Death metal folk wisdom tells that the epithet “technical” generally connotes music that is bad for a unique reason: it tends to get trapped in technique, including cute tricks from music theory, for its own sake, which in turn deprecates the art of composing memorable and relevant songs.
Coming from the depths of that technical death metal with strong bases in metalcore, Alustrium’s A Tunnel to Eden is perhaps intentionally misleading with its title and an intro that could make anyone think one is about to listen to a power metal album of the cheesiest saccharine minstrel metal. However, what they give us is a view of the most easily dismissed metalcore. What makes this album so pedestrian is its blatant reference to genre tropes on the one hand and the upholding the worse sins against music that this genre perpetrates on a common basis.
First of all, there is no intention of creating a theme for the songs, nor is there any intention to maintaining any sort of musical coherence. Every section is aimed at creating a rhythmic hook, while relation with adjacent sections and riffs is not important at all, only the shock induced by the change is important. Basically, this is a pop attack. The fact that it is “extreme” music does not hide its candy-ass popular nature to the discerning listener.
Ripping death metal band Vader, who gained stature in the field of Morbid Angel/Slayer-influenced fast tremolo death metal, plan to re-issue three early demos on CD, cassette and LP via Witching Hour Records starting on April 3, 2015.
The three demos — “Live in Decay” (1986), “Necrolust” (1989), adn “Morbid Reich” (1990) — will see separate releases unlike the last collection of Vader demo material, 1996’s Reborn in Chaos which remains a sought-after release for its Pavement Records version which contains better sound than other variants. These capture the transition of Vader from aspiring speed metal/death metal hybrid to catching on to the new death metal style and picking a fast but explosive style that graced their first album, The Ultimate Incantation and subsequent albums De Profundis and Sothis EP.
As Vader continue to release material in a fast although simplified and more hookish style, these retrospectives may provide insight into the origins of this band back in the days of the Soviet bloc. It will be interesting to see what bonus tracks, if any, Witching Hour Records adds to pad these releases up to full-length duration.
Texas old school grinding death metal band War Master takes its influences from old school death metal and melodic grindcore like Bolt Thrower. Since its launch in 2009, War Master has built up a following for those who like underground metal in the feral and atavistic way that distinguished the old school from the imitators.
Following the success of its EP Blood Dawn last year, itself following the triumphant Pyramid of the Necropolis full-length the year before, War Master unleashes itself on the Southwest with a mini-tour that should bring old school death metal maniacs out of the woodwork.
- Friday, July 4 – Austin (The Mohawk)
- Saturday, July 5 – San Antonio (Korova)
- Sunday, July 6 – Laredo (Cold Brew)
- Monday, July 7 – El Paso (Horizon Bar)
- Tuesday, July 8 – Tempe (51 West)
- Wednesday, July 9 – Los Angeles (Redwood Bar)
- Thursday, July 10 – Bay Area (Burnt Ramen)
- Friday, July 11 – Oakland (Road House)
- Saturday, July 12 – Grindcore 2014 Fest
These pictures were originally innocent illustrations for children’s books. They were drawn by well-known but now deceased Czech artist Helena Zmatlíková who illustrated numerous books for children.
At some time after that, they were creatively edited by a member of Umbrtka who also writes for Czech Maxim. The innocence drained away, replaced by the eternal darkness of the blackest of souls.
(Stolen from a topic on Nuclear War Now! forums.)
The exhibit will run simultaneously in Auckland at Nature: Art + Design and in Wellington at The Rogue & Vagabond from September 28 – October 15, 2013, and will feature Szpajdel as well as four New Zealand-based designers.
As underground metal expands its reach and influence, events like Ancient Modernism: An Exhibition of Letter Art and Illustration in Heavy Metal and Beyond will contribute further to understanding the meaning beneath the menacing imagery and sonically terrorizing music.
If you were to combine the full military power approach of bands like Krisiun or Angelcorpse with the catchy and slightly dissonant songwriting of Master, the result might be like Pathogen. This band has its own personality however which comes out in this battle-force release.
Miscreants of Bloodlusting Aberrations aims to be rhythmically compelling and to add some additional interest in its tendency to massage a maze of related riffs out of the midst of a riff salad so dense it would defy mapping. The result is like urban exploration: entering a building late at night through a forgotten basement window, and wandering in the dark with a flashlight and .45, until you find that one room that takes your breath away.
Pathogen hustle through songs that are a mix of death metal, heavy metal and war metal riffs driving toward a culmination in dissonance and chaos. Drums are mostly influenced by the speed metal bands of the mid-1980s, but vocals come from the recent school of high-speed rasp punctuated by deep gutturals. The result is very much a hybrid, but true to the spirit of its many influences and the genre.
Where this album gets confusing is that it is a riff-maze of familiar patterns and repeated types of themes, so it is best listened to as a kind of concept album formed of a snapshot in time when all of these different songs overlaid each other in concept and overlap in music. Infectious and warlike, Miscreants of Bloodlusting Aberrations captures the spirit of high-speed metal and gives it a unique spin.
The rip-roaring Debut of these Australian Black Death Thrash Esoterrorists featuring members of Spear of Longinus & Vilifier will be finally unleashed in August/September 2012 by Supremacy Through Intolerance!
The album will include 9 primitive and crushing Hyperborean Warchants heavily influenced by Spear of Longinus, Beherit, Sodom, Hellhammer/Celtic Frost, Possessed, Bathory & Blasphemy and include their sold-out 2009 Demo “Goetic Invokator” as bonus tracks!
“I am pleased to announce that I will be illustrating the next VARATHRON album cover. It has been 17 years since I last worked with this legendary Greek black/death metal band! I look forward to reuniting with my old underground metal comrades.”
As death approaches, documentation increases. As a circle closes, individuals are given an oppurtunity to reflect on, track and document the meandering course that a society, individual or movement took and assess and re-evaluate this course to determine both its moments of strength and those of weakness. One consequence of this tracking and documentation is that the diligent and astute student of life is provided with an opportunity to discover those behavioural patterns that have been forged in the fires of history and are therefore conducive to success. The intelligent will reflect upon these lessons and apply them to their own worldview, life, ideology or movement and increase the quality, although not necessarily quantity of those lives. Therefore, we serious Hessians take the outpouring of heavy metal documentation rather serious, as it contains for the discerning, the lessons upon which the ideological, and perhaps spiritual foundation of a new spring, a new dawn and a new beginning for our culture may rest.
Heavy metal documentation has progressively reached new heights in this age of mass media as rabid fans, bands, and sociologists alike are taking it upon themselves to exploit available media outlets in order to document the rise and fall of extreme metal, an alienated cultural phenomenon, that unsurprisingly late is being treated with respect outside of the insular metal community. Along with the ideological documentation of Black Metal in the excellent documentary, Until the Light Takes Us, and the chronological presentation and thus preservation of the history of Swedish Death Metal in Daniel Ekeroth’s book of the same name, Hessians world wide are now being treated to an outpouring of band and album documentation in the form of DVD’s and texts exclusively dealing with important bands such as Asphyx and At the Gates, and seminal albums such as Reign in Blood.
To date, “Only Death is Real” by Tom Gabriel Fischer represents the apex of extreme metal texts. Appropriately prefaced, most notably by Darkthrone’s Nocturno Culto, this near-perfectly laid out, hardcover text book, is full of historical relevance for the aspiring and established Hessian and includes a bounty of interesting photos that shed light on the enigmatic and sometimes adolescently awkward manifestations of both Hellhammer and early Celtic Frost. The strategically arranged photos, intriguing and aptly chosen, are unsurprisingly monochromatic, and this combined with the enclosed paper quality, reveals a sense of aesthetic class and attention to detail becoming of the fastidious and perhaps benevolently pedantic, eccentric and inspiring personality of the authour. Additionally, the book contains a plethora of interviews with previous members of Hellhammer and Celtic Frost, which at various junctures provide strange as well as enlightening anecdotes that augment the history of the band(s), and provide an otherwise unattainable depth to Fischer’s account. Given this, it seems somewhat surprising that this history reads as well as it does, as Fischer’s narrative, although periodically interrupted to include these interviews, remains clear.
As for the historical documentation itself, “Only Death is Real” retains a genuinely human tone that while undeniably revelatory does not diminish the mystical aura that surrounds both Hellhammer and Celtic Frost. In fact, throughout the text one senses an undeniable theme of mythic struggle as Fischer recounts the vast amount of turmoil, characteristically determined by some unforeseen variable, which plagued the establishment and development of both Hellhammer and Celtic Frost. We read with growing interest as the seeming omnipotent forces of dissolution strive to subdue and shackle the steely will of Fischer and his desire to create. Perhaps slightly melodramatic, the testaments of Fischer and others remain inspiring in the face of what Hellhammer and Celtic Frost would undoubtedly accomplish.
“Only Death is Real” is consequently rich in history and provides a level of historical depth perhaps unmatched in extreme metal literature. Developing chronologically from an account of Fischer’s childhood and his musical inspirations, to the establishment of his first band Grave Hill and beyond, readers are also provided with enlightening expositions on a variety of pertinent subjects. Such subjects include but are not limited to, the realities of Hessian life in Switzerland during the early 80’s, the meaning and inspiration for the name Celtic Frost and the conceptual considerations that went into the development of the band, Fischer and Eric Ain’s relationship with the works of H.R. Giger, and the critical and undeniable influence of Martin Eric Ain in the development and maturation of Hellhammer and Celtic Frost.
Fans are also provided with a chronologically precise account of the sometimes dizzying array of Hellhammer and early Celtic Frost releases, including exact track listings, facsimile demo and EP sleeves, the intriguing history surrounding the development of each release, and verbatim and oft-times hilariously slanderous copies of reviews of these releases. Obsessive fans can also rejoice as Fischer has included a complete visual account of the evolution of both the Celtic Frost and Helllhammer moniker, including copies of hand drawn rejections completed by band members themselves.
Overall, this history proves itself essential reading for anyone who takes extreme metal seriously. Fans can rejoice as we are provided with a comprehensive history of two bands that became cornerstones in the development of extreme metal. Any Hessian neophyte would do well to take this text seriously as it provides a great introduction to the personalities and music of a band whose clarity of vision, will and capacity to inspire, has left an indelible mark on countless bands and individuals. Perhaps now, in the midst of what appears to be a bourgeoning extreme metal renaissance, fans and musicians would do well to look back, find inspiration in, and relentlessly devour the lessons of our forefathers. In so doing we may overcome the progressive deterioration of extreme metal, usher in a new epoch and raise the flag of Hessiandom to new and unparalleled heights.
Written by TheWaters