Dark Symphonies has finally reissued Molested‘s debut album, Blod-draum on CD. A remixed version from the original multi-tracked studio analog tapes is included with the original master from the Digital Audio Tape on one CD. Jump on it.
Dark Symphonies announced that they are reissuing Norwegian death metal band Molested‘s only full studio album Blod-draum later this month from the original tapes. Along with the new master from the original analog tapes (not the original CD just compressed for losers with Iphones), a new remix from the multitrack studio tapes will be included on the disc. The CD is available for preordering from Dark Symphonies right now.
The classic releases from pre-Borknagar death metal band Molested will see re-issue on Dark Symphonies Records in their original form. The 2009 re-issues on Galgenstrang Produktionen and Ars Magna Recordings provoked criticism for their modern, compressed and loud sound that some felt reduced the clarity of the original.
Known for being a boutique label that re-issues classic metal releases on vinyl with collector-friendly exclusive packaging, Dark Symphonies Records and its imprint The Crypt have decided to issue the Molested re-releases as jewelcase CDs. These include bonus tracks on Stormvold and will be faithful to the original recordings. Dark Symphonies Records released the following statement:
DARK SYMPHONIES / THE CRYPT is honored to work with Borknagar mastermind Øystein G. Brun to reissue official stand alone CDs of the brutal, classic debut album “Blod Draum” and the classic EP “Stormvold” from the legendary Norse death metal act MOLESTED.
We are proud to announce that we are working directly with Øystein to obtain a wealth of material. “Blod Draum” will include the original film negative of the cover artwork for best visual presentation, unpublished band photos, lyrics and new liner notes. The CD will include the original 1995 studio recording, which was carefully mastered from the original DAT source as well a revised version of the album, which will be remixed by Øystein from the original multi-track studio tapes. This CD is designed after the original 1995 CD release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.
“Stormvold” will include the band’s “Stalk the Dead” and “Unborn Woods in Doom’ demos. Including the original cover artwork, unpublished band photos, lyrics, new liner notes and the original 1997 DAT tape for the Stormvold audio source and original analog tapes for the DEMO audio sources.
“Stormvold” will be presented as a metallic gold printed insert and will be designed after the original 1997 Effigy Productions release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.
No date has yet been announced for these re-issues.
The bastard sons of Molested are back. Borknagar started their career as a melodic ‘viking’ themed black metal band, but gradually (under the influence of its revolving door of vocalists) evolved towards the sort of melodramatic, pseudo-progressive heavy rock music of their post-black companions like Arcturus and Solefald. Winter Thrice is allegedly going to hearken back to the band’s earlier days in some ways, but judging from the sample track released, this is going to be the same sort of musically proficient but sterile product so many other bands are releasing. It comes out on January 22nd, 2016, further adding to the barrage of upcoming releases in that month and on that day in particular.
Some have wondered — including part of our older staff — as to why we don’t feature the newer-styled black metal acts like Drudkh, Blazebirth Hall, and the like here on DeathMetal.org. Our answer is simple: they’re part of the same distraction that killed black metal.
It is in fact an illusion to argue that black metal still exists. Rather, something exists that uses the name of black metal, but it’s not really related to it musically or artistically. In the underground, it’s mostly punk-based bands or the above type of flowing black metal. Above that, it’s DeafHeaven: shoegaze/emo/indie with pretenses of being socially unacceptable.
We all know how it got this way. In 1994, the momentum ran out. The original guys who made death metal and black metal had each had their say and were bogged down in band politics, label economics and personal life decisions (stay with band, or be able to afford food). It was clear there was not much money in underground metal as a career.
However the following years showed us a simple truth: people were afraid of underground metal. Thus an internship in underground metal before going on to a career in a different genre could be quite lucrative. It was “street cred” of a comparable level of being in a gangster hip-hop group. Thus the gates opened, and in flowed the herd, bringing with them their disease.
On the underground side of things an interesting transformation took place. The original black metal emphasized a kind of intensity that could not be replicated. So bands aimed for the next best things, which was to take that surface and put candy-metal underneath it. Specifically, stuff like the following:
In general, these bands have one salient attribute: they use longer melodies but these melodies tend to be recursive instead of developing, giving them a sense of internal dialogue like meandering thoughts on a balmy day with a cool breeze, watching over a town and thinking idle notions.
Where did this style come from? Let’s recover the generations of black metal. It’s nonsense to say black metal existed before the 1984-1987 generation of Bathory, Hellhammer/Celtic Frost, Sodom and Sarcofago. Even then, those bands were not black metal per se so much as proto-underground metal sharing traits between death metal and black metal.
While others often mention Venom, Mercyful Fate and other early bands as being “black metal,” these were musically heavy metal acts not black metal at all. They may have been inspirations, but they shared no musical relation to what was to follow, and yet fit within the genre descriptions given to them if one ignores subject matter. Venom was NWOBHM right alongside Motorhead, and Mercyful Fate fit into the proto-speed metal generation that overlapped with NWOBHM and included Tank, Satan and Blitzkrieg.
After the proto-underground generation, most bands explored death metal because it had the most immediate possibilities. What defines death metal is that it turned riff salad into a narrative form and thus created a new type of progressive music that was progressive at the compositional level, but surely not at the mechanics! It was thus a perfect fusion of 1970s avant-prog (King Crimson) and the utter nihilism of punk (Discharge, Cro-Mags, Amebix). This fusion was apparent ever since Iggy and the Stooges and Black Sabbath kept one-upping each other with albums from the late 1960s through mid 1970s.
The first generation of black metal really came about in 1990 with Immortal. Bathory had developed fully with Blood, Fire, Death but had also regressed into the speed metal styles popular at the time. Immortal had a simple idea: take the approach of Blood, Fire, Death or Hammerheart and adapt the mechanics of 1985’s The Return to it. The result fused the extreme with the progressive-ish yet again, and from it was born Immortal’s first album. There was also a change in topic, spurred in part by the Odinic (Bathory) and occult (Slayer, Hellhammer/Celtic Frost) ideals of the past generation.
By 1991, it was clear that a new movement was afoot. Some of the best bands were hovering on the edges of this movement, making melodic death metal inspired by the previous generation of Swedes (At the Gates, Carnage), Norwegians (Cadaver, Molested) and Finns (Demigod, Amorphis, Demilich). In addition, there were “dark” bands like Merciless and Cemetary which essentially made older genres tinged with the mood and feeling of the new music. But during that fateful year, the early works of Burzum, Immortal, Darkthrone, and Mayhem were all tumbling onto the record racks, followed by Emperor, Gorgoroth and Enslaved.
The next generation defined itself as the space between the Emperor/Enslaved split, which really opened up black metal worldwide as people could easily understand this as an aesthetic, and Burzum’s Hvis Lyset Tar Oss. The former more resembled the horror movie music and progressive heavy metal of the time, and the latter changed black metal from something that vaguely fit into rock song-format into something entirely unrecognizable, a hybrid with ambient music and progressive avantgarde. But right in the middle of this generation something interesting happened.
Inspired in part by Burzum’s use of melodic development to underscore longer pieces like “My Journey to the Stars” and Emperor’s vast “Inno a Satana” in addition to the more theatrical works of Gorgoroth like “Sorg,” these bands made longer songs. However, their melodies were not designed to be distinctive as much to preserve a feeling in mid-air for as long as possible, so they tended to use recursive patterns within the melody. This and the fixed tremolo strum and background rhythm gave them a flowing effect, which Graveland exploited over a waltz beat for maximum detachment from modern ‘reality.’
Eventually, this culminated in the Ancient guys coming up with something that sounded like it could have come off of a Camel, Yes or Genesis album, but only if those bands were committed to death of humanity and restoration of a medieval order:
It was from this template that the Blazebirth Hall and related Slavic and Colombian bands derived their sound. However, they’d done something none of the original bands did: they removed the ambiguity, struggle, reverence and steadfastness that were part of the original, which itself derived them from 500 years of European proto-Romanticist thought.
In other words, made candy-metal. It’s no surprise mainstream industry linked this up to its closest pop music relation, shoegaze and emo/punk/indie, and quickly made a cheesefest out of it:
Hint: this is what other kids were listening to in 1990-1995, if they hadn’t already gone for the full mainstream-fest of Nirvana and Pantera. The record labels knew this formula worked, just needed a stylish new outfit to put it in… so they recruited black metal. Interesting how both the underground and aboveground sold out in parallel.
What are Sadistic Metal Reviews? Music is art when it has something to say, entertainment when it’s distracting. Since none of us have infinite time, we pick the best and strongest music we can and mock the rest. The path to true metal is littered with sweet, sweet poseur tears and the occasional gem of non-failure, a secret delight for the wary traveler…
Promising to make a “statement” and deliver “art,” The Satanist summons borrowed Morbid Angel and Angelcorpse cliches thrown into a carnival style arrangement with such poor taste it makes late 90s Ancient seem good by comparison. A typical “song” — they cut this album up like a pizza because the riffs in each song have no relation to one another — begins with a slow build up that is awkwardly discarded to make room for a blasting section that sounds like Trey Azagthoth circa 2001 trying to intonate his 7 string while Pantera is rehearsing in the background and reggaeton horns are thrown over the top. If you can imagine a drunken outtake from a later Septic Flesh album that randomly ends after about 3 “riffs” that meander about without purpose are played for about 2 minutes each, that approximates the effect here. It’s not atmosphere, and it’s not death metal. It’s circus music. You will never fail to be distracted as the riffs dance past. And yet, they make no sense when put together. The only thing holding these songs together is that you know roughly when there’s going to be a chorus to tap those toes and listen for the melodic riff. Not even a crappy Gateways to Annihilation imitation act anymore, Behemoth now make it well known that they’re a merchandising front that’s somehow more shallow than recent Watain. Stupid music, regurgitated themes… this is the Marilyn Manson of “underground metal.” No, scratch that; he wrote actual songs. Lullabies for molested children struggling through impossibly awkward teenage years, perhaps, but actual songs. This is just gee-whiz riff practice with incoherent blasphemy and angsty mincing underneath the guitar masturbation.
Hybridizing power metal, progressive speed metal such as Anacrusis, and death metal, San Angelo’s Obscure Oracle focuses on the newer metal styles of a stream of technical riffs but unlike the newer bands, returns to the 1980s for a chorus-focus in rhythm and riff shape which holds these songs together better than most bands can manage. The detours into instrumentals often inspired by other genres are usually pretty well managed but the problem of making them a steady feature of the stylistic canon is that they must appear frequently and they must stay distinctive, so never really fit within the composition but serve as a kind of oppositional interlude. Obscure Oracle do this better than 90% of other bands and keep the focus on the song, giving us some hope for these guys despite the unfortunate modern influences.
I always wondered why this album did not go farther back in the day. It had the thunderous electric distortion, heavy vocals, hardcore-style drumming (but flattened from offbeat emphasis to cadence), and everything else. Maybe it was the amateur hour cover drawing on the original? On re-listen to this beautifully re-mastered re-issue, I realize the actual problem: where Entombed was rocky, this album is death metal and punk that never picks up on a direction and so ends up back in rock ‘n’ roll. It sounds like regression. Entombed’s songs expanded out into these soundtrack-influenced beautiful sections that gave them death and intensity. This thrashes around, then ends up on bouncy hard rock riffs. Even more, it’s almost strictly verse-chorus without allowing for melodic development between the two. Thus, it trudges. Repetition emerges. It feels like being lost in the back alleys of an unfamiliar city, and the sensation is akin to boredom. The story the record labels want you to believe is that somewhere, someone buried a lost cache of genius Swedish death metal under a carpet somewhere. The reality is that it was a relatively small group of people who figured it out and everyone else missed the boat not through lack of opportunity but lack of cognition.
Another worthless band that plays jockcore masquerading as a death metal band. Nothing about this album is morbid, sinister, or “brutal”. It’s just a bunch of stop-start mechanical rap/rock grooves sandwiched between random Cryptopsy (circa the “wearing Earth Crisis sweatpants promo pics” bad years) blasting randomness without any rhyme or reason. Do you enjoy opening storage containers with your face? Do you know how quickly you can shotgun a PBR if it’s room temperature and the game is in two hours? Put on those wife beaters, cheer for the team, and here’s some tailgate party slam death metal brocore to get the night started! If Pyrexia were tasked with rewriting Machine Head’s Burn My Eyes in a way that would appeal even more to Wu-Tang Clan fans, this EP would be the result. This “slam” garbage is Tupac with better merchandising, but since the cover art here is crappier than what they had on their debut, it seems they’re failing as being a merchandising brand used to sell “death slammer bro” lifestyle products to confused backward ball-cap fratboys as well. Another drink coaster that might as well say Aborted or Skinless on it.
It has become painfully obvious that the lucrative bandwagon of “post-black metal” has headed off the road and is now tumbling down a gentle hillside, to be followed by a sudden drop into total irrelevance. This won’t be surprising to those who recognized “post-black”, sludge, shoegaze, indie-metal, etc. as basically warmed over 1980s emo music. At this point, Alcest sounds about like the average generic indie rock band as these artists and their fan bases stop with the lies and come to terms with what they really want to hear: socially acceptable whine rock. If you ever want to know what a lobotomy feels like, give this track a listen. You will feel emotion on the surface, followed by an emptiness which is your brain recognizing the total lack of content other than a veneer of meaningful music. There will be wheedly-wheedly guitars, extensive arrangements that go nowhere, vocal posturing and lots and lots of false drama like that diabetes-inducing icing they spread on the cheap cakes at American grocery stores. Everything is on the surface however, designed to fool you like a Those who value their mortality, stay far away from this brain bleaching turd.
While it may be unfair to classify this as the first “commercial speed metal” album, it certainly was the most breathtaking example of a band choosing profit over artistry. We all know they’re out there: the vast horde of people who will buy just about anything as long as you dumb it down so it doesn’t confuse them. They like verse-chorus structures, gentle melodies, pentatonic soloing and big buoyant 4/4 verses. Metallica took one look at this audience and thought, “Well, Cliff’s dead — he’ll never know!” and so they made an album after the butt-rock that sold out in the decade before Metallica was formed. If you’re thinking Boston and REO Speedwagon with more muted E chords, you’re right! The continuation of …and Justice for All‘s proto-nu-metal stop-start riffs combined with adult contemporary crooner vocals and rock-style song structures represent a distillation of the lowest elements of metal in a form suitable for easy consumption by the masses. It’s not technically incompetent, and in fact is reasonably well-executed, if you’re expecting rock music. It misses the point of metal song construction and instead is rehashing the blues-rock and stadium country hits from the 1970s. This is the album most people think of when they hear the term “heavy metal” — and we wonder why they find it hard to respect heavy metal from that point on. Abandon all hope, ye who go down this path of listening.
Promising a “timeless” death metal album, this immediately sounds unlike anything a self-respecting fan of death metal fan would listen. Never mind the off putting metalcore vocals and modern guitar tone (plus the stupid metalcore band name and logo), under the surface this is Lamb of God with “horror” riffs thrown in random arrangements. With albums like this alongside Repugnant and Entrails, the blame could always be placed on Bloodbath for mixing Pantera mall grooves with generic third tier Entombed wannabe Stockholm death metal and creating a new lifestyle product for mainstream “headbangers” during their interim between Slipknot and the Dave Matthews Band. “Death metal” for angry truck drivers. So it’s really just Pantera with tremolo picking, and I wouldn’t wish for this rancid batch of sonic diarrhea to befall the ears of even my worst enemy.
Debut album from the band that likely coined the term ‘crust’, this ambitious work falls short of excellence due to a few unusual and unsavory choices in aesthetic and composition. First, though certain songs pick up the pace much of this album sticks to one or two tempos? a bit more variation (such as the track “Civilized”) would be welcome. Second, poorly and sometimes awkwardly inserted female vocals are placed in parts of songs where the riff should instead be emphasized. It doesn’t take much to filter them out, but it would be far better without them? they add nothing to the music and in some cases detract from it (the faster section of “Death Camp” is a prime example). Otherwise, this is an energetic and spirited work. Chunky speed metal riffing mixed with thrash and early death metal touches compliments a looseplaying drummer. There’s an unhindered exuberance to the performance which echoes the best of hardcore punk. Basically sounds like early Metallica or Exodus mixed with Amebix, Crass, and Discharge. Its flaws hinder it from truly ascending to the top, but this is still a solid album that ranks in the top 5% of the crust genre.
Apart from growling and blast beats, this is nu-mu. Rap/rock chugging thuds (djent) and “ambient” synth/sampling forays in guitar driven rhythm oriented songs (where attention is given to vocal rhythms) give this more of a Korn character than anything else. This is a produced to perfection turd of a release that was no doubt made to pacify the simple minds of neckbeards that spend too much free time on Facebook. Songs go nowhere, literally being a series of blocky rhythmic chugging sequences reiterated in different ways. It’s monotonous and stupid. The solo “metal” project of a dubstep producer, this release borrows the surface aesthetic from “brutal death metal”, but accomplishes little more than sounding like a more “extreme” Slipknot. Considering the interest in this project has more to do with its merchandising and the personality behind it all, it’s no surprise all of this “slam” vapidity functions as an embarrassing social tool for indie-rockers and hipsters: another lifestyle product that under the surface of “crazy music”, provides more of the same disposable radio rock.
How can you hate a record with this hilarious title? That’s what they’re hoping your friends will say to you. They only need to fool you for about thirty minutes, long enough to place that order and slide that card. Then the sale is made and everyone wins… at the label. The fact is that if you buy this, you’ve not only wasted money but done something stupid enough that you really should end your life! This is predictable death-grind of the mid-paced variety that specializes in linear riffs and abrupt tempo changes that lead nowhere. Song construction is circular and yet still manages to be disordered. If you already feel a massive ennui overwashing you such that you no longer care if you live or die, imagine listening to it. It’s worse.
Blackhearts is a new film about black metal after Norway in the 1990s, focusing on world black metal in the present day and how it is different from the original integral genre.
This is welcome news for those who were thinking “Aw, geez, do we need another film to tread ground well-covered by Lords of Chaos and Until the Light Takes Us?” You won’t have to suffer through a re-tread of the now-familiar early 1990s soap opera because it’s not mentioned in the movie, despite Blackhearts being the production of a Norwegian film crew.
Christian Falch, producer of Blackhearts, took the time to give us some answers to the burning questions that metal fans may have regarding this new movie.
You are the producer of the movie Blackhearts. Can you tell us what the movie is about?
I’m the producer and I co-write the script (documentaries actually do have scripts too…) with the director Fredrik Horn Akselsen. We both work for the Norwegian production company Gammaglimt AS.
Blackhearts is basically a feature length documentary about the profound impact that Norwegian black metal has had on the lives of fans and artists throughout the world. As you know, this genre has a lot of dedicated followers.
We have three main protagonists in the documentary. They are all really passionate and dedicated fans with their own black metal bands. One of them is a member of parliament in Greece, the other one is risking everything for the music because it is strictly forbidden where he lives: Iran. The third is a truly devoted Colombian Satanist. In the documentary we want to explore why black metal is so special to them and what the fascination is all about.
The story of black metal has been told a number of times, most notably through Lords of Chaos and Until the Light Takes Us. What is your documentary doing that these other sources have not?
First of all, our film will not deal with the events in the past, but rather look at the situation today. The storytelling in Blackhearts happens as the story of our different characters evolve, so this is not something retrospective, but we get do follow our three protagonists in several exciting episodes throughout the film.
I also want to mention that this documentary is being made for a wide, international audience, not only metal fans. Therefore we deal with universal topics like passion, politics, religion and dreams — of course everything still is about black metal. A great mix of everything a good documentary needs if you ask me.
Do you think it has taken us — Norway, the West and/or humanity in general — almost a generation to absorb what black metal was about?
In this documentary we will have a close look on how different cultures, religions, political situations and so on deals with the black metal phenomena. The fascinating thing is that it varies a lot! Here in Norway, the government pays black metal bands to record their albums and at the same time they would not mind flogging you for listening to Mayhem in Iran…
There are still a lot of different opinions around when it comes to what black metal is all about — and that is exactly what we want to explore and learn more about in this film.
Following up on the third question: what was black metal “about”? Do musical genres have ideals? Are those always clearly articulated? Is there a benefit in not articulating them like we articulate science and politics?
That’s a good but difficult question to answer. In my opinion black metal was about making atmospheric music with a hint of opposition to the society in general — the media (and some of the artists) made a great impact when it comes to defining the ideals behind it, but I believe that every individual had a personal, and therefore different, motivation to join the scene. I’m not a fan of putting the same ideological label on every individual or band just because they play black metal.
Speaking of politics, how are you going to deal with tricky subjects like Varg Vikernes and his political beliefs which I don’t trust myself to summarize, the murders of homosexuals by black metal musicians, the church burnings and the numerous statements of adoration for National Socialism and Stalinism by black metal musicians?
As I mentioned, we won’t go deep into the dark and difficult past of this genre, but of course we need to mention what happened and how it influenced the scene (and it still does). We would like to show that the black metal scene is more varied than most people think. We will do our best to deal with this subject as fairly as possible.
What do you think made black metal different from other forms of heavy metal, both musically and in idea?
For me, the difference is in the atmosphere, the way you feel when you listen to black metal, the images that appears in my mind…I don’t need to go into musical terms, it is the feeling of the music that makes black metal special. The idea of it all is of course to be more extreme than heavy metal and other subgenres. That’s really nothing I personally need to enjoy a good black metal band, but I have to admit that the myths surrounding some of the bands and artists attracted me in the first place, many years ago — and I still think it continues to attract new fans to this day.
Are you going to cover other extreme metal activity in Norway, like death metal bands such as Cadaver and Molested?
Unfortunately not. We simply don’t have the time to do that. Our focus will be more or less strictly on black metal. The only exception might be the appearance of Destructhor from Myrkskog and Morbid Angel.
You are apparently the metalhead among the production group. What got you into heavy metal? Do you still listen to it? Why do you like it, and what makes it relevant to you?
I’m the only metalhead in the crew…as with many fans of my generation it started with Guns ‘n Roses, hahaha, but it did not take long before I discovered other bands with more hard hitting music and once you start enjoying this kind of music it makes you start looking for the next band that takes it to a more extreme level and that’s how it goes I guess.
I still listen to all kinds of metal amongst other things, but I’m not very good at keeping up to date with all the new bands and releases. To me, music, and especially black metal is something personal and special. I don’t feel the need to share it with anyone else or even speak about it. Black metal is the little luxury I enjoy alone when there are no other distractions around. I should also mention that there is a lot of crappy black metal bands out there, guess I’m picky when it comes to this genre.
Where is Blackhearts in terms of production? When will we be able to see it? Will it be in theatres or online? How much interest does The Movie IndustryTM have in a film like this?
We have been working for two years with this documentary already and we have about 50% of the material shot. The timing of the release all depends on the financial situation of the project in the time to come, but for sure people would be able to see it sometime during 2015. We are planning a massive release on all platforms including cinema, festivals, TV and of course DVD and online.
To this day we have experienced an impressive amount of interest from distributors, international co-producers, TV broadcasters, film institutes and so on. I am really happy about this because it makes it possible for us to make this film on the level of quality I think it deserves. As far as I know, there is no documentary on black metal out there with the approach we are doing so there is a wide range of possible scenarios for the finalization and release of the finished film.
I guess the biggest question for all of us is “why”: why did black metal come about, why was it so violent, and why does it fascinate us today. Does your film address these whys?
This is the core of the film. It is a difficult question to answer, but this is why I wanted to do this film in the first place — to find out why this weird, hate promoting genre is so incredible fascinating. Hopefully we are able to understand it a bit more after seeing the finished film.
Can you tell us more about the format of the film? Is it interviews, or a narrative, or a mixture of both? Will you use black metal music in the film?
The film will be character driven. In other words, we will follow the people in real life situations and all of them have their own story that we are in the process of filming at the moment. There might be some interviews as well, but not like one would expect from a typical documentary. For example: in Blackhearts we meet an Iranian, Sina. He is the only black metal artist in his country. We first get to know him at home in Tehran, then we follow him to Norway as he is about to do his first ever live concert at the Inferno festival. Then comes the tricky part — can he ever go back home to Iran after promoting what some people consider to be blasphemy on stage?
Through following Sina’s story we will get to learn more about how strong the passion for black metal can be and how the music is still provoking authorities around the world. This is just one example and I can promise we have more fascinating stories too!
When it comes to the music in the film, people should not expect to hear lots of it, but of course it’s there when we show scenes from concerts etc. A treat for all black metal fans (and for me) is that the one and only Snorre Ruch has composed music specially for this documentary.
Last but not least, can you tell us about yourself, not necessarily as formal as a CV but a bit about film, how you came to love it, and how you came to be a movie producer.
I work as a full time documentary producer on several different films. Most of them are related to the second world war or religion and music. This is of course all topics that I am really interested in on a personal level. I never really loved films more than the next guy, but I ended up producing music videos and documentaries because it brought me to places and people that I never would have met under “normal” circumstances.
I have been doing it for the ten years now and I’m liking it more and more as time passes. One of the last documentaries I produced is called The Exorcist in the 21st Century and it has been doing quite well, specially in the US. We got unique access to one of the top exorcists in the Vatican and we followed him around the world as he was doing his thing. Therefore I have seen a about one dozen exorcism rituals being performed.
Since this interview will mostly be read by metal fans, I can reveal that the demon that reveals itself during the rituals we filmed sounded like Maniac from Mayhem at times, hahaha!
Death metal uses tremolo strummed power chords in phrasal riffs, creating an internal dialogue of melody to project a narrative which takes us from a starting point through internal conflict to an ending radically removed from the start. This often complex music relies heavily on chromatic scales and solos that resemble sonic sculpture more than a reliance on scales or harmony, and use “modal stripes” or repeated interval patterns (such as a half interval followed by a whole) to maintain a mood. Inherently structuralist, death metal can be recognized by its “post-human” perspective, seeing the world through biology, history, warfare and mythology instead of the “I/me/mine” viewpoint of a modern society.
2. Deicide – Legion
3. Morbid Angel – Blessed Are the Sick
4. Therion – Beyond Sanctorum
5. Sepultura – Morbid Visions
6. Incantation – Onward to Golgotha
7. Morpheus Descends – Ritual of Infinity
8. Necrophobic – The Nocturnal Silence
9. Obituary – Cause of Death
10. Suffocation – Effigy of the Forgotten
11. Atheist – Unquestionable Presence
12. Dismember – Like an Ever-Flowing Stream
13. Amorphis – The Karelian Isthmus
14. At the Gates – The Red in the Sky is Ours
15. Demilich – Nespithe
16. Asphyx – The Rack
Projections of a Stained Mind (C.B.R. Records)
Harmony Dies Vol. 1 (Slayer Magazine)
Pantalgia (MBR Records)
Live Death: Vol 1 (Restless)
Sampler Volume I (JL America)
Deterioration of the Senses (Morbid Metal)
Book I: Induction (Hits Underground)
Reviews have mp3 sound samples for each album, coverscan, tracklist and label contact information.
Vallenfyre – Desecration
If you can imagine a cross between newer Bolt Thrower, old Paradise Lost and recent Fleshcrawl, you would have a good basis for the rock from which Vallenfyre carve their death metal hybrid. They use the Swedish buzzsaw guitars and the kind of melodic hooks that would make Watain proud in that these riffs are simple and hard to get out of your head, but then use a layered style of riff and response that comes straight from old Paradise Lost, with fewer of the heavy metal touches. If this EP gets its pop influence from anywhere, it would be Brit electro. The riffs are reasonable, and while sparse in the longer song constructions, the band’s habit of treating them as phrases and thus giving them multiple endpoints creates a sombre and contemplative atmosphere. Looking forward to seeing what the full length will bring.
Pestilence – Doctrine
Attempting to keep up with the times, Pestilence make a Meshuggah-style version of a deathcore album and add in their trademark ecclectic tone-twisting jazz leads. As if thinking that fans now must be blockheads to like such music, Pestilence deliberately dumb down the music with lots of chanting verses and repetitive, ultra-simple riffs based on old heavy metal tonal patterns. They vary these up with breakdowns and interludes, using abundant percussive strumming to shake two chords into forty seconds of constant texture variation. This is well-executed and unlike their previous album, does not feel off-the-cuff; attention has been paid to making these songs flow well and stay together. However, like most djent and textural music, it’s almost binary and thus is exhausting from a mental perspective. If you can imagine Celtic Frost Monotheist combined with Meshuggah’s None and Coroner’s Grin, you have a good idea of what Pestilence is doing these days. As an improvement over the past, Doctrine gives me hope, but I still think these guys are best when making complex, twisted, ingenious old school death metal.
Antidote – Thou Shalt Not Kill
NYHC came in on the punk scale halfway to thrash, being very much based in the more extreme school of UK hardcore. This album of short, straight-up, anthemic songs belts out a paean to working class existence in New York by combining the catchy choruses of punk with the fast, nearly technical riffs of later UKHC. Vocals are eerily similar to what Kurt Brecht did in the same year with DRI, a youthful voice shouting itself breathless and yet managing to capture cadence and through it, the hook of the chorus. Guitars are minimal but pick more challenging rhythms in order to underscore the chorus and its lead-up in the fast ranted verse lyrics, giving these songs like early speed metal an insanely infectious quality that borders on frustration with how the message bores into the brain. This is almost like the Circle Jerks sped up 4x with the middle class faux angst translated into rage at the three-block area surrounding the squat.
Atman – Like Pure Unawaited Magic
This CD would stand a chance if it weren’t so goofy. The intrusion of operatic vocals at random times with maximum pretense and minimal musicality pretty much kills its chances of ever having people want to listen to it, but underneath it are good, simple minor key melodic riffs like early Abigor or Emperor simplified. Huge parts of this CD feel pasted together, as if the artist kept creating as many different elements as possible to extend a song, and many of the melodic riffs are too similar in structure for this to really take the top shelf, but it has moments that match the intensity described by the title.
Evil – Pagan Fury 1994-1996
Probably the only band that can compete with Ildjarn for turning the obvious into the profound, Evil are high-speed pneumatic drums with a languid bass following searingly distorted, simple riffs that rise into sublime three-note melodies. While this is well executed, this is all they have to offer; if you like Ildjarn and Blood, you’ll like this because it sounds like a cross between the two. Songs generally feature two grindcore riffs and a melodic black metal riff to unite them, which produces a sense of high energy potential flowing into a melancholic panorama that encompasses the moods previous.
Aosoth – III
The only underground trend to counter metalcore can probably be blamed on Thorns and the emergence of the 7-string guitar. In this style, open chords or oddball movable chords are strummed in quick sweeps to produce a wash of sonic possibility; this can give great power to a quality song, like the “sonic cathedral” approach of some classical composers, but with a directionless series of riffs it falls apart like later Mayhem. Aosoth strides the line, sometimes sounding like Portal or Molested in the harmonic possibilities unveiled, and other times sounding like an avantgarde acoustic band that somehow got the wrong guitar rig. The tempos and riff styles are compelling but songs often do not pick a direction other than restating their theme, which leaves us stranded in the sonic wash between what could be and what is.
Denial Fiend – They Rise
These guys have a unique intepretation of old school death metal. Imagine proto-death like early Master, but instead of faster tremolo riffs, the kind of muted strum chugging that distinguished bands like Exodus predominates during verses. A Misfits influence rides the vocals and the hookish rhythms of the choruses, but otherwise this is 100% straight-ahead metal. Like many of the caveman bands from the past, no silly punches are pulled here and it is refreshingly free of ornamentation and other artifice for the sake of disguising its basic simplicity. Percussion keeps energy high by creating a forward momentum that catches itself in tidy pockets that drive it forward like tempo changes; vocals are a hoarse yell with the riot delivery of Demolition Hammer or Exhorder.
Nunslaughter – Demoslaughter
This primitive, rhythmic metal is hard to justify as anything but five-note modal stripes bent into song through riffcraft, but for the old school primal style this band is at the top of the curve. Vocal rhythms and the ratio of riff rhythms used in transition resemble Deicide; some riff patterns approximate early Death; many of the more sing-song riffs evoke early Mayhem. Nunslaughter on some level understand the “soul” of death metal, in which a riff puzzle constantly expands in context like a winding journey that descends into profundity. Nunslaughter, despite having many holdover elements from early punk and radio-friendly heavy metal, understand this essence of underground metal. The result is primitive, at types awkward, but represents a surge of energy toward expressing an idea of such magnitude that among the 56 tracks offered here, much as on other micro-omnibus albums like Impulse to Destroy, Expositions Prophylaxe and From Enslavement to Obliteration, a complete vision of humanity and where it stands regarding its ultimate purpose is expressed.
Shrinebuilder – Shrinebuilder
To kill a darling, raise the knife above your head; there is no point pretending contrition or doubt. While sludge and stoner doom metal are the darlings of the industry at this point because they appeal to legions of new fans bleeding over from rock, they are not the heir to the throne of metal. In fact, they are taking it in the opposite direction back down the evolutionary ladder, a man devolving to chimpanzee to mouse. Since the inception of metal, industry has sought in vain for a way to adopt the rebellious image of metal and slap it on music basically indistinguishable from other rock; this way, they maximize profit by using interchangeable parts for the music and handling the “genre” through studio fakery. This album could easily be a U2 album. It is three-riff rock music, with one each for verse and chorus and one for the bridge or jam interlude, and as a result it relies heavily on repetition and basic harmony through which a “melody” (fragment of melodic scale + pentatonics) rambles. If you can imagine early Crowbar and later Eyehategod mixed up with some Sonic Youth or Nirvana, that roughly describes what you get here. It probably helps to be stoned so you have a short memory and cannot notice how repetitive this album is.
NYC Mayhem – Discography
It is not difficult to see why metalheads loved this band. Like Agnostic Front and the Cro-Mags, these guys are a hardcore band that shied away from the simplified rock songs of most punk bands and instead went for metal-like riffs, thrash tempos and a brutally post-human view of the world. Riffs are phrasal and have actual shape, unlike hardcore riffs which were boxier; there are plenty of moments that resemble Slayer or Destruction. These alternate with punk-style riffs returning to a single chord for stability instead of remaining open-ended or slammingly conclusive. Vocals fit the hardcore style of a masculine shout without the bassy tone of later voices. Song composition is closest to early COC, with an effort made to distinguish each song by use of varied structure and introductions, interludes and unique changes in tempo. They write great riffs, but never manage to keep momentum in each song, which causes a process of acceleration followed by breakdown that is somewhat exhausting to the listener. The decrepit garage production merges sounds together into an organic whole, showing us a window into history with grit on the edges.
Calciferum – The Beast Inside
Inside of this old school styled album lurks a new school sensibility: a random collection of riffs, vocals taking over from guitars as the primary instrument, bouncy rhythms and a theatrical sensibility imposed on top of the music not emanating from it. It is tempting to like this, but it’s too linear and too random at the same time. Underneath the slamming exterior is a good sense of binary pop, but its vocabulary is limited, which creates the effect of a listener thrown into a washing machine on spin cycle, ratcheted back and forth by a relentless and circular process.
Anu – Opus Funaerum
The intro to this album captures a vision of chaos rising from order that exists only in one other art form, which is structured noise music from Japan. What follows is pleasant black metal that sounds like Kvist and Gorgoroth had a baby. The band tend to make good use of the harmonic minor scale to achieve a lasting atmosphere, and write some pleasant basic riffs. The problem is that atmosphere is all that is offered here, and it is very 1994ish, right before black metal jumped the shark, meaning that there’s no exceptional direction. If you want competent and pleasant music that does not distinguish itself particularly, this will be OK, but this musical elitist requires more.
Agalloch – Marrow of the Spirit
Do you remember positive jazz and lite rock from the 1980s? Hopefully not: it was the crossover between Muzak, or elevator music, and the new jazz fusion and adult rock categories. Industry needed music that it could play in communal areas and not offend anyone, so they took the soul-searching out of jazz and rock and came up with two super-consonant, super-upbeat and uplifting formats that they then used to beat the heart out of us. Post-rock is the new positive jazz (Kenny G) and lite rock (Michael Bolton). However, in order to cater to a new generation of self-pity, the lords of industry have made this both minor-key and self-reflexively super-balanced, so it’s like uplifting music that tells you it’s not your fault and watches Napoleon Dynamite with you. It is impossible to distinguish post-rock from the audience who listen to it, who are indie-rockers and hipsters, or those who have found no meaning in life so they focus on themselves, and accessorizing their personalities with beaucoup “ironic,” “unique” and “different” things. Industry encourages them because they are perfect consumers who will quietly work as web designers their whole lives, stay single and keep buying entertainment products, and despite all their grumbling are only too happy to report to work. Agalloch make an interesting meshing of textures and styles in Marrow of the Spirit, and there are no musical grounds for criticism. Artistically, for all its attempts to be different, the underlying songwriting is more like regular indie rock music and so while it’s “unusual” for metal, it’s actually the usual thing when you look at music as a whole. Summary: Agalloch make great rock music and should drop the metal pretense and just get bigger than Dave Matthews, because their current style panders to insincere people and those so clueless they think novelty in style is more important than clarity and meaning in content.
Triptykon – Eparistera Daimones
Tom G. Warrior, although an artist of great talent, gets sidetracked into trying to “stay current.” This happened to Celtic Frost in the late 1980s, and it now happens with Triptykon, which tries hard to be modern metal with touches of Rammstein and Marilyn Manson yet keeping the underground honest morbidity. This impossible task results in Triptykon dumbing down their music through repetition and really obvious, repetitive choruses that rant out memes in raw form and pound them into our heads. Songwriting is good although directionless because all else has been shoved aside to keep those “catchy” ranty choruses, and some interesting melodies come of this, but I don’t want to listen to it. It’s annoying and reduces consciousness to a background hum because it’s so loud and repetitive. What we loved from Celtic Frost was the atmosphere; Triptykon is the anti-atmosphere. It’s too bad because if Tom G. looked honestly in the mirror, he’d see that he is loved for the quality and content of his music and not its style, so he should get more honest with the style even if it seems 20-30 years out of date. Who cares what the trends are? In three years they’ll be gone along with this album, and in 30 years kids will still be learning to play “Triumph of Death.”
Abraxas – Damnation
Nothing wrong with this band — standard late-model death metal, like Vader crossed with Devourment. Not bad but nothing particularly exciting. Overuse of “intensity” makes this monolithic, like reading a page of zeroes. Like the band named Damnation, it hammers too hard to achieve any kind of variation in which a story or drama could play out, and so the result is like Napalm Death’s “Scum” if the songs had been five minutes instead of ten seconds, and rigid instead of sloppy. Nothing is done wrong here but the whole does not add up to much of enduring power.
Decrepit Birth – Polarity
Someone crossed Cynic’s Focus, Death’s Human and modern technical death metal to get a fruity sounding progressive band embedded in the midst of blast and breakdown. Individual parts are great, the whole is hilarious and absurdly unclear on any kind of direction. In fact, it reminds me of modern society: the salesperson goes through the list and ticks off all that is required, and then it gets passed to the factory floor, where they bolt everything together and hope it flies. The result here is really goofy and entirely misses the grandeur and imagination of metal. Flee.
Bahimiron – Rebel Hymns of Left-Handed Terror
Against all odds, this band have reinvented themselves with a new sound. This new styling works because the band have both stripped-down what they do and focused on making every bit count. The songwriting sounds hasty but as if a very deliberate focus were placed behind each piece, so that the band knew what they needed and fought until they found it, even if it went rather quickly. Combining the Demoncy “Joined in Darkness” cum Profanatica “Profanatitas de Domonatia” sound of fuzzy, foreboding, inverse-march riffs with the remnants of the original Gorgoroth-inspired sound that propelled this band into focus, albeit with bits of the Southern style (Down, Eyehategod) and classic death metal mixed in, the new Bahimiron makes fast songs in the style of hardcore punk but gives them a uniquely metal vibe. They aim at being incomplete; the songs themselves are complete, but the emotional concept they express is one of partial completion. Plenty of speed and power in these riffs; no particularly groundbreaking variations occur, and the noisy lead guitar (Watain “Rabid Death’s Curse” style) creates no enduring atmosphere. Even the EP itself tapers off, bringing in a few speed metal riffs and even modern metal influences toward the end (blame Krieg’s latest) but the riffs wrap up in hard-hitting songs that are not scattered random thoughts and as a result, create a memorable listen. Glad to see these guys returning on a high note.
If you don’t like CYNIC, you’re homophobic.
If you don’t like ARCH ENEMY, you’re misogynistic.
If you don’t like GOJIRA, you’re racist.
If you don’t like NILE, you’re Anti-Semitic.
If you don’t like SUFFOCATION, you’re classist.
If you don’t like LAMB OF GOD, you’re religiously intolerant.
If you don’t like CAVALERA CONSPIRACY, you’re elitist.
If you don’t like CRADLE OF FILTH, you’re closed-minded.
If you don’t like OPETH, you’re not intellectual.
If you don’t like MESHUGGAH, you’re not one of the good guitarists.
If you don’t like DEVIN TOWNSEND, you’re arbitrary.
If you don’t like JIMI HENDRIX, you’re uncultured.
If you don’t like SIX FEET UNDER, you’re not in touch with the common man.
If you don’t like BORIS, you’re unimaginative.
If you don’t like JESU, you’re insensitive.
If you don’t like ANIMALS AS LEADERS, you’re unintelligent.
If you don’t like MASTODON, you’re unartistic.
If you don’t like BARONESS, you’re uptight.
If you don’t like THE SWORD, you’re celibate.
If you don’t like WOLVES IN THE THRONE ROOM, you’re just no fun.
If you don’t like ULVER, you’re uneducated.
If you don’t like ISIS, you’re illiterate.
If you don’t like BETWEEN THE BURIED AND ME, you’re shortsighted.
If you don’t like KVERTELAK, you’re antiquated.
If you don’t like SUNN O))), you’re obsolete.
If you don’t like AGALLOCH, you’re one-dimensional.
People like you who sit around listening to classics like DEMILICH, INCANTATION, MASSACRA, OBITUARY, INFESTER, DEMIGOD, IMMOLATION, ATHEIST, THERION, HELLHAMMER, BATHORY, SLAYER, DISCHARGE, AMEBIX, DARKTHRONE, BURZUM, EMPEROR, IMMORTAL, ENSLAVED, GORGOROTH, RIGOR MORTIS, MAYHEM, MERCILESS, BOLT THROWER, SUFFOCATION, NIHILIST, CARNAGE, AT THE GATES, SKEPTICISM, WINTER, DISEMBOWELMENT, MORBID ANGEL, POSSESSED, NECROVORE, MASSACRE, GROTESQUE, DISSECTION, ILDJARN, BLOOD, MASTER, CIANIDE, BAPHOMET, BEHERIT, SUMMONING, BELIAL, DBC, COC, DRI, FEARLESS IRANIANS FROM HELL, DEAD HORSE, LUDWIG VAN BEETHOVEN, MALEVOLENT CREATION, GEHENNA, FRANZ SCHUBERT, ANGEL WITCH, JUDAS PRIEST, IRON MAIDEN, BLITZKRIEG, WITCHFINDER GENERAL, EXODUS, NUCLEAR ASSAULT, ASSASSIN, CORONER, SAMAEL, FALLEN CHRIST, ANTON BRUCKNER, OBLIVEON, GORGUTS, SUPURATION, LOUDBLAST, KONG, WOLFGANG AMADEUS MOZART, NUNSLAUGHTER, NUM SKULL, SEPULTURA, SARCOFAGO, MOTORHEAD, PRONG, ROBERT SCHUMANN, IMPRECATION, BLASPHEMY, NUCLEAR DEATH, MOLESTED and UNLEASHED are just bitter, old, gray, ugly, failed, burnt-out, dumb, uneducated, trailer-dwelling, smelly, unsociable people that no one really likes and no one will have sex with, so you’ll die alone in the stench of your own waste.