Before lapsing into embryonic death ’n’ roll on their second LP False (1992), Gorefest were among the earliest Dutch proponents of solid bread-and-butter death metal with a sense of melodic contour joining the many rhythm riffs into coherent songs which reach a point of focus in their cycles, forcing re-interpretation of its parts. The early style more or less complete on their demo recordings was brought to a fuller and more refined form on the 1991 debut album Mindloss.
Jason Netherton (Dying Fetus, Misery Index) created his history of death metal called Extremity Retained: Notes From the Death Metal Underground by letting members of the community tell their stories. This book compiles interviews with death metal bands, artists, writers and label owners. It organizes these into five topic areas which makes it easier to find specifics in the book, and by grouping like stories together breaks up the repetition that massed interviews normally have. The result provides a good background in the history and experience of the rise of the death metal genre.
Netherton’s use of topic areas allows band statements to be taken as a whole on the theme and to expand upon it without becoming repetition of similar questions and answers that un-edited interviews tend toward. Some may be put off by the lack of narrative tying these together, but the upside of that situation is that there is little extraneous text outside of what the actors in this scene said themselves. The only weak spot may be that since the highlight is clearly the old school bands, the inclusion of newer bands becomes extraneous when compared with the old.
The following and others contributed to the content of hte book: Luc Lemay (Gorguts), Alex Webster (Cannibal Corpse), King Fowley (Deceased), Stephan Gebidi (Thanatos, Hail of Bullets), Dan Swanö (Edge of Sanity), Doug Cerrito (Suffocation), John McEntee (Incantation, Funerus), Marc Grewe (Morgoth), Ola Lindgren (Grave), Kam Lee (ex-Massacre, ex-Death), Tomas Lindberg (At the Gates, Lock Up), Robert Vigna and Ross Dolan (Immolation), Esa Linden (Demigod), Dan Seagrave (Artist), Rick Rozz (ex-Death, Massacre), Steve Asheim (Deicide), Jim Morris (Morrisound Studios), Terry Butler (Obituary, Massacre, ex-Death), Mitch Harris (Napalm Death, Righteous Pigs), Robin Mazen (Derketa, Demonomacy), Ed Warby (Gorefest, Hail of Bullets), Andres Padilla (Underground Never Dies! book), Donald Tardy (Obituary), Paul Speckmann (Master, Abomination), Phil Fasciana (Malevolent Creation), Tony Laureno (ex-Nile, ex-Angelcorpse), Alan Averill (Primordial, Twilight of the Gods), Alex Okendo (Masacre), and Lee Harrison (Monstrosity).
The topic division of the book begin with the origins of death metal and then branch out to its diversification, and then areas of experience such as recording and touring. The final section addresses the future of metal. The material of most interest to me personally was at the front of the book where the old school bands talked about what inspired them and how the scene came together. It was like witnessing a revolution secondhand. In these sections, the most compelling accounts come from the people who are longest in the game as they are explaining the literal genesis of the process. Within each section, individual speakers identified by band write lengthy revelations to which the editors have added helpful captions. The result makes it easy to read or skim for information. Many of this book’s most ardent readers will find themselves doing a lot of skimming because the information here works as an excellent concordance to many of the other books on death metal or metal history and can reinforce or amplify what you find there.
We were all very much into underground music. Early on we were into Venom, Angel Witch and Motorhead, and later it evolved into bands like Hellhammer, Celtic Frost and Slayer. We wanted to play like them, and that is pretty much why we picked up the instruments in the first place.
With Massacre we were calling the music death metal pretty much from the beginning. We liked a lot of thrash, but to us a lot of it was just a bit too happy and the rhythms were a bit “too dancey.” Of course there were darker thrash albums like Bonded by Blood from Exodus, but even by the first demos we were calling it death metal. I mean, it’s not death metal as you know it today, but those demos were certainly founding releases in the death metal genre in terms of style. Of course, there are no blast beats or anything, but it was a combination of dark rhythms, the dark lyrics, and rough vocals that separated it from thrash. The term death metal had started getting kicked around with Hellhammer/Celtic Frost. We also knew of the Possessed demos, and it was in that tradition that we were referring to ourselves as death metal.
Some of the statements by later bands or bands that are not really death metal seemed like revisionist history but that is to be expected, since every band has to self-promote and include itself in whatever it can. This book utterly shines in the lengthy statements by founders of the genre that explain how it came to be, the thought process at the time and some of the experiences bands underwent. Be ready for blood, vomit and death in the touring section, and prepare yourself for some gnarly old school history in the other parts. By the rules of information itself, it is impossible to craft a metal history that pleases everyone. Extremity Retained: Notes From the Death Metal Underground takes the approach that Glorious Times did and amplifies it by getting longer statements and not relying on pictures, and it adds its unique and vital voice to the canon of books on the history of death metal.
Hail of Bullets formed when Martin van Drunen joined ex-Thanatos, Gorefest and Asphyx personnel to make a modern metal project with the intensity of old school death metal. Drawing heavily from related act Houwitser, the band specialized in pounding chorus-emphatic songs that used the simpler song structures of grindcore to accentuate the abrasive riffing of old school death metal applied with a modern metal sense of rhythm and production.
The band launched their third effort in 2013 with III: The Rommel Chronicles. This album more closely resembles late hardcore bands like Terror than death metal. The bouncy nature of the riffs and rhythms along with the metalcore-esque melodies present to us a more fun and friendly flavor of death metal in complete contrast to the death metal lexicon.
Reading the lyrics makes one feel as if they focused entirely on the lyrical aspect and assembled songs as a vehicle for those lyrics. Emphasis on riffs declines with the need to present vocals foremost. Slower riffs sound like they drifted over from a Whitechapel song. Martin van Drunen’s vocals sound as vicious as ever but that does not save the underlying problem: a lack of emphasis on riffs and song structure to fit them as has been the hallmark of quality death metal since its inception.
III: The Rommel Chronicles disguises metalcore as grinding death metal like Asphyx at the time of The Rack, creating death metal by style, not spirit. While there is much to like about this all-star lineup and many of its aesthetic choices, the underlying music cannot back up that promise and so the album feels hollow and expedient. Leave the trenches, because nothing is happening.
Former Dying Fetus member Jason Netherton, now proprietor Send Back My Stamps!, releases his latest creation in the form of a 480-page book of interview with figures in the death metal underground called Extremity Retained: Notes from the Death Metal Underground. The product of over 100 interviews over a three-year period, the book is comprised entirely of first-hand stories, anecdotes, memories and opinions.
The book attempts to “explore the scene through the voices of those who helped create it” and thus focuses its questions on zines, tape-trading and other rituals of the underground. These lengthy narratives are complemented by original cover and section art by Matt “Putrid Gore” Carr, incidental art by Gary Ronaldson, with design and typography from Tilmann Benninghaus, and title page by Timo Ketola.
Contributors to Extremity Retained: Notes from the Death Metal Underground include (but are not limited to): Luc Lemay (Gorguts), Alex Webster (Cannibal Corpse), King Fowley (Deceased), Stephan Gebidi (Thanatos, Hail of Bullets), Dan Swanö (Edge of Sanity), Doug Cerrito (Suffocation), John McEntee (Incantation, Funerus), Marc Grewe (Morgoth), Ola Lindgren (Grave), Paul Ryan (Origin), Kam Lee (ex-Massacre, ex-Death), Tomas Lindberg (At the Gates, Lock Up), Travis Ryan (Cattle Decapitation), Robert Vigna and Ross Dolan (Immolation), Jacob Schmidt (Defeated Sanity), Esa Linden (Demigod), Dan Seagrave (Artist), Rick Rozz (ex-Death, Massacre), Steve Asheim (Deicide), Jim Morris (Morrisound Studios), Terry Butler (Obituary, Massacre, ex-Death), Mitch Harris (Napalm Death, Righteous Pigs), Scott Hull (Pig Destroyer), John Gallagher (Dying Fetus), Robin Mazen (Derketa, Demonomacy), George Fisher (Cannibal Corpse), Ed Warby (Gorefest, Hail of Bullets), Rob Barrett (Cannibal Corpse, ex-Solstice), Donald Tardy (Obituary), Moyses Kolesne (Krisiun), Takaaki Ohkuma (Necrophile), Paul Speckmann (Master, Abomination), Anders Jacobson (Nasum, Necrony), Carl Fulli (Epidemic), Matt Harvey (Exhumed), Steve Goldberg (Cephalic Carnage), Ben Falgoust (Soilent Green, Goatwhore), Phil Fasciana (Malevolent Creation), Tony Laureno (ex-Nile, ex-Angelcorpse), Alan Averill (Primordial, Twilight of the Gods), Jason Fuller (Blood Duster), Alex Okendo (Masacre), Dave Witte (Municipal Waste, Human Remains), Lee Harrison (Monstrosity) and many more
What are Sadistic Metal Reviews? These reviews address the music itself, instead of the social impact of assembling a public persona out of bands you claim to like. Since almost all human endeavors are mostly mediocrity, there will be tender self-pity follow by rage. Come for the laughs, stay for the schadenfreude… and occasional quality metal.
Another band that leaves an “I guess it’s OK” impression, Dissect is interchangeable early 90s death metal. The deep vocals, downtuned guitars, and atmosphere are all there, but it’s unnecessary in light of other bands doing this style better. Unless you’re curious as to what Gorefest’s Mindloss would sound like if dumbed down into commercial jingles for Benediction fans, it’s best to leave this one alone. Like most bands from the Netherlands, the music is mediocre, but at least the lyrics are unintentionally funny.
This has all the hallmarks of Anselmo. The bird squawking vocals, stupid lyrics, and the music sounds like a hip-hop parody of bluegrass given a RAWK makeover are all there, except taken to the EXTREME with blast beats and tremolo picked riffs. Who’s he fooling with this? It still sounds like Pantera with the addition of randomness. The soundtrack to wearing an Anthrax shirt and skipping bail in a pickup truck while smoking a lot of meth after beating up your wife and step kids while a Steve Wilkos marathon is playing in the background.
This is basically a hardcore band, with some stylings of heavy metal and black metal. Thus, expect sawing droning high-energy riffs, but with the fills of an Americanized NWOBHM band and occasional black metal vocals or melodic sweep-riffs in the Gorgoroth/Emperor style. However, for the most part this is a middle period hardcore band, sounding like a more spacious version of the Dayglo Abortions. It’s not bad but not compelling.
Some bands just shouldn’t reform, especially third rate death metal bands from the 90s. Rottrevore return, playing their Harmony Corruption with Craig Pillard vocals form of death metal, but has regressed to a point where there’s no consistency in these songs which randomly showcase “old school” cliches. The typical 90s death metal of these riffs are a placeholder for a “mosh” or “breakdown” part which suggests this band may have been influenced by Pantera and/or metalcore during their time off. Still, about the only thing this band has done that’s of any note is having a member temporarily join Incantation in the mid 90s.
This band creates old school death metal with the vocal rhythms and tempo changes of Hypocrisy, but the storming intensity of an American death metal band like Massacre hybridized with the more percussive riffing of the second album from Suffocation. It is too good to remain a local band; however, there’s a reason (besides the goofy name) why this band never rose above the level of second-tier with bands like Utumno, Uncanny and Obscurity. It is highly rhythmic but repetitive both in riff use and song structure without much melodic development, which makes the experience of listening to it about like listening to a wall. There is a verse/chorus loop which is broken up with riffs for texture, and some melodic lead riffing which bounces over the thundering chords, but beyond that the story doesn’t develop much. Some of the later songs show a greater appetite for adventure, but there’s too much of a reek of wanting to be like Entombed with the more basic and thunderous attack of Obscurity, which removed a lot of what made Swedish death metal exciting in the first place which was its use of melody and dynamics. I don’t mind listening to this, but I’m unlikely to pick it up except as a curio of the past.
This EP begins with a Graveland-cum-neofolk style chanted introduction over acoustic guitar and then launches into three tracks of savage black metal. This band shows a lot of promise, but has two major beginner’s thwarts standing in its way: first, it is unclear on what style it wants to be, ranging between Iron Maiden heavy metal and Graveland black metal and back again with some stoner doom and Danzigish riffs; second, it doesn’t complete songs. These aren’t journeys from A->B, but journeys from A-> to a conceptual space where we think about the many possibilities that might be B. As a result, much like on a GBK record, the listener gets the feeling of something started but losing momentum in indecision. The good with Equinox is that these riffs tend to be very creative and fairly technical in a way you don’t normally hear, which is that they have complexity of phrase and within that, of rhythm, more like a jazz band or a solo. Like many black metal albums, these three tracks cluster themes which are revisited across song boundaries, creating a sense of being caught in one longer song. The lack of landmarks and destinations confuses it however, as does the jumble of styles, including one riff lifted from the first COC album. However, this demo shows a great deal of promise and as the band contemplates it over time, may be the inception of greater things to follow.
Despite the rather war-metalish name, HSA is middle period death metal; think late 1990s Sinister crossed with Malevolent Creation from the same period. Good riff diversity and variety, and song structure that holds together while allowing an interplay between elements to emerge, distinguish this approach from the soulless one-dimensionality to follow. Stylistically, there is not much new here, but these guys have their own voice in the content of the song, which is a somewhat pensive approach like early Darkthrone or Infester with a bit more intensity thrown in out of verge. While this is only one song, and the band has a horrible low-IQ name, here’s hoping they’ll produce more in the future.
Sub-par Polish chug death metal that reduces the NYDM style into being bouncy mosh fodder. The death/grind that Unique Leader would later popularize in the 2000s through Deprecated and Disgorge is found here sandwiched between Deicide style rhythms going into Massacre styled bouncy riffs. It’s like an over-produced and over-long death metal demo from 1994 which sounds like an aesthetically upgraded version of what bands like Benediction and Cancer were producing around this time. So, more vacuous “middle of the road” death metal that accomplishes nothing beyond being vacuous “brutal mosh metal” and as such, unnecessary beyond a one time use as background music.
Convulse release an album that is arguably their most well-written, but it’s also aesthetically maladjusted and void of artistic merit. Leaving their Bolt Thrower meets Benediction rudimentary “mosh” death metal behind for the death n’ roll trend of Entombed and Xysma, Convulse make a fully functional rock album with great instrumentation and performances. The problem is the gimmickry. A whimsically folky intro does a poor job setting the stage for the album proper, which is a more sufficiently mainstream version of the Xysma and Amorphis albums from this period. Extreme vocals, drums, and happy jazzy riffs are tremolo picked and blasted through giving this the feeling of death metal musicians parodying radio music more than anything. Bluesy and psychedelic as well, it seems like Convulse’s talent for stealing their country mates ideas has culminated in an album that simultaneously does everything their peers strove for better but coming off more poor in making things work cohesively as a listening experience, revealing this to be more of a “quirky” sham born from a conformist outlook than anything honest.
Early “death industrial” band Dead World uses the Streetcleaner formula for aesthetics but is closer to monotonic and mechanical industrial music in their compositions than anything that could be called metal. Lyrics and the “broodingly moody” manner in which they’re delivered reflect the mentality that Nine Inch Nails and Marilyn Manson would use when making pop-industrial themed Xanax accompaniments. The band does a good job of making the downtuned guitars, vocals, and drums work together into making a “hostile” soundscape, but it’s really monotonous stomping rhythms are only interrupted by discordant bridges that don’t build on any of the preceding and the music doesn’t unfold through layers of guitar tracks, making this a bite-sized version of the Godflesh style that is more in line with what mainstream industrial rock bands were shipping out at this time. Very obvious “misanthropic” heavy rock music that doesn’t offer anything over its clone target.
Daniel Rodriguez, Jon Wild, Max Bloodworth and Cory Van Der Pol contributed to this report.
By 1992, the metal underground was flirting with mainstream visibility to some degree; whether it was Slayer headlining an arena tour, death metal albums being distributed by Sony, news reports, or metal music videos on MTV.
An emerging horde of people saw how awesome death metal looked and leaped at the opportunity to be a part of a new movement and start their own bands. The problem was, these were the people weaned on The Black Album who wanted to be the next Kurt Cobain, so they chose the newest, edgiest method possible: extreme metal.
Every suburban nobody with a guitar thought if they dressed up their uneventful, radio friendly rock in a different way, they would be seen as unique, offering something new to the world that wasn’t there before. When these people make extreme metal, they keep the surface traits and miss the core. The down tuned guitar rhythms, guttural vocals and fast drums are easily cloned, but underneath the aesthetic of death metal lies something that is not too different from what the corporate rock that Metallica and Nirvana were shipping out at this time were expressing.
Some of these abominations might be in your album collection as well because, as they saw the horde forming, many established bands began imitating the imitators in a pathetic attempt to draw a new audience and get rich enough to quit their coffee shop jobs. Borrowing the rhythm guitar techniques from Bolt Thrower and Celtic Frost is no challenge, and bands like Gorefest and Obituary realized they too could make it big if they dressed up what the major labels were shipping out at this time. Thus, began the dumbing down of underground metal. Gorefest masked their rock bounce as death metal and Obituary thought reinforcing a Biohazard album with memes on rotting would lead them to success. It worked.
The hipsters of olde saw that it appeared different, but sounded similar enough to their radio fodder that they can add something derived from a morbid subculture into their “unique” fashion derived personality without threatening their social sphere. Eventually acts like Fear Factory would capitalize on this, finding much success by combining the sounds of Earache records popular Napalm Death and Godflesh into verse-chorus heavy-soft proto nu-metal. They were not using this music as a platform for artistry, but for label attention that they would use to springboard themselves into a radio rock career. They would fool their ‘death metal fans’ who were never able to discover the styles true potential into “maturing” with the artist, unaware that they were being used as another sales number until the band name became a corporate brand.
While most people blame bands like Opeth for dumbing down metal into corporate rock, others are the blame for this process that started long before Opeth noticed it and decided to profit from it. The false ones who have been allowed into the halls of the underground have been going unchecked for too long. They might have fooled you at one point. If it’s not honest thoughts turned into music, you can be guaranteed it’s a gimmicky pose or well-disguised radio fodder meant to take as much money from as many wallets as possible. It should be no surprise that around half a decade later they all drop the aesthetic and unleash something like this upon the world:
From “Cambyses” over at Ultimate-Metal, here’s a list of death metal releases by year during the glory days of 1988-1995:
Sarcófago – INRI
Massacra – Legion Of Torture
Nocturnus – Nocturnus
Death – Scream Bloody Gore
Napalm Death – Scum
Rigor Mortis (US) – Rigor Mortis
Pestilence – Malleus Maleficarum
Incubus (US) – Serpent Temptation
Death – Leprosy
Nihilist – Premature Autopsy
Morbid Angel – Altars Of Madness
Dead Horse – Horsecore: An Unrelated Story That’s Time Consuming
Obituary – Slowly We Rot
Rigor Mortis (US) – Freaks
Repulsion – Horrifed
Autopsy – Severed Survival
Carcass – Symphonies Of Sickness
Pestilence – Consuming Impulse
Dr. Shrinker – Wedding The Grotesque
Nihilist – Only Shreds Remain
Terrorizer – World Downfall
Morgoth – Resurrection Absurd
Incubus (US) – Beyond The Unknown
Carnage – Dark Recollections
Disharmonic Orchestra – Expositionsprophylaxe
Massacra – Final Holocaust
Cadaver – Hallucinating Anxiety
Tiamat – Sumerian Cry
Baphomet – Inheritors Of The Dead
Entombed – Left Hand Path
Deicide – Deicide
Master – Master
Atheist – Piece Of Time
Merciless – The Awakening
Death – Spiritual Healing
Benediction – Subconscious Terror
Nocturnus – The Key
Cancer – To The Gory End
Impetigo – Ultimo Mondo Cannibale
Blasphereion – Rest In Peace
Megaslaughter – Calls From The Beyond
Atheist – Unquestionable Presence
Death – Human
Demigod – Unholy Domain
Master – On The Seventh Day God Created… Master
Revenant – Prophecies Of A Dying World
Unleashed – Where No Life Dwells
Gorguts – Considered Dead
Entombed – Clandestine
Death Strike – ****in’ Death
Edge Of Sanity – Nothing But Death Remains
Carcass – Necroticism – Descanting The Insalubrious
Therion – Of Darkness…
Suffocation – Effigy Of The Forgotten
Benediction – The Grand Leveller
Pungent Stench – Been Caught Buttering
Morbid Angel – Blessed Are The Sick
Broken Hope – Swamped In Gore
Corpus Rottus – Rituals Of Silence
Dismember – Like An Ever Flowing Stream
Autopsy – Mental Funeral
Asphyx – The Rack
Immolation – Dawn Of Possession
Authorize – The Source Of Dominion
Massacre – From Beyond
Massacra – Enjoy The Violence
Ripping Corpse – Dreaming With The Dead
Grave – Into The Grave
Demilich – The Four Instructive Tales …Of Decomposition
Suffocation – Human Waste
Lemming Project – Extinction
Cancer – Death Shall Rise
Immortalis – Indicium De Mortuis
Gorefest – Mindloss
Cartilage – In Godly Flesh
Pestilence – Testimony Of The Ancients
Incubator – McGillroy The Housefly
Morpheus Descends – Ritual Of Infinity
Mordicus – Three Way Dissection
Incantation – Onward To Golgotha
Seance – Fornever Laid To Rest
Baphomet – The Dead Shall Inherit
Cianide – The Dying Truth
Mortuary – Blackened Images
Atrocity – Todessehnsucht
Demilich – The Echo
Torchure – Beyond The Veil
Rippikoulu – Mutaation Aiheuttama Sisäinen Mätäneminen
Altar/Cartilage – Split
Disharmonic Orchestra – Not To Be Undimensional Conscious
Edge Of Sanity – Unorthodox
Epitaph – Seeming Salvation
Therion – Beyond Sanctorum
Asphyx – Crush The Cenotaph
Adramelech – Grip Of Darkness
Cenotaph (Mex) – The Gloomy Reflections Of Our Hidden Sorrows
Lemming Project – Hate And Despise
Torturer – Oppressed By The Force
Cadaver – …In Pains
Solstice – Solstice
Eisenvater – I
Unleashed – Shadows In The Deep
Grave – You’ll Never See
Necrosanct – Incarnate
Transgressor – Ether For Scapegoat
Monstrosity – Imperial Doom
Impetigo – Horror Of The Zombies
Necrophiliac – Chaopula – Citadel Of Mirrors
Sinister – Cross The Styx
Amorphis – The Karelian Isthmus
Demigod – Slumber Of Sullen Eyes
Vital Remains – Let Us Pray
Deicide – Legion
Disastrous Murmur – Rhapsodies In Red
Miasma – Changes
Depravity – Remasquerade
Malevolent Creation – Retribution
Fleshcrawl – Descend Into The Absurd
Pathologist – Putrefactive And Cadaverous Odes About Necroticism
Brutal Truth – Extreme Conditions Demand Extreme Responses
Merciless – The Treasures Within
Phlebotomized – In Search Of Tranquility
Totten Korps – Our Almighty Lords
Asphyx – Last One On Earth
Infester – Darkness Unveiled
Liers In Wait – Spiritually Uncontrolled Art
Adramelech – Spring Of Recovery
Brutality – Screams Of Anguish
Mordicus – Dances From Left
Utumno – Across The Horizon
Rottrevore – Iniquitous
Wombbath – Internal Caustic Torments
Disincarnate – Dreams Of The Carrion Kind
Demilich – Nespithe
Depravity – Silence Of The Centuries
Necrophobic – The Nocturnal Silence
Torchure – The Essence
God Macabre – The Winterlong
Depravity – Phantasmagoria
Benediction – Transcend The Rubicon
Broken Hope – The Bowels Of Repugnance
Ceremony – Tyranny From Above
Seance – Saltrubbed Eyes
Supuration – The Cube
Pestilence – Spheres
Misery – A Necessary Evil
Gorguts – The Erosion Of Sanity
Kataklysm – The Mystical Gate Of Reincarnation
Phlebotomized – Preach Eternal Gospels
Cancer – The Sins Of Mankind
Carbonized – Disharmonization
Grave – ..And Here I Die… Satisfied
Amorphis – Privilege Of Evil
Cynic – Focus – Remastered
Electrocution – Inside The Unreal
Unleashed – Across The Open Sea
Death – Individual Thought Patterns
Rippikoulu – Musta Seremonia
Sadist – Above The Light
Resurrection – Embalmed Existence
Suffocation – Breeding The Spawn
Morbid Angel – Covenant
Atheist – Elements
Morpheus Descends – Chronicals Of The Shadowed Ones
Brutality – When The Sky Turns Black
Cianide – A Descent Into Hell
Phlebotomized – Immense, Intense, Suspense
Banished – Deliver Me Unto Pain
Fleshcrawl – Impurity
Gutted (US) – Bleed For Us To Live
Incantation – Mortal Throne Of Nazarene
Pavor – A Pale Debilitating Autumn
Brutal Truth – Need To Control
The Chasm – Procreation of the Inner Temple
Oppressor – Solstice Of Oppression
Uncanny – Splenium For Nyktophobia
Cenotaph (Mex) – Riding Our Black Oceans
Abramelin – Transgression From Acheron
Hetsheads – We Hail The Possessed
Infester – To The Depths… In Degradation
The Chasm – From The Lost Years…
Sepsism – Severe Carnal Butchery
Suffocation – Pierced From Within
Agony – Apocalyptic Dawning
Solstice – Pray
Vital Remains – Into Cold Darkness
Adramelech – The Fall
Incantation – Upon The Throne Of Apocalypse
I wouldn’t say all of these are worth getting, but most of them are, and it’s fun to track the development of the genre.
God is love, they tell me, and that universal brotherhood is the way to peace and happiness. But I’d rather have answers than peace, and I’d rather have really intense peaks of experience than absence from conflict. This is most true in music: absence of hatred, war, chaos, loss, tragedy, sodomy and demons means boredom and lots of twee “mixed emotions” poignant ironic dweeb-rock that some scenester in plaid and chains is going to lord over me like the hidden magics of Merlin. Attention hipsters: your music isn’t special. In fact, you’re only pretending it’s special because it’s not and you want a reason to feel really cool and to try to make me feel like the dweeb. But then again, I’m not the one wearing an ironic ensemble designed to tell the world I’m not a sheep. Because telling the world you’re not a sheep is not only transparent, it’s also one good way to get trolled by a large corporation. We’re here to dodge the sheep/anti-sheep dichotomy and just look for interesting music. Welcome again to Sadistic Metal Reviews.
Iron Age – The Sleeping Eye
Many things have two masters, but this band has two souls. The first sounds a lot like Manilla Road, with more of the aggression of later Destruction and the progressive vibe of Atrophy, with the nu-hardcore vocals of later At the Gates. The second is early alt/indie progressive speed and doom metal that sounds like a cross between Sabbat (UK) and St. Vitus, or any of the doomy hard-rock influenced bands like Sacrilege (“Turn Back Trilobite”). Lead guitar is the real standout, with solos that seem to wander around the obvious but chart a path right for the major theme and then spell it out offhandedly, as if unveiling a card trick, without losing the musician’s sense of spirit and audience that keeps them from being gimmick. Riffs are more of the European style, with one or two chords offset against a rhythm played in fairly inconsequential chords or open strings. From this the band modulates into its second soul, one in which a good Sabbathian doom riff must play out evenly against a changing backdrop of tempo, which through its permutations selects variations and complements to that theme. Compared to underground metal, this sounds sparse and somewhat like a Model T, with tempos and architectures of an earlier time. However, it’s quite good and puts both most doom metal bands and most speed metal bands from the post-1994 era to shame.
Evoken – Antithesis of Light
From the epic doom category inhabited by Skepticism and Disembowelment, Evoken make dark long slow heavy metal with melodic underpinnings and plenty of slow chords and arpeggios. They create as a result a mood of lightness and suspension of belief in the midst of a glacial motion, grinding forward into minor key melodies. On the whole, it is lighter and more conventional heavy metal than Skepticism, which is its closest stylistic cousin. The music is good but not particularly compelling.
Wardruna – Runaljod – Gap Var Ginnunga
Remember how hippies used to gather at any kind of “cultural” event to play music, and how, just like with the Grateful Dead, it was impossible to tell the difference between songs? Wardruna updates the hippie model by using traditional Norse instruments and chants in what are basically organic dub pieces. Organized around a beat, they grow through layers of vocals, jawharp, and other instruments, but layers come and go in a cyclic pattern which means that at some point the dub fades toward the horizon. It’s a neat experiment but not very listenable, mainly because in order to keep content bland, it does not let these songs breathe or grow.
Hopewell – Good Good Desperation
Technically, I s’pose, this is post-rock. Really it’s just a very cool updated hippie jam from the 1970s. Think MC5 in collision with the Grateful Dead as if executed by Motorhead and you get the general idea. Advantages are that it’s instrumentally dense rock music that’s still easy to listen to; downside is that it’s still stranded in rock ‘n roll land where everything must bounce and be dramatic. This sort of kills the overall dynamic. Parts of this are a David Bowie love fest, and other parts are reminiscent of a dark rock version of Sisters of Mercy. But on the whole, the bouncy ironic party atmosphere — like Talking Heads colliding with Faith No More — swallows up everything else, reducing it to a predictable cycle.
Caspian – Tertia
Post-rock with few vocal additions that works at building a mood through ambient repetition, using layers sparsely and mostly working a noisy but gentle mantle of sound, this CD is one of my recent favorites — for background use. It’s not too dissimilar to the forest style of black metal where you have droning riffs build up, then a solo that sounds designed for traditional instruments, and a slow fading away. It’s also very close to guitar ambient like Robert Fripp, but with active drums in the background and frequent use of punk/black metal/shoegaze hybrid riffs. It’s soft like a fountain in a garden, sweet like that well-intentioned nerd who tried to take your sister to a date at the Natural History museum, but also, kind of boring on repeated listening.
Meshuggah – Contradictions Collapse
With all the attention given to retro speed metal, it’s important to mention the best releases from Meshuggah. Clearly this band always intended to work jazzy technique into Metallica-style speed metal with Prong influences, meaning a more flexible sense of rhythm and harmony, in addition to a death metal-descended vigorous riff salad that often re-uses riffs at different tempos or broken into puzzle pieces and reassembled in different order and scalar direction. Solos are the kind of diminished scale, oblique harmony noodling that made jazz fusion fun for the first few years. There’s a bit of bombastic bounce in the Exhorder/Pantera style of howling verses and riot shout choruses, which makes this album sound dated. I can also pick up Destruction and Nuclear Assault influences. Hetfield influenced these vocals. This is by far the best thing this band have done because it shows them at their most honest making music they’d like to hear and judging by the subtlety of it relative to their later works, this was the last time they were freed from a cynical vision of their audience as wankers who love anything that sounds “technical” as it builds up their own egos. Other than the style being abrasively 1980s I’d listen to this, which I cannot say for anything else this band did save None, their EP before they got fully cynical and dollar sign oriented.
Heaven and Hell – The Devil You Know
This album represents a huge improvement on other Sabbath-related efforts over the last decade. Borrowing a page from the AC/DC book, it focuses on simple rhythms and movie soundtrack “epic” riffs mixed in with the heavy metal standards. Lyrics manage to capture a sense of the vaguely sinister and ironic, and vocalist Ronnie James Dio delivers them with even-handed clarity and force. The magical sense of songs developing into some protean animal unknown to their origins is not here, but the full dose of classic heavy metal feel with the relentless energy of contemporary AOR makes up for it. Instrumentalism is reined back; Iommi’s solos are fragmentary and cut from whole cloth, and bass follows guitar, which sticks to middle-of-the-road power chord riffs, but the result is not bad. It’s easy to listen to and enjoy with half a brain, and for that has some pleasant melodies and rhythms, all while keeping an almost trademark heavy metal sense of obsession with the dark, conspiratorial, occult, and inverted symbols. If you can imagine Mob Rules hybridized with Blow Up Your Video with a touch of Motorhead at the fringes, you can see why this album has more appeal than the hidebound retro attempts of other classic bands.
Lugubrum – Winterstones
We all try to like this. It’s Burzum-technique applied to a doom metal band. So it trudges, then picks us up with a little melody, then goes back into the deep harmony. Again and again. Without making any really clear points, or showing us an adventure not of our own projection. So after awhile, hey look what’s on TV — you know, they’re showing those commercials again with the annoying chick with the hipster hair. I was doing something, and there’s some kind of music on in the background, but it seems really generic. What the heck? Oh, Lugubrum. Not a bad effort but nothing I want to hear again. This artist needs to take some risks and show us what’s in his/her/its soul.
Christ Inversion – Obey the Will of Hell
The musicians behind this demo studied their black metal well, but never quite figured out how the composition of the music differs from regular old heavy metal and punk. There’s too much emphasis on verse/chorus structures in the punk style, and leaning on harmonic “sweet spots” with trudging repetition the way heavy metal makes choruses, ending up with something that sounds very much not like black metal. Songs are pretty basic and relatively musical but not memorable. Vocals are pitch-shifted and irritating, and riffs show a ton of BEHERIT influence but none of the grace. I guess it’s OK. I also guess I don’t care since I can find 400,000 demos that meet this description.
Land of Kush – Against the Day
After a lengthy 1970s ambient noise track from which you can smell the idealism and psilocybin lifting like a cloud of morning fog, this band detours into spacious ambient rock with chanted murmur vocals over insistent beats with serial changes and extensive instrumental soloing. This is enjoyable to listen to but it’s hard to imagine putting on except as background reality tuning, which it does well: dropping us into the hopeful deconstruction of the 1970s with the savvy layering of our contemporaries. It’s like Morcheeba without the affected digital disco urban funk.
General Surgery – Corpus in Extremis
It’s unlikely the broom will ever evolve beyond what it is now and has been for a thousand years. For certain needs, the response doesn’t need to change. General Surgery have tried to escape being a Carcass tribute band by shifting their vocals to later Carcass style and trying the modern death metal thing, which basically means death metal that writes its songs like metalcore and tries to distract/annoy like nu-metal does. There’s a lot of tribute to the old school in various riffs, but just as much tribute to sped up heavy metal and modern metal. It reminds me of the recent Seance and fails for the same reasons: too busy, too ambivalent about its own style and lacking any kind of refinement of message to an insightful, profound, gradually-revealing passage through experience transferred.
Eyes of Ligeia – What the Moon Brings
In that interesting intersection of indie rock and doom metal, Eyes of Ligeia is a veteran I remember first appearing in the middle 1990s — and to their credit, they’re making the same style of music but have improved it in every way over the years. Not many bands are able to define what they want and then instead of getting wide-eyed with trying to make their style fit an audience, divert their energies toward making their content and form mate each other more ideally. Eyes of Ligeia drone quitely under rasping black metal vocals, using either carefully picked open chord riffs or power chord earthmover doom riffs, but using both in complementary pairs with background keyboards that provide a deepening sense of mood. Reminiscent of ritual music, this repeating loop of sound produces a hanging atmosphere like overtones to a chord slowed down to the milisecond scale. For many of us, appreciation of this band is natural even if we find the sub-genre — doom metal — to be too repetitive for our tastes.
The Chariot – Wars and Rumors of Wars
Thrash bands broke into two groups, the punk-style and the metal-style, although both were mixes of metal and punk.Same way with metalcore: ranty, new style hardcore defines the sound of this metalcore band. The “core” in hardcore comes from the love of abrupt riff changes and random riff combinations, with really enigmatic choruses, and here it’s put to good use so that we hear loud angry ranting that changes abruptly like a car wreck, then there’s a recognizable pseudo-emo chorus. Do we need another band like this?
Drudkh – Microcosmos
Boring candy. That’s what you need to know. Every part of this CD sounds sweet, but it’s also boring as hell because like music they play in grocery stores, there’s no change in mood. There is no journey in these songs. They turn on; there’s a mood; they throw in all sorts of stuff to obscure the fact that it’s static and dimensionless; then it ends. Sum total change in outlook: nothing. It’s Britney Spears, like Aura Noir without the aggression. Notice how heavy metal shredder guitar coexists with Burzum derivations, Graveland folkish parts, and the occasional prog metal riff. And then a cheesy heavy metal solo that meanders. What does it mean? It’s the anti-meaning, which is to say there’s no direction other than self-reference. That’s why it’s boring. It’s candy because these are like pop songs very pendulum-like in their transition between recognized forms of non-threatening order. The prog parts remind me of Kong, the black metal parts of Abyssic Hate and Ved Buens Ende crossed.
Brutal Truth – Evolution Through Revolution
Like Sounds of the Animal Kingdom, this album shows Brutal Truth with more refined technique but a lack of gestalt that decreases the status of this album as something pushing a genre forward. Instead, it’s waving the flag but does so without finding an angle of its own on the genre, so it ends up being standard grindcore played with Brutal Truth technique by arguably the most proficient musicians in the genre. There are moments of sheer brilliance in riffology, and the cynical nature of these songs more resembles early DRI than the boiled tasteless political partisanship of recent grindcore, but nothing is going to really floor you despite having many powerful aspects.
Teitanblood – Seven Chalices
After everyone in the underground was done praising this new work as a resurrection of the spirit of the 1980s, there was a brief lapse in the hype as people re-thought their extravagant praise. Now it’s time for some reviewer to come along and haul out two names: Deathspell Omega, and Blasphemy. This CD doesn’t sound anything like Deathspell Omega, but it uses the same tactic of working its aesthetic like a Hollywood fashion designer. Lush layered voices, monastic chants, interludes and lots of guitar noise during songs make this “sound like” (to our conscious minds) it has depth, richness, different experience. But like Deathspell Omega, once you strip away all that art director frippery, you find a pretty ordinary CD. In Deathspell Omega’s case, it’s a long-melody fetish derived from early Ancient. In Teitanblood’s case, it’s a desire to use Bathory’s ideas, especially vocal ideas, in a form of death metal that emphasizes doomy passages alternating with a slamming interruption of cadence. The result is laborious. Get ready to let your monkey brain get distracted by the aesthetic while very unexceptional music bleats on by like a stream
Tragedy – Nerve Damage
People kept hearing me listen to Transilvanian Hunger and they’d say, “No way dude, you need to check out Tragedy, they started this style.” I have come to the conclusion that they never heard Discharge, GBH or Sarcofago; however, they’re partially correct. Tragedy is a very metal-oriented take on what it would sound like if Disfear covered a whole bunch of Blink 182, Offspring, Ramones and Sex Pistols songs. These are melodic bouncy punk that eschews the UK82 stylings for rock-style pocket drumming and Motorhead vocals with emo chord progressions melded into standard punk. Harmonically, it’s rock music on a series of power chord shapes. Structurally, it’s sugar pop with a big dose of AC/DC and old punk. For this type of music, it’s great and extremely catchy and fun listening, but it’s going to bore anyone who got into Transilvanian Hunger or Tangerine Dream (its inspiration) and grasped how much a non-linear atmosphere expands the enjoyment of music.
TheSyre – Exist!
This CD has absolutely nothing to do with black metal and death metal. I would style it instead as a hybrid between later Metallica, Amebix and Strapping Young Lad. Most of it is speed metal riffs that ride a bouncy rhythmic pocket, then deviate into harmonically oblique fretruns borrowed from the classic days of metal and rock but informed with an odd, rock-opera sensibility that gives each one place in an evolving narrative. As a reviewer, I have avoided this band for years because for the most part I avoid speed metal, and this is very speed metal in a style like a crossing of …And Justice for All with Kill ‘Em All: hard-edged muted-strum riffs rebounding from a bold heartbeat rhythm. The odd uses of harmony are SYL-ish, but the Motorhead-cum-Exploited vocals are pure Amebix as is the expanded but theatrical song structure to this thirty-two minute piece. If this recording has an undiscovered strength, it is its ability to make refreshing and new some classic riff patterns and put them into complex songs; if it has a weakness, it’s that like Amebix, it divides up its epics with aesthetic elements like sound samples and rhythmic pauses, and so doesn’t achieve the degree of musical integration it might like.
Orthrus – Tyrants of Deception
Imagine if Helstar, Forbidden and Coroner had a big orgy and decided to spawn an offspring with death metal vocals and speed but the German-inspired speed metal of the late 1980s. Within that context, this CD plays it right down the middle: nothing new, but well-executed, if not ambitious enough to make you reach for it again.
Pest – Rest In Morbid Darkness
This is the most schizophrenic band heard recently. It thinks it’s black metal, but really it’s head cheese made of ground up Slayer riffs with big thick chunks of heavy metal, speed metal and underground remnants. It’s good if you listen to each riff, but not really distinctive, and after a few tracks it becomes clear there’s no direction other than upholding an already well-known form.
Nagelfar – Hunengrab Im Herbst
Melodic black metal. They nailed the technique, but then wrapped it around very linear songs. They avoid carnival music, but don’t make it beyond one dimension of mood. Semi-comical vocals also make this dismal, as do recycled riff styles from speed metal.
Necromantia – The Sound of Lucifer Storming Heaven
This immensely creative music uses black metal vocals but is basically Judas Priest styled heavy metal with a dose of Queen or maybe Vangelis to give it an epic character. It is admirable for its variation and mastery of the rock/heavy metal form, but might not appeal to underground listeners.
Solis Aeterna – Sol Triumphalis
If you can imagine Lord Wind with simpler instrumentation and longer phases of repetition, you can visualize the style of this entry project, although it has a worldview all its own. What makes this enjoyable is that it attacks with the bombast of a movie soundtrack, but then dissipates until it resembles a background drone. The objective seems to be a mental tuning of the listener toward moods in which one can appreciate the eternal. Like Burzum’s Baldr’s Dod, Solis Aeterna applies entry-level synthesizer sequencing skills to layers of background rhythm and slow-changing tones, over which lead keyboards riff in rough time with the tribal drums. This project will improve in clarity as time goes on, but it might be best for simply unfocusing the mind as if listening to rain at midnight.
Incest – Misogyny
This Texas band produced one demo and then vanished. They attempted to make avantgarde death metal in a style like Timeghoul and Goatlord colliding with Nuclear Death in the wings. Vocals are from the “stand back ten feet and howl at the mike” variety, and drums are surging bashing in the punk style, but guitars make spidery lead riffs wend their way between the punchier power-chorded material. There are many attempts to mix melodic riffing with more putrescent, organic rhythms, and a desire to make song structures that interrupt the cycling of riff and chorus with a series of breaks to interludes which make good use of the aforementioned melodic proggishness. This is more interesting than all but a few things we get sent yearly, but it never really manages to take wing because it comes across more as a theatre of the violent and maladjusted than something we’d want to listen to, and the lack of melodic development reduces each song to a circularity of the inconsistent. Still, I wish they’d developed this further as there’s potential here.
Crematory – Wrath from the Unknown
People have always talked about how important this band is, but it — sounding like Obscurity, Lobotomy, Suffer or Grave — resembles some of the more battering and simplistic Swedish death metal, meaning that this is almost purely rhythm riffing with little melodic or harmonic organization, and as a result, songs are unified around the synchronicity between a slower rhythm and a series of faster ones. Like the heavy American bands, Crematory favor trudging and pounding patterns with lots of walk-up and breakdown action in the middle, battering us about with the change in tempo and rhythm but in a desperate bid to be nihilistic reducing music to the threshold of simplicity. While it is not bad for that style, it is also completely uninspiring in light of the better options out there.
Actors and Actresses – Arrows
This is indie rock shaped into shoegaze with the pace of a modern jazz band, like an early version of REM playing through the haze of Ride while covering the slower songs from Sting or a postmodern Dizzy Gillespie. The major asset here, besides musicians who can do coffeehouse sparse without coming across as dead air merchants, is the purring Morrisonian vocal track, which guides us all like a hypnotic trailblazer through this forest of pop sounds reformed. It is calming, however.
Mutiilation – Sorrow Galaxies
Someone decided to make the Hollywood version of a Mutiilation album. Instead of those long, deepending moods, we’ve now got carnival music, that like carnivals tries to distract you with something new and unrelated every second. It’s like walking between the stalls at a state fair: here’s a roundabout riff, then the bumper cars, then a droning Drudkh-style black metal riff, then the fortune teller, then a Burzumy moment — and a break for cotton candy — then back to the circular passage through songs. These are very sing-song, pleasant and not dark at all. It’s questionable why you’d listen to them since you can get the same thing from Dimmu Borgir with better production and keyboards.
Gorefest – Rise to Ruin
Let me up out of this one, O narrator. No matter what people claim is “new” in metal, it always sucks and involves simpler, catchier rhythms and more rock ‘n roll touches. This CD is no exception. It’s chock full of two chord riffs that feature a lot of repetition and sudden reversal in a rhythmic hook, and then a sort of extended jam session in the middle. Like all bad metal, everything is calibrated to the ranting, riot shout pace of the vocalist, which might “work” for Sepultura’s Chaos A.D. but here just dumbs down a great band. It’s death metal if you mix it with Led Zeppelin and a crowd chanting for free bread. While no part is horrible, the sensation of listening to all of it is dizzying numbness of the forebrain.
Voivod – Infini
No one wants to give this thing a bad review because it’s like kicking Piggy, Voivod’s dead guitarist, when he’s down. However, it’s painful to listen to this thing. It sounds like Motorhead, updated through Prong, covering the Doors. Lots of really dramatic vocals, rhythmic riffs like boots scudding across a waxed floor, jaunty choruses, and occasional flashes of the lush dense chording that once defined Voivod. Percussive structure is equal parts plain and dramatic. Anytime you find yourself zoned out on the fairly unexciting riffs and the Nirvana-ish whiny vocals, there’s a constant pounding drum to remind you that you’re listening to music and you-are-glad-you-paid-for-it. Piggy was brilliant; some of the work on this is almost to that level; however, Voivod was heading downward since Negatron and this album continues the fall.
Dawnbringer – Sacrament
While this band is compared to At the Gates, a better comparison would be to Children of Bodom hybridized with Aurora Borealis. Chord progressions are very indie rock and technique comes from decades of melodic metal, while vocals sound like Motorhead, but the whole package would be more at home in the pop genre than metal. Simple-hearted melodies are in themselves good for their three-note span, but melodic development gets either so gratifying it’s impossible to appreciate, or is so predictable the other shoe dropped before the first. Nothing in particular to dislike here, but no reason to hunt it down.
Sick – Satanism Sickness Solitude
Very basic black/death metal written as if it were punk music, with simple loops of verse and chorus riffs, Sick incorporate some cyber elements like samples and vocoder but are essentially really basic metal not much changed from the early days of Metallica. While they do better than average at being this type of band, nothing really memorable stands out here, not just stylistically but compositionally — we’ve heard these combinations of notes and rhythms before, and no amount of “industrial” touches or even 400 lb transvetite divas could save us from the ordinariness of this offering.
Cryptic – Once Holy Realm
This is death metal made to sound like black metal, and it has a lot more common with a faster rippling less percussive version of standard Tampa metal than any esoteric origins. Melodic riffing fits into this framework, as does as a blackmetal rhythm, but song structures are closer to death metal riff salad and notes seem to be picked from very evident progressions. Like most reviews, this one concludes with “you won’t miss anything.”
Textures – Drawing Circles
Abstract song titles, cool conceptual name, obviously a lot of power thrown into production — oh hai, it’s post-Cynic “post-metal” metalcore that is like a cross between Jawbreaker and Spyro Gyra. And I really wanted to like this. The hackneyed punk riffs meet the hackneyed metal riffs and then explode into jazz-fusion cliches with angry Phil Anselmo(tm) vocals ranting over the whole mess. It would be impossible to give less of a shit. Where do the metalheads who like progressive/technical music go? This stuff has little in common with metal; it’s basically punk rock in that later quasi-emo style (Jawbreaker) with a lot of Pantera and nu-metal mixed in with the technical influences. That isn’t a direction, and you need to have a direction to articulate anything worthy enough of technicality.
Amorphis – Tuonela
This album is painful because it’s so well-executed, but so soulless and comical. It’s basic rock music that slightly reminds me of VNV Nation because Amorphis use picking of high notes in the background to highlight bassier foreground riffs, like if U2’s The Edge started taking on the sequenced keyboard trills VNV use in the background of their songs. There is something in the Scandinavian mentality that has them living in a paradise of social order, and longing for the grittier, weirder world of rock. Here it manifests itself in a stadium heavy metal version of the same kind of odd, introspective indie rock found on Quorthon’s “album.” They can’t quite leave metal behind, or underground metal at least, but want to make this really edgy (no pun intended) indie rock. On a musical level, it’s not particularly exceptional but is well-composed and can stand shoulder-to-shoulder with the big bands for mastering the art of songwriting that makes a crowd get together and enjoy the music. Lots of bluesy solos, and odd honky-tonk keyboards overlay this busy, bombastic somewhat sentimental music. I can’t stand it but when I take my car in for an oil change, I’d prefer to hear this over the radio heavy metal in the newer, jump-metal style. But compared to classic Amorphis, on the level of expressing something artistic that is not caught up in the desires and confusions of the individuals and sees a transcendent picture of reality… this is a train wreck.
Magnum Carnage – More Unreal Than a Box of Precious Metal and Radioactive Ore
It’s hard not to like this audaciously homebrew release. If you can imagine an American version of Carcariass, meaning fast chaotic melodic heavy metal with death and black metal stylings, that’s what you’d have here. It’s more American — like a hybrid between North and South American types — in that it throws everything it can into each song and likes really abrupt breaks between genre influences. Sometimes it sounds like the Doors, sometimes it’s Judas Priest (“Painkiller” era), sometimes Led Zeppelin and then equally as frequently, a hybrid between Fallen Christ, Angel Corpse and Dissection. Mostly it’s a showcase for extremely interesting solos, fast riffs and some deft harmonic changes that give the listener the sense of a pit dropping out beneath the music and then a new pseudopod of sound rising from within it.
Gifts from Enola – From Fathoms
Let’s make one thing clear: one variant of post-rock is “techno played on guitars.” That means a layered style of composition, where themes are introduced and overlap to make patterns of their combination, and their coming and going has emotional significance. It’s an effective method. However, it’s also one that’s prone to formula since with the riff-length available to popular music, it means very simple three note fragments and literal-key soloing, which over time runs out of tricks. Gifts From Enola start with a swingin’ rhythm, and slowly add stuff in the mix so you can watch the colors change much as you would when cooking with a dough mixer. Watch the cinnamon red mix into the beige! See what happens as the egg dulls the ochre! It’s not bad but it aims for an atmosphere, and achieves degrees of lessening or intensifying, but beyond that, it is limited: the goal was not dynamic change but dynamic change serving the goal of a relatively static, semi-ritualistic emotional conditioning. It’s not terrible at all but like much music that tries to replace structure with creative repetition, rapidly becomes static. The surface creativity of this album is amazing as they blend sounds from pure noise to post-punk/emo guitar work to a dozen popular music genres including the world’s first disco grindcore, but underneath it is basically the same stuff we’ve been choking down since 1931. What’s nice about it: no vocals.
The Syre – Resistance
By casting aside any sense of genre allegiance, this French Canadian powerhouse have made their best album to date: equal parts indie, bluegrass, punk, oi, Motorhead-style metal and Devin Townsend or Probot style experimental material, this CD like a minstrel show adopts the guise of its influences to act out a theatrical journey through the different modes of human thought. Dominating by its rapidly changing aesthetic, this album is a concept piece that’s every bit as foot-tapping as Amesoeurs but has the raw aggression and bouncy determination of bands like Revenge or the aforementioned Motorhead. Clearly a lot of thought went into this. Its music does not aim to be groundbreaking, but like a concept album or modern folk, tries to unite theatre and music with idea and create an almost Jungian symbolism of the same. For those looking for an alternative to the now-hackneyed black metal, this is a deliverance in a form where one wouldn’t think to look.
On May 21, 2008, a man got into a bus in Seattle, Washington. Upon seeing the blind woman sitting up front, he shouted “The sick must die,” and began pounding her at full force. Before being restrained by bystanders, he made a powerful statement that shocked all who saw it. Here at Sadistic Metal Reviews, we apply his logic to bad metal. 99.9% of everything in this world is shit, metal included. Our job is to beat, rape, slash, punch, pummel, gut, pound and rip into the bad metal, and tip our hats to the good metal. Because if you love metal… you want the best to prevail! Help us kill the sick with this week’s update.
The Bakerton Group – El Rojo
This album really nails what Phish wanted to be all those years ago. Instead of going into the easy Grateful Dead retro jams, this band sums up the 1960s and 1970s by making a funkier version of King Crimson and the Doors, without vocals, so the open jams can expand like a jazz album — and in doing so, they’ve created a work of intense but thoughtful semi-improvised music that is what the brainier rock listeners have been seeking all these years. It’s easier jazz fusion with more structure, or instrumental rock with a soul. Songs start with basic riffs that expand as guitar and then organ takes the lead, finally culminating in a fusion of lead and rhythm guitar not like what Satriani was trying to do, but with more of an influence from the rich and yet offbeat sounds of the late 1960s. It’s not quite prog but it takes many of the best elements of prog, like the lacing of King Crimson style aggro riffing that pulls it back from the happy void, and puts them into a format that lures you in before you realize you’ve left the vocals behind and in doing so, gained a more flexible, varied and nuanced style of music. This is my pick of this review batch.
Israthoum – Monument of Brimstone
Although this band is listed as being from the Netherlands, they are Portguese in origin and sound like a cross between Primigenium and Gehenna. The second-wave black metal sound dominates this record, with cleanly picked chords and notes using updated versions of Darkthrone rhythms under vocals that owe their rhythms and pacing to the slicker versions of At the Gates-inspired death metal that came out in the late 1990s. Musically, Monument of Brimstone competes with the best of its generation, building its songs from basic riffs that through variations harmonize and rise to a peak of intensity. Even though there are newer touches on here like clean vocals and precision, the pacing of each song and their indulgence in a lush atmosphere of melody reveals the heritage of this band among the ideals of the past. In keeping with its style, this music is simple sometimes to the point of being simple-minded, but much of that perception lies in the refusal of the band to dress up simple songs in all sorts of tech wiz trickery that goes nowhere (metalcore, I’m looking at you). This disc may never approach the all-seeing personality of a Beherit, but stands neck-to-neck with the new Profanatica.
Goes Cube – Another Day Has Passed
Imagine crossing Corrosion of Conformity’s “Animosity” with Soundgarden and assorted punk bands, and you get this mixture of rock, metal riffs and newer generation punk aesthetics. Most sounds are founded in the sludgy crossover riffs and bounding, energetic choruses of later COC, but clean-voiced punk and alternative style bittersweet verses really accelerate these songs, giving them sweet pop hooks while backing that up with some surging guitar. This band is more musical than most, having a better sense of harmony and order, but that can’t save them from the lack of direction their basic style endorses. Clean/dirty dualism benefits Linkin Park, but Goes Cube clearly have higher ambitions. My advice is just to make a harmonically-interesting version of later COC and ditch the alt-rock pretensions; that crowd isn’t going to like anything with a metal riff, anyway.
Carpticon – Master Morality
Of all the attributes required to have a killer album, this CD exhibits 95% of them but doesn’t make it on the final 5%. That final bit is the most important: the science of writing melody and putting together melodies to make a song that resembles an attitude toward reality. Everything else is perfect: production, appropriation from Marduk and Antaeus of their strengths in riffing and rhythm, guitar sound, vocals. This album is like a finely made Swiss watch, with perfect appearance and beautiful shiny gears, but it’s always five minutes off. We want to like it but when it turns off we forget it was on, and never somehow manage to reach for it again. Oof.
Asphyx – Death… The Brutal Way
Metal bands coming back from the dead (the old school, swallowed up by the demand of metalcore fans for digestible products) either try to re-state the past, as our Editor kontinual is fond of saying, or they try to pick up where they left off, either trying to “modernize” their sound or develop their old sound. Asphyx go right down the middle. This is a poppier, more bombastic, simpler verse/chorus version of the sound on their self-titled album, and makes nods to some of the song constructions (epic breaks, staggered processionals) from their earlier works. It’s halfway to the Hail of Bullets sound without the metalcore-styled insistence on constant high intensity and chaotic style, and halfway to older Asphyx, but although it is simplified it is nonetheless powerful. If you can imagine The Rack, Asphyx and On the Wings of Infero hybridized with Hail of Bullets or the new Seance, you have the basic idea. Interestingly, at these mid-tempo speeds and simpler arrangements, the punk roots of Asphyx show through, but their punk is also old school, specifically old school hardcore. They break out enough doom metal riffs and slamming death metal riffs to be satisfying, but the ethereal cloudless sky traveling tremolo speed riffs are gone, as are the more involved theatrical constructions that mimicked the topics of song and actually sounded like a march to an altar of doom, or an unhonoured funeral. As a result, I can wholeheartedly recommend this album with the caveat that it’s an A+ take on Asphyx “lite” and as such, a B+ version of older Asphyx that loses some of the great subtlety and grandeur the old school had.
Virus – The Black Flux
It’s really easy to fool metal fans. Just tell them something is unique, and point out what it does that “most metal” doesn’t, and they’ll buy it like labradors eyeing a hot dog. This is goofy, pseudo-gothic rock with semi-technical playing, but shows no distinction in melody or rhythm; in short, it’d be thrown out if it tried to compete in its genre. But you get a bunch of underconfident metalheads looking for mainstream affirmation, and apparently, they buy it, although they will only enjoy it for two weeks of telling other people they “just don’t get it” due (the implication goes) to their inferior mentation. How tiresome. It’s like Opeth but even less distinguished from normal rock music. Fail.
United Nations – United Nations
When nu-metal died, it went straight into alternative rock and picked up that post-Descendents clean-voice punk sound. United Nations start with really gentle punk songs and then put in raging, distorted-vocals choruses, and pick up the pace with adept jazz/metal drumming. The ensuing lack of direction means the band sounds like a punk band that runs into hard times and confusion every thirty seconds, and as a result, the band fails to strengthen either their punk side or their more rock ‘n’ roll side, leaving us the listeners stranded in a middle ground that is quite honestly really simply annoying on an aesthetic level. While musicianship is at a higher level than average, it is also not particularly directed, and so ends up being just very competent guitar playing. I’ll take the punk with spirit and incompetence instead.
Fatal – Retrospective from Hell
Like that kid in the back of your sophomore year English class, Fatal create a true retrospective from Hell by throwing too much into their music all at once. I can appreciate bits of it but I hope I never have to listen to it again (it’s how al-Qaeda will torture me, no doubt). These songs rush at you with vocals and guitar rhythm synchronized, or restate their themes too apparently and too repetitively, hoping the speed will rocket you past the repetition. Lead guitar is surprisingly versatile, sounding like a cross between Thanatopsis and Gorefest. Often times this band sounds like a young Brutal Truth, and indeed one of its more interesting factors is how much it gets away from the heavy metal queso that blights most early death metal attempts, and there’s a clearly interesting convergence of cultural influences from the different metal subgenres here but it’s unclear whether any direction it produces can communicate something eternal, or even something I’d like to hear again. Essentially, this band is a heavy metal band that has disguised itself in death metal camouflage. If you’re one of those fucking idiots who think death metal only got good when it started resembling the rock music it painfully broke away from, you might think this is “progress,” but to the rest of us, it’s a staggering cliche sliding out from a husk of real metal.
Don the Reader – Humanesque
This is off the shelf metalcore. Percussion section is better than average, and there’s a slight Pantera influence that leads to some Southern fried sound bends added to otherwise rigidly square-cut material. The problem this band faces is that it is flamingly obvious. You can pretty much guess not only where every song is going to go, but also, the riffs are just extremely obvious variations on known patterns. If these guys know what’s good for them, they’ll just become a doom metal version of Pantera. We all know metalcore has entered its twilight days, so why not buck the trend and jump the curve?
Creepmime – Chiaroscuro
Every artist has “go to” albums when they run out of ideas, and many of them are obscure works that were full of ideas but for some reason never found an audience. For technical metal, Chiaroscuro must be a go-to for many others, because this band wrote the book on this style far before it became popular. Creepmime on this CD inevitably compare to later Obliveon, Cynic, Voivod, Supuration and Samael: this is technical music using jazzy drumming, indie rock minor-key progressions, death metal lead rhythm riffing and periodically, technical heavy metal flair. It is far better than the second Cynic album because each song here is centered around exploring and expressing an idea, so they remain distinct in our minds. Like Voivod, an infectious rhythm guides us between open chords or sweep-picked fills, with dissonant and inverted chording guiding us through a bouncy but linearly-directed rhythm. Tempi shift not abruptly but sensibly, like undertow tucked into a wave. While each song uses varied basslines, techniques, and multiple riffs, they hold together because Creepmime know how to keep the focus on content. While this early experiment in “modern metal” never caught on, it kept the faith of older metal in the newer style better than anyone save perhaps Demigod, and if re-released today would find its audience finally grew into it.
Mictlantecuhtli – Warriors of the Black Sun
This melodic death metal band writes from the perspective of ancient Amerindian warriors, and while using a modern style, convey that spirit through high-intensity music that makes good use of the template bands like Unanimated, Dissection and Intestine Baalism created to immerse us in a mood of thoughtful, aggressive, and serious engagement with the world. Not without personality, Mictlatecuhtli carefully weave the punchy motivational riffing of later Sepultura into this format, giving it a compelling forward direction. While there’s nothing here that will surprise a metal fan, this release stays closer to the heart of the motivation behind this type of metal music than any recent release. At the very least, there’s no excuse for your Dark Tranquility, In Flames, and Amon Amarth CDs when the real deal comes to you from Mictlantecuhtli.
Solstafir – Köld
Remember when it was really hip and trendy to use the word “shambolic” a year or so ago? Metal has its trends to as people look for some direction that’s proven to “work,” or get them on the bestseller list. Solstafir stumble in with last year’s trend, which is to mix a whole lot of shoegaze into your metal. However, the band make one salient and brilliant decision, which is to keep the pace fast and thus not aggressive as much as energetic and seemingly important. Yet chord progressions and general sensibility tell another tale, as do the production and “why, God, why” vocals. The problem is that metal is so distinctive and clear in its motivations, like a headstrong style, that mixing it with just about anything results in that anything “with a few metal riffs.” That’s about what it sounds like here. Unfortunately, they do so without any real grace, using well-known chord progressions and rhythmic changes in atmospheric songs that hold together mainly because of the rote pounding of that atmosphere. This will not satisfy metal fans, but people accustomed to shoegaze might find it an interesting deviation of aesthetic.
Divine Heresy – Bringer of Plagues
Modern death metal is a lot like the modern time: throw everything into a bowl, pour dressing over it, and call the resulting salad “distinct” even though it has made itself as generic as possible. With too many different tastes, you end up with a background hum of all the same intensity. This CD is no exception, with metalcore composition and generally melodic technical death metal riffing, but vocal chanting like a combination between Pantera and Biohazard; then, each song must break into clean vocals that are a combination between the cheesiest moments of (new) Metallica and something like Coldplay. It tries to be emotional, but since there’s no direction and every different ingredient in its salad is turned up to 11, you end up with a wash of different stuff that never forms into a shape or takes a stand. You could compare it to a sitcom: the story (songwriting) is the background, but you need a different scene or distraction every two minutes so the audience can keep laughing even though they’re only watching with one eye. I think this CD like so many modern metal ones is designed to be heard with half an ear, with the TV and GAIM going in the background, maybe while eating something really sticky. Flee.
Negura Bunget – Maiastru Sfetnic
When people talk about how black metal has been “band of the month” since 1994, this album comes to mind because it was massively feted, and then fell off the radar. In it we can see why most second-wave black metal failed, which is that these bands try to mix so many different styles into one they end up with an ambiguous voice, in addition to by emulating the past having nothing to do but recombine older elements, which further dilutes any idea for a song they might have had. Songs should be like poetry; based on a feeling, or about an experience, they are there to convey the change in mood that made that experience memorable. This album conveys the experience of flipping through a catalog of metal CDs, and hearing samples of random parts of each, which are then tied together into a dramatic black metal style that has so little contrast it’s like going through Disney’s “The Haunted Mansion” at 60 mph, repeatedly. Dangerous because it’s so close to good, at least if you listen to a minute at a time, this album goes nowhere ultimately and so leaves us feeling like we’ve just eaten 3,000 calories of junk food — like a steak, but less satisfying. There’s a good reason this was popular: they can play their instruments, and the production is good if primitive. But there’s an equally good reason we so quickly forgot it.
Ajattara – Noitumaa
This all-acoustic album resembles the attempts of other black metal bands to rediscover a folk-ish sound, like Wardruna and Lord Wind, by leaving behind the rock instrumentation and focusing on writing melodies like those in the indigenous cultural songs of their youths. Interestingly, their refusal to ditch the black metal vocals makes them stand out further as harsh and unyielding, and slices a vicious element deep into this music, which is about as far from the blues-folk of radio indie that you can get. These are simple songs with savage rhythms and complex emotions. While song structures are cyclic and so wear down the listener after some time, and many of the riffs here sound like they were originally composed for distorted guitar, the acoustic guitar offers dynamics unavailable to black metal and this enables this band to immerse themselves in a musical subtlety that gives these songs depth. By far better than this band’s black metal releases, this album of occult, pagan, primitive campfire songs is worth hearing.
Weapon – Drakonian Paradigm
The first track, “Weapon,” uses an introductory riff/solo pair that resembles the first track on Unanimated’s In the Forest of the Dreaming Dead album, a minor-key bluesy sound; the rest of the album does not improve on this: Weapon are trying to merge heavy metal and war metal and as a result have made a kind of pop music that might be interesting if it’s your first metal album. This album is musically well-executed, but that’s only a means of tying together its parts, not make them express anything. And express nothing they do, except that sense of “you’re listening to some kind of metal” that comes with simple beats, solos so fast they sound like eunuchs on speed mumbling, and raspy vocals. Every single song here uses well-known patterns with no new interpretation. It panders to the audience by delivering what they expect, in sloppy underground fashion aping a version of the same mainstream heavy metal most of us hide from if given a chance. The problem is that it’s boring. It’s basically 1970s heavy metal, kind of sloppy like Venom, with bouncy rhythms. If I wanted to listen to pop music disguised as the avantgarde, I’d just hook up with some DEERHOOF and tight jeans. This is everything I hate about heavy metal: an insular culture that rewards repetitive pointless music so they can have an identity, clustered in products like jean jackets and CDs, that has nothing to do with experiencing life — but rather, hiding from it.
Monstrosity – Spiritual Apocalypse
Take the faster parts from earlier Cannibal Corpse, put bluesy solos on half of them, and have them rush into foreboding riffs like Immolation makes, complete with the pinch harmonics and harmonizing that gives that band its dark sound. Toss in a few bouncy heavy metal riffs. The real problem with this CD is that songs don’t fit into songs. They are cyclic riff pairs joined by the aforementioned dark rushing riffs. The intensity of percussion and speed confuses the direction of songs as well by compressing their dynamics and limiting their vocabulary of tempos, so riffs sound similar by the sheer basis of rushing by so quickly. Some of the riff writing and melodic work on this is fantastic, reminiscent of early Brutality, but the “modern death metal” tendency to shift randomly between riffs and styles creates a headache in the making, which is why old schoolers are probably going to avoid this thing. The album is catchy and hookish but the sensation is dulled as it pounds its way into your head. The individual riffs, rhythms and transitions are of quality, but they are assembled without subtlety, making this hard to listen to for long.
Satyricon – Now, Diabolical
This CD reminds me of Coroner’s “Grin” meeting later Samael. The beats are groovy, with a strong disco influence that extends to song structure, and riffs are pleasantly arranged around harmonic structures of a basic nature, making it really easy to listen to, but hard to really immerse yourself in, because it’s basically no different than alternative metal like later Prong or Filter. Unlike early Satyricon, which tried long melodies it couldn’t quite pull off, this album rushes headfirst into rock and, like early Danzig albums, delivers a pleasant listening experience, even if not one memorable enough to reach for time after time.
Massacre – The Second Coming
Huge for a moment in the 1990s because they inherited Death’s rhythm section and lead rhythm guitarist, Massacre somehow dropped off the radar with The Promise, a CD so bad it defies description. Now they’ve released this tribute to their early years with a demo of an album from before their post-death lineup. It’s in a different style that can be best described as a fusion of technical speed metal (Dark Angel) and old school death metal like Master or Nunslaughter, which results in a periodically very musical work that nonetheless plods ahead with heavy repetition and little harmony. The sense of this music being unformed, like most death metal from the 1980s, is palpable; there are bits of heavy metal, speed metal, punk and nascent death metal in a kind of salad that makes no sense, like a journey through radically different terrain. Interestingly, it sounds a lot like the Mantas demos from the early 1980s, which also had Kam Lee on them. Which way did the influence flow? We will probably never know. It is also worth mentioning that after they recorded this, they stored it underwater near a radio transmitter, so the sound quality is slightly worse than the average demo. Songwriting shows promise but is not mature. In contrast, the live recording of “From Beyond” seems otherwordly good. If I could send a wish into the universe, it’s that Kam Lee re-records/re-constructs this album with musicians more versed in early 1990s death metal.
Vorum – Grim Death Awaits
Mix old Seance with the Funeral Mist style of forward-grinding death metal, and you get Vorum: almost a tribute to Grave-cum-Florida-DM, but rapidly degenerating into heavy metal cliches. The problem with bands of this level is that they don’t understand that turning everything up to 11 sounds really cool but gets completely uniform after awhile, as does the inability to make a melody longer than three notes, because it condemns them to repeating known riff patterns at top speed. All of this is thoroughly competent, mind you, but it’s what Michael Crichton called “thin intelligence”: a large amount of ability, but thinking limited to that ability, and so no ability to get the bigger picture and make art of it. Spare me.
Mgla – Presence
Black metal “standards” since 1994 have plummeted like a rock, which is why year to year, people mention different favorite bands. It’s as if memory has been erased in information overload. Mgla have studied the canon of black metal carefully, and then, have made the same boring rock music you can find in a million other forms — but it’s dressed up as black metal. For starters, they have no conception of how black metal melodies are written, but they know how to use different chord shapes for that “black metal effect”! Next, there’s zero ability to comprehend black metal dynamics. This CD is like a cage of monkeys constantly shouting for attention. There is no lead-up, no building, no suspense and no contrast — just constant shrieking and Burzum technique wrapped around melodies and happy offbeat riffs that would be apt for a Coldplay album. Burn this farce.
Kroda – Towards the Firmaments Verge of Life
These guys produce their vocals like Summoning, and their guitar distortion like the band down the street. Who convinced them this cheap, hollow digital sound would go anywhere? Their songwriting is great except for two factors: (1) a dependency on verse chorus and every third iteration, an interruption with an interlude or non-harmonic bridge; (2) the melodies they write are both happy and simple, like pop with ancient overtones. It’s not bad but it’s somewhat irritating and not a resonant keeper, although it’s fair to mention this band is more interesting than 98% of what comes over my desk. I hope they fix the production, write in varying modes, and fit song structure to the form of its content, and then they’ll be rocking.
Abaroth – The Mountain Gate
So many people grasp so much of black metal but not the ability to use it expressively. This excessively rhythmically chant-aligned album shows a good working knowledge of the black metal aesthetic — and songs that go nowhere. They start, enter us into a cycle of two riffs, interrupt the cycle and return and then end, seemingly abruptly, without much having changed. They are like summer electrical storms from a distance in that there’s a bunch of flickering and frenetic activity, and then everything is just as it was. It’s hard to summon the courage to down releases like this, and there are many, because there’s nothing “wrong” with them — but there’s also nothing so right you’d want to pull it off the shelf and listen to it, and the core of that “tl;dr” impulse is that they don’t express anything unique. They’re variations on the known, and even if they’re more competent there’s nothing to make you want to return to them.
Militia – The Sybling
Someone mentioned this as a classic of great rarity. It may be rare — but it should be rarer. Did you want 1980s style power metal, with disconnected vocals floating above some standard riffs spewed from downtuned guitars? Yeah, it’s about like that. The result is dischordant and not particularly memorable, although I’m certain it’s rare. Hopefully they’ll box up the remaining copies and exile them to Skull Island so no one has to hear this. It’s NWOBHM with speed metal riffs and none of the grace.
Isis – Wavering Radiant
The hardest part about modern society is keeping a straight face. Someone will hand you something misbegotten, tell you it’s good and that many people really dig it. Your job is then to keep from laughing or crying until you’re out of the room. Isis sounds to me like Jawbreaker’s Bivouac — lots of different stuff going on, but none of it develops on the other stuff; it’s all just a sampler plate, and it relishes the “differentness” of its parts as proof that it has great breadth and thus universal wisdom — as done by an indie rock band or shoegaze allstar. I guess that’s what floors me most: how little “different” is going on here, and how much of well-camouflaged “same” is present. There are periodic indie metal riffs, meaning they’re not twisty phrases of interest like death metal but a lot of strumming with sudden breaks. But it’s different, you see, because it’s all mixed together, and even though everything else is made of mixed-together stuff, this mix is different. The clean singing reminds me of Christian rock bands. The melodies are jazzy pop but stay localized in different parts of each song, making the whole thing an incoherent salad of bits that try so hard to be like a style that they end up being stylish but having no distinct voice of their own. This album is truly the triumph in metal of insincere people — call them poseurs, scenesters, hipsters or consumers if you’d like — who can only see surface appearance because they fear what lurks beneath, so they specialize in making the same old stuff but accessorizing it as something cosmic and groundbreaking. Apparently this is popular and I should not laugh at it.
Mayhem – Ordo ad Chao
For some reason this reminds me of Portal or Molested: a lush texture of harmony, in which variances drop out some sounds and augment others, like a pure harmonic tuner of mood. This de-emphasizes rhythm, although there’s plenty of rhythm work present, but usually to work the song up to that state of harmonic wall of noise. I think it’s a response to Burzum’s rhythmic sweep-picking technique. Either way, it is a really interesting sound that approximates some of the odd chord shapes and thus non-standard harmony to semi-standard progressions that defined Thorns; it gives this music a depth and mystery that no previous Mayhem album has had. In fact, this is the best thing they’ve done since De Mysteriis Dom Sathanas, although artistically it’s probably only about a quarter as powerful as that album. Its Achilles heel is that repetition of technique and similar rhythms makes the songs indistinguishable from each other and ruins the dramatic effect of contrast. Like many black metal releases post-1994, I don’t mind this but feel no reason to take it off the shelf and listen to it.
Impiety – Terroreign
The trends come and go. One year it’s Velvet Caccoon, the next Cemetary, and then everyone wants to get back to their roots so the trend is the anti-trend. Impiety tuned in to the anti-trend by going back to Grave, Repulsion and other really simple versions of the death metal paradigm. They do OK at this because they are able to write really compelling rhythms. Unfortunately, no melody or sense of structure emerges from that, so these are very box-cut songs with rather predictable progressions. The band themselves seem to know this, and kill as much time as possible with guitar squeals, noise, and stop/start rhythmic passages designed to make us think something exciting is going to happen. It doesn’t.
There you have it — another set of reviews that accurately reflects like: 90% of it sucks, 9% is OK, and 1% is what you really live for. It’s the same with metal. Unlike other review sites, we can’t be bought and won’t write a lie in a review, so you get the pure skinny on what sucks and the occasional floater that rises above the dense, shadowy turds that lurk in the murky shallow pool of metal. If you go out there and buy only the best, the weak will starve and metal will be stronger, which is why we write sadistic metal reviews.