I watched as the Lamb opened the first of the seven seals. Then I heard one of the seven living creatures say in a voice like thunder, “Come!” I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on Conquest. – Revelation 6: 1-2
Summoned forth to rage fury upon the unsuspecting but no less innocent, Pestilence, on each of their first three albums ushered in a predestined Apocalypse of the mind and struck at the heart of the dark forces of the Kali Yuga thus completing their microcosmic responsibility as “Kalki”, and providing the foundation upon which a new golden age and conciousness would hopefully arise. On their uncompromising and frenetic debut album, Malleus Maleficarum, Pestilence as corporeal manifestation of death and conqueror, harnessed the power of becoming to destroy the destroyer that is illusion and ignorance, and defiantly placed themselves within the torrential stream of becoming in a quest for truth. We as listeners are thus treated with no less than a passionate and structurally free form album that through its fluid, intelligent and precise use of riff craft probes and attacks on multiple fronts the lyrical themes tactfully explored by Van Drunen and Co.
Although one may be quick to argue that that the addition of socially conscious lyrical subject matter such as genetic manipulation and religious strife defines Malleus Maleficarum as a strict Speed Metal album, it is nonetheless better characterized as a highly refined and progressive speed metal album that straddles the death metal fence. Indeed, indicative of their speed metal roots is the common use of hysterical and staccato driven guitar technique reminiscent of bands such as Exodus, Destruction and Slayer that, coupled with an emerging yet competent sense of dynamics, melody, development and recapitulation of themes, successfully places “Malleus Maleficarum” outside the realm of pure Speed Metal and onto a pedestal of its own thereby providing the impetus for not a few debates regarding the essential nature of this album. Not to be missed of course is the embryonic vocal performance of Van Drunen, who while courageously exploring the memes that have driven modern society into calling forth the forces of plague and death to precipitate the end of this current cycle of humanity, opts for a hoarse rasp like yell in contrast to the later visceral death metal growl he is better known for.
Considering the less than inspiring output Pestilence has recently spawned, it is worth recalling and meditating on the legendary albums birthed by the youthful genius of this legendary band if only to provide inspiration and the soundtrack for a new generation of Hessians who will march forth triumphantly into the dreary haze of an uncertain but exciting future. With that said “Malleus Maleficarum” remains essential listening 20 years after its initial release. Standing out as a thought provoking album of much symbolic depth it also remains an uncompromising and virile album that successfully bridges the gap between speed metal and death metal and reveals the genetic ancestor of the latter genre. Not only a dramatic album in its own right Malleus Maleficarum stands as an interesting historical document that should not be overlooked by any serious Hessian.
Once upon a time Pestilence were a very capable death/speed metal band that would attain great heights with the their magnum opus Consuming Impulse. Leaving behind the speed metal of Malleus Maleficarum for greater freedom in melody and structure, “Out of the body” is by far the most popular track on this album due to its catchy main riff, guitar acrobatics and absolute intensity.
Those are only the surface traits of what makes this song and the album a bonafide death metal classic.9 Comments
Listen to a track from the upcoming Hadeon from longstanding Dutch band Pestilence, one is immediately struck by the similarity to late-1990s Morbid Angel: the riffs are there, albeit a bit impatient and tightly circular, but the whole experience is not. What is missing? To understand this, we must go to the core of what made death metal what it is.
If you wanted to explain to a normal person what death metal is, looking at the core of its spirit, you might haul out Slayer Hell Awaits, Hellhammer Apocalyptic Raids, and Bathory The Return… because these influenced the techniques, composition, and spirit of death metal. From Hellhammer and Slayer, it got its song structure and aesthetics; from Bathory its themes and riff technique.
Death metal took the original idea of metal, formed when Black Sabbath and others began using power chords to make phrasal riffs instead of harmony-oriented open chord riffs, and developed it further. This is different than doing something “new” or “progressing” because it means undertaking the much harder task of developing an idea further at a structural level instead of just changing aesthetics.
With the rise of underground metal, death metal adopted chromatic riffing and made the interplay between riffs form a narrative to each song. This abolished typical rock song structure and, because the guitar served as a melodic instrument instead of a harmonic one, forced vocals, bass and drums into a background role. How well the riffs fit together and portrayed an atmosphere, idea, or sensation defined the quality of the music.
Pestilence came from a solid death metal background with Consuming Impulse but showed a speed metal styled approach on Malleus Maleficarum, and this tension has stayed with the band for its entire career. The speed metal style of verse and chorus built on a singular theme that is present in the music is easier to jam on and use harmony to complement, where death metal rarely explicitly states its theme, only silhouetting it in the interaction between its many riffs. With speed metal, bands can set up a chord progression and develop it in layers of internal commentary like jazz, and this puts vocals back in position number one among the lead instruments.
“Non-Physical Existent” is a two-riff song with both based on the same note progression. It creates its intensity through the clash between a ripping circular high speed riff and a slower chromatic riff that uses odd harmony to distinguish notes in an otherwise linear theme. The song breaks into a solo section over one of the riffs, and has a type of turnaround the drops into the faster riff as a return. But there is no real interplay nor any narrative.
From the riffs themselves, this is a good song, but unfortunately, it is not death metal. Nor will it last because essentially it is a closed-circuit video of itself, a riff commented on by another, without resembling any particular experience or emotion, therefore being a null journey, more like stasis in space while riffs loop. It is better than not bad, but still not of real interest to the death metal fan.22 Comments
Maoist metalcore fan Vince Neilstein has defecated upon the Internet once more by displaying the gaping asshole of his mind in an attempt to make mid-year “metal” recommendations in 2017. Like most of that Communist website’s picks, Neilstein is catering to a communist agenda on the one hand, and being a bitch to the monetary interests of the Guevarean movement of good-for-nothings by picking big label turds.6 Comments
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Dauphiné Witch Trials, 1428-47:
Johannes Cunalis had a book of necromancy [librum it nigromanda], and that when he who spoke opened this book at once there appeared to him three demons, one named Luxuriosus, another Superbus, and the third Avarus, [all of them] devils…
Hailing from North Rhine-Westphalia/Germany, Evoked issues four savage compositions of blistering mid-paced death metal honoring the early days of the genre on their demo “Return of the Dead.” This demo came out in 2014 and uses Swedish-style blistering production but actually hails to an earlier era.
In the style of bands such as Possessed, Grotesque and Slaughter Lord, Evoked creates standard format songs stacking three riffs against one another, one each for verse and chorus and a transition, and based them around the kind of fast mid-paced rhythm with very tangible stops that speed metal bands used. This music harkens to the era of transition 1985-1989 when metal was abandoning the speed metal legacy and transitioning into death metal, and so calls to mind early Morgoth, Death, Pestilence Malleus Maleficarum and the like. What makes it stand out is that it holds enough content to pique the interest of old-school metal enthusiasts.
While a four-song demo gives little insight into the future of the band, Evoked show absolutely no inclination to deviate from this classic style, which has the advantage of being highly comprhensible. While the band shows no sign of taking this to a simpler and more mob-pleasurable sellout place, it also clearly panders to the tryhard audience with a demo that would have been amazing in 1989 but in 2015 is just adequate.1 Comment
Pestilence avoids controversy poorly. After the legendary Consvming Impvlse, the band went on to produce a series of albums culminating in the synth-sounding jazz-heavy Spheres, which remains one of metal’s most divisive albums: people either love it or hate it, with few in the middle gray areas.
Then after years apart, Pestilence returned in 2009 with Resurrection Macabre followed two years later by Doctrine. These albums showed Pestilence trying more for a contemporary style of modern technical metalcore (sometimes called “tek-deth”) without as much of the crazy instrumental embellishment of past albums. Now, possibly from a better state of balance within the band, Pestilence unleash Obsideo.
Obsideo returns to a long-running controversy in this band which is not metal-versus-jazz as many would think, but among two types of metal. Specifically, the album Malleus Maleficarum showed Pestilence reining back the death metal of their later demos, and trying for a death metal infused with American-style speed metal. Think Kreator covered Megadeth and you have roughly the same style, although in Pestilence’s case this revealing a longstanding tendency with the band: eschewing the phrase-based riffs of death metal for more rhythmic variations on chord progressions in the speed metal style, then filling in the space with leads.
But if we were to extrapolate Malleus Maleficarum into the present, updating its 1980s speed metal on the cusp of death metal with the metalcore-inspired insistence on variety and riffs that ride a vocal rhythm on the nose, we might find the blueprint for Obsideo. It’s more repetitive and confrontational, simpler and less nuanced, and reflects more of the industrial and hardcore influence into metal of the late 1990s. In addition, songs have fewer fireworks in terms of song structure, but more in lead guitar, which is often used as transitional material in song or for kinds of extended fills to denote layering in riff motif.
Fortunately the space-age jazz-fusion guitar of Spheres has returned in the lead guitar department. While not every lead is quite as distant from normalcy as those, these are more confident, both proficient and playful, showing these musicians at a point where they’ve absorbed the changes in their own ability and can put them to better use. Often a song will snowball with power chord riffs but flesh out its mood with leads, and then fade out into the use of similar themes in the lead to take over the direction of the song.
Production sounds like a chunkier, bassier version of Spheres but doesn’t have the compressed and blasted feel of the two comeback albums. This album shows metal at an interesting place as it tries to recap the thirty years of growth since heavy metal transitioned to speed metal, but on the whole, Pestilence have done a good job of it. This is more listenable than their last two, seems more compelling and personal, but also brings musicianship back into the mix in a way that coincides with these musicians’ instrumental focus.1 Comment