Incantation – “Messiah Nostrum” Music Video

Incantation released a music for the track “Messiah Nostrum” off their sure to be lame upcoming album Profane Nexus which comes out on Relapse Records later this year on a date I do not care enough about to Google or read the description of the Youtube video for. Neither should you as you absolutely should not pay money for this excuse to tour.

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Megiddo returns with The Holocaust Messiah

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Canadian one-man band Megiddo, who back in the late 1990s ushered in the transition of black metal to a war, black, death and speed metal hybrid, have returned with a new album The Holocaust Messiah to be released on Iron Pegasus Records for Halloween, October 31, 2015.

Sounding much like old Sodom, Blasphemy and Profanatica in a blender but built around the rhythms of punk and simpler song structures of older speed metal, Megiddo burst forth in the middle to late 1990s with two demos, “Hymns to the Apocalypse” and “The Heretic,” which have now been re-issued by Iron Pegasus as Hymns to the Apocalypse / The Heretic.

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In addition, you can read the writings of composer and lyricist Chorazaim in our archive of Larm: The Fourth Reich of Reviews, a review site which popped up a few years after the DLA and covered black metal releases that were current at the time with an inimitable style.

https//www.youtube.com/watch?v=dwjUVkccKdM

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Sadistic Metal Reviews: Fargo of July

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Tom Warrior Censored on Upcoming Celtic Frost Reissues

In a recent blog post, Celtic Frost vocalist/guitarist Tom G. Warrior has publicly disowned BMG’s upcoming double CD reissues of his band’s best output, Morbid Tales and To Mega Therion, and the more pandering and spotty Into the Pandemonium and Vanity / Nemesis. The embarrassing Cold Lake was omitted at Warrior’s request. While initially on board with the reissues and involved with the creative process, Tom Warrior has abandoned ship because the commercial mega-label BMG refused to print his linear notes as he intended. This blatant censorship was a means of preserving the integrity of the Noise Records liquid assets purchased by the label but had inadvertently overwhelmed the Cold Laker with a plethora of painful flashbacks of the corporate influence that plagued Celtic Frost throughout its existence.

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Bestial Evil Paying to Play with Angelcorpse

Social justice warrior deathcore band Bestial Evil are one of the seven openers for Angelcorpse at a pay to play show in Washington, DC tonight. Yes this is the same Bestial Evil you think it is, the antifascist and antiracist and probably Black Lives Matter supporting deathcore band whose antics and temper tantrums have been covered on Death Metal Underground Past. This time Bestial Evil, despite their antifascist stance, are opening for Angelcorpse. The bassist and vocalist of Angelcorpse is none other than Order From Chaos front man, existential social Darwinist and author of The Conqueror Manifesto Pete Helmkamp.

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Watain – Reaping Death (2016)

Article by David Rosales.

I. Where is the music?

It is very rare to find a general fan of black metal today who has not at least heard of the name of Watain. The kind of fame it has attained, however, is the kind that is mostly based on peripheral affairs rather than the art which Watain is supposed to dedicate itself to. Watain is the kind of ‘entity’ (as most of these bands are now given to call themselves) that is surrounded by a nebulous aura which may at first, if one is inclined to be generous in providing the benefit of the doubt, seem like an hint of something truly profound going on. Now, whether that is the case in regards to the real, transcendent or philosophical knowledge or experience of the people behind Watain is not for the writer to say. On the other hand, the music itself does not seem to display any of the more-than-human qualities it should if one is to believe all the hype. In fact, it reveals itself as a very mundane affair when one is given to delve into a holistic examination of the music in itself, and even more so when seen in relation to the extra-musical portions of the ‘entity’.

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#MetalGate: The MetalSucks Manifesto

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Nu-metal and metalcore website MetalSucks posted the “The MetalSucks Manifesto” today, reaffirming their stance as communist social justice warriors. Donald Trump’s triumph in the 2016 United States presidential election apparently did not dishearten their leftist delusions. A neighbor to the MetalSucks headquarters in Axl Rosenberg’s Brooklyn tenement apartment has revealed exclusive insider information to Death Metal Underground about the activities of the MetalSucks politburo of Axl Rosenberg, Vince Neilstein, and Emperor Rhombus during the week following Trump’s victory.

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Chthe’ilist – Le Dernier Crépuscule (2016)

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Article by David Rosales

Chthe’ilist’s debut has been expected by underground death metal fans for some time.  To them, it seems like a promising project faithful to the ideals of atmospheric technical bands such as Demilich and Timeghoul, from whom it takes unmistakable cues. Less fortunate are the influences of popular (in the underground) but ultimately less effective acts Rippikoulu and Crematory. The first two lend a constructive helping hand while Crematory’s contribution distracts with purely technical and empty nonsense detached from clear evocation, and the unimpressive Rippikoulu lends its spacious approach that suffers from the blunders of Wagnerian operas: sparsely located treasures in a sea of boredom. Worth mentioning are a couple of very Voivodesque moments that are surprisingly integrated in a way that they do not seem out of place.

There are several reasons why this release is worth taking a close look at independently of how close we consider it to come to a masterpiece. Existing reviews come awfully short of a real musical insight, opting instead to spend a huge chunk of the time in talking about how cool the guys in the band are, or how ‘awesome’ the vibe is. They are utterly useless when they reach their faux attempts at providing any meaningful observations on the technical side of things. At most, they manage a colorful picture of the mental impressions that the music gives them; this at least is inspiring. Chthe’ilist’s album gives us so much more to discuss not only from its plentiful contents but what they relate to as descendants and composers.

In the interest of a well-rounded critique, Le Dernier Crépuscule should be observed from two different vantage points. The first is to place it within its historical context, and keep present whatever musical influences it appears to have. The second is to ignore everything but our intuition (which is dependent on past experience and understanding, in any case), so that we allow it to articulate and speak out for itself as it draws energy from predecessors we take notice only as an afterthought.

I. Technical Overview

Le Dernier Crépuscule can be roughly divided into two sections, the first consisting of the first five tracks and the second of the remaining two. The first track itself should probably be excluded as it is little more than an intro. The structuring of the next four follows a certain pattern while the last two each follow a freer approach than the one preceding them. The first is Crematory-dominated, while the last increasingly shows a predominant Timeghoul presence. Throughout the record one finds Demilich’s riff style in about half of the individual riffs. This emulation ranges from almost outright shoplifting from Nespithe to more respectable yet still recognizable inspiration. The rest of the riffs also contain the less distinct (read as ‘more random’) but technically recognizable influence of Crematory and some war metal filler while the more creative and original single sections probably come from general Timeghoul influence, which allows for more open interpretation.

Tracks two to five follow a rough plan of riff variations1 lined up one after the other until the solo comes to mark a climax, after which there is a reiteration of previous material and the song ends. It is the “easy way out” of death metal structures, albeit expanded by a greater quantity of riffs. Le Dernier Crépuscule takes the most relaxed route when it comes to conceptualization as well, choosing to go for Crematory’s2 brand of strands of riff variations connected in riff salad manner. Now, Crematory’s style is marked by another particular aspect, and that is that it places technical flare and variety at the top of its priority list. Its choice of allowing runs of related riffs is more the following of what was in vogue at the time, since one can observe that songwise, there is very little keeping it all together but the general tag of the genre. Something similar happens to these first songs by Chthe’ilist.

The sixth and seventh tracks are clearly steeped in a more progressive mindset, allowing for creativity to bubble up as the band tries to craft a narrative. This is conducted with far more success on the last track, ‘Tales of the Majora Mythos Part 1″, than on the hybrid ‘Vecoiitn’aphnaat’smaala’. This emphasis on following a far-reaching narrative reaches formidable proportions in this last track where I would venture to call it a storyline. Variety in riff type is actually richer here than anywhere else in the album, yet through this story-telling technique (that is very much reminiscent of the dramatic flair of Timeghoul on Panaramic Twilight) Chthe’ilist achieves something beyond mere coherence — a smooth flow of ideas connected through careful considerations in texture and rhythmic contrast between sections. These considerations must reach further than adjacent riffs or mere riff-strands so that the song itself does not fall apart.

Unfortunately, although this last track shows us the brightest future for Chthe’ilist, Monsieur Tougas has yet to learn how to finish a song, and what could be an incredible opus is watered down by an unsure appendage after the coda following the solo, a four-minute long welling up of unnecessary nothingness. Content-wise, this adds nothing to the song except confusion, since it is mostly noise and blast beats, which we may presume is an ill-achieved attempt at creating ambience3. The rest of the song itself might be as clear-minded as Timeghoul’s best work, but it is still a work in progress.

I. Aural Impressions

Le Dernier Crépuscule is constantly touted as “Lovecraftian death metal”, and while I get the reference, it seems to me that the character of the music is much more cartoonish than even the original stories, which is saying a lot considering that Lovecraft’s work is already minimalist pulp horror. Taking only a chunk from this author’s work and making a concept album out of it becomes a bit redundant after 2 or 3 songs, and in this album I mostly hear At the Mountains of Madness with some more general references to the Cthulhu mythos towards the end. This limitation results in a bloated album with more words than actual things to say.

In fact, I’d say that for a Lovecraftian experience this is too limited. Timeghoul’s sound, for instance, is very appropriate for expanding on the whole range of cloudy feelings and visages that Lovecraft exposes, not only the mouth-tentacles of his famous monster-deity. Proof of this is that while a Demilich sound on a Crematory template can at most show entrails and guts and an in-your-face horror, the last track had me catching glimpses of R’lyeh through the oceanmist. In Lovecraft you find not only the gnarly gore of slimy and ghoulish creatures, but visitations to otherworldly views in a variety of dream states, alienation from reality expressed through either an increasingly horrifying vision of the world or just not knowing at which side of the sleep curtain it lies.

Lovecraft condenses the very essence of the death metal spirit in its several manifestations and a project with the gigantic potential of Chthe’ilist is surprisingly limited in its choice of evocation, while playing around withtoo many riffs than needed in what appears to be that Crematory-like bloating of content for its own sake with little reference to anything beyond it. Chthe’ilist has a potential of ‘epic proportions’, as the common saying goes. It could have us contemplating at Algol, wondering… it could take us on a bizarre journey through perilous Kadath, and it could make us doubt the very truthfulness of our material existence. In short, it could be the long-awaited metal Messiah that crystallizes the whole of Lovecraftian experience from the essence of the most meaningful obscure acts of the past. But it isn’t.

III. Integral Critique

Bringing together the last two discussions allows us to properly discuss the results Chthe’ilist has achieved. Most bands seem to create a division between music making and lyrical topics, which is not necessarily a bad decision if everything is flowing from a same wellspring of inspiration. The pitfall of this approach is that the sources could end up being distinct, even if compatible, so that the impact of either is dulled by even the slightest hint of cognitive dissonance. This dissonance may even occur in music that is supposedly unified with its lyrical content, and in the case of technically-oriented bands like Chthe’ilist it usually comes about in the form of what could be called ‘riff distraction’.

Riff distraction is a phenomenon that consists of the metal artist losing sight of perspective as he lies on the floor, dull-sensed on proverbial soma. This sends riff-writers off in a mythical quest for the perfect riff combination until they end up with a mass of exciting but ultimately meaningless mumbo jumbo. This is the plague that afflicts this release; its most obvious priority seems to be riff-making, and the clearest sign of a climax is the guitar solo. This album’s is very intentional and varied, but with no precise evocative purpose in mind, so that this huge ball of varied rhythms ends up being a uniform mass when seen from afar. The guitar solo, then, becomes the only way of bringing the song to a breaking point so that at least something in the landscape stands out as a signaling agent for the ending to come with at least a semblance of an excuse.

Alas, the limitation that is holding back Chthe’ilist lies in the mindset of Master Tougas: his towering talent and creative juices ooze with latent power, but his imagination appears to be held back by rationalist prejudices of modern thought that reduce a powerful mythos to mere cartoon. This results in tongue-in-cheek funny horror, which may be an overplaying of the purposely awkward feeling of Demilich that is often perceived simply as funny yet interesting. Timeghoul’s immense aural depth could be the answer here, as the flexibility of its approach lies in the dramatic expansion of predefined techniques within a limited (yet more varied, at the same time) vocabulary that makes even its most complex statements convincing and manifestly intelligible4.

IV. Final Remarks

As pretentious as the thousands of words I’ve already written might make me sound, I would still like to encourage Monsieur Tougas to continue this general line of thinking, while paying closer attention to composition and evocation aspects that lead to a stronger narrative in longer songs. These seem to possess, at least in their present state, the greatest potential of his technical and atmospheric style. His work can bring to reality not only what Timeghoul could have become, but something beyond it, with a long-awaited deftly and graciously applied riffcraft inspired by Demilich. Ditch the Crematory when it comes to structuring decisions, and refactor out any content that isn’t completely indispensable5.

Personally, when it comes to heavily-charged albums such as Le Dernier Crépuscule, I hold a 10-time listening policy: testing how well and in what manner a music album holds up after listening to it completely the first ten times in less than a few days. This has several interesting effects, the first of which is that initial shock effects fade away, technical flare appears more fixed to context, everything gains perspective. Sadly, this album only made it to six listens before losing its luster, and this is mainly because the overall structure of songs and the character they evoke fall into place as an integral whole, revealing the utter simplicity lying behind the tons of riffs and tasty guitar licks.

The reason why the most convincing underground metal has almost always come from the minds that are most “out there” is because their music flows from deeply-ingrained convictions, veritable nightmares that are as real as the sun’s burning sensation, or the excruciating pain of sincere longing for a different reality. While your metal remains “meta”, while it remains only a “fun” way of exploring “spooky” images that are “not real”, your metal will also remain a laughable cartoon.

In earlier ages, as instinctive concepts welled up in the mind of man, his conscious mind could no doubt integrate them into a coherent psychic pattern. But the “civilized” man is no longer able to do this. His “advanced” consciousness has deprived itself of the means by which the auxiliary contributions of the instincts and the unconscious can be assimilated. These organs of assimilation and integration were numinous symbols, held holy by common consent.

In earlier times, these principles were worshiped in all sorts of rituals, which at least showed the psychic significance they held for man. But now they have become mere abstract concepts.

— Carl Jung, Man and His Symbols

1 By riff variation, I mean a grouping of related riffs that arise as variations from a seminal idea.

2 When taking Crematory’s Denial as a point of reference, we can observe how Crematory cannot hold a mood and a line of thought for too long. The music is based on providing variation; for instance, it introduces contrasting ideas in rhythm in extreme fashion so that even very Latin African rhythms pop up right besides more grindy ones with no particular purpose. It may be more difficult to notice, but Demilich already contains such range of variation, but it is much better organized, so that it does not feel haphazard. Furthermore, Demilich is able to stamp their own seal on each section by delimiting certain combinations of rhythm and mode, while Crematory pretty much just throws whatever it can find in your face as it desperately clutches for more content to display a different drum technique.

It’s not that Crematory plays no positive role in the music of Chthe’ilist, but it should be used within its effective scope: the riff variation; and taking note from those who excel at long-range composition when organizing structure.

3 This is a distractor that infects the mentality of modern death metal musicians; it’s almost as if they feel that the music is not enough, that they need to add more “stuff”, whatever it is. This fools the less-focused sort of listeners (apparently, the majority), but not those who would listen to music from multiple angles so as to extract all it contains and more.

4 That is to say, although the difference between the opposite styles within Timeghoul’s vocabulary (from pounding, crowded gnarly riffs to clean-vocal lamentations) may be wider than Crematory’s, the consistency with which they are used imbues them with a more meaningful sense of purpose.

5 A lesson might be learned from Ludwig van Beethoven’s own methods. He is probably the most respectable of classical composers with an inclination for “wild progressive” ideas, since he did not slip into avant-garde stupidity. Beethoven’s music was shocking in its own time for its juxtaposition of apparently contrasting ideas, but he would not leave them there. They were justified, as it were, through their careful development and envelopment throughout the rest of the piece or even in later movements, creating an unprecedented technique in bringing together content in long-range fashion through a process of entanglement.

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Conditions for the Proper Gestation of Metal, A Discussion

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I was listening to Antaeus’ Cut Your Flesh and Worship Satan the other day and found myself thinking “This is pretty awesome metal coming from France!”. After all, France is not a very metal country, so the surprise is not, itself, surprising. At best, that country has produced a few flukes like giants Massacra and obscure Mutiilation, a product of Les Légions Noires’ elite circle. It is my contention that true metal art loci arise in such elite circles in very particular conditions and in reaction (metal is, to a certain point, what detractors of realism in a deluded society call “contrarian”) to different but at some level similar kinds of environments in which strong and perceptive minds fight an intellectual battle against a modern, peaceful yet poisonous complacency. Therefore, we may also clarify that metal proper is not a protest music. Protest belongs to a class warfare, while metal abstracts itself from both the futility of human rejection of reality and the petty strife caused by ignorance and incomprehension of our relative place in an uncaring universe. Not an evil universe as some fairy tales say, but an indifferent universe that could only care about humans as much as we care about a microbe that dies on the surface of our skin without ever even registering in our conscience in any way.

What does it take to be infused with the primordial essence of metal? Individual paths to a certain illumination over which we do not have total control? Metal is, after all, not made of the same matter as intellectually and experimentally-driven traditions such as classical music. We may learn certain methodologies that will better focus inspiration and drive, but the metal way is the way of the mystic, the way of spiritual transcendence. As with any opposition to esoteric affairs, there will be outcries against the allusions to an ultra-physical dimension in the wording, perhaps pointing out that metal has traditionally been strictly realist to the point of nihilism. But for those who understand what it means, mystic references will carry the point home without there being any suspicion of a contradiction. The mystic way is the use of images as passageways to vantage points that are unreachable through common language and from which we can see behind the frontispiece of human constructions.

Simple statistical scans of data from bands in different countries and at different times that it is also not a the healthy “scene” that brings about excellence. Scenes bring about scenesters and poseurs, not better music. For the better part of this last week, I had been on a mission to try and discover lost gems from among Central American bands (that means Guatemala down to Panama, for the geographically impaired). The task is not so easy, but I thought I might cover a lot of ground by first heading to Metal Archives (a very useful resource worked tirelessly by the plebeian masses of metal underlings that think any third-rate metal band around the corner is worth documenting)  and looking at the entries of lists by country. Although the number of entries per country varied wildly in relation to their sizes (from 30+ in Nicaragua to almost 200 in Costa Rica), after scanning the lists and listening to songs from each of the bands in the lists, one finds out that only a similar number of bands from each country would pass the high-level standards of metal we espouse here. That our “judgement” is suitable or not is not the point and is irrelevant to this point. The point is that a comparatively huge scene like Costa Rica’s did not yield more quality music in terms of composition than the meager offerings of Nicaragua or Honduras. Costa Rica’s larger scene, in great part fomented by a larger population and improved economic conditions, boasts of many albums with European-level metal production, abundant professional musicianship and and more gifted performers. All that is for nothing, at the end of the day.

This is also true for classical music, but it will not be discussed here for it requires a little more research about its particular condition to assert anything further. Metal flourishes not from fully-formed scenes, but rather from individuals in intellectually-challenging or adverse landscapes that choose not to fight social convention or status quo as such from within, but seek to escape it altogether after recognizing how nonsensical it is to submit to human imagination is if it were reality. Our minds are innately equipped with the machinery to see things in terms of illusions, essences and constructions. In the end, it is unavoidable. But it is in the individual to decide whether the illusion will dominate him or he will use it as a tool to carve his path through the uncertainty of chaos. Scenes, as human social circles that promote tolerance for the mediocre, are completely unfit to give birth or nurture creators — only perhaps shadows of them that bring more of the same or complete nonsense that does not amount to music.

Does this mean that we should stop trying to make metal as individual artists if we do not consider ourselves to be chosen? Not at all. Those we could consider somehow chosen (the patriarch Iommi, Hanneman, Quorthon, Warrior, Vikernes — frankly, I do not think death metal produced any such luminaries) were not self-referential assholes who believed themselves to be some sort of Messiah. Rather, they worked single-mindedly at their craft. While they were immersed in that and that goal remained the sole focus of their efforts, their music grew and expanded, building ever higher towers whose tops penetrated and seared the stratosphere in spite of scorching winds and burning ice. Experimentalists, retro-acts and self-professed proggers with no direction, on the other hand, kept running around in circles chasing their tails in a puddle of filth. Besting the destructive cyclones of hail that make short work of feeble-minded, the true leaders crossed boundaries and opened doors that were locked.  But these accomplishments are built on two equally important pillars. The first is the struggle in the midst of intellectual adversity. The second is tradition.

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