Pennsylvania deathmongers INCANTATION have just kicked off a run of European dates with Morgoth, Darkrise, Methedras and Omophagia, which will see the band demolishing venues in Europe, the UK, and Russia this April. In celebration of the band’s 25th anniversary, INCANTATION has just announced a second leg of European dates this coming summer – the death metal veterans will be laying waste to Europe for two weeks this coming July alongside Brazil’s Nervochaos. INCANTATION has also been confirmed for a number of festival appearances this summer, including Obscene Extreme Festival in the Czech Republic, MetalDays Fest in Slovenia, and the third annual Hell’s Headbash in Cleveland, OH. A complete listing of dates is included below.
***All dates with Morgoth, Darkrise, Methedras, and Omophagia***
Apr 14 Ostrava, CZ Barrak Club
Apr 15 Erfurt, DE Club From Hell
Apr 16 Rheine, DE Hypothalamus
Apr 17 Drachten, NL Iduna
Apr 18 Rotterdam, NL Baroeg
Apr 19 Chapelle-lez HT, BE Maison Du Peuple
Apr 20 London, UK Nambucca
Apr 21 Glasgow, UK Audio
Apr 22 Southampton, UK Bristol Bierkeller
Apr 23 Oberhausen, DE Helvete
Apr 24 Villa de Barrosales, PT SWR BarroselasMetalfest XIX
Apr 26 Vilnius, LT Propaganda
Apr 28 Minsk, BL Brugge
Apr 29 St. Petersburg, RU Opera Concert Hall
Apr 30 Moscow, RU Monaclub
June US Dates:
Jun 24 Columbus, OH O’Shecky’s*
Jun 25 Crest Hill, IL Bada Brew*
Jun 26 Lansing, MI Mac’s Bar*
***All Dates with Nervochaos***
Jul 14 Obscene Extreme Festival – Trutnov (CZE)
Jul 15 Neudegg Alm Abtenau – Salzburg (AUT)
Jul 16 Elyon Club – Milan (ITA)
Jul 17 Le Korigan – Luynes (FRA)
Jul 18 Tba (FRA)
Jul 19 Tba (FRA)
Jul 20 Le Klub – Paris (FRA)
Jul 21 Muziekcafe Elpee – Deinze (BEL)
Jul 22 Little Devil – Tilburg (NLD)
Jul 23 Chaos Decends Festival – Crispendorf (GER) *Incantation Only
Jul 24 Viper Room – Vienna (AUT)
Jul 25 Akc Attack – Zagreb (HRV)
Jul 26 Metal Days Festival – Tolmin (SVN)
More US Shows Announced:
Sept 2 – 4 Cleveland, OH Hell’s Headbash 3
Funeral doom innovators Skepticism plan to record their fifth album, Ordeal, live at Klubi in Turku, Finland on January 24, 2015. This marks a departure from their normal process of recording in studio but enables the band to record the album and video simultaneously for release on their new label, Svart Records, having transferred from Red Stream Records.
Visitors to the live show will also receive a re-issue of the first Skepticism 7″ EP originally released in 1992, which will be unavailable to the public. Skepticism formed in 1991, and recorded through the 1990s before unleashing their first full-length, Stormcrowfleet, in 1995.
Attracting fans for their ability to merge melody, theatrical song structures in the Celtic Frost style and abrasive slow and ponderous riffing in the best doom-death style, Skepticism took doom metal to the next level of slow and grinding music creating a pervasive sense of dread and resistance.
With their 1995 album Stormcrowfleet, Skepticism defined the funeral doom genre as entirely separate from the warmed-over rock of stoner and mainstream doom and, along with Winter, showed an entirely different direction for the future of that style. Since that time, Skepticism have released four full-length albums and two EPs to enthusiastic response by a dedicated fanbase.
Toni-Matti Karjalainen of the Aalto University School of Business announced the Modern Heavy Metal: Markets, Practices and Cultures as slated for June 2015, in coordination with the International Society for Metal Music Studies. The conference is designed to be a fusion of business and management theory and observations on the business of heavy metal.
“The former black sheep of popular culture is today a relevant subject for almost any scientific discipline,” the conference organizational flyer announces. A Call For Papers and more information will be unleashed on March 31, 2014.
According to the conference organizers, the topic of papers and the conference is “exploring the phenomenon, culture, and practices of heavy metal as a specific genre; the form and philosophy of the genre; the position of metal within the popular music industry context and its transformation; metal market studies; global considerations and country-specific peculiarities; fan perceptions; creative management; artistic and aesthetic considerations; and many other topics.” Although this is viewed from a business organization perspective, like most metal studies this one is interdisciplinary.
Midsummer’s sylvan possession will claim many lives tonight by drowning, stabbing, hanging and other morbid rituals that cloud the light of the greatest Finnish celebration. It can be said that the spiritual conflict between the barrenness of the Finnish urban life and the sudden plunge into the freshness of nature undertaken by most at this time of the year, combined with the gargantuan intake of alcohol, causes a temporary collapse of the veil of the civilization, when festivals end as festivals must. Under the deceptive tolerance of the society, dark depths boil and murderous impulses become sublimated thoughts. Some of these undercurrents were illuminated and analyzed almost as topics of transcendental philosophy in the dark contemplative statements of Finnish Death Metal, one of the strongest musical movements that ever arose from Finnish soil and also unarguably one of the strongest Death Metal scenes of the period. It is a testament to creativity that it’s still very hard to pin down a certain easily recognizable ‘Finnish sound’, but this does not mean a lack of mental images connecting them.
Among the first were the playful Death Metal / Grindcore crossover Xysma, the brutal Disgrace and the dreamier but less eloquent Funebre from the historic capital of Turku. In nearby Loimaa the discipline of Demigod and Adramelech formulated occult and mythological visions from these roots. The true monument of the early scene was created by Abhorrence from the modern capital of Helsinki, in their devastating demos that displayed the ferocity of old school black metal alongside articulate influences from British and Swedish Death Metal movements. Later the heritage of Abhorrence spawned into the more ‘professional’ folk influenced narratives of Amorphis des
pite the fact that the earlier band was far from amateurish itself. Besides Xysma, also bands from the wooded Birkaland county were heavily influenced by punk and thrash especially in anti-authoritarian spirit: Rippikoulu, Convulse, Purtenance and Lubricant. A counterpart were the quasi-Byronian melancholic poets of Ostrobothnia, heirs of the strict religious sects of the Bothnian coast: Sentenced, Cartilage and Wings. The same mystical traits combined with grindcore, Sarcofago and lots of booze in Beherit, Belial (“Wisdom of Darkness”) and Impaled Nazarene, who composed the classics of Finnish Black Metal contemporaneously (not successively as in the world at large) to the Death Metal movement. The promising Necropsy from Lahti released a strong split album ‘Unholy Domain’ with Demigod but never managed to release a full-length album back in the day, while the cryptic and absolutely unique one album wonder Demilich from thrash capital Kuopio set the bar for Finnish ‘progressive’ Death Metal extremely high on ‘Nespithe’; only Unholy from Imatra or Paraxism from Jyväskylä (who did not release an album) could compete in sublime weirdness. Mordicus from North Karelia also left a legacy of one quality album, ‘Dances from Left’, while fellow Joensuu mystics Phlegethon only released demos and one EP before some of the same individuals surfaced in the Doomdeath tribute band Hooded Menace. The quest to bring back moments of old school Death Metal majesty brought about by later bands such as Devilry, Slugathor, Deathspawned Destroyer, Ascended and Lie in Ruins is discussed in more detail in our article “Ascension of Sepulchral Echoes: A Finnish Death Metal Revival”.
We are proud to present a sequence of tracks collected by Fenno-American Death Metal connoisseur Benjamin Tianen in tribute to Finland and its strain of artists and conjurers. This compilation of obscure quality Finnish Death Metal is recommended for listening in the twilit hours of day, preferably in rather uninhabited locations as most of Finland is. If there is one teaching one must bring home from Finnish artists and Finnish school of mental exploration, it is that one must not love happiness as much as one loves truth.
Corpophilia and Necrobiosis
Visitors remembers the Western shores of Finland mostly from their warm summer days, windstorms and chilly nights of Autumn. The dunes of the shore of Yyteriare unique in the whole Scandinavian region while most of the towns carry relics of past industries but have failed to establish themselves in modern or digital age, remaining secluded communities with little vital attractions to the youngsters. Thus it is not surprising that towns such as the historic Uusikaupunki, a weird silent nature-surrounded industrial port that has always baffled my spirit, gave birth to multiple demo level death metal insanities in the early 90′s.
Coprophilia described the twisted and tangled nature of woods, human remains and animal entrails on the four songs of their one and only demo, playing distinctive and intricate heavy metal influenced straightforward melodies to lend catchiness to songs that in their spontaneous clarity bring into focus the main influences for old Finnish death metal: heavy metal, Bay Area speed metal, horror music and UK bands in the vein of Napalm Death.
More sarcastic, irritant and grinding, Necrobiosis pummeled a simplistic punk-o-rama riffspace almost like Blasphemy or Archgoat would have done it except using the concluding expectancy common to dual vocal grindcore so that the grunts and screams echo exactly the phrases played by the rhythm guitar. Lead guitars often recall metal guitarists’ introductory practice pieces in the vein of Iron Maiden and Rainbow, as was the case with not only Coprophilia, but also Amorphis, Sentenced and many other greats. Curiously for a word I had never heard before, Necrobiosis was also picked as the band name around the same time by guys a couple of hundred kilometers away in Riihimäki. You might know this band better by a name they thought of later: Skepticism.
In an era when Finnish death metal was a freaky force of nature, punishing everything in its path, Necropsy from Lahti, Finland, was doomed to obscurity as many of their peers, the likes of Mordicus, Convulse, Funebre and Abhorrence. In five years (1989-1993) they created 7 demo tapes and appeared on one 7″EP and a split LP with Demigod on the infamous Seraphic Decay label. Thrashing and grinding, organic and brutalous death metal of this kind would freshen up the scene of today immensely and thus we welcome the rumours that Necropsy is staging a comeback in true old school spirit to show the weakened versions of Carcasses and Pestilences who still holds the true spirit of unholy death.
What force in the inner core of man gives birth to death metal impulse? Is it fear, hatred, obstinence, passion, paranoia, vision or celebration of power? “Rippikoulu” is Finnish for “confirmation school”, which is an institution partaken by Finnish teenagers in order to be educated in the rituals and tenets of the Lutheran church. Celebrated usually in a camp away from the city and the participants’ homes, it ironically has a habit of devolving into a minor orgy of sin while the sole motivation of attendance for most is the hope of the meager sums of money elderly relatives usually bestow upon one, after the confirmation. When small town death metal cults produced their blasphemic demo output, it’s not far-fetched to say that it was this kind of absurd experiences with organized religion that led them to deny and spontaneously analyze the hypocritical, indoctrinating social customs that lead a child or a man to accept Christ for the sake of community and convenience, while at the same time materialistically mocking the values of the spiritual tradition.
Valkeakoski was another boring town even by Finnish standards which used to smell like feces because of the paper industry, an example of climate perfect for original death metal. At surface, the most notable characteristic of Rippikoulu was their use of Finnish language for invocation, which has often been abused but at the right hands and in the right mouth withholds the tremendous syllabic power feared by Nordic warriors since the Bronze Age, as recounted in Kalevalan mythos. The stupendous music of Rippikoulu’s two demos, “Mutaation Aiheuttama Sisäinen Mätäneminen” (“internal rotting by mutation”) and “Musta Seremonia” (“black ceremony”), bridge the grindcore influenced ecstatic physicality of Xysma with earthen, suffocated sludge in contorted, space-and-time stretching rhythmic dynamicism reminiscent of Winter‘s and diSEMBOWELMENT‘s most psychedelic lapses. It gives the impression of a blind, tormented prophet shouting fragmented glimpses of pure vision to the darkened, apocalyptic world with barely any ears left to listen to human voice amidst the collapse of industrial infrastructure. In the slow, emotional leads one could hear Paradise Lost, but in its warlike sparseness and logic, even nihilism, it’s something closer to the most doomed moments of Bolt Thrower’s “War Master” while the almost ridiculously disembodied parody of gloomy gothic organ in “Musta Seremonia” brings to mind Unholy‘s drugged haze; Faustian sorrow and blasphemous sense of humor united in one single strangely reverent and innocent package which is without question another forgotten jewel of the olden Finnish death metal scene.
This summer’s festival season of carnage is nearing its bloody end and while drinking beer from skullcaps we have been reading and writing reports, listening to albums and throwing the sign of the horns to all bands that still really understand what death metal is about. Maryland Deathfest 2009 was a success as were of course countless of smaller events in USA, Germany, wherever, and I myself attended the true-as-fuck Jalometalli 2009 in Oulu, Finland. It was truly a pleasure to see that this country still has a metal festival which is not totally invaded by metalcore people and hipsters. It has been getting worse, because metal is trendy now and even though that means more gigs, it also means that corporate rock bastards see the marketing potential.
While old school speed metal bands regenerated themselves with great force, the likes of Agent Steel, Death Angel and Whiplash riffing and headbanging like it was goddamned 1985, the band that really dominated the Oulu proceedings was the mighty Asphyx, always too underrated, always better than pretty much anything else from Netherlands, whose little brother Hail of Bullets didn’t fare that much worse with their Bolt Thrower impersonation. Despite the open air / big stage setup, the underground feeling of it was something that could have happened in one of those legendary “youth center” gigs of the early 90′s death metal scene in Scandinavia. No glamour, no gimmicks, some death metal possessed kids throwing a moshpit, and pure old school musical values dating even back to demo material (the legendary cut “Rite of Shades”).
So, forget the hippie Atheist, boring Pestilence and greedy Carcass, whomever else has made the comeback for all the wrong reasons. Asphyx is here to stay and crush.
Shall the words not sing of sorrow Leave for others words of lament
The label ‘Funeral Doom Metal’ is used to describe a plethora of bands that share a largely fatalistic ideological outlook in common. This is an extreme interpretation of the inherent misery of Doom Metal as a wider movement that dates back to when 70′s bands such as Pentagram and Pagan Altar, and 80′s bands St. Vitus, Candlemass and Cathedral from the early 90′s carried the baton bearing these surface qualities taken from Black Sabbath. It was, later still, passed on to bands best represented by Paradise Lost, My Dying Bride and Katatonia, who integrated this slow and doleful style with Death Metal techniques, as this movement had reached it’s apex in the remarkable ‘goldmine’ period (1989 – 1993). This style called Doomdeath would eventually become more extreme, spawning suicidal and eschatological Funeral Doom Metal bands such as Mournful Congregation, Paramaecium, Worship and Pantheist. They would claim more of a descent from the band most synonymous with the tag: Finland’s Skepticism, however, whose consistancy and contribution to Metal music as a whole far outweighs their status as the archetypal form of some sub-sub-genre. Emerging almost simultaneously from the South of Finland, both Skepticism and Thergothon were playing music less concerned with the self-obsessed emotions of Doom Metal; infact, they followed more in the footsteps of Death and Black Metal, illustrating their reverence for nature/cosmos, it’s eternal patterns and magestic forces that confront our fragile and often illusory perceptions (and feed the despair of most Doom Metal in it’s fatalism).
This appropriately brings us to the annual ‘Dooomstock’ festival held at the Lepakkomies bar in the Sörnäinen district of Helsinki. More importantly, it brings us to Skepticism’s role not only as headliner, but the most uncompromising example of what has been discussed so far: that Skepticism – who bring the epic spirit of Romantic, nihilistic Metal to the Doom scene – reign supreme in a sea of shit. It’s the second day of the festival, and the opening act – Funeral Planet – amounted to little more than an extremely heavy and slow Rock band, which is the most unfortunate symptom of this kind of Black Sabbath worship. Thanks to the trial-and-error, improvisational nature of Rock composition, one or two riffs could be enjoyed but, without some meaningful musical context, only as a soundtrack to consuming bottles of Karhu – Finland’s premium lager. The Celtic Frost cover was a nice addition to the set but only served to increase the anticipation for Skepticism by hearing the work of another legendary band. Such an honourable title, the Finns in attendance would tell you, couldn’t be more applicable to the country’s original Doom Metal band and second act on the line-up: Spiritus Mortis, now being fronted by Sami Hynninen who is more well-known as Albert Witchfinder from Reverend Bizarre. Their brand of traditional Doom Metal is more competent than the preceding act, in that their sound hybridizes a wider range of influences, from Trouble and St. Vitus to the somehow rousing dirge-anthems of Pagan Altar and post-Nightfall Candlemass. But was there more to the set than a collection of tightly-played tribute songs for a diehard group of Finnish Doom Metal connoisseurs? Beside’s Sami’s enthusiasm for singing to his own band within this lot of fans, in a voice more suited to Spiritus Mortis than to a bizarre cover of Burzum’s ‘Dunkelheit’, the answer would be that there was no more meaning. The next band, Ophis from Germany represented the new generation of Doomdeath bands, and delivered almost as promised, a juvenile set of clichéd tracks that rip-off the approach played first by diSEMBOWELMENT and littered this with token chugging lifted from the cruder moments of Worship’s first album. Ending the set with a cover of a band that nobody had heard of planted Ophis solidly into the grave, but it did feature a lot more of that chugging which is ambrosia for the Doom Metal fan, as shredding is for speed-addicts.
With all of this noise done and dusted, the stage was set for the mighty Skepticism, and those who seemed to have better understood the significance of what would come made their way to the feet of the masters. Skepticism’s image is about as disparate from their peers’ as their music is, with the band maintaining a strictly non-Metal sartorial code, led by Matti on vocals and his dishevelled conductor’s suit. The set began with an awe-inspiring and trance-inducing rendition of the classic ‘Sign of a Storm’, opener to the debut album. The opening words are growled more chthonically than on record, accompanied by Matti’s gestures as he appears to summon and conduct the elemental forces of nature, explaining his customary choice of attire. His performance as vocalist is in sharp contrast with Sami’s; his actions are erratic extensions of a music which is greater than himself and, though he is aware of the audience, knows his role as mediator at all times. In the basic element of sound, Skepticism sound more like a coherent whole rather than an unbalanced loudspeaker for an isolated riff, some crowd-friendly chugging or double-bass layer. The next song, as the tracklist of the Stormcrowfleet album dictates is ‘Pouring’ and demonstrates the brutal harmony of their sound. None of their coherence is sacrificed as the set enters the classic ’Aether’ from the second album, which creates a lot more ambient space and dynamic demands that are delivered expertly. ‘The Curtain’ and ‘The Arrival’ from the latest album, Alloy follow to demonstrate the quality music that Skepticism is still creating – a very rare phenomenon in the world of Metal. Next came two tracks that, while enjoyable, explain why ’Farmakon’ was such a hit-and-miss affair. The riffs are quite cumbersomely arranged, but with their characteristic power and glimpses of innovation, Skepticism drive them forward regardless. To close, nothing could have been a more fitting choice of song than the epic ‘March October’ as the band returns to ‘Alloy’ one last time. What a gift to leave behind for the audience to be inspired – sonic patterns of the continuum of life. The epic Skepticism transcended the Doom Metal festival in every aspect of their music and performance, and this is what, perhaps paradoxically, makes a Metal band great; by letting the form of the music be shaped and directed by the fundamental impulses that inspire it, like the sea upon the coming of a storm.
Proudly join the tunes sounding Gallant ways the pulse beating Take their place in the Alloy Fortify the compound forming And unite the substance growing And meld matter made for lasting To complete the March October
Absurd, Der Stürmer, Satanic Warmaster and Goatmoon in Tampere, Finland
February 1, 2008
Soon after the new year, Finnish newspapers Aamulehti and Turun Sanomat and the tabloids Ilta-Sanomat and Iltalehti published news items both online and in print which claimed that Finnish neo-nazis Furore Finnum were organizing a tour of neo-nazi bands. Despite a massive email campaign against the show, and other brilliant strategies like publication of the gig organizers’ home contact information on the Finnish anarchist site takku.net, the show was to go on.
A public venue was arranged for Tampere in a well-known metal bar and another, more private, gig was arranged for Turku, with the location spread carefully. The gig in Tampere was sold out, but not to neo-nazis: on the contrary, our reporter found that no more than 10 percent of the people who were interested in the gig, either in the negative or in the positive sense, had made any research towards the philosophy, interviews, lyrics and imagery of the particular bands. This is not to condemn the metalheads, who sensibly were interested in these bands and what they would be communicating musically, visually and spiritually and not at all interested in becoming caught in some political discussion dating to the 1930’s whose one of the sides in some countries it is criminalized to take.
The night at Tampere was a phenomenal success. Despite some late attempts by the mass media to stir up trouble by warning the immigrants of Tampere not to go out during the night because there are nazis about, there were absolutely no problems in or near the gig taking place. The police scouted the area a bit, a couple of reporters came to ask irrelevant questions and so on, but that was it. People at the door were also checked with metal detectors. Some people came in rather drunk because for bureaucratic reasons this night the place was not allowed to sell except the mildest drinks, but I guess no-one was refused entrance which is lucky considering the hostile reputation of that bar’s doormen. Hundreds of fans, musicians, artists, distributors and casual listeners with differing political, spiritual, musical and social outlooks were present. This is exactly what had caused so much fear and rejection: the normal person interested in metal, underground rock, etc. does not buy anymore the moralistic condemnation of ideologies that for various reasons utilize the symbolism of fascism and/or National Socialism. Many of them may be ideologically opposed to those ideas, but they do not support censorship of them, which is a perfectly self-consistent view.
Because there was only 3 and a half hours of time for 4 bands to perform, the pace was rather hectic. I would have liked to chat more with the wonderful people present but did not have the occasion because soon after we arrived Goatmoon started blasting away on stage and even later between bands there was only 10 or so minutes of interval. Goatmoon, which is essentially a solo band of BlackGoat, consisted of 4 members in this performance, including Harald Mentor and a rock guy who fell on his face near the start of the gig. The drunken and hysterical energy and an “amateurness” that some people despised were actually the traits characteristic to Goatmoon this night which made the performance feel very personal. They went through a short set of hit songs from their two albums and closed with a cover of Finnish RAC/Oi band Mistreat. The cover song was possibly the most memorable piece of their set and really got the audience going.
Next was Satanic Warmaster who provided the most mystical and melancholic black metal experience of the night. The band is known from sweeping, rocking, emotional black metal anthems that refer to older black metal in a tribute-like patchwork of intense feelings. Satanic Tyrant Werwolf, who acted like he personally knows each member of the audience, and for all we know he does, gave some sharp and clear statements on stage about the importance of the event and recommended the audience to behave themselves. They hammered the audience with a set of tracks such as “Vampiric Tyrant”, “Raging Winter”, “Carelian Satanist Madness”, “Wolves of Retaliation”, “The Burning Eyes of the Werewolf”, “A New Black Order”, impeccably executed by a lineup of session musicians. The feeling of dark might especially towards the end of Satanic Warmaster’s performance got me thinking that this is how Emperor should have been when I last year saw them in Helsinki. The art of Satanic Warmaster is so dramatic and personal that it actually works as an esoteric trick on behalf of Satanic Tyrant Werewolf in reducing his ego from the picture and becoming a medium for the whole audience, and black metal in general. For a spontaneous listener it will seem like a bag of cliches, or a masterwork, or actually both. This goes for others of his projects too.
Der Stürmer managed to up the level of intensity even further by marching on stage, imposing figures illuminated from behind, raising arms in salute while music from Wagner’s Siegfried was playing as intro music. One could not help but visualizing the mighty shape of a victorious eagle, rising from the shades of long gone battlefields. The dreams and hopes and sorrows and battles of the won and the lost wars of Europe manifested there for one instant. Then the pounding started. Der Stürmer’s violent, almost nihilistic battle metal filled the air. The most dominating in the atmosphere were the big skinhead -style vocalist brutally shouting the manifestoes and slogans of W.A.R. with equal intensity in songs and in between songs and the skilled drummer who managed to interrupt blastbeats with militant marching fills and invoke something resembling a more technical version of Capricornus’ drumming madness on early Graveland. While the performance continued without flaw, the hour or more of Der Stürmer’s vengeful attack was maybe a bit too long for their minimalistic and monotonous style.
Seeing the infamous Absurd performing live was of course the thing most of us had been eagerly waiting for since the gig was first announced. Despite the original philosopher of the band being present behind the scenes, understandably the line-up was the new Absurd, with no common members with that which performed the classic albums “Facta Loquuntur” and “Asgardsrei”. Nevertheless, when Herr Wolf captured the stage after the “Leben ist Krieg…” intro and launched into the title track from “Asgardsrei”, there was little doubt that this new incarnation of the band is capable of evoking unique radicalness and danger as only Absurd could, from its inception. Ask the members of the audience who were at the receving end of the flying mic stand! Wolf’s close-cropped haircut and chest armor brought to mind a medieval warrior, Oi! provocator and Judas Priest at the same time. His absurd (how else?) stage mannerisms included bouncing to the beat, grinning at the audience, picking fights and talking in German. The songs they played included “Werwolf”, “Gates of Heaven”, “Pesttanz”, “Eternal Winter” and “Der Sieg ist Unser” from “Facta Loquuntur”, “Als die Alten jung noch waren” and “Für Germanien” in addition to the title track from “Asgardsrei” and an assortment of tracks from the later albums which I do not know well enough to name, but they all worked very well to these ears. It’s doubtful that the old lineup could have played the songs with this technical precision, but of course I do admit to a slight mourning in my soul at that the earlier, most cult, lineup disbanded.
After the gig ended, everyone had to leave as soon as possible because the band had already stretched the limits of the reservation of the place. It was wet outside and lousy weather so we returned to our hotel without further adventures, to rest from this very positive experience and to prepare for forthcoming battles. Overall the gig was very memorable and positive and one of the best in a very long time. People who attended the next night’s gig in Turku said it was a full success too. My deepest appreciation goes to Furore Finnum & the bands for bearing with all the trouble and mess caused by ignorance and cowardice of some people. It will be remembered as a triumph of idealism and spirit over moralism and repression. It’s a gift to live in a country where this was possible and where exist people with the right spirit to make it possible.
Demilich and Deathbound
July 22, 2006
Henry’s Pub, Kuopio, Finland
Every band is eventually confronted with the time when it is the best to quit as the objective has already been achieved, and continuing wouldn’t bring anything new or fresh to the world, while the remaining memory is being diluted by surplus effort. It is then better to focus to create the keenest edge and to refine the artistic monolith as impressive as possible, so that the world itself could be protruded in, like a monolith ascends towards the vast skies and its heights.
The venue, Henry’s Pub in Kuopio, Finland, was a rather homely and roomy enough little pub, which had space for both the more restrained members of the crowd as well as those who take music enthusiastically and physically: those who gather in front of the stage. The bar was obviously directed to older people before, as aged exceptions stood out here and there among the mostly dark clothed people. Some people wandered in amidst the bar, stopping to wonder at their surroundings without a clear aim, and slipped away as seemingly absent-minded as they were at their arrival; like zombies who return to the places familiar to them from memories of their previous life, but have no clue where to go, being just parts of mechanical formulae. The mood was calm, and speakers tinted the atmosphere filled with the quiet churn of wait with some metal, which however didn’t attract attention and ended up lilting in the background, filling the corners. Senses woke up when Deathbound climbed to the stage for soundcheck at about 10 PM, and after a while of noodling there, they launched their own furious set, which was meant to warm up the crowd for the main performer of the evening, Demilich.
Deathbound, whose members hail from here and there from Finland, presented a hefty serving of grindcore by their raw bursts of sound. Songs were concise and angry, and were intent upon blindly charging onto emptiness, which doesn’t really bow to social norms but rather, indiscriminately appears where it wishes to. After breaching this boundary they didn’t go further, however, but assured their position in a way and didn’t venture ahead, or show their theme from several different angles, giving clarity to the whole; the word “No” radiated from the flood of sound generated by the instruments at a steady pace. The last song, “I God”, was a potent manifesto, the last nail and confirmation; the end of one frenzied assault and the beginning of another journey, to which this band decently warmed up the audience.
It didn’t take too long until Demilich stepped on the stage, and briskly started their set with the song “When the Sun Drank the Weight of the Water”, which possessed the crowd with the very first notes. The performance of the bassist Corpse (of Deathchain) was the most visual of the lot, while others remained mostly professionally calm. Song after song, in the order of the album “Nespithe” and a few other works thrown in, they executed with apparent joy and skill, presumably satisfied with the decision to bury Demilich at the top. The audience was understandably thankful of this act, and when the combination of three guitars, a bass, drums and the subterranean growling of Mr. Boman, all of them laced with passion and love for their craft, brought these works painted with precision and creative brush before the minds of people, they fully relished it: the tunes of the world’s mechanics were absorbed in moshing heads, and bewitched some to trance-like dancing, as well.
The music of Demilich: The drummer crafted abstract patterns, which were in their honesty the actual essence and structure of the monolith, in all its immensity and incomprehensibility; the rumbling bass gave it form, a surface existing similarly to a waving dream, which stretched the boundaries of reason as the eyes of our minds focused greedily on this apparition. Guitars cast the ultimate alluring texture and revealed the various strings of the fabric with their plunges and static swarms and quiverings of movement, as Boman’s voice of faceless depths dragged minds ever closer to Nothingness, into the crystal chambers of the World’s soul by every verse born, emerging from matter.
Mighty were their performances, and your reviewer was grateful for being able to witness a most excellent farewell concert, and as the streams of “Raped Embalmed Beauty Sleep” lapsed into space and coalesced with the atmosphere, clock 00:09 AM it was over: Demilich was no more. Although energy isn’t channeled to this celestial body anymore, in memories it will continue on the course which it was honed to travel. It is better this way than if it had been forcibly hanged on, as it is now a monolith of its own in the orbit, proud and brilliant among its kind, many of which are being grinded on until they are but a formless clump of confused dreams, set adrift on wastelands littered with the wind-beaten husks of similar failures, with oblivion and extinction as their fate.
Hailing from Finland, Mørketida present us their debut album which, unlike most of the festering horde laying claimant to the precipitous banner of black metal this year, has some actual merit. Perhaps what is most impressive about this release is that, despite its utter reliance on the most elementary of black metal chord and note progressions, there is such a wealth of depth in the interplay between elements that the essential lethargy and entropy prototypical of the modern form of this threadbare genre is fully exceeded. Verily —and in traditional, true black metal fashion— they have made the utmost out of rudiments. Every section here is wrung out, thoroughly, meticulously and by means of layering, coalesced into a microcosm of sound. This is aided by the production’s overlaid murk, an intensely atmospheric affair; manifold veils reveal obscured information upon close inspection, in this way taking its cues from early Burzum. Indeed, most parts of this album can be traced back quite easily enough to the cornerstones of the genre. As mentioned before, the language that makes up the barest essence of this genre is present here in full force and yet that language has been twisted to fit its needs, to create an experience. There is no concession to vanity here, all is arranged in service to a pervading darkness and this puts the craft of this album above most. In this way, it is true, it has not simply regurgitated the requirements of the genre but used them in expression. Traces of Darkthrone, Gorgoroth, Graveland, Ancient and Burzum, all make appearances here, though not in imitation by any means. These classic bands have indeed scribed the language but the arrangement and order of its morphemes is fully Mørketida’s own.
A deliberate brooding pace sets the tone for much of this album, at times finding brief resolution in well-worn, thrumming tremolo bursts, hallmark of the Norwegians. Drums too, are played in the classic way, wisely devoid of any clutter they rumble, blast and accentuate without syncopation, pure in that they do not attempt to suffer arbitraries upon the listener. Vocals chant in intonations obscure, oft buried in the umbrage and at times barely discernible, only made known by their echo, like chanting heard from a cave some distance away. Some brief sections of keys, emphasize moments of power or ambience, they are present in much of this album however, usually as another layer in the foggy production. In its most fervent moments, there is force of passion here, etched out as sharp contrasts between the meandering stride. The brunt of this work appears uniform with its slow chords and droning arpeggios but sections are arranged in repetition only with the greatest patience, never failing to end that which has dwelt too long. In fact, this album is utterly untouched by the inertia of lingering thought-forms past their day; all sections have been measured diligently and like the ancients they shift when it is time, never after or before.
This organic sense of composition is much missed in these days of note clamor, where the essential power of the black metal language is roiled by the entropy of an unnecessary, incessant changing of riffs, vomited out with little application of artistry. Songs are well wrought, there are no loose ends to composition and another impressive facet of this release, there is no excess of vanity, no flirtations with extraneous influence. The uniformity of this approach, with just enough discernible waymarks to keep the listener guided throughout its realm, lends a rare strength to this release. Very few parts make any attempt to be seen as indelible, and of these, the title track in particular sets itself apart by letting the bass wander, exploring different trails and in one glorious moment lets it solo, a longing sonority against the melancholic scratching of the guitars. Moments like this one are rare and with good reason, this is the type of black metal that longs to dwell in worlds away from modernity, it crushes the ego, it spurns the trappings of the mundane. The goal of a permeating, consuming, crepuscule is always in mind and with it; the apprehension of an atmosphere pure, reveling in its fealty to an ultimate darkness. A mature and conservative work in all aspects, what may at cursory glance appear to be contrived or unremarkable will soon prove itself well worthy of study.
Experience it as a whole and experience it with headphones!
Modern metal bands will often add all sorts of odd and extraneous elements to the music. What is most curious and notable, even as one cringes to the sounds of flutes or children’s choirs and such, is not what is in the music but what is lacking in the music: an aggressive, adventurous, feral spirit that is the common element of all metal music. While experimentation, new ideas, and new textures and elements are not in and of themselves bad things, most bands, being the crowdists they are, get the horses of the apocalypse before the meat wagon. As Socrates so sagely reckoned all those years ago, the spirit informs the final shape that the physical body will take – to build the creation without spirit is, in essence, to create something that lacks shape and indeed lacks the very essence of being.