Iron Maiden Being Sued Over Tribute Lyrics


Article by George Psalmanazar.

A member of 1970s British progressive rock band Beckett is suing Iron Maiden for a six line lyrical tribute in ‘”Hallowed Be Thy Name” off Number of the Beast to one of Steve Harris’s favorite prog rock songs, “Life’s Shadow”. Some random band manager Barry McKay is suing Iron Maiden on behalf of Brian “Ingham” Quinn, one of the two credited writers of “Life’s Shadow”. McKay is alleging that Iron Maiden came to a secret settlement with the other writer credited on the record, Bob Barton, and that Quinn really wrote the song himself back in 1969 rather than in the early 70s when both of them were in Beckett. Barton is also being sued and McKay is now trying to hit Iron Maiden up for a “few hundred pounds per live performance” for a license to perform their own music.

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#Metalgate: MetalSucks Reaffirm Themselves as Social Justice Warriors and Leftist Apologists by Misinterpreting Metal Lyrics

axl rosenberg anime

Axl Rosenberg (Matt Goldberg) of metalcore blog MetalSucks recently reaffirmed his website’s social justice warrior stance in an editorial entitled “Stop Saying Politics Have No Place in Metal”. Rosenberg points out that Tony Iommi’s guitar tone was a direct result of the  socioeconomic circumstances of his upbringing but incorrectly assumes that Black Sabbath’s lyrics were written by Ozzy Osbourne’s even rougher childhood when they were in fact primarily written by Geezer Butler who was obsessed with the occult, the work of Aleister Crowley, and horror fiction and films. Rosenberg then uses the lyrics from “War Pigs” to attempt to show that Black Sabbath had strong political undercurrent. All dedicated fans of the band know that the song was originally titled “Walpurgis” about the Witches Sabbath on Walpurgis Night and the label forced them to change the title as they thought it too overly satanic. The anti-war lines are just expressing that politicians and generals sending off young men to die for only the benefit of the leaders in the rear is evil too and actually reflects popular opinions of World War I as much as Vietnam. Attempting to attach any political significance to these is preposterous.

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Havohej “Dethrone The Son Of God” (From Dethrone The Son Of God) Lyrics

From USENET, back in the day:

Rip the sacred flesh
Sodomize the holy asshole
Drink the red blood of the mother of earth
Masturbation on the dead body of christ
The king of Jews is dead
and so are the lies
Vomit on the host of Heaven
Masturbate on the throne of God
Break the seals of angels
Drink the sweet blood of Christ
Taste the flesh of the priest
Sodomize holy nuns
The king of Jews is a liar
The Heavens will burn
Dethrone the son of God
God is dead
Holyness is gone
Purity is gone
Prayers are burned
Covered in black shit
Rape the holy ghost
Unclean birth of Jesus Christ
Heaven will fall
Fuck the church
Fuck Christ
Fuck the Virgin
Fuck the gods of Heaven
Fuck the name of Jesus

This is black metal in its raw form. Apparently this offends normies. LOL

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Analysis of Darkthrone’s “Neptune Towers”

“Neptune Towers” is a song from Darkthrone’s death metal album, Soulside Journey. In this song the artist’s goal is to paint an alien landscape and tell a story, by intertwining riffs and lyrics until they reach an eldritch keyboard climax, which leaves the listener with a sense of awe for the unknown.

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Analysis of Suffocation’s “Catatonia”

By the time “Despise The Sun” was released, Suffocation were on top of the Death metal world and had at this point already influenced the rising slam and brutal Death metal styles that would inundate and signal the downfall of the whole genre as the technicality and the percussive nature of the music would be the focal point rather than the incredible songwriting present. This short EP would prove to be the band’s final charge as they would soon break up only to reform a few years later but without Doug Cerrito, the band drifted off into mediocrity and tired attempts at pleasing the deathcore crowd. Catatonia was initially on the Human Waste EP and showed a band that was composing music far beyond the maturity of the individual band members. In the same way as heroes Morbid Angel, Suffocation took songs from the initial recorded output and expanded on it for later works. Both versions of the song are nearly identical and vary only in performance and production.

Introduction and initial motif

A drum intro quickly introduces a simple descending chromatic riff that focuses on pounding the root note on the first beat of every bar as the fast-picked notes rush towards the root note. The drums crash around until finding stability as Frank Mullen’s harsh guttural roar enters and the riff soon leaves for another minimalist power chord sequence that eschews the root note to create an almost atonal melody that resolves first on a minor third then on a major third and quickly finds the root note before evolving into a stream of single notes. These single notes move the composition to a twisted sense of stability as they utilize a consonant leap in octaves but moving through the diminished fifth to form a chromatic ascent. The melody relies on two octave chords but through the added use of dissonant notes it avoids complacency in familiar territory and seeks to explore the possibilities that are now open. In typical Suffocation fashion the melody is moved up a major third as it progresses before ending on the composition’s main motif. The main motif starts with a flow of simple palm muted power chords half a tone higher than the root note which Morbid Angel popularized so that the static progression still creates tension by refusing to return to a place of comfort and stubbornly maintaining its place. This motif is then followed by the ending of the previous section but moved down a whole tone. This returns the composition to stability and allows the band to play with all those previously introduced. A second ending to the riff appears and is almost chromatic but resides within Suffocation’s vicious sense of melody.

Force fed immobilization
Man made liquid controlling my limbs
I want to die, no reason for living
Dealing with complications life brings
A corpse with no thoughts
No feelings or perceptions of life
The pleasures of death I foresee
Nightmares and day mares combining
To torture my being – This torture inhibits my life

Here the lyrics present a victim that has been held in total captivity with no control over his body as he forced to remain in a state of artificial nothingness. The narrator has nothing binding him to life as his psyche is destroyed, and he seeks to attain death as he is burdened by this form of torture. The harsh rhythms combined with the oppressing sense of melody evoke flawlessly how the narrator has been beaten down mercilessly into nothing. The previous single note melody appears in its entirety and this time allows us to delve further into the narrator’s mind.

The world is a graveyard of fools left to cope
With the torment and regret of man now deceased
Ghouls are released to destroy the race
Which we call human beings

Development(1:30)

Humanity has sealed its fate with its actions and there is nothing left to do nor to mourn as mankind is about to be destroyed. The C# root note is suddenly established in this section that appears suddenly with a riff comprised of a speed metal gallop that uses various tremolo melodies as a tail. The whole passage uses no chromatic tones or anything deviating from the natural minor scale allowing a new set of motifs to take dominance in the composition as the previous slow parts had achieved their maximum potential. The first part of the melody consists of a three-note progression played in staccato while dispersed by the endless charge of the low string and uses the major third which has always been an undervalued foundation upon which Suffocation rely on. The major third is the base for Suffocation’s twisted sense of melody and disappeared from the band when Doug Cerrito left and the motifs became much less interesting. The tremolo picked sections of this riff are descending minor thirds arpeggios hinting towards the narrator’s sadness.

Existence is torn from my soul
Perdition is what is believed to be seen
Suffering from the inside
Nefarious is the way
You choose to be – Left with no will to live
My intestinal wall begins to cave in
Trapped as they say
I begin to rot here as I lay

Let us note Frank Mullen’s maturity when comparing this vocal section on both versions on the song. In the Human Waste version, the voice is not yet fully developed and he struggles to maintain a consistent tone and output whereas on the “Despise the Sun” his gruff deep throaty aesthetic is pushed to the extreme and the fast hip hop cadence does not deter the consistency in both volume and tone. A truly remarkable development from an already great singer. Those who would emulate his deep vocals forgot to add the power that conveys the hatred he expresses and sought to reproduce the low tones through pig squeals and inhaled vocals and would sound like a parody of Mullen’s trademark growl. The protagonist is detached from reality as his body can no longer withstand the pain and accepts the end as there is no will to fight. There is no anger conveyed, just misery with no hope of redemption as the narrator awaits his death.
A tremolo picked section appears as the tension continues to increase. The melody is long and very similar to what the Norwegian bands were doing as it is extensively in the minor scale but uses adjacent tones between the more consonant ones to increase anticipation for a resolution. A slight break of half a second shifts the root note again down a whole tone as another speed metal rhythm similar to the last one is introduced. This time we are treated to two different tails as one is a fast almost chromatic power chord assault and the other is a chromatic ascent of two major thirds showing how much mileage and variation Suffocation can create through one simple technique and a strong understanding of composition. The narrator continues his attack in this passage as Mullen emphasizes the stronger beats in the phrase adding more power to the overall part.

Time to take a look
At what has begun to pass before me
Die a slow death
It now begins to take its toll

The narrator has finally closed the chapter on how humanity and himself ended in this situation and now seeks to look towards what is going
to happen in the present. Though the pain of his torture is starting to break his will.

Climax (2:26)

The initial motif as “Catatonia” is growled enters again, and though it may be the exact same riff  used in the beginning, the context is completely different as this is a passing passage that like a catapult transfers all the energy from the built-up tension to an incredibly satisfying climax that engages in all out combat as the song reaches a level that the great majority of metal bands can only imagine. The melody as excellent as it is, is nothing that hasn’t been heard at this stage of Death metal’s maturity but the context and the little rhythmic embellishments are what allows this melody to unleash more than its own potential. The first power chord which works in triggering the rest of the phrase like a set of falling dominoes, is played slightly after the beat causing the listener to lower their guard before being taken by surprise. On the other side the phrase finishes slightly early making the listener crave more. Both tools utilized during the climax make this simple melody incredibly powerful. The melody is caveman like in how it consists of a stream of alternating minor and major thirds two note arpeggios in rapid succession as they then move up and down a fourth. The legato playing which to the uninitiated means smooth and in the case of the case with minimal input from the picking hand allows the notes to be expressed cleanly without the attack of the string modifying the nature of the tone.

Scared as I lay here dead
From this infectious disease
I want to rise from here
To recover what is mine

Now in a complete twist of fate our hero through a combination of fear and the primal urgency decides to deny his fate and to what he has previously expected to happen. Though his body is destroyed and is no longer living there is an unfathomable will to atone the errors of the past and is the essence of what Suffocation conveys. Through hardships and unrelenting trials of this cold heartless world we have created, the human will is the only thing that can redeem of us and not through reason or calculated thought but by the most basic of instincts can we achieve joy in life.

Conclusion (3:02)

A solo erupts as the band turns to a more consonant melody consisting of a variation of minor third, diminished fifth, major third and ending away from the root note progression that the band had now cemented into the listener’s mind. Cryptopsy would base their classic works on the concept of a solo played on top of a consonant tremolo picked melody. The solo sees Hobbs go through a variety of techniques while confining himself in the realm of previously established motifs not to express horror but a rebirth of life or an ascendance to a higher state that signifies the protagonist’s change after the previous outburst and is optimistic of what they final outcome may be. A new riff emerges that is rebellious and defiant while summarizing succinctly the relationship between the chromaticism of the piece and the motifs taken from natural minor scale. A chromatic base that uses the chromatic ending from a previous motif while combining that with the final motif the band introduces here which is just an elemental minor scale ascent that stabilizes the insanity shown here from a musical perspective.

Abdicate your position in life
Now that you lie deceased
Rising from the tomb you own
To take what is rightfully yours

The lyrics urge the listener to give up on past glories and failures and to take control of one’s current situation and all that stops them from reaching their full potential and from that point to retrieve and regain all that belongs to them and what they deserve. Through showing a bleak world that is empty and nihilistic rather than one full of evil, Suffocation perfectly demonstrate their understanding of the real evils of our world and not through mundane examples but through a febrile imagination that is at the very heart of their music. Soon after previous climax returns in full force again showing that the battle is not won once but by attrition and that the will can only be tested by time. As the vocals end and this grandiose composition ends on the climax but with this time chromatic power chords and the right hand in full action as the band conveys one last time that other evils await our hero through the ominous effect created by the frustration of not having a resolution during a short chromatic sequence.

Suffocation create an entirely unique universe within a small set of rules that allows them to find new unexplored paths through those rules where as a lack of these rules may have tempted Suffocation to try the simpler paths that have already been treaded on. The redemption trope has been used endlessly and superficially throughout the existence of pop culture but can any musical artist claim coming this close to create such a horrifying world that truly evokes our own existence and then to find redemption and victory when there is none to be found. For that Suffocation stand on top of the Death metal pantheon with a few other select musicians and  the band represents the ultimate objective in metal. Triumph in the face of this existence that is brought upon us.

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Interview: Lou Ferrara (Sapremia)

Death Metal Underground is glad to host an interview with Lou Ferrara of Sapremia, a true Hessian who has continued to develop his underground metal art throughout more than two decades while battling in real life beyond pretensions and illusions. So far, Death Metal Underground has published reviews of two of Sapremia’s works: Existence of Torture (1994), and With Winter Comes Despair (2008).

1. Sapremia released two demos back in the day, Subconscious Rot in 1992 and Existence of Torture in 1994. What brought about your return, and development of two full-length albums in 2008 and 2013?

Lou: We actually played until 1996, and had enough material for a third demo, but our drummer left and we could not find a suitable replacement. At the time, the decision was to “go to sleep” instead of putting out any inferior quality that we held ourselves to. Around 2005, we began to talk about “waking up” and we had found a drummer worthy of bringing our material to life. We brought back a few old songs, wrote a few new songs, and booked a bunch of gigs which were to begin in January 2007. At the very first gig, a rep from Open Grave Records approached us about releasing material and actually followed us around to the next few gigs to make sure of it. In Philly, the 4th show back in 10 years, we signed a deal with OGR for an EP and a full length. The EP, Hollow, came out in July 2007 and the full length came out early 2008. We had not planned on this, it just happened and we embraced it as the EP sold out in presale, and the full length went through four pressings. One guitarist left, bringing us back to a three piece, which is how we were from 93-96. We ambitiously gigged a ton in the next few years, which slowed the writing process down a bit. Autumn’s Moon was released July of 2013 on Butchered Records, as we had talked with them several times through touring about our next release. As of now, we are working on the final track for our next release, which with good fortune should be released 2019.

2. How does the playing of live performances feed into the creative process of Sapremia? Can the same potent effects and thought out structures we hear in With Winter Comes Despair (2008) be repeatedly accomplished without the experience of live performances?

Lou: Live performances feed into the process 110%! During our writing process, as the band molds each track, we generally will test them live. Audiences never realize that they hear a new song and may never hear it in that form again… there are only small changes, but they indeed happen, especially lyrics and vocal patterns as I become more comfortable singing and playing the songs. It is only through playing live that we truly find what each track needs and go forth from there. The only downside to this process is that the next album is always revealed to live audiences before it is ever recorded.

3. Testing each track live and modifying it until it feels ready explains why you take many years between albums. Do you think that those songs could be modified and improved even after the album has been released, perhaps indefinitely, or does the album ‘freeze’ them in time? How do you know when a composition is ready: does it depend on the audience or is it the composition itself revealing “its needs” to you? Could your best creations keep changing and ‘grow’ old together with you… until the end?

Lou: They most definitely still evolve after the album is completed and released. Nothing is ever frozen with us, we change things up often, especially my vocal delievery. Most of the time, we will just know when a track is ready for recording, even if it may change, we are comfortable with the way it is set at that time. As example, in “The Despair of Winter,” we recorded the fourth riff of the song straight through, as we play it now; the third time played has a bunch of stops in it to accentuate the notes and give it a feeling of being more tight. I would definitely say the songs are as much part of the band as the members themselves, so they can and probably always will be tweaked as we continue to play them.

4. When writing music, how do you approach song-writing / composition with respect to organization or structuring to achieve a result that makes sense and feels complete?

Lou: I do almost all of the initial writing for each track. It usually starts with an idea or two floating in my mind and I begin to hash them out on guitar (though I play bass for the band). I usually like to weave similar note patterns into each riff of a single track, as it seems to make that particular track flow better within itself. When we were young and writing those demos, this was definitely not our approach at all, and it was only as I got older that I started to do this in an attempt to make songs less jerky and all over the place, giving them more of a flow and essence to themselves. I am not sure if anyone has ever picked up on my patterns, but most people, musician and non musician will say that our songs are memorable and engaging. That’s all I really am looking for: to take the listener on a ride with each track. When we all get together to play the songs out, little things will change here and there, and the songs become complete with a group effort.

5. We can personally attest to the fact that attentive listeners can consciously pick up on such patterns. It is also fair to say that even when the listener is not fully aware of them, such logical patterns play an important psychological role in the overall feeling of cohesion of the song. Do you usually start with one of those patterns (motifs) as pure sensations of flow and movement, or do you think more in terms of trying to make a guitar/bass riff?

Lou: I definitely have them start out more as sensations or feels. My intent while writing is never to write a riff, but to fiddle around with whatever concepts flow from my subconscious until I have something that I enjoy listening to. Usually this concept becomes the focal point to a track, it will mold and change, but it has started there. As I being to entwine other riffs into a track, then I may be more concerned with actually writing a riff, again using notes and structures from the original concept to make it flow to the attentive and casual listener alike.

6. Do you think that, besides the sense of enjoyment that one has for one kind of music or other, different kinds of music open ‘windows’ to different ‘dimensions’ inside us? So that, no matter what words are forcefully pasted on or appended to the music, the music has its own character, its own nature, and is a kind of key that opens specific doors in the mind?

Lou: Absolutely! Sapremia by no stretch of any imagination has invented any kind of wheel in the DM world, but I feel that we do have a certain sound that is unique to us. Part of that is because our drummer, Ryan Hill, basically comes from a hardcore / thrash background, and our guitarist, Brian Rulli, has not really listened to much newer styles of death metal since the 90’s. I personally listen to many different styles of music and it helps to not just be stuck into writing “a death metal song.” We came from an area in the early 90’s that has the NY Brutal DM label attached to most bands that are our peers, we tended to play more of the Scandinavian stlye of DM, with grooves and hooks, Ry added a lot of the off tempo and d beat drumming from his background to make it complete.

7. Is death metal a way to visualize powerful forces beyond human control that show us our place in reality, or is death metal only a way to fantasize and escape reality?

Lou: I believe that it can be both. Death metal is a juggernaut when done in the proper way, something that is colossal and has a life force unto itself. When I hear death metal in its true form, I am definitely swayed to feel it is unstoppable and beyond normal human understanding. I also feel that not all death metal encompasses this, and not saying this death metal is inferior in any way, just saying that it can help to escape reality if only for a few fleeting moments, but is not life altering. I know when I hear it, what I mean; I’m sure others do as well…

8. We share your opinion that not all death metal encompasses this, and that we know when we hear the ‘life-altering’ effects of more involved death metal of deeper consequences. What, in your opinion, is the nature or effects of mental bending or warping that (true) death metal can cause in the focused listener? Is it a removal of the petty, ignorant human vision that sets us as the center of the universe? Does (true) death metal help us not only understand, but to feel in our gut and deepest corners of the mind, that the universe is shaped by marvelous forces that neither care about —nor are aware of— our feelings and desires?

Lou: This is a truly deep question, and I am not sure the any one answer would be the same for everyone. I only know what I hear and feel when a death metal phenomena occurs. For me, usually it occurs during a live performance, as outside forces and happenings will change each scenario. There are times when I am experiencing such a thing, and when it is completed, I really am not sure where I was, what I did, or what happened, other than the death metal experience itself. I have found this occur, and immediately need to leave the venue even though other performers are still to come, because nothing can touch what I just experienced.

9. Have you been able to find equivalent experiences through other media, such as literature or film? If so, how do those experiences differ to those had with music?

Lou: Oh yes, mostly with literature, as I am an avid reader. A lot of my lyrical ideas come from books and movies in which I adore. It is different than listening to music, as being at a show or listening to a favorite album brings out more raw emotion, that will leave me physically spent. Books and/or film take me on a journey that I can leave reality behind for a little while, but not have me as physically attached. If I’m locked into a good book, i can read for hours and come out of it not realizing what time it is or what has happened around me. A good film can have that same effect, though I would venture to say that it usually will only happen at the cinema and not at home from the couch,

10. We often talk about ‘narrative’ in music, as the way in which musical structure tells a story with a beginning, a middle and an end with a significant climax somewhere in there. Do you see any other parallels between music as a form of structured communication, and literature as organized thoughts?

Lou: Music and literature go hand in hand in these regards. The biggest of differences to me, are that even literature, while not visual, has description and direction that the author tries to steer their own audience to ‘see’. Musical landscapes are more open to the individual interpretation of one’s mind. I am not speaking of lyrics, just the music itself, every listener will hear it in a different way than the next. So while there are definite parallels between music and literature as far as structure, they also differ from one another in the uniqueness of the delivery.

11. What literature in particular, and why, would you recommend? Do any of these relate to some aspect of underground metal or what it points to?

Lou: This is a very individual response, anything can relate to underground metal depending on any persons perspective. Personally, I am all horror and fantasy, which is sort of cliche in our genre but definitely a driving force behind it. Tolkien, Brooks, Thompson are among my favorite fantasy authors, and I have definitely borrowed from each in certain aspects of lyrical motivation. Barker, King, Lovecraft, Stoker, are among the horror that I enjoy.

12. A lot of the less respectable metal has little value except for shock value. To what extent should an authentic underground metal artist strive to reflect in deeds what he in art praises, condemns or generally reflects as an interpretation of reality?

Lou: I really feel that that should be left up to the individual, as far as they want to pursue alternative means for which to get their perspective across. Personally, I am a fan of letting the music do all the talking, I do not need visual stimulation from an act to aid in the enjoyment of what they are trying to provide musically. This is not to say that any one approach is right or wrong, it is up to the individual performs to find what works the best for themselves.

 

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Sabbat – Envenom (1991)

Sabbat are a cult Japanese band known for primarily for being Japanese and playing a heavily Venom influenced style of Heavy metal that sometimes crosses over to real black metal though rarely and for the briefest of periods. This record is actually more known for the exotic origins of its creators rather than the actual quality presented here. Replacing the seriousness of other similar bands with a certain rock and roll cheese and tongue in cheek lyrics that ultimately pull this band behind the rest.

Sabbat have a terrible habit of wearing their influences on their sleeves with far too much pride. “Satan Bless you” has a main motif particular similar to Venom’s “Black Metal” and all of the speed metal parts can be attributed to the English Sabbat. “Evil Nation” is so reminiscent of Iron Maiden’s “2 minutes to midnight” that you can easily sing the verse parts on top of it and there would be almost no difference as the chord progression, rhythm and techniques are practically identical. Carcassvoice steals the first two passages of Mayhem’s “Deathcrush” and only slightly changes the rhythm and added to this package is a hilarious imitation of Maniac’s high pitch rasp. Though these are the most obvious acts of plagiarism, the entirety of the album is drenched in déja-vu and this refrains the album from reaching the same level as their Norwegian and Brazilian peers.

Arrangements tend to be in the classic pop style except for some brilliant moments of over the top soloing and the inclusion of speed metal breakdowns. Though some tracks experiment with the stop and start mechanics from Motorhead’s Overkill (1979) but ultimately fail as the individual parts function in solitude but do not combine as a whole and we are treated to separate songs encapsulated within a single track. There is nothing to be found of the narrative Death and Black metal structures here as this album is firmly rooted in Heavy metal.

The note selection stays within the usual combination of the natural minor scale and the minor pentatonic except when the band allows themselves forays into fully developed black metal territory as seen on track “King of Hell” which has a long droning sequence with a lot of chromaticism that contrasts most of this record but then on closer inspection this feels more like a reject on Bathory’s The Return (1985). The drums hint towards more developed black metal at times as they play a martial techno beat here and there without fills but this record is exceedingly behind what was going during that time period. The best part of the entire record are the solos and how are they given the kind of space and freedom suited for the more commercial strands of metal. The solos first and foremost obey the whims of the accompanying riffs and seek to amplify what they convey with the use of a large repertoire taking from the most famous relevant shredders. The compositions do have their charm in how they use the energetic approach of their heroes to create uplifting and fun music but ultimately play on shock rock tropes like main influence Venom.

The best composition here is the instrumental “Dead March” which takes a simple Judas Priest like motif and advances it forward with perfect control of mood as the motif twists and turns and the interactions between it and the second guitar that either harmonizes in conventional thirds or plays some contrapuntal melodies. The song conveys perfectly a march of the dead and escapes the pop structure through the reuse of certain passages and a complete lack of chorus. A fantastic bridge between the Heavy metal of the past and the Black metal of the future as it takes those elements and applies it in ways that the Norwegian bands would then apply on darker melodies.

Envenom shows a band going through multiple periods as this album was released seven years after the band initially formed and shows this progression from NWOBHM worship to Mayhem’s Deathcrush unfortunately this record shows the timeline of the genre but fails to do anything with it nor add a unique twist to it. Envenom remains a fun record but lacks any transcendent quality that separates it from some of the more forward-thinking acts in the genre and probably because there seems to be not a single ounce of influence from what was going in the Death metal or a willful ignorance to the innovations brought over. An easy listening album to bring over neophytes but for the experienced listener this is enjoyable for a few listens with a beer or two but has nothing else to offer.

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Capharnaum – Reality Only Fantasized (1997)

Capharnaum were a short-lived “tech-death” band hailing from Connecticut but then after the release moved to Florida in the dying of the Floridian movement in an attempt to gain recognition for what is a technical Death metal album that genuinely has musical quality beyond mere feats of virtuosity. Influences range from bands like Monstrosity, Death and Iron Maiden with various Jazz techniques inserted. Though this formula has led to an infinitely long list of terrible tech Death bands, Capharnaum avoid these shortcomings by implementing these techniques within a genuine Death metal context and a true passion for genre not halted by technical acumen.
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Bethlehem – Dictius Te Necare (1996)

Bethlehem are a German band that was formed with the intention of adding sorrow, melancholy and madness into extreme metal. Their first opus “Dark Metal” used a mixture of black metal, slower primitive death metal and the melancholic rock inspired British sound that bands like My Dying Bride were developing. (more…)

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The Craft of Metal #1: Satanic Rites —Part I

Satanic Rites is one of the early influences that would take the heavy metal and hardcore punk of the past and transform it into Extreme metal through some groundbreaking compositional tools that were unheard of at the time. On first listens, the music can be confused for many other bands due to the impact this record had in its time, and rightfully so as it serves as an excellent introduction to what metal would have perfected on a much larger scale a decade later.
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