA. The idea was to organize an event covering different points of the extreme music specter, focusing on the fringes. Thank you for your interest and effort, it’s much appreciated.
Skillfully bringing together doom/death, modern atmospheric and war metal styles, Unorthodox Equilibrium is more than a fitting name for describing the musical approach used in this album. Bands playing in any of the aforementioned styles have typically fallen prey to different misconceptions. Some have failed by attempting to adopt an orthodox position simplified to the precept that genre cliches guide songwriting and that the result will be good if it “feels good”. Others have taken a route that attempts to bring more original ideas into the mix but whose ultimate goal is still that each section gives them a certain feeling, an “atmospheric/ambient” effect. We can summarize the cause of these blunders by saying that their approach has been too pleasure-oriented.
In Unorthodox Equilibrium we can hear familiar voices bearing the mark of Worship in Last Tape Before Doomsday, Disembowelment (I refuse to follow ridiculous indications as to what letters should be written in uppercase format) in Transcendence into the Peripheral and Esoteric in Paragon of Dissonance. Unlike them, though, Shroud of the Heretic only slightly avoids falling into complacency with the immediate effect of their arrangements and instead channels these as methods used measuredly. The band manages to promote a sense of movement in each section while maintaining atmosphere without depending on stagnating in the harmony within one section or getting anchored to one kind of texture or intensity level for too long. This makes the album an incredibly varied experience within the non-restrictive but focused confines of a florid and eloquently coherent language.
Independently of whether this was a conscious decision or not, the heterodox and non-monolithic composition route taken by Shroud of the Heretic avoids this atmospheric metal trap and represents an excellent indicator of an artistically healthy direction for this subgenre of metal.
Death Metal Zombies
Horrorscope Productions, 1995. 90 minutes.
Those of the death metal persuasion tend to value content over surface. This idea emerges from the basic thought of metal: beauty in darkness through structure, social appearance be damned. As such, the death metal audience tends to ignore the differences that millions of dollars of production bring, and focus on the content of a movie.
Death Metal Zombies is (mostly) such a movie. Its entertainment value matches that of films with much larger budget and media support. However, it is a bit of a mess. Filmed on video cameras in the exburbs of Houston, Texas it features continuity mistakes, sometimes amateurish camera work, and of course non-professional actors, so much so that the directors released an anniversary cut a decade later that halved the film length and re-arranged it to make more sense. This was clearly a project in which people learned their craft, and starts with the almost assuredly marijuana-inspired concept that a cassette tape can contain musical programming to turn people into zombies. However, we have all seen films with far dumber premises that made it out of major studios. Gone Girl, The Expendables, Avengers and Star Trek: Into Darkness come to mind as multimillion dollar tributes to idiocy.
The basic idea of this film is that people in the dead-end middle class outer suburbs of a flat, humid and boring major city (which was nowhere on the news in 1995) have little to live for except death metal, and they find a way to hook up with a “special” tape from their favorite band, Living Corpse. This tape contains thirteen minutes of sonic programming that transform them into zombies who promptly return to their normal lives and act out the fantasies of death, gore and retribution that do not fit into the modern world. This review focuses on the original film, not the edit, which has its charm in that despite some filmmaking ineptitude and a possibly ill-advised metal-centric plot, it captures the lives of its filmmakers and actors and amplifies that experience to a supernatural level. It works perfectly in a post-modern sense as not the focal point of an evening, but a topic of commentary, where the real movie is more the conjecture about it and experience of criticizing it than what is on the screen.
The above-average viewer will spend much of this film wondering what exactly is going on. The filmmakers burn through too much tape setting up scenes, and not enough showing action, which makes viewers wonder what to focus on. This is balanced by relatively strong action scenes with creative (and copious but not overblown) gore, quality violence and a genuinely menacing atmosphere. Were I some kind of film critic, I would loathe this because it insults every pretense of that profession, but as a lifelong media hater who finds most movies to be inane, I see this film as less inane although less technically gifted than your average Hollywood flick. In particular, characters are believable, situations are believable, and the plot — once you get past the somewhat handicapped device — moves forward enough to compel an urge to witness its conclusion.
In addition, there is a death metal angle: Relapse Records allowed use of what looks like its full catalog, so bands as diverse as Incantation, Pyogenesis, Winter, Disembowelment and Brutality play in the background in scenes that are half-MTV and the rest a zombie film designed to be watched through a bong while chatting with friends. The music angle in both plot and background is not meant to be convincing, but enjoyable, and seeing familiar tropes from death metal bands in the characters, as well as having what was probably the only “real” chance death metal had at having videos back in the day is gratifying. There is no way to construe this film as competitive with professional efforts, but the grim fact is that it is arguably less dumb and more compelling than what the big studios dump arrogantly on our numbed brains.
As the Ebola virus continues to ravage Africa and spreads into America and Europe, it may be time to get over our squeamishness and explore the wealth of death metal that can be played as we all get headaches, have flu-like symptoms, and finally pass out in pools of blood expelled from our various orifices.
With the help of our readers, we’ve assembled an all-star death metal, grindcore and black metal playlist for Ebola fanatics:
Baphomet – “Infection of Death” (The Dead Shall Inherit)
Carcass – “Vomited Anal Tract” (Reek of Putrefaction)
One of the great questions facing metal at this time is how it will propagate itself in a rapidly-changing record industry. Some have gone old school, and there’s evidence suggesting this is the most viable direction. Others are working with the new media to take advantage of its unique abilities.
Sinister Path Promotions is a pioneer in this recent field. By working through social media, Sinister Path reaches a large number of potential fans via their mobile devices and allows them to discover new metal. In addition, Sinister Path concentrates interest in a series of mp3-based compilations which help promote lesser known bands worldwide.
We were fortunate to be able to have brief interactions with Nicole, head of Sinister Path Promotions. Here are her answers to our interrogations.
When did you start Sinister Path Promotions, and what was your intent?
I started Sinister Path Promotions February 2013 (launched via Facebook) with the intent to share metal, and create a community for metalheads to interact. My best friend had recently passed away and I wanted to throw myself into something positive to honor my metalhead mate. My main intent at that time was to create a comfortable, non judgmental, interactive environment. We shared music links, news and did a lot of interactive type posts.
In a few months, we managed to build up quite a large fan base and I wanted to get my teeth stuck into my passion: supporting underground metal. There were a lot of larger pages posting about the more widely known metal bands but not many focusing on the underground. In April 2013 I then put together the first of what is now four independent/unsigned metal band compilations. More recently I’ve gotten involved in interviewing bands and have interviewed with people including Paul Speckmann (Master), Dennis Röndum (Spawn of Possession), and Matt Young (King Parrot).
The main goal of Sinister Path Promotions is to help bring exposure to underground metal. We do that by way of the compilations, interviews, news, and regular posts and interaction on the Facebook page. There are a lot of plans I have for the page and I’m excited to see where this can go!
What sorts of bands do you promote? Do you include “modern metal” (deathcore, metalcore, indie-metal, emo-metal) within that sphere?
I started Sinister Path Promotions with a focus on old school death metal, black, and brutal death metal. For me, death metal is where my heart is, but I think when it comes to promoting bands and doing it in a positive, approachable way, this means trying to include a variety. For us now, the focus is predominantly independent/unsigned metal bands and this includes all sub genres.
The last compilation included the largest variety of metal bands yet: death, pornogrind, brutal death, slam, groove, viking, black, prog, technical death, funeral doom, industrial, folk, thrash, and more.
I take submissions and also and hand pick bands based on what I think the compilations need in terms of balance.
You’re Australia-based; a lot of famous metal has originated there. Do you have a top five or so of bands from Australia?
Top 5? You can’t do this to me! Yes, Australia has spawned some beast bands and it would be difficult to narrow it down. There are so many bands who have been so influential to me like Bestial Warlust, Damaged, diSEMBOWELMENT, Sadistik Exekution, Destroyer 666, Mortal Sin, Blood Duster. Then there are Aussie bands I’m following at the moment and cannot wait to see what they come up with next. I’m thinking about PORTAL, Ne Obliviscaris, Be’lakor, Entrails Eradicated, DEATHFUCKINGCUNT, Seminal Embalmment, King Parrot, Mephistopheles, Disentomb, Nocturnal Graves off the top of my head.
What are the day-to-day activities of Sinister Path Promotions? Are you planning to expand?
I run with a very small group of active admin (at the moment there are only four of us). Our day-to-day aim is to expose underground metal by posting music links, art, news updates, tour updates etc. We pepper this with some more well known bands, gear porn, interaction statuses, specific posts about underground musicians, statuses about our own personal gear/merch, basically anything that will be engaging and could help bring exposure to a band.
We have just launched a new compilation, so linking songs off that and promoting the bands involved in that is a priority at the moment. Us admin continually work in the background corresponding with each other about independent/unsigned bands that could potentially be approached to be involved in our samplers.
In terms of the future for Sinister Path Promotions, the independent/unsigned compilations are ongoing, the interviews are ongoing, the active nature of the page will always remain the same. I’m interested in exploring a variety of things including the potential of being a label, and setting up shows.
How did you (Nicole) get involved with extreme metal — was there a first band? What made you like this weird form of art?
The more extreme types of metal? Probably checking out gigs at University I think. There was quite a large metal scene there and shows on all the time. Prior to that I listened to heavy music all through school, and as a kid my dad was into punk and heavy rock. My brother used to sneak me into metal shows when I was underage too which is pretty cool haha. Was always open to heavier forms of music and always looking but I got serious about heavier and more extreme shit from Uni onwards really. I mean, I’ve always been into my music, have played guitar for 13 years, learning the drums, have been in bands, solo performances over the years. I know what it’s like to try to get exposure and I think that’s why promoting the underground is so appealing to me. I’m like a woman possessed trying to get the word out, and the moment when someone is introduced to a band via the compilations or the page, that’s the sex for me you know? That’s what it’s all about.
Can you tell me more about this underground bands compilation you’ve put out. Is it a physical release, and how did you select bands? Who do you think will enjoy it most?
The latest one is called: Sinister Path Promotions Unsigned / Independent Metal Band Compilation December 2013
Released through Bandcamp as a digital release; you can stream it or download it completely free. If you click on the individual tracks you’ll find more information on the bands so you can support them.
This current one has 42 metal bands from all over the world.
I approach the majority of the bands on it. I do have people who inbox the page or contact me other ways, and I check all of them out from there but mostly I look to gather up a variety of bands and styles and from there talk to them about being involved.
The compilations are a great way to check out some bands you might not have previously been exposed to and great for those interested in supporting the underground.
They’re awesome for bands to get involved with for a number of reasons. It helps bring some exposure because we link the bands on the compilation on a regular basis. The bands involved can contact me on the page any time they’d like to put out some news, info on new releases, pics, anything they’d like.
If people are interested in your promotions company, where should they go to contact you and/or read more?
Rippikoulu are a relatively unknown Finnish band whose potential was cut short because the band never developed past the demo phase after the death of the main songwriter. The first death metal band to “sing” entirely in Finnish, Rippikoulu saw a significant rise in popularity in the internet age, releasing their second and final 1993 demo on CD and vinyl through Svart Records in 2010.
One of many bands from Finland to realize the potency in doom elements in death metal, Rippikoulu quickly switched gears from the Bolt Thrower Realm of Chaos meets Autopsy style of their first demo into a morbid, down tuned style more along the lines of Lost Paradise stylistically updated by Incantation’s cavernous style similar to many other early 90s experiments like Mythic or Disembowelment, with similarly mixed results.
The music here eschews the ambient gestures of Disembowelment and Thergothon entirely, opting for a more bludgeoning, rhythmic approach. Like Winter, slow doom passages move forth at a glacial pace and are highlighted by macabre lead melodies in a manner similar to early Amorphis or Paradise Lost.
Unfortunately, these parts are the highlights of the songs, as they are sandwiched between often disconnected Incantation-esque blasting sections or Bolt Thrower heavy rhythm riffs. Too often, the excessive down tuned rhythms gets repetitive to the point of going nowhere (tracks one and four) or seeming like an in-between for the “money riff” effect of ponderous doom riffs (track two). Here we hear the weakness of the band in their inability to marry these opposing elements through developed riff sequences like Bolt Thrower on War Master. The other tracks feel more like complete statements but the speedier rhythm riffs are often sparse compared to their sluggish counterparts.
While the band successfully conveys the aura of mystique that made the Finnish death metal scene revered by many, this release was perhaps a bridge to them moving on to doomier terrain as evidenced best by the most focused track, “Pimeys Yllä Jumalan Maan,” sounding more like Skepticism covering Incantation at their slowest.
The good news is that this release functions well as divisions of a singular idea, much like how Belial’s Wisdom of Darkness used repetitive songs with shared themes to their advantage, giving the listening experience a ritualistic quality. It’s a great alternative to what the modern OSDM scene is currently churning out, but much like God Macabre’s The Winterlong, it is more a collection of slight variations on a theme than an album.