Xibalba to release Ah Tza! EP

Xibalba performing at Black Flames of Blasphemy

The post-Christmas malaise has set in worldwide, but there’s still time for the occasional pre-2016 release and/or news story.

After what was apparently a pretty good performance at Black Flames of Blasphemy, the Mexican black metal band Xibalba is releasing a short three song EP. Entitled Ah Tza!, its first track is already available through Bandcamp due to the services of the band’s current record label (Nuclear War Now! Productions). The other two will be available on December 31st. As of yet, there’s not really enough information to figure out what this shortalbum will sound like, but the first song at least conforms to the musical language of black metal; not that such is exactly difficult.

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Xibalba release video for “Guerrilla”

xibalbaguerrilla

 

Protest deathcore band Xibalba have released a new video for their song “Guerrilla”. Playing an easy-to-understand style of heavy music for the masses, Xibalba find a strong audience among the disenfranchised members of the lower echelons of society looking for validation and a call to revolution by catering to their mental needs in their gang-themed revolution lyrics.

 

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Black Flames of Blasphemy VI review

bflames 6
Review by “Blackcat”

A swirling miasma of ethanol greeted us upon the last Black Flames of Blasphemy, a festival held this past November in the picture perfect setting of Helsinki. The night before the scheduled Warmup event, I flew into town and made a beeline for Bar PRKL, a space named for the Finnish profanity likely exposed to most readers of this site from the comedy album released by the quirky Impaled Nazarene.

Those of us who live in less utopian societies than Finland often wonder why the idyllic nations in this area are able to produce such incredible music. “Finnish people can’t admit that they have goodness,” chuckled ApeX lead guitarist Arttu, an incredibly young thrash band who were in the process of violating the few revelers in attendance at PRKL that night. Indeed, as such documentaries as Until the Light Takes Us strove to illustrate, perfection has cast a pall on everything in much of the remaining non-disintegrating portions of the globe. It is almost as if the human condition is predisposed to strife, and that ostensibly perfect societies lead the average citizen to turn to perversion to bring balance into life – thus possibly explaining why places like Germany and Japan end up with penchants for coprophilia and bestiality.

Also present at PRKL were two members of Sammath, who descended upon Helsinki specifically for a dose of damage to tympanic membranes and liver. Hundreds of euros worth of alcohol consumed before the festival even started explains the reduced quality of the writing herein. Any complaints may be directed towards those two for rendering me quasi-unable to write let alone think. The fact that the screed was written on a tortured local keyboard and the reviewer is used to a U.S. issued one didn’t help a whit either.

We older, more cynical types were delighted to find youth as enthusiastic about all things metal as ApeX, and though 17 year olds themselves were unusual in their devotion, Helsinki was remarkable for having metal and punk culture literally everywhere one went. Taxis, restaurants, public toilets, airport shuttles and hotels all had a notably worthwhile theme of fine harder music. This trend did display its cellulitic underbelly in billboards featuring nerdwank outfit, Nightwish, hawking air-brushed, wet-dream-inducing Caucasian female thighs and an exorbitantly expensive line of bling suitable for teenagers in wealthy northern countries with too much pocket money for their age.

But I digress. Our focus should be on the festival, and that was one thing that the festival organizers seemed to have done quite well over the years. Black Flames of Blasphemy has been a fairly well attended sub-underground festival, running on and off for the last six years. The early years were vomited forth in a now rededicated cathedral in central Helsinki, and whilst the festival has moved on to less atmospheric surrounds, the organizers’ devotion to only the most rabidly necrotic bands is no small feat. Originally launched by Kold Reso Kult, the festival seems to have taken on a raison d’etre of its own over the years and drawn numerous acts known for playing a very limited number of shows such as Antaeus and Blasphemy. The scarcity of many of the acts led to a non-trite sense of novelty that led to a triangulated feeling somewhere between reverence, arrogance and pride for having been one of the few to have seen such veritable narwhals of the musical world.

This year was allegedly the last, and whilst threats of this sort are often made in the world of underground metal (only 120 copies to be made in hymen blood, and then no more ever again NO CORE, NO TRENDS, . . . until we release it in vinyl again in a few months on an even more ridiculously limited run), there seemed to be little threat that the crowd did not lend it a credence as evidenced by the flagrant hedonism on display at virtually every level of the setting. Nosturi, as the venue was called, must have some connection to vile ‘rhoidrock band HIM, as their logo appears in the lighting-rig and several other locations in the building; but detestable associations aside, the venue was actually quite accommodating.

The "HIM" logo, allegedly tattoo'ed on Steve-O

This tattoo is not completely and utterly unrelated to the HIM logo.

The staff at Nosturi were kind and courteous, putting up with the sort of reprehensible behavior that one would expect from a down syndrome five-year-old on amphetamines. Indeed, this seemed to be true for most Helsinkians, who were never seen to act heavy-handedly despite the questionable behavior of many of our associates. The drinks were of course ridiculously expensive, as are all things in Finland, (3 euro for the coatroom, 1 euro to retrieve said coat!?!?) but that did not stop the cohort from literally drinking the place into oblivion every single bloody evening.

Black Flames of Blasphemy VI should be noted to have featured the most solid lineup in the history of the festival. Indeed, more than a few have been solidly praised on this site amongst others for their solid contributions to the overall gestalt of extreme metal achievement in the prime years of the scene. Still, it was uneven. As has been reiterated time and again on this site, 99% of metal is absolute shit, and bands like Blackwinged embodied the nadir of human endeavor. The silver lining to this is that more time was made for sightseeing / mind abusing opportunities.

On then to the reviews as they were penned by this reviewer in the classic manner: via sweat, ink and beer soaked notebook clutched between pumping fists, and the contributions of the stalwart brood of iniquitous, abusive pundits who wandered in and out of the fuzzy borders of the violence ringing in his ears.

DAY 1: WARMUP – Grunt / Bizarre Uproar / Ride for Revenge / Obscure Burial / Deströyer 666

Grunt

Grunt in concert

Grunt: Said to be a side project of Clandestine Blaze / Northern Heritage sociopath, Mikko Aspa, Grunt kicked off the “Warmup” to the festival by doing quite the opposite. Monotonous, repetitive pulses punctuated by amateur feedback made me wonder why people are still drawn to artrock. Images of highly disturbing matter lent the show a more tolerable air, but pudgy white guys in bondage masks barking at random made me conscious of guarding my asshole too much to enjoy the show. Over all, Grunt in concert were a bit like listening to your fey roommate having an orgy whilst listening to Godflesh on a broken turntable next door. The playing of the belt sander on the thunder machine was an interesting flare, but with all due respect, Mr. Aspa should keep his day job.

Bizarre Uproar

Bizarre Uproar

Bizarre Uproar: Seems like Grunt just changed into their street clothes and got fatter. A Dutchman near me noted that this band gave him earAIDS. This drove us back to the bar as it wasn’t nearly so interesting as twenty well executed shots of salmiakki licorice alcohol. Cirrhosis is always preferable to aural loss. Look not for the successors to the great Throbbing Gristle here.

Ride for Revenge

Ride for Revenge

Ride For Revenge: Repetitive, sludgy, and coming off like Goatlord, but not quite as inspired, RfR still brought the focus of the show more firmly in a metal direction. The band’s stage presence was directionless, and at times reminiscent of one of those hunting dioramas at a second rate sporting goods store.

Obscure Burial: The writing in my notebook point is smeared by unknown fluids for this act. What is legible bleeds through as follows: “A triple barbed fishhook – much more focused than any other band thus far. An Australian nearby wrote this:

“We walked up to the upstairs area and there were cocks everywhere. It was gay as shit! It was like listening to Kreator in 99! Fuck that shit.”

Another picture of Ride for Revenge, if you're into that sort of thing.

Another picture of Ride for Revenge, in case you’re into that sort of thing.

This was followed by multiple images of genitalia with wings.

Deströyer 666

Deströyer 666

Deströyer 666: Maligned in some quadrants for playing in a thrashy, hook-flaying style that may have contributed to the formation of “war metal,” and in others for K.K. Warslut’s obnoxious attitude, Deströyer 666 were a true joy to behold. Filled out by an entirely new band, K.K. and the boys managed to finally shake the torpid audience out of their inertia. Tracks such as the shocking “Raped” gave the listener the same queasy pleasure that one derives from listening to the Fearless Iranians from Hell’s “Blow up the Embassy.” “I am the Wargod,” and “Black City,” were played with more chin-jutted pride and beauty than on the vinyl, whilst the ethereal “Trialed by Fire” raised the hair on necks and the spirits of the dejected. Deströyer even launched a kerosene-soaked rendition of Motörhead’s “Iron Fist,” tipping their chrome-studded hats to Phil “Philthy” Taylor’s passing earlier in the day. All in all, Deströyer 666 certainly made showing up to the festival a night early well worth it, purging our ears of much of the fluff which preceded them.

Day 2: FRIDAY 13th – Blackwinged / Vampire / Hell Militia / Xibalba / Mayhemic Truth / Midnight / Blasphemy

Blackwinged: Guest reviewer – Vlad, Russian virus and vodka enthusiast, and general psychopath: “Blackwinged? FUCK THEM ALL! Suck my fucking wrinkled dick.” It may be said that they weren’t a favorite amongst the crowd.

Vampire

Vampire

Vampire: Concho belted, pretty boy Aerosmith antics of the lead vocalist Command aside, it has to be said that Vampire were one of the big surprises of the show. With an approach akin to Kreator’s “Extreme Aggression,” Vampire managed to transcend the Italian horror-film shtick of their stage set, album art and, yes, band name to actually convey the attraction of mortification. Although I was unfamiliar with the tracks, the music whelmed in a not untasteful rock format that seared themes presumably of the undead into the conscious. Channeling Riccardo Freda in the best ways possible, Vampire delivered an entertaining show that was only slightly marred by the less-cocksure presence of the string section.

Hell Militia: 666 – no report – 666

Xiblaba

Xibalba (Editor’s note: It’s a toss-up as to whether “Sac Ibteelob Cab” or “Sign of Eastern War” is the better song. One of the more trivial debates in this world, though.)

Xibalba: Undeniably shitty drum solos and crude corpse-paint aside, Xibalba stood as one of the zeniths of the festival. These heroes of the second wave of black metal came on with a garage band sincerity that outshone the more highly polished acts throughout the rest of the evening. Thank Satan for this eager aural feast! Tracks like “Sign of Eastern War” and “Sac Ibteeloob Cab” were executed with a grim clarity that were occasionally missed on the original disc. Young new band members injected an off-kilter virility into the music that is essential for such an ambitious project.

Mayhemic Truth: Best known for changing monikers as often as John “Cougar” Mellancamp, and for many of the same shitty dishonest reasons, Morrigan were cut from the same overrated Kraut-tripe, kvlt-as-fvck cheesecloth as their vacuous countrymen Moonblood. In the 90s before MP3s made the obscure-kvlt fad obsolete, I was of the brood vainly attempting to find releases by this act . . . only to be astonished by how over-hyped they were when I finally heard them. Jeffemic Truthship did not fail to disappoint by disappointing with hackneyed black metal cliché after hackneyed black metal cliché. Stay obscure, White Stripes of kvltmetal, so that the rest of us don’t have to hear your sorry excuse for music.

Midnight: This reviewer was looking forward to some sort of decent blackened speed akin to Sodom, and was bouncing off the walls for some old school headbanging. Unfortunately, I wasn’t much impressed, so gave the job of review again to the ruthless peanut gallery around me: “nice thrash. ßit’s not, so fk off! Cheap ass trash. Fucking bollocks!!! Boring. It’s not even midnight assholes. They started at 11:45 – midnight my arse!! Midshite!!”

Blasphemy performs?

Blasphemy performs?

Blasphemy: Blasphemy’s terrifying Cro-Magnon antics delineated why the genre of black metal flourished for one brief, outstanding moment back at the fall of the Soviet Empire. The Canadian masters of knuckle-dragging avant-garde horror imprecisely dissected the audience as a claw hammer muddles and pulverizes the veiny membranes of a victim’s genitals. While the Ross Bay maniacs may never have quite reached the spacey brilliance of their Finnish protégés, Beherit, the “organized chaos” of their technique was matched that night only by the gunfire lighting up stadiums in Paris 2,000 kms away. Tracks such as “Goddess of Perversity” were executed with an intensity reminiscent of some of the more hyperactive Discharge tracks, and intros were faithfully inserted without a hint of humor. Photos attempted at short range during this show mostly consisted of purple blurs and the back of brutarian ham-hock elbows. The show also illustrated again why Blasphemy have only ever put out two real efforts (yes, I know that there are technically three, but come on – they’re basically fifteen minute punk affairs). The band made their contracted dynamo statement of grunted, jack-booted hate in a blood-clot of chains, crudely applied paint and beer-gutted belches. After forty insanely punishing minutes, the Helsinki authorities carted them off to their respective cells in solitary confinement where they belong.

Blasphemy performing, this time with a more competent photo.

Blasphemy performing, this time with a more competent photo.

DAY 3: Satanic Warmaster / Infernal War / Irkallian Oracle / Funeral Winds / Goat Semen / Varathron / Mysticum

Satanic Warmaster: Written by a drunk Finn: HAISTA VITTU VITUN HUORA KUSIPĀĀ, IME MUNAA JA KUOLE! SAATANA LLINEN SOTA HERRA NY LOPPU SAHTI. PRIEKĀ, NO LATVIHAE. LAI TEV LABA DZIVE PRIEKS TEVI SATIKT. Actually, those last couple of phrases might be in Latvian.

Infernal War: 666 – No report – 666

Ikrallian

Ikrallian Oracle. Check out the tambourine.

Irkallian Oracle: I really wanted to hate this band. They are so phenomenally over the top. A bunch of ring-wraiths holding sparkly tambourines and bells. Faces masked by silver sheets. The kind of accouterments and flashy hocus-pocus that one would expect from a second-rate Ed Wood movie. And yet, the band was enigmatic. Themes held together throughout the whole concept of a track, cycling back from start to finish to start again, alpha and omega encompassing a solid core. The mystery behind the act was far more compelling than with more gimmicky acts that have been abused on these pages. This band is what GHOST wishes it was. I will be interested to pick up the album to see whether the whole disc sounds as good as it did live.

Funeral Winds: See: Mayhemic Truth. Or just about any Xerox copy black metal.

Goat Semen: Came off as a kind of second rate bully boy Blasphemy. Sure, they have cleaner riffs from time to time, but do they convey the same core of absolute spinning disgust and pummeling loathing? Perhaps it’s just that Blasphemy are so much more familiar from having been played time and again . . . or that they developed this genre, and that anything else emulating it is just that: a plastic reproduction, no matter how faithfully copied.

More Blasphemy. This time, their crumpled setlist.

More Blasphemy. This time, their crumpled set list.

Varathron: For almost three decades these innovative masters of crawling necrotic horror have forged timeless odes to their Hellenic ancestors. Rivaled in their excellence and originality in Greece perhaps only by the great Necromantia, Varathron have been criminally overlooked by basement-dwelling pseudonymed fanboys more interested in the likes of obscure releases by Moëvöt than incredibly well developed music that perfectly emotes the Dionysian strophe and anti-strophe of ancient cultic form. Varathron took the stage with more presence than could have been imagined from some of the cheesier rock mantras that they fell prey to in the early 2000s, and launched into a barrage of tracks from across their storied career. Recent(ish) drummer Haris is an amazing addition to the band, and one that this reviewer wishes had been present on classics such as “His Majesty at the Swamp,” which suffered from drummachineitis. Guitarist Achilleas decimated the audience much like his warrior-hero namesake, along with twin slayer in savagery Sotiris and recently added bassist, Stratos. Varathron reached their climax with the amazing “Kabalistic Invocation of Solomon,” where band high priest Necroabyssius read from Dogme et Rituel de la Haute Magie, in a huge tome edition, green lights all ablaze, magnificence all ablaze. Incidentally, the entire band are really nice blokes too.

We at DMU like Varathron too. Even their new stuff has merit.

We at DMU like Varathron too. Even their new stuff has merit.

Toxicology report: Mysticum: *Journalist’s disclaimer – order of events may have played out slightly differently than reported – notes were not taken during the actual performance, but recalled from cottony memory* Twin streams of quicksilver lashed the crowd as the techno triumvirate of Cerastes, Prime Evil, and Dr. Best took to the stage. Nineteen years elapsed since this dystopian nightmare last synthesized an audience into freebased crystallized human waste. I had grave doubts about whether this band would be anything interesting live. Idols are often deflating in situ, and although their demos and first album were good, the production levels often made the backtrack sound like bubble paper being stomped on by Japanese girls in platforms. All fears were allayed as the thumping horror of “Black Magic Mushrooms” battered the audience and surreal monochromatic strobewar of lights blistered our retinas. The light show and visuals were truly unique throughout a performance interestingly heavy on tracks from the new “Planet Satan” release, including “Lucifer in the Sky with Demons,” “All Must End,” and my personal favorite, “The Ether.” On the screen, forms morphed from chemical compounds of LSD and other intoxicants, to Nazi soldiers, to skulls and swirling maelstroms of insanity. A paralyzing early intermezzo left the crowd confused and disoriented, after which “Crypt of Fear’s” ominous intro shook them into hysteria. Mysticum left no room for error: they are back to stay, and dominate. 100% pure satanic peyote!

Epilogue: Starting at a flat line

The shuttle bus at the airport is rooted to the ground. Won’t move anywhere. The heater is up way too high. I’m roasting in morkkis, a Finnish term for a kind of hideous hangover defined by creeping dread and a sense of, well, mortification. One poor soul we interviewed might best sum up the atmosphere of the entire festival. He was hobbling around on crutches. When asked what transpired, he confided that early on in the show, he and some colleagues had taken a few doses of LSD. Having come down into a troubled, drug addled sleep he was jolted awake by a fellow reveler, who had hallucinated that the police were raiding their dwelling. His immediate reaction was to jump from the upper story window down to a painful and humiliating full stop below. Morkkis. The human condition is low indeed. Yet I am buoyed by the knowledge that even if most of what moved this reporter was music penned two decades ago, it was a zenith of human achievement, and which could have only been commemorated by the bacchanalian Black Flames of Blasphemy.

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Mainstream media discovers Mayan-themed metal, ignores black metal past

quetzalcoatl

Darling writers and poor researchers at L.A. Weekly have discovered Eduardo Ramirez, composer for post-black metal band Volahn, and his use of Mayan imagery:

A large shipment of a new heavy metal album to Germany, home to one of the genre’s most rabid fan bases, isn’t exactly breaking news. But when the subject matter isn’t the typical black metal tropes of Satanism and misanthropy, but instead pays tribute to Mayan civilizations and cultures of centuries past, it’s a testament to how well Ramirez is spreading his unique vision.

While his quest is surely a good one, he’s far from the first to do this.

Black metal included nationalism among its ideals, which meant singing in your native language about your native culture, whether that was Nordic or Mayan.

Several bands, most notably Xibalba with their classic Ah Dzam Poop Ek, have written about Mayan topics. Add to that list Xolotl from Mexico. In Austin, ex-Masochism guitarist Juan Torres created Ayasoltec, an Aztec-themed metal band, almost a decade ago.

It’s great to see bands endorsing their native culture, language, religion and folkways. However, it’s not something new; it’s a part of black metal, which the mainstream media like L.A. Weekly has spent years denying exists.

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Interview with Remains

remains-of_deathA promising recent entry into the old school death metal world is a new band from Mexico named Remains.

We recently had a chance to hear and review their most recent EP, …Of Death, which is available for free download on the band’s Facebook homepage.

Burly, basic, and uncompromisingly fit together like ancient stonework in the war room of occult martial artists, the old school death metal of Remains is casually minimalistic but smoothly fit together into a series of visions of dark passages through life. Instrumentalism is good, composition is promising, and we’d like to hear more from this band.

Luckily, we were able to catch these up-and-coming metal wizards for a brief interview…

Hail Remains!

First of all, thank you to the support to our band; we are very happy to know that the EP has been well received.

Now, the questions…

Can you give us a brief history of the band? How did you start, how did you meet, how long have you been a band and what other projects do you have?

Miguel, Emmanuel and Leonardo knew each other because they are studying at the same university. On the other hand, Edoardo and Miguel know each other because they were in an old project some time ago.

Remains was originally proposed by Miguel and the project was born at the beginning of 2011 with a different line-up, but it wasn’t until of the middle of 2012 that it stopped being a project and became a band. With the present lineup Remains recorded the demo “The True Essence” and then in 2013 the EP …Of Death.

About other projects… Leonardo and Miguel have a melodic death metal project called “Fractal Entropy.” Emmanuel plays in two more bands which are “Sinister Mind” (black metal) and “The Light Of Dark” (brutal death metal) and Edoardo has a black metal project named “Fog of Chasm.”

This is a two-part question: (a) what bands influenced you most in your composition and songwriting; and (b) what bands do you think you sound like, even if you think you sound a little bit like more than one band?

a – Death Metal in general, bands like: Grave, Carnage, Dismember, Autopsy, Edge Of Sanity, Vomitory, etc.

b – Maybe something of Grave and Edge of Sanity, you know… old school bands, someone said that Remains sounds a little bit like Master.

Why did you decide to make old school death metal in a time when most of metal has gone on to newer styles, or just given up and become nu-metal?

The principal idea has been never been fashion; we don’t try to follow every new tendency. In my own opinion (Miguel) I grew listening to death metal because of my father (Miguel Angeles – Darkcreed, Pyphomhertum, Foeticide) I mean … death metal is my forte.

So… Remains was born as a tribute to the bands that gave origin to the Death Metal.

Do you think there is a metal “sound” for Mexico? How do you think of yourselves in the lineage of bands such as Cenotaph, Transmetal, Mortuary, Toxodeth and Xibalba?

Maybe there are features which distinguish a Mexican band from others, but is difficult to say that there’s a pure Mexican sound. Those bands are the best we have had in Mexico and we would like to continue that lineage and not lose it with the birth of new bands and styles.

We believe we can do something so the scene grows and doesn’t forget with the passage of time.

You decided to release your first EP, “…Of Death,” online as MP3 files in a downloadable zip archive. What made you decide to do this? How do you think it will help you? Are you worried that people will just pirate the MP3s and not buy the EP? Do you think musicians can make money even if they give away their MP3s? Does it matter?

The idea of the band has never been to get money. When we put out the EP we decided that it would be in the free MP3 format because someone who really likes what he hears will go looking for the CD or tape. (Now we do not have a label) If you want to buy or download our music… whatever, you are listening us and… that’s good for us.

What’s next on your agenda? Are you going to write more material, go on tour, or do something else?

Right now we are working in our first LP and we hope it will be ready in September of this year (of course, when we finish it, we would like that you listen to it).

These songs (on “…Of Death”) are well put-together, where every riff has its place and they fit together well. How did you compose these songs? Did you spend a lot of time after you wrote them, going over them to get the details right and make sure all the riffs fit together?

Every song came to its moment. When Miguel composes a song he always has a clear idea of what he is looking for in every riff and the way to adjust and mix them; then, every member of the group put their personal stamp on Miguel’s composition. We don’t spend too much time in details; if something doesn’t work, it stays out.

What do you think are the origins of death metal? Is it still relevant as a style of music today? What do you think motivates people to want to enjoy and eventually create death metal?

Since the metal was born, the trend always has been to be more aggressive. Bands like Possessed or Mantas gave us the guideline for this style; it continues being relevant since more bands of Death Metal are born every day, maybe what motivates people to listen to it is the aggression, the force that has death metal’s song as well as the theme of the lyrics of every band or the technique that is necessary to make it possible.

If someone wanted to hear some death metal bands from 2013, what newer bands would you recommend to them?

From México you have to listen to “Demonic Manifestation” and “Elemental Extinction”.

Maybe not bands but releases of Lie in ruins, Corpsessed, Massacre, Entrails, Hail Of bullets, Necronomicon and/or Carcass.

“…Of Death” has a very professional sound. How did you record this album, and how long did it take from songwriting to finished product?

It was recorded in MAT STUDIO under Miguel’s production, trying to respect the sound of the old school keeping the essence of the aforetime recordings. It took us approximately 4 or 5 months in total.

    Remains

  • Miguel Angel – Voice & Guitars
  • Leonardo Valdez – Guitars
  • Emmanuel Guerrero – Bass
  • Edoardo Gascon – Drums

Thanks for the support, Death Metal!!!

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Black Metal

Black metal took the lawless extremity of death metal and added a greater use of melody, creating swelling surges of sound that sweep the listener away with raw emotion and then arrive in a wasteland devoid of inherent value. Songs fashioned from primitive elements end up telling complex tales, embarking on a journey where the greatest human fears — meaninglessness, predation and violence — end up being salvation from the frustrating world of entropy-bound stagnation. Thematically black metal represents an assault on the pillars of modernity, namely egalitarianism, consumerism and tolerance.

House recommendations: Burzum, Emperor, Ildjarn, Graveland, Summoning and Sacramentum.

BEST EVER

1. Burzum – Hvis Lyset Tar Oss
2. Immortal – Pure Holocaust
3. Emperor – In the Nightside Eclipse
4. Darkthrone – Transylvanian Hunger
5. Graveland – The Celtic Winter
6. Bathory – Blood, Fire, Death
7. Ildjarn – Det Frysende Nordariket
8. Summoning – Dol Guldur
9. Gorgoroth – Antichrist
10. Beherit – Electric Doom Synthesis
11. Enslaved – Vikinglgr Veldi
12. Havohej – Dethrone the Son of God
13. Mayhem – De Mysteriis Dom Sathanas
14. Sacramentum – Far Away From the Sun
15. Mutiilation – Remains of a Dead, Ruined, Cursed Soul

COMPILATIONS

Under the Pagan Moon (Cyclonic Productions)
Nordic Metal Compilation (Necropolis)
Firestarter Compilation (Century Media)

Abruptum
Absu
Absurd
Abyss, the
Ancient
Angelcorpse
Antaeus
Arcturus
Auzhia
Avenger
Averse Sefira
Axis of Advance
Bathory
Behemoth
Beherit
Belial
Black Goat
Blasphemy
Blazemth
Blood
Burzum
Celtic Frost
Conqueror
Cultus Sanguine
Dark Funeral
DarkThrone
Dark Tranquility
Dawn
Deinonychius
Demonic
Demoncy
Dimmu Borgir
Dissection
Emperor

Enslaved
Eucharist
Frozen Shadows
Gehenna
Gorgoroth
Gotmoor
Graveland
Grotesque
Havohej
Hades
Hellhammer
Ildjarn
Immortal
Impaled Nazarene
Infernum
Inquisition
I Shalt Become
Katatonia
Krieg
Kvist
Lord Wind
Manes
Marduk
Mayhem
Merciless
Mortiis
Mütiilation
Mysticum
Necromantia
Niden Div 187
NME
Ophthalamia
Pentagram
Pervertum
Profanatica
Resuscitator
Rotting Christ
Sacramentum
Samael
Sammath
Sarcofago
Septic Flesh
Setherial
Sodom
Sorcier des Glaces
Sort Vokter
Summon
Summoning
Swordmaster
Tha-norr
Thorns
Tartaros
Throne of Ahaz
Ulver
Ungod
Urgrund
Usurper
Varathron
Vilkates
Von
Watain
Xibalba
Yamatu
Zyklon-B

Reviews have mp3 sound samples for each album, coverscan, tracklist and label contact information.

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DeathMetal.Org imperious choice picks of 2010 a.y.p.s.

Ares Kingdom – Incendiary
Avzhia – In My Domains
Divine Eve – Vengeful and Obstinate
Graveland – Cold Winter Blades
Immolation – Majesty and Decay
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Into Oblivion – Creation of a Monolith
Mutant Supremacy – Infinite Suffering
Profanatica – Disgusting Blasphemies Against God
Slaughter Strike – At Life’s End

Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.

Ares Kingdom – Incendiary

There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.

Xavier

Autopsy – The Tomb Within

Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.

ObscuraHessian

Avzhia – In My Domains

Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.

Pearson

Divine Eve – Vengeful and Obstinate

See review here.

 

 

 

 

Graveland – Cold Winter Blades

The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.

Devamitra

Immolation – Majesty and Decay

See review here.

 

 

 

 

Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm

Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.

ObscuraHessian

Into Oblivion – Creation of a Monolith

See review here.

 

 

 

 

Mutant Supremacy – Infinite Suffering

The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.

Thanatotron

Profanatica – Disgusting Blasphemies Against God

True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.

TheWaters

Slaughter Strike – At Life’s End

Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty.  Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.

The Eye in the Smoke


 

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Under a Toltec Moon – Memories on Mexican Metal

1. Introduction
2. A desert walk
3. Nahuatli steel
4. Pactum: M.O.D.L.
5. Mortuary: Blackened Images
6. Transmetal: Amanecer en el Mausuleo
7. Cenotaph: Riding Our Black Oceans
8. Shub Niggurath: The Kinglike Celebration
9.  Sargatanas: The Enlightenment
10. Aztec rites of darkness
11. Xibalba: Ah Dzam Poop Ek
12. Funereal Moon: Beneath the Cursed Light…
13. Avzhia: The Key of Throne
14. Demolish: Remembering the Cabalisticae Laments
15. Argentum: Ad Interitum Funebrarum
16. The Chasm: Conjuration of the Spectral Empire
17. The resurrection of the necrocults
18. Necroccultus: Encircling the Mysterious Necrorevelation
19. Yaotl Mictlan: Guerreros de la Tierra de los Muertos
20. Infinitum Obscure: Sub Atris Caelis
21. Denial: Catacombs of the Grotesque

Written by DevamitraObscuraHessianPearson and Xavier with Eduardo (Shub Niggurath / Necroccultus), Demogorgon (Avzhia), Marco (Xibalba) and Joel (Mortuary)

Introduction

In Mexico the god appears; thy banner is unfolded in all directions, and no one weeps.

The Hymn of Tlaloc

Goedel’s law tells us that no logical system can anticipate all of the demands of reality, because reality as an inarticulated mass of events and causes is naturally bigger in scope than any description of reality. The fallout from this is that every society loves to have a no man’s land, an anarchy zone and a lawless frontier. It’s hard to talk of Mexico as a singular entity when it is comprises so much more. It’s a former Spanish colony, containing the vestiges of two of the greatest empires to walk the earth — the Aztec and Maya, both of whom were warlike, enjoyed human sacrifice, and compiled more learning that any modern group would voluntarily undertake. In addition, it’s also part very learned place, part chaotic third-world disaster, and part anarchy zone. From this ferment comes some of the best metal to grace the earth. After Scandinavia and the US, Mexico produces the most quality underground music. And even more, the Mexican bands seem to “get it”: they can reconcile a nihilistic morality, technological warfare and even gutter-level fighting sensibilities with the arch, elegant and imposing formality and bravery of the past.

A desert walk

Muerte. That word, in Mexican art, embodies religious and historical streams of life so much more than the anglosphere’s clinically worldly emphasis on death as medical phenomenon. This muerte is a gate to antiquity, a divine storm, a holy mystery – contemplation of its secrets connects the Catholic superstition, still so powerful and affecting to common people, to the cruel and decadent rituals of the Toltecs and Olmecs, when no purpose higher could be envisioned than to bleed for the gods. Glimpses into Mexican tradition most often involve the morbid signature of supernatural belief in a strange form of unearthly life, represented by the skull worship of the Day of the Dead and the various devil masks and bizarre colourful monsters decorating the fiestas, as in embodiment of death metal aphorisms such as “the past is alive”.

It would be fairly easy and obvious to point out social ills, crime rates and poverty as motivating factors for religiously oriented fatalistic thoughts, but for the psychologist and the occultist the pathology of the morbid mind is not only a reaction, it is also a cause itself, deeply ingrained in behavior and culture. To go into this sphere in depth would require another kind of a broader study and it is hardly of interest to most of our readers, so we shall mostly be occupied with the mythical, visionary image of Mexico, closest to us who are far away. It is the land of the eagle and the scorpion, of the peyote cactus and tropical steam, of the sea and the canyon. As we see everywhere in the world, the landscape becomes the structure of the mind, which gives life to stories and archetypes showing the apparent chaotic complexity of nature in symmetrical solutions. And musically, what can offer better representations of the occult-mathematical beauty of life than the hymnals of muerte: Death Metal and Black Metal?

To this day, Mexico has not produced vapid mainstream metal sensations nor hard rock imitations to speak of, at least not ones that would have entered our awareness. It’s as if the inward drawn nacional spirit shuns the idea of establishing false identities and masks of life through exports, but instead entertains the Mexicans with whatever art or entertainment the local masses wish to be produced – but this is a realm mostly obscure to outsiders. Even in order to scratch the surface of Mexican rock and metal, one needs to stress the importance of such luminaries as Luzbel and Transmetal, names mostly unknown even in cult metal collector circles. As a more recent example, the astral and progressive death metal of The Chasm has certainly been gathering well deserved praise and attention in the underground, but as a phenomenon it’s still far from gracing the cover in Terrorizer or Decibel magazine.

Nahuatli steel

As the youth of the world tripped in the pseudo-spiritual chemical bliss of the 60′s, the seeds were sown in Mexico as well with an interest towards Rock music merged with esoteric and mystical themes, but true to its violent century, the nation oppressed its bravest minds, declaring them “communist”. Thus was quenched the initial surge of Heavy Metal, as clubs were closed, magazines censored and subversive content in radios minimized. Everywhere else the initial 70′s where the pivotal time for the realization of all kinds of “satanic” and “occult” music manifestations, so in the case of Mexico it took at least a decade to recover from vandalism espoused by the government.

As the wave of Americanization hit Mexican youth culture in the early 80′s, it was inevitable that some unique voices would rise against manipulation and show their own kind of “metal mass”, inflected with the Catholic superstitions and violent streets they saw all around them with innocent, idealistic eyes. Two names especially can not go unmentioned: the original thrashers Death Warrant from Ciudad Juarez and the more classical but frighteningly psychic Luzbel from Mexico City, one of the greatest metal institutions to rise from the sand of Mexico and a prophet of Doom Metal themes and aspirations.

Huizar, the maniac behind Luzbel, managed to also put forth with his comrades at Escuadron Metalico label a series of compilations which in the mid-80′s showed the sounds of the new metal generation inspired by, mainly, American thrash metal and European speed metal. These “Proyecto” vinyls featured Transmetal, Ramses, Six Beer and practically everyone else who dominated the end of the 80′s when finally Mexican metal was too strong to be quenched by sporadic police raids and random accusations of blasphemy and iniquity. These troubles were akin to an anvil upon which the hammer of the light bringer shaped and pounded the minds that were to break free of the shackles of social upbringing and even “humanness” itself.

Eduardo: Well, to have a live appearance was not easy at all, because many people in Mexico (until this day) are a very difficult audience towards the Mexican bands. But we showed them that we were true about our ideals and that we gave 666% in every show! So we got the support of all the metalheads and they gave us in return a total storm of headbanging and full support. These were unforgettable moments to Shub Niggurath.

Joel: There was a small metal scene hungry to hear more extreme metal, so we always had great support from the beginning. I think there were more people supporting the scene than there is now supporting new metal bands, it’s a weird thing! Authority and “normal” people, as usual here, they didn’t understand our music. Sometimes the police were around looking to bother us, came up to the rehearsals and trying to get us, but never had luck, hahaha! And the people, those normal people, were the ones to send the police. I remember a show in Guadalajara or Leon in which the flyers had a circle in our logo and said: Watch out, Catholic, don’t assist! That was really funny.

Already before the decade was over, the most evil of the bands inspired by Thrash, namely Mortuary, Pactum, the inimitable Toxodeth and Transmetal (who tightened their sound album by album and still continue to do so after more than 20 years of career) had overtaken the gap between the international underground and the Mexican one. Suddenly the Judas Priest and Scorpions influence as the mainstream Mexican sound was replaced by a streetborn brutality and occult gore visions that would have made Slayer shudder. Studio and recording conditions were hardly ideal, but creating an easily digestible sound was hardly the intent of these iconoclasts, who repeated the slightly anterior efforts of the Brazilian scene in unleashing a torrent of noisy darkness easily mistaken for hardcore punk as the antithesis to forgetfulness and ignorance in adult human life.

Joel: Musically, our influences were basically Slayer, Venom, Possessed, Celtic Frost, and some classical masters. Lyrically important were the things inside my mind, my way to see this life, and obviously some great writers like Nietzsche, Poe and Lovecraft influenced us. Before Mortuary, each of us were playing in various bands songs of the bands that influenced us. When I was a child I studied some basic piano as well.

Eduardo: Also I had musical experience before Shub Niggurath: we created the Death Thrash Metal band called Tormentor. This was the origins for the unnameable abhorrence later known as Shub Niggurath.

Pactum – M.O.D.L.

A mob of confusion, alike crawling insects, attacks the strings as early blasphemists Pactum struggle to make sense of violent, anti-religious ideas called forth by their satanic subconscious in Mexico City’s extreme response to Bathory and Sarcofago. While the anally raped vocalist rants meaninglessly on, the guitars manipulate suggestive, dischordant layers of picked notes and speedy runs that often sound chaotic but on a closer listen reveal an affinity with classical construction much like the early methods of Burzum and Ildjarn to call forth elegance from pieces of degeneration. Be it dissidence, incompetence or imagination that made Pactum to mangle the pieces of thrash they built upon nearly inrecognizable, the originality and harsh, spontaneous electric discharge that carries these songs onwards makes for a curious and surprising listen for those who are able to listen to the nearly unlistenable. In “M.O.D.L.” the band has discovered one of the valuable early lessons of black and death metal, that of desecrating the sanctity of rigid social structure by defying musical conventions and bringing the expression closer to the fractal noise of nature.

Mortuary – Blackened Images

The elaborate and malign death metal of Mortuary is one of the most recognized funereal voices of early Mexican scene in cult circles and totally deservedly so, as the melodious and grinding old school sound hasn’t dated one bit but preserves the vital energy field of the times when death metal was not taken for granted, the quest for the ultimate density and sobriety. The rhythmic intensity brings to mind the debuts of Morbid Angel and Vader while the gloomy melody disposed as the interconnector of the more thrashing riffs is without question Central or South American in character (think: “INRI”). Joel Alanis’ voice escapes the trap that caused problems for many a thrasher, holding the rhythm of the syllables in position when reciting the blasphemies in English, and his powerful roar commands the fast, climactic and concise songs effortlessly to their logical conclusions. Even today Mortuary’s short but perfectly articulate album could serve as a protocol for building enjoyable but deep death metal, one that incites both head-banging and heart-scrutiny as the ultra-infectious “Reign of Dead” and “Asphyxiation” attack your brain with sensations from beyond and memories from the depths of the layers of mental programming.

Transmetal – Amanecer en el Mausuleo

As the inaugural saints of muerte spread their leathery wings over Michoacán and the 80′s were drawing to a close, Mexico’s silence was ruptured by these mangled, hellspawned shouts and nearly arbitrary riff structures envisioned by the scene’s godfathers Transmetal as the path leading to the aerie of the future. Simple and pitiless like a less experienced Sepultura or Slayer debut, this early collection sees Transmetal attempting to bludgeon their way through a barrage of speed metal in an endless call-and-response of rhythm riff and hoarse barking. Germans had invented most of these figures and refrains as early as 1984 but the untamed desert frontier of their homeland does bestow Transmetal with a rancor bringing it closer to the most subterranean and spontaenous garage punk bands that had the chance to practice their instruments on brief relapses from fighting social corruption. The sketchy but decisive melodies of “Temor a la Cruz” and “Fuerza Invisible” hardly represent an international or even local pinnacle of art, but they were enjoyed by a legion of punks and metalheads for their absolute breakup with the more mainstream appealing qualities of traditional heavy metal.

If there is a style of metal one thinks of in regards to Mexico, it must be Death Metal, in its brutal but most oblique forms, the sonic heir to Aztecs’ solar blood rites and Toltecs’ shadowy sorceries, an amalgamation of heretical thought inspired by Crowley and Lovecraft with a deep respect for the sacred and universal forces of nature which permeates the continuity of godforms in Catholic religious language in shades of traditional paganism which it overtook in surface but never in spirit. The first of these classics was undoubtedly Mortuary’s famous “Blackened Images” (also one of the earliest important Mexican releases sung in English) but no underground Death Metal maniac would forget the splendid, churning visions of Shub Niggurath (“Evilness and Darkness Prevails”, “The Kinglike Celebration”) or Sargatanas (“The Enlightenment”) either, not to mention the virile luminary Cenotaph (“The Gloomy Reflections of Our Hidden Sorrows”, “Riding Our Black Oceans”) whose lifeblood still runs in the veins of the most prized names of today’s underground (The Chasm, Denial and Hacavitz among others feature former Cenotaph members).

Demogorgon: Our ancient strain of blood has always been important to us, as on it are real human sacrifices and that is something we deeply connect with. We are proud of it and it deserves all of our respect. But anyway, we are mostly influenced by European Black Metal.

Joel: Definitely the legacy of our past has been influential in what we do, also the current situation in which the country has plunged. All the ups and downs of the past of our culture influence us directly or indirectly. The difference is the window from which we look at it, it’s definitely not the same as for the rest.

Eduardo: Mostly these bands’ message is about Death, destruction and occultism. If I’m not wrong, only Xibalba took our cultural roots into his concept – they even wrote “Unique Mayan Black” on their debut album. Cenotaph, Mortuary, Shub Niggurath, Tormentor, Deus Mortis, Deadly Dark, Necrophiliac and Pentagram among others were influenced by the Florida and Scandinavian scenes when they built Death Metal during the late 80′s and the early 90′s. My influences have always been bands like Morbid Angel, Deicide, Bathory (old), Sodom (old), Nihilist, Therion (demos), Thergothon, Winter, Necroschizma, Bolt Thrower, Slayer (old) and H.P. Lovecraft’s masterpieces. In Shub Niggurath, Arturo (who handled vocal invocations) was always in charge of the lyrical concept. Regarding “Evilness and Darkness Prevails” I only did the guitar solos, after that I had to leave the band. I have nothing to do with “The Kinglike Celebration” – for me this is not the real Shub Niggurath. For me, this was just some kind of project, without Arturo there, I am not sure about the result.

Cenotaph – Riding Our Black Oceans

Coming off the back of an excellent debut in the form of ‘The Gloomy Reflections Of Our Hidden Sorrows’ and losing a prominent member in the form of Daniel Corchado, Mexican horde Cenotaph radically altered their sound aesthetically and showed a refinement of production and to a smaller extent, musical technique. Whereas the first full-length resembled a prototypical version of Nile, with an exotic though nonetheless esoteric and original take on New York death metal (think Incantation, Morpheus Descends), ‘Riding Our Black Oceans’ owes its musical framework, when speaking of instrumental technique, to European metal, most notably the first two albums of At The Gates, with a much more classicist approach to melody. With the outgoing of previous throatman Corchado a new vocal makes itself at home, not far from the tortured howls of Anders Friden. The same sense of aggression is also present in this work, but is less of a catharsis than the aforementioned Swedish band or the German act Atrocity, and has a motive towards evoking a nostalgic depth, rather than a psychological-emotional one. The percussion is chaotic and structurally brings to mind a more rigid and maze-like ‘Beneath The Remains’ by Sepultura, with more adventurous battery that evokes their ‘Morbid Visions’ record. Acoustic guitars embellish and interlock with these intricate arrangements, and are an obvious nod to Mediterranean and Southern European music. This stylistic admixture works brilliantly, rather than being a work that is merely imitative of an established style, it works the more obvious traits for its own ends, borrowing rather than copying. Cenotaph make a very distinct and profound work here, one of the finest releases to come out of Latin America.

Shub-Niggurath – The Kinglike Celebration (Final Aeon On Earth)

From the extra-dimensional plane of unspeakable horrors that’s revealed in our nightmares by black, arachnoid creatures, prying open our sub-conscious to witness terrible visions, comes this brutal classic of Lovecraftian Death Metal. As a later album in the old-school tradition, ‘The Kinglike Celebration’ has the strength of dynamic and coherent composition under the unmistakeably nefarious atmospheres that could only come from the first generation to be instructed by the likes of Possessed and Sepultura. Unlike more recent acts such as Portal that also delve into the Non-Euclidean realm of Howard Phillip, this work remains an highly geometric one, as if to frame the malevolent world of the Ancient Ones within the scope of human cognition, enabling the sensations of fear and awe and involuntary submission to the higher, evil will. The symmetrical structure of these songs oversee a central melodic theme being deconstructed with the horror of trembling and ominously churning, Deicidean riff-work that builds to a majestic revelation of cosmic power, usually embellished by eerie synths. From this expanse, the band reintroduces the central riff, re-contextualising it through powerful lead overlays and purposeful percussive and rhythmic enunciation, with the crescendo-inducing prowess of a Classical symphony. Shub-Niggurath advance the pulsating Slayerisms of Deicide’s first album to encompass thoughtful formulae of occult melodicism and awaken the unspeakable entities of the grand, cosmic hierachy.

Sargatanas – The Enlightenment

These blasphemers from Guadalajara were around as early as 1986 according to their biography. Only denizens of the infernal layers know what they must have sounded like back then, but their full length revelation is also nothing less than ancient and horrific, of deeply atmospheric and disturbed vision of extended, simple and dragging death metal torment. Shunning the eloquent melodies of Cenotaph and likewise the rhythmic energy of Mortuary, Sargatanas withdraws into ascetic and morbidly elongated tremolos pillared by blasphemous growls mostly maintaining the emotionless, yet commanding tone of satanic artifice, as a stone statue summoned to unholy life and crushing Christians with no haste or passionate compulsion – determinate, almost peaceful. The meditative quality is carried to the extreme in mid-paced or even slower songs such as “Fear and Suffering” or “The Proclamation” (featuring drum patterns motivated rather by ritual ambient than Dave Lombardo) making it even somewhat plodding. The band barely animates for a gloomy rendition of Possessed’s “Satan Curse” in a version that sounds like bubbling lava or tremors preceding an earthquake and one of the most delightful tracks on offer, the chaotic “Satanist” whose main riff recalls Rimsky-Korsakov’s “Flight of the Bumblebee” and as many other tracks on here, is seemingly randomly interrupted for a mock satanistic prayer. In any case, this inward bound attraction and solitude of vision will open only to deepest underground death metal cultists and fans of subtle terror based on psychological expectation and illogical mood cues, examples of which are found plenty in Mexican horror movies and early black metal in the vein of Samael and Barathrum, which undoubtedly heavily weigh on Sargatanas’ study list regardless of this band’s origins being placed even further back in the dimension of time.

Aztec rites of darkness

Without prior knowledge it would be easy to assume that the Black Metal biosphere of Mexico would have been overtaken by bulletbelted battalions fueled by alcohol and sexual lust, but instead some of the most purely mystical and meditative classics of the 90′s underground arose from under the wings of Guttural Records, the all time prime supporter of Mexican occult metal who still keeps cranking out occasional re-releases of material whose quality is, occasionally, simply beyond our dreams. To name some, if you have not heard the most moving moments of Xibalba, Avzhia, Funereal Moon and Shub Niggurath, you don’t know how astral and insane Black Metal can simultaneously be while resorting neither to “progressive” nor “raw” clichés, instead being alive with the fervent force of Mexican demons that feast on the souls of succumbed sorcerers, the experience and experiment being total.

Marco: We have been listening to Metal music for a long, long time. We began by listening to a lot of ’70s bands (Purple, Priest, etc), we experienced the radical change and the explosion of the new bands from the ’80s (Venom, Bathory, etc.) and we just grew with the evolution of this music through the end of the ’80s and the beginning of the ’90s. I think all of this music has influenced us a lot. Books that have inspired us throughout all of this has been ancient literature from the pre-Hispanic cultures of our homeland – with special focus on the Mayan topics mainly, though we also like H.P. Lovecraft’s books. In those days, there were not many bands like us around. I remember that on the few gigs we had, some people were just staring at us, and some other were just enjoying the sound. It was really small and we just seem to get more attention from other countries than ours. Sometimes, regular people were inventing silly stories about bad things happening to them simply because we were about to play on that day. I don’t think the media was focused on this kind of extreme music back in those days, as it is now.

Demogorgon: Avzhia was formed with influence from Death, Thrash etc. Metal, absorbing and swallowing the blackest of these styles of Metal to form a dark and melancholic sound. Musically we were influenced by the old school of Black Metal, bands such as Bathory, Celtic Frost, Hellhammer, etc. and ideologically for example Emperor, Dissection, Satyricon, Black Crucifixion, Grand Belial’s Key, The Black, Tormentor, etc. We were never schooled musicians, we started doing it simply like we felt at the time in the earlier 90′s and we’re still doing music the same way. Avzhia was the only Black Metal band playing in the midst of a lot of Death Metal bands, we remember brutal mosh pits and hostility… so when Avzhia took the stage the audience seemed to be taken by a great fucking depression! In the early 90′s it was a big challenge to keep moving forward into the majestic world of Black Metal.

Xibalba – Ah Dzam Poop Ek

Like Cenotaph, but in the context of a Nordic black metal band, Xibalba take obvious cues from mid-period Darkthrone and Burzum’s ‘Det Som En Gang Var’, and use various aesthetic tricks to distinguish the artistic and ethnic context herein, whilst also succeeding in not letting grandeur overwhelm the beauty of their work. Flowing, harmonic riffs, much like an upbeat version of ‘Panzerfaust’ work their way through catchy, waltzing rhythms that would fit nicely into balladic pieces, sounding just as apt as an interpretation of ethnic, triplet based patterns, transferred onto the modern drumkit. Samples to introduce particular songs use ancient Mexican folk music to accentuate the ‘Mayan’ character of this record, this is done sparingly and is non-excessive, charming and ensnaring. This album is strictly traditionalist in its execution, but successfully incorporates unique, exotic elements into its framework, retains its dignity without compromising it’s honesty. This was released in 1994 and was a time where many metal acts were on the verge of signing artistic death warrants by trying too hard to be different. Xibalba continued the legacy of black metal’s orthodoxy and breathed new life into it.

Marco: I think “Ah Dzam Poop Ek” is a great album, we express the essence and the atmosphere of our past in every song. Maybe it could have had a better production, but in the end that is the sound that captures the environment we are related to. And it’s good to stay away from a trite, standard and expected programmed sound. We hope to release our new album soon.

Funereal Moon – Beneath the Cursed Light of a Spectral Moon

Easily one of the most obscure and horrifying symphonies ever composed on the Mexican soil, the drug-addled, hypnotic and twisted black ambient scenarios of Funereal Moon despite the Guttural Records connection bear little resemblance to the warm crusted ground of Xibalba or the quasi-Nordic beauty of Avzhia – or any other formal black metal for that matter. If you have heard some of the unsane abstractions concocted by the French black legionnaires or Texan congregation of Equimanthorn on their mostly private tape mayhem, you might have an inkling of what to expect. Subsonar synths throb, cheap reverbs multiply growling voices to comical intensities, layers merge into a ritual cacoon of violent concentration in a macabre crescendo of not-so-subtly erotic (especially in the hideous “Vrykolkas (White Irish Eyes)” backed by whiplashes and female moans) palpitations begging for release through the dagger of the proponent. When synthetic guitars and mechanically stumbling drumscapes kick in to approximate occult metal architectures, the effect is close to what Black Funeral evoked years later in the industrial black metal revivals of “Az-i-Dahak” and “Ordog” – here achieved without any excess stylistic measures, simply thrown in your face in the name of blasphemy and contempt. Cheesy and immature to the extreme, but at the same time mercilessly compelling like an exploitation movie, these desolate voices of sorcery seem somehow one of the closest to the alienation and horror of the Mexican “Nocturnos dominion”, where immoving cacti stand upon the chaparral as guardians of twilight and coyotes raise their chant to the bloodred moon, all ensorcelled by the forgotten spells of Tulan sorcerers.

Avzhia – The Key of Throne

From out of Mexico City’s chaotic and concrete urban sprawl arose this monumental Black Metal album as a statement of militaristic and natural order, inextricably linked as they would have been to the inhabitants of Tenochtitlan, the former capital of the great Aztec civilisation. Avzhia here develop the ritualistic and prolonged, ‘Pentagram’ by Gorgoroth-like phrasing of ‘Dark Emperors’ into even grander arrangements panning across vast battlefields and landscapes, bringing keyboards to the foreground for a sense of epic melody that resembles Graveland’s ‘Creed of Iron’ being guided by the expansive compositions of Emperor. There is none of the lead guitarwork that’s central to ‘In The Nightside Eclipse’ in forming esoteric musical themes, so the symphonic majesty of ‘The Key of Throne’ is simply and effectively accompanied by the fullness of sweeping powerchords and this approach brings a lot of primitive but intelligent flavours to the sound and the composition as far as bringing the themes to a successful conclusion is concerned. When stripping away the keyboards from the guitars to reveal the simple beauty of an idea, almost Punk-like riffs of the sort Impaled Nazarene are infamous for are unleashed in a warlike clash of thought and action. With the inclusion of the keyboard, there’s a sense that Avzhia might have heard Skepticism’s ‘Stormcrowfleet’ as the same feeling of ethereal beauty and earthy power is evoked. The bass plays an important role as well, during the drawn-out riffing, reminiscent of Primordial’s ‘A Journey’s End’, folkier parts can be heard echoing underneath like a dormant race building its power to strike, and strike it does as the full instrumental ensemble combines to reiterate this idea. Perhaps this is Avzhia’s vision, like the Norwegian Black Metallers once possessed, of Satan’s adversarial power conquering the modern, Christian lands, once again appeasing with the blood of fallen enemies the ancient gods who had long ago died for their race.

Demogorgon: To analize this album, well, it contains too few tracks but each one of them satisfies us and yes, there’s both ideological and musical evolution – but as always, firmly obscure roots that define Avzhia.

As the populist variants of Nordic Black Metal and Gothenburg Death Metal grew in volume and number, so did the attempts at “romantic” or “psychedelic” sound in Mexico, mostly misguided through a lack of coherence and real inspiration beyond the mundane wish to belong in a clandestine good-looking cult of gothic clothes; an unfortunate occurrence of middle class commercial mentality in a society otherwise unnaturally divided and polarized (the shades of civil war never left, nor the even deeper bloody roots of muerte culture). Prominent American label Full Moon Productions signed Argentum for their one interesting album, “Ad Interitum Funebrarum”, while many in the vein of cloak-and-hood-gothic Demolish and the rather interesting Black Vomit toiled in obscurity. The Chasm, a masterful brainchild of Cenotaph alumnus Daniel Corchado, advanced from Mexican beginnings to dominate the forthcoming decade (now in Chicago) with a progressive (structural, non-gimmick) Death Metal tour de force. Another relocator was the grinding, blasphemous and simplistic “bonehead black metal” group Morbosidad, whose several drummers died in accidents.

Demolish – Remembering the Cabalisticae Laments

To be honest, and there is a reason to be because we are not here to create empty hype and false promise, most of Mexican metal of the 1990′s was comprised of worthless copies aping whatever neo-gothic metal trend was looming in the world at large and it’s nowhere more clear than in this compilation of the successive 1995 and 1997 demos of Demolish and the progression from mediocre to bad influence. The bouncy, hyper-emotional and lethargic black groove of the first part “Reinforcement Laments from the Lamb” (That’s just about what I emitted halfway through this concoction!?) is an incriminating example of heavy metal dressed as black metal, enveloped in saccharine keyboards which occasionally would inspire a vomitous reflex from even that top hatted abortion of Dimmu Borgir (old). Suffice to say there’s a lot of Anne Rice-y occult romance and affective screaming and bombast with hardly any musical surprise or moment of interest, as they would probably distract from the singular intent of securing the attention of fat gothic Wiccan bitches. I guess you might be into this if Covenant’s mercifully forgotten “In Times Before the Light” or earlier Cradle of Filth was the best thing that ever happened to you in black metal. The older more creeping old school death metal influenced occult metal in the earlier recorded second part “Artis Cabalisticae” includes violent moments of hope, but not enough to convince any further than, say, that first EP from Portuguese womanizers Moonspell. Hardly any Toltec spirit here, so move along.

Argentum – Ad Interitum Funebrarum

Hooded Wallachians prowl the crenellated wall tops of ancient castles, Mediterranean bards wield their lutes as metallic Paco de Lucias and some thin, wimpy goth called Philix Pherboreon (is this a Harry Potter character?) attacks the cheap Roland determined to reign as nocturnal dominion over every Mexican black metal wannabe circa 1996. With surprising class and flair, Argentum’s hymns to darkness remind one that the atmospheres descended part from “The Principle of Evil Made Flesh” and part from “Goetia”, might not stand the highest in today’s black metal elitists’ repertoire but today, sounds more exciting and unique because of their severe emotional and dimensional indulgement in a nearly forgotten quest – to compose music, not meaningless random noise or robotic riff patterns. The band is undoubtedly at their peak with the sustained moods of “Enter an Encysted Hibernation” and other slower pieces such as “The Serpent’s Lament” which traces the ethereal scents of the black lotus much as My Dying Bride would have if they had obsessed with black metal during the time of their first album. When the bands decides to thrash onwards in speed, and yet retain the “gloomy” keyboards in “Mortuus Infradaemoni”, it’s undoubtedly a bad choice, sounding ridiculous and swamping their intentions of occult credibility observed with “Lections on texts including English, latin, Catalan, Creol, and Ancientdark Language & Spanish”. The question mark imprinted by this upon one’s brain is better than mere satisfaction, though.

The Chasm – Conjuration of the Spectral Empire

The Chasm’s fifth album in a productive and populated discography continues their journey through the astralic realms of the dead, traversing a heterogenous soundscape much like the cultural topography of Mexico itself. Where Corchado’s work with Cenotaph was inspired by the rhythmic power of Swedish Death Metal, this album is more in tune with not only the melodicism of old troops from Gotenborg like At The Gates, Unleashed and Dark Tranquility but the morbid disharmony of Norsk Black Metal classics ‘De Mysteriis Dom Sathanas’ and ‘Under A Funeral Moon’, which owe much to the Latin American primitivism of Sepultura that also goes into the sound of ‘Conjuration of the Spectral Empire’. The expansive melting pot of sounds and styles is guided by Shamanic visions that peer into the inpenetrable abode of Mictlantehcuhtli, coloured and contrasted by the opposing principles that intersect this psychic plane, giving this album a vast sense of direction proportional to the longing for ancient wisdom in a world torn from the continuum of tradition. From the very outset of ‘Conjuration…’, the winds of the Chihuahuan desert are conjured by guitars and effects, bringing to mind the main theme composed by Ennio Morricone for the nihilistic Western classic, ‘The Good, The Bad and The Ugly’. Each song develops from or towards a single, clear and always beautifully poignant melodic idea, fusing the structural framework of early Dismember with the technique of Technical Death Metal bands like Cynic and Atrocity and their insistence on rhythmic and melodic interaction, although the use of inverted powerchords amidst the South American chaos and Melodeath flourishes, to create a more sombre atmosphere recalls the obscure Black Metal of Mütiilation’s second album. The Chasm avoid the pitfalls of Melodic Death Metal by having this focus, removing themselves from the tendency of bands to resemble a Scandinavian folk riff-salad with no conceptual reasoning behind it. Instead, songs qualify as movements and the phrasal development therein demonstrates an awareness of Classical music that restores the grand aspirations of the Swedes and therefore stands alongside the likes of ‘The Red In The Sky Is Ours’ and ‘Like An Everflowing Stream’ as monuments to the primal, cosmic darkness of our true, inner nature.

Through the international contact and amalgamation of principles brought about by simultaneously World Wide Web access and the extent of educating the young generation in English language (movies, videogames and music being elemental and important here) the new millennium saw Mexico closer than ever to its northern neighbour. Youth factions such as the hated “emo” culture would have been out of place in 1980′s conservative Mexico, but despite clashes between groups they are widely approved today. All in all, it seemed to weaken the unique characteristic of the Mexican underground which was the tough rebelliousness in speed metal and occult/mystical lyrical tendency in Death Metal. In other words, too many corpse painted posers (such as the unending repertoire of Azermedoth Records) and uneventful, funny “goregrinders” (Disgorge, the original of this style, still continues to exist) infected the underground.

Eduardo: Certainly this isn’t an easy way to get money, fame or groupies. If that’s what a band is looking for, it’s just a bunch of shitty losers. You should work because you love what you are doing, and doing this just to be a sell out and gain a living from the people who manage you is a completely Shitty attitude. Underground Death Metal is for true warriors who eat, shit and talk metal, and love it as a son! To know all the underground beasts that still dwell on the catacombs of the worldwide scene and support them as brothers… In Europe it’s awesome how the Metal way of life is still the way for the chosen to die with their boots on. Metal in Europe is bigger than other music styles without the need of being in a popularity contest. Metal is for metalheads and that’s it.

On the other hand, in Mexico, Metal has been taken as a trend. Every single metal subgenre such as death, thrash, black or speed has been invaded by stupid bastards with childish ideas and only commercial purposes. This is not only certain individuals, as even labels have mutated into money makers – signing bands created to give a commercial and false name to metal. They think that they know everything and even take the image of the old gods as costumes. Please! All those denim jackets full of patches from Possessed and Slayer, just to name a few, worn by kids of 18 years and claiming to be “thrash ’til death”! Jajajajajajajaja! Or the new trend of “old school death metal”? Please, when those bands were out, nobody cared about them! But now everybody is looking for those bands, jajajaja! Only the true ones we’ll meet at the end of the road. The other ones will escape to the next trend, because they never really belonged to us!

The resurrection of the necrocults

This is not to say Mexico’s soil doesn’t still bleed black at the desolate fullmoon hours. Old bands all the way to Luzbel are still sporadically active and the promised Avzhia offering “In My Domains” is one of our most awaited forthcoming releases in several years. Infinitum Obscure featuring The Chasm’s Roberto Lizárraga is a throwback to the days when death metallers weren’t afraid to expose religious mysticism, supernatural fervour and psychological “dark” addiction in one package, while Hacavitz and Yaotl Mictlan bring back the Aztec themes but do not retain the climactic level of Xibalba’s “Unique Mayan Black Metal”. Satanists who preach the ontology of Self and the theurgies of netherworlds remain plentiful, Denial and Necroccultus (both featuring scene veterans such as Supplicium’s Isaíah Huerta, Shub Niggurath’s Eduardo and Cenotaph’s Oscar Clorio) being probably the best of the bunch, and also for example Ravager enjoys wide exposure and releases on prominent European metal labels (while Avzhia sadly toils without a record deal).

Demogorgon: Look out for “In My Domains” – this album is strong in itself, riff by riff. It’s raw while plentiful in melodic interludes, grim voices and depressive atmospheres. We do what satisfies us, then other metalheads can satisfy themselves with Avzhia’s music. It’s great to meet true people when we do shows. Avzhia is always going to exist in the dark side of true Black Metal and we will keep doing our work full of darkness of our Lord Sathanas. Grim, cold, melancholic and depressive are characteristics of what Avzhia is! Only the true emperors live, eternal life to Black Metal! See you soon wherever you are… on “In My Domains” tour.

Marco: We just like the sound of a good song, no matter what style it is. As long as it reflects honesty and passion, clearly away from the rules of the mainstream. We have made this music since the ’90s, and still I can have ideas for a song that sounds great, even when there’s hundreds of bands around. You just need to find the right notes and stay focused on the path. This music has been really distorted from the original roots. What makes it worth I don’t know, but maybe just to know the right path is still there and the fact that we’re contributing to it. I think it depends on the integrity and personal convictions everybody has. It’s all part of finding personal freedom or spiritual release.

Joel: We are satisfied with the music that we did. It represents the things we felt at that time, and it’s a real condition that still prevails. Songwriting for us has been a natural change in the evolution of the band, as new songs have the seal of Mortuary but are definitely not the same. We have an evolutionary progress, you’ll see.

Necroccultus – Encircling the Mysterious Necrorevelation

On the footsteps of Irapuato bands such as the Paradise Lost influenced Supplicium and the Chasm-ic A Perpetual Dying Mirror the mad inverters of music decided to go for an irate, warlike sound most akin to Vader’s most brutal incantations. For a fan of Sargatanas and earlier Shub-Niggurath, there are plenty of morbid mental cavities to succumb into in atmospheric death-thrashing of “Mirage of Death” or the more Northern sound of “Descent To Requiem”, actually close to Absu’s early efforts in mingling Swedish death metal and the more ritualistic and sensual sound of ambient black. As regrettably is the case with neo-death metal, there is a great temptation to succumb into a patterned safe manifestation of used riffs, which no longer have the capacity to shock or inspire but the most fresh and innocent listeners. One can only imagine what impact “The Necrosphere Within” would have had in 1987, but the lack of a honest exploration of death metal horizons arouses the question how long can “formulaic death metal” be “death metal” at all, since the genre was incepted to scare the listener into an acceptance of devious un-life. In a hodgepodge of riffs, the social instinct takes over and the music loses the “death-feeling”. A slight rescue is obtained by preserving much of the doom character of the members’ earlier bands, as well as wicked and proficient guitar solos. In total, “Encircling the Mysterious Necrorevelation” is far from bad, but it also lacks the essential magic and forceful intellect characteristic of Mexican metal peaks.

Yaotl Mictlan – Guerreros De La Tierra De Los Muertos

Yaotl Mictlan in a similar respect to Xibalba borrow stylistically from European black metal. Their debut full-length contains a battle-hardened ferocity not unlike Graveland’s ‘Thousand Swords’, and in attitude resembles a less esoteric version of the classic Polish black metal acts. Musically this has the precision and sharp execution of Enslaved’s ‘Frost’ album, but with is overlaid with meandering, arpeggiated guitar forms that bring to mind a more rock-inclined take on Burzum’s first album. True to backdrop, the band bring elements unique to their Mexican heritage to the fore, in the form of wind instruments, percussives and acoustic guitar passages that are distinct within flamenco music. This is no doubt a unique approach, and firmly grasps a sound it can call it’s own, though lacking the cohesion and charge to put them in the same tier as Xibalba or Avzhia. As a result of this, ‘Guerreros De La Tierra De Los Muertos’ comes across as a tiresome listen, but not without the occasional flourish of excellence. Now signed with Candlelight records, it will be interesting to see what results their next release will artistically yield, as there are moments of promise here.

Infinitum Obscure – Sub Atris Caelis

Often referred to as a clone of The Chasm, Infinitum Obscure do indeed share more than a few identifiable traits with their fellow Mexicans, most notably the tremolo picking and those galloping triplets that lend so much power and vigour to the rhythm. There is something that ultimately separates the two bands, however; that being the conceptual direction each band embarks upon: while The Chasm invokes a strong, dark atmosphere that emphasizes the mystical, esoteric passage through some evanescent portal, Infinitum Obscure are far more direct in organizing a forceful rhythm in such a way as to remain concentrated on a single, grounded idea, often reinforcing this focus by frequently returning to familiar themes. So, while their main inspiration might take flight into stranger landscapes, Infinitum Obscure are quite content to portray the lost chasms of this world with an evocative atmosphere of imaginative melodies and, most importantly, direct and uncompromising riffing. On ‘Sub Atris Caelis’, Infinitum Obscure’s sophomore album, these points are emphasized more clearly, making it their definitive accomplishment to date. The need to shake off the burden of being a mere clone band is eminently present; the band tasks itself with creating something altogether their own, resulting in a real sense of the epic emerging from the patterns interwoven throughout the record; each song is striking at something profound, grasping wildly in the search for solidarity. The consequence of these compulsions is an album that sounds like it is still very much in The Chasm camp; while really it has taken several progressive leaps forward, leaving us with a work of art brimming with the self-confidence of autonomy.

Denial – Catacombs of the Grotesque

Some of the most impressive new death metal from anywhere in the world, this churning, impactful and bodily animalistic accomplishment from former Cenotaph and Shub Niggurath madmen is not a joke. What Cannibal Corpse always intended with their chromatic, bass-heavy and relentlessly rhythmic one dimensional stream of riff becomes an amalgamation of melodic motifs and devastatingly experimental squeals in the hands of these  perpetrators, as the background noise boils and envelops much as the classic “Onward to Golgotha” did, while the constant, FX enhanced, ridiculously monstrous voice of Ivan Velazquez intones all the perspiring tension of underworld nexus, the twilight threshold of life and death where sorcerers and demons whisper secrets to the warrior, offering true and false guidance, representing the violent archaic generations that waged war on Mexico’s bloody soil and continue to make many lives into living hell. I have alluded to the monotone nature, which is probably intentional and it hardly detracts from enjoying this cryptic abomination for further and further listenings, as the heights such as “The Pestilent Pits of Disgrace” or “Necrotic Invocations” are deceptively complex mazes of chords and melodies disguised as straightforward infernal metal by the tight manner of production and the guitarists’ sparse use of leads or interludes. Most importantly, the unrelenting hopelessness of these afterworld visions will force the listener to abandon the illusion of safety and immortality that makes the common man succumb to faulty, immoral decisions from day to day, thus achieving one of the highest principles of death metal: mental change (abomination). One would hesitate to lift such a recent work to the hallowed pantheon of Cenotaph and Mortuary after a brief listening span, but if a candidate is chosen from this tournée, this must be it.

It can be said that while Mexico’s metal offerings are not especially plentiful, they are generally interesting and spirited while the best of the country are just about the best these genres have ever seen, on an international scale. Mexicans’ natural groundedness coupled with the mystical tendencies is an excellent standpoint for witnessing the oblique directions of Death and Black Metal from an unpretentious, furious, “Luciferian” angle. It’s almost a surprise there isn’t so much more of it, even though I’m surprised if any reader of this article gets a sense of scarcity regarding items of interest in Mexican metal. So, that being said, it’s about time we leave you to contemplate the mysteries of Toltecs and Satan in the consummation of the extreme, Romantic and evil compositional systems of these modern Mexican warriors and dreamers.

Marco: I think this music is very individual and very personal, and it can take you to a spiritual level, if you listen carefully. Our ancient cultures are based on spirituality, so that’s the point in our just making this weird mix. One song can take you to the top of the pyramids, and reach for the skies, and another one could take you to a scenario of a war against the conquerors. In the end it’s all about finding your own roots, it’s some kind of, another, resource to open your eyes and to step away from the enslavement of social rules and moral unconsciousness (Christian superstition included). In the end the people in power need a dormant society, so they can keep on corrupting, spreading corruption in every corner, and people are just playing the game. Only the connection to your roots will set you free.

Joel: It’s a matter of self confidence in all the things we do, the feeling of greatness inside, the feeling of power, to reach new levels in the extreme brutal metal music we make! I’m not here to convince anyone to do anything, we are selected persons, we the whole scene… the others, the weak, must die!

Highest hails from Deathmetal.Org to Joel of Mortuary, Marco of Xibalba, Demogorgon of Avzhia, Eduardo of Necroccultus and last but not least Noe of Guttural Records for providing in-depth thoughts from the original perpetrators of real Mexican Metal! All of these bands are active so look out for forthcoming events of true massacre of the highest order.

Once you decided to come to Mexico you should have put all your petty fears away. Your decision to come should have vanquished them. You came because you wanted to come. That’s the warrior’s way.

– Don Juan Matus

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Sadistic Metal Reviews 1-31-10

So much of what we do in life is politics. Telling people things they want to hear and making warring parties proffer the olive branch. But metal should not be about politics. Metal should be about pure spirit, both inside of us and in the world at large, meaning that we know ourselves and we know reality. With that kind of background, we don’t need politics. We don’t need drama. We don’t need to be flattered. We want adventure — musical adventure, preferably with tragedy and triumph, violence and vengeance, sodomy and satisfaction! Meet this week’s Sadistic Metal Reviews, where sacred cows get sodomized and we find satisfaction in the diamonds among the cluttering turds.

Fenriz’ Red Planet/Nattefrost – Engangsgrill

We’re going to talk about the first band here, Fenriz’ Red Planet, because Nattefrost is forgettable 1970s punk rock dressed up as early 1980s black metal. This band is a hybrid between doom metal, 1970s heavy guitar jam, and what they call stoner doom now but was recognizable in St. Vitus, Pentagram and Sleep for many years. The production approach and song style is closest to 1970s heavy guitar rock, like Cream or even Led Zeppelin, in that songs are verse/chorus works with a big fat diversion stuck in the middle that may run through a couple of riffs but comes back into key and rhythm so the cycle can spin again. But over half of the riffs are straight out of old school 1980s doom metal, and that would be St. Vitus and Pentagram but also late-blooming NWOBHM with a doom edge like Witchfinder General and Budgie. It’s not exciting; if anything, it sounds like a demo where the band hasn’t yet finalized direction and aesthetic. However, it is good; these songs have character and a spirit to them which you cannot get anywhere else. You can hear a few lifts from Fenriz’ folk/metal project Storm and one or two similar themes to Darkthrone, but this CD doesn’t need to namedrop to stand on its own. They named it “Engangsgrill,” which apparently is a type of disposable barbecue, which fits exactly the kind of sloppy rock/metal hybrid you have here: pickup trucks headed to the country with a keg, a bong and some friends, followed by a weekend of the best neighborhood bands jamming, society gets forgotten until on Monday morning you drive back with a mouth full of ash and the kind of diluted hangover that comes from cheap beer in constant consumption.

Baroness – The Blue Record

Oh neat, an emo/stoner metal hybrid with lots of indie and punk rock touches. If you can imagine Neurosis and Jawbreaker making sweet love with newer Sleep, and throwing in tons of stuff from the heavy metal and indie rock canons, you’ll have a good image of what this cheeseball release has to offer. From the way the labels and the big industry reviewers — who have about five minutes to hear each CD, and put them on in the background while socializing for two weeks, then forget about them — went on about this CD, you’d think it was the second coming of innovation itself. Instead, it’s stale and completely loses what’s good about metal and punk, converging on a mean that’s closer to your run-of-the-mill hipster band. This is awful.

Despised Icon – The Ills of Modern Man

Metalcore is rock songwriting with technical death metal technique, and a desire like punk music to string together radically “different” riffs as if it can surprise us, and since it’s random in structure, built around what’s left: vocal phrases that end on the expectation of the offbeat like a sales pitch. Despised Icon is as a result about 80% the fratboy-pleasing, gurgling, blasting, very simple riffs played in difficult time of technical death metal, like Immolation, and the rest is bouncy moronic rock music that I got into metal to escape. Consequently, it has no attention span and cycles like carnival music between different styles and tempos, then crams it all into a barely-disguised verse/chorus structure. What is the point of typing this all out? To point out how to fail at metal. This is the abyss of music and is every bit as stupid as your parents claim your music is. If you want to fail at life, try listening to this random accumulation of parts — each part is in itself OK, not great, but together they add up to a conversation made by borrowing a phrase from 30 works of literature — and as a result project a scatterbrained, neurotic, pointless and non-constructive view of the world. No wonder people hate metalcore; it’s the nadir of underground music.

Cryptopsy – The Unspoken King

This is what’s left of the band that made None So Vile? The neatly structured, compact death metal has been replaced with blasting metalcore. Metalcore, as you may know, is kind of a garbage plate for underground metal and punk. Based around the interpretation of technical metal into punk structures that Human Remains showed us, metalcore loves randomness in circular song structures, so you get ten minimally-related riffs linked by a breakdown and a few slow chants, and then the whole thing repeats, and then the song ends. It’s music for a fragmented mind and as a result, has the IQ of a headless chicken watching daytime TV. Cryptopsy utterly fails to make coherent music out of this style as their countrymen Neuraxis eventually did, and instead defecate this collection of random riffs based around an egodramatic vocal track. It’s total garbage for morons.

These Are They – “Who Linger”

Imagine Iron Maiden doing a simplified version of 1990s Demigod or Amorphis. This CD is unique in that it successfully applies both (a) the old school death metal style and (b) a heavy metal, harmonized-guitar, bouncy riff style — and does it by coming up with a melodic phrase and answer, and using these to make layers of verse and chorus. Play riff; play notes of riff in variation of rhythm; harmonize guitars and repeat, then cycle. The choruses do the same. Nothing sounds out of place, and the deep guttural voice guides it along, but it seems entirely out of place when the heavy metal riffs and trills come into play. In addition, the riff salad of death metal isn’t here; like rock or indie, this rides one pattern for verse and one for chorus, and much variation is not to be found, which probably places this out of the range of old school death metal fans. Still, these are quality riffs and excellent use of basic harmony, which makes this easy listening and because it is not random, a great improvement on the metalcore-heavy stuff we hear daily. For albums like later Bolt Thrower, which tried to make a heavy metal/death metal hybrid, this is probably the best so far.

Vreid – Milorg

Black metal was about writing unique melodies and building song structures to fit them. Vreid is about mimicking the past with more intensity in each riff, but relying on predictable melodic strips and linear song structures in circular repetition, resulting in songs that are binary like nu-metal: a softer part, then a harder part, then a response to that which softens the hardness, then a restatement at full blast, fade out and win. Most of these riffs come from the 1970s and 1980s generations of metal and get a “black metal” treatment, so end up sounding like rock music in its Sunday black metal evil clothes. The music is driving by a chanting vocal which rides the beat like the shouts of the drummer commanding the slaves to row. Every now and then they launch into an extended melody like a pentatonic version of early ancient, and they have the raw rhythmic power of an early Marduk or Zyklon, but it doesn’t add up to more than most rock music, and considerably less than the formative works of Nordic black metal.

Black Funeral – Az-i-Dahak

Throbbing notes rhythm a rhythm that then reverses, examines a portion of itself in detail, and then picks up in a new direction which dovetails with the old; the throb remains, like symbols etched in the air with a torch caught on the slower memory of film. In this way, Black Funeral achieves an odd ambience similar to that of Impetigo, where a higher note is strummed repetitively at an offset rhythm where most bands would hammer a lower note on the beat, but by the nature of the larger melodic structure of the riff, this throb does not bounce jauntily like a rock rhythm; it hangs, like a reminder of mortality. Vocals are chant-ish black metal rasps and the mechanistic pedaling of the drum machine fits this sound like a glove, getting further inhuman as it distances us from musical expectation and clean aesthetics. Like the humming beeps of an alien machine exploring the night, this album rediscovers humanity by removing it from the picture and showing us the empty space in which we must construct as inevitable death closes in. While most experts agree “Vampyr” is the height of this band — and who am I to disagree? — this perhaps less proficient album is more haunting and bizarre, yet fits it into a pattern similar to our reminiscences of isolated nights when the future angled away from us like the shadow of an unknown doorway.

Decrepit Birth – Diminishing Between Worlds

If the recombinant album name and band name didn’t clue you in, here’s the skinny: this band is totally postmodern, meaning that they fit together all sorts of random influences and then link them together with the basics of rhythm and harmony. As a result, it’s like a fast ride at Disneyland: constant changing stimulus of radical difference so much that after a while you lose any idea of where you are, and end up thinking you’ve come very far, when at the very end as the buggy slows you realize you’ve been circling around the same relatively small space. Unlike most bands of this type, which I’m going to call crypto-metalcore because it’s (a) without death metal’s style of organization, preferring instead the hardcore method of having riffs have as little in common as possible and no narrative (b) of mixed riff styles and (c) depends on rhythmic buildup/breakdown for tension because you’re not going to get it in contrast between riffs, Decrepit Birth is good — it’s like an Iron Maiden album hidden in Deeds of Flesh with Blotted Science and Negativa offering critique. However, I can’t listen to this carnival music; it breaks down concentration and replaces it with elaborate versions of territory trod long ago.

Funebrarum – The Sleep of Morbid Dreams

What happened here? Eight years ago — before old-school “revival” was even a blip on the radar — this band had the apparent potential to give proper life to archaic death metal form. Their first album/demo was a brooding, infectious and grimly cohesive piece of work, enough so to make this sound almost brazenly cheap by comparison. Toss in every imaginable death metal riff style coined between 1989 and 1993, lay them out on a rhythmic smorgasbord and put them through enough mood changes to make a pregnant teenager blush and you’ve come damn close to this; add enough embarassing Bloodbath-sounding material (listen to the opener) to something otherwise “authentic” and you’ll never want to hear “old school” again. – kontinual

Star Fucking Hipsters – Never Rest in Peace

There are some of us who believe that rock and roll music, instead of being a thing deliberately created, is an aggregate of what was left over when we tested everything else against a captive audience. Star Fucking Hipsters prove this by carefully absorbing everything they can into the great sponge of melancholy indie pop. These songs usually start off with fast punk or speed metal (Slayer) riffs, and then pass through a few exciting transitions borrowed from anything industrial, black and reggage or between, but then we get to the core: darkish, self-pitying, somewhat helpless indie pop. True, it’s in pop punk format like The Descendents meets Blink 182 with Jane’s Addiction advising on behalf of the emo CIA, but basically, it’s pop. And when we get to that point we see this album is like a confused and lonely person in the city, covering themselves with newspapers or whatever fashions they can yank out of the wind, hoping no one will ever get a glimpse inside. If that’s its goal, this is supreme art, but more likely it is the emoting of such people hoping we’ll justify their existence for them. As pop, it’s not bad, a little toward the “poignant” side of minor key melodies sliding into major key to give you a sense of hope. But it’s really the same old thing, or the latest incarnation of it in whatever styles have stuck over the past twelve years, and so I can’t imagine why you’d listen to this instead of any of the 100,000 other albums this “good” in the rock style.

Ahab – The Divinity of Oceans

Funeral doom of a style similar to Skepticism if merged with Esoteric, with a tiny bit of Paradise Lost or Sleep in the wings, Ahab is a studied take on the slow and depressive atmospheric music that many people seem to enjoy. Stylistically, it is probably the most advanced of its kind; musically, it is perfectly competent; artistically, it is not particularly compelling. Its melodies have less of a sense of mixed emotions than do those of Skepticism, and its songs develop in predictable cycles within cycles, leaving us with atmosphere by default once all else has been blocked out. Like American rock bands, Ahab also has to throw in that sense of “contrast” where any dominant idea gets a contrarian voice thrown up against it, where bands like Skepticism bear down with enhancement and variation inside their major ideas. Few want to be the voice to stand up and say this, but most doom metal is boring, and not just because it’s slow. Ahab, while better than most, falls under this umbrella.

Jello Biafra and the Guantanamo School of Medicine – The Audacity of Hype

Purists will kill me for this, but this is Biafra’s best work — it’s musical. Where the Dead Kennedys sounded disorganized and messy without really building on that as an aesthetic, he’s slowed down to a pop-punk combo that uses hardcore riffs (Discharge, Exploited) to balance its melodic lead picking (Circle Jerks, The Plugz). That, plus Southern Fried guitar solos and lead guitar noise, forms the underpinning for a more interesting Biafra performance than has ever been heard before. On this CD, Biafra develops his vocal lines both melodically and in timbre, giving the performance of his life with verve and energy. You’ve heard these riff types before, and many of the note progressions are “pop culture” stalwarts that show up in movie soundtracks and commercials, but here Biafra and his band develop each into a song that’s half-rock and half-hardcore, creating a foundation that will introduce a new generation to the sounds of hardcore punk.

Akitsa – La Grande Infamie

Most of us love the idea of black metal: a few totally socially alienated people, armed only with the truth, pick up guitars one weekend and make a simple mind-virus that helps slay all of the vastly powerful illusions that make our modern world miserable. The problem is that this is far from the truth: most of the people who have made great simple black metal were expert players or at least savants who self-schooled themselves in a unique and powerful style, and their work is very deliberate and designed to make us enjoy life as much as convey some idea. But as in all things, each generation picks up where the previous generation appeared to leave off, so the source of the idea is always lost. Akitsa sounds like a cross between The Exploited and early Dark Funeral, with simple melodic riffs offset against sawing basic power chording; the melodic riffs are too candy-sweet and the power chord riffs are too much of a style we can get anywhere. “Silence” appears to be heavily influenced by “Thy Winter Kingdom” from the first Behemoth CD. The rest of the CD is alternating Burzum influences with later model droning melody. It is both not bad and not really compelling enough to want to hear again.

Orthrelm – OV

I wish this album were a joke, but like most modern and postmodern art, it’s an attempt to “demonstrate” an “idea,” and that idea has no correlation to the reality of an artist both entertaining and informing his listeners. Instead, you get a lot of fast chromatic playing over serial drumming with occasional breaks into jazz-style breakdowns that are either sloppy or misinformed about music theory. The result is a dissonant atmosphere after the band lulls you into contentment with repetition. Over time, the basic pattern increases in a period-doubling format, creating a linear expansion on a basic idea that resembles holy books that write about the universe expanding from a breath, except here the expansion leads to nothing but a reflection of itself. When Burzum did this with Det Som Engang Var, it built a mood that gained resurgent power of time; here it is purely deconstructive and fragments the listener’s attention span by forcing it through a narrow slit of musical awareness. People will like this because it’s unique, and talk about how genius it is because no one else “dared to be different” to such a degree, but as a work of meaningful art and a listening experience, it is worthless.

Blood Mortized – Blood Mortized

This band claims “active” status in the early nineties, with zero material to show for it. It may very well be true; current personnel have some of the more run-of-the-mill Stockholm bands to brag about in their ancestry. Excited yet? This falls somewhere between Amon Amarth and Dismember’s Massive Killing Capacity, smothered in the “soft” mimicry of the Sunlight sound that seems so common for these fence-sitting bands. The plod is painful and simple and the song development as bluntly screwball as the song titles, lending an air of crafted irony to the whole presentation lest somebody seriously stack it up against any of its predecessors. One wonders whence this stuff keeps coming — I’m wont to call this the “Swedish mid-life crisis” and leave it at that. – kontinual

Junius – The Martyrdom of a Catastrophist

What is post-rock? For most, it’s slow atmospheric rock beats with emo, punk, indie and noise riffs slowed down to provide texture. On this CD, Junius blend in a modern taste of the ancient with a Dead Can Dance influence. The result is like a river, winding around obstacles to rejoin itself, but only suggesting a topography. This music is comforting and melancholic, but not really exciting. It is pretty, but will find it hard to escape a lukewarm rock underpinning that reigns in its tendencies to escape for the outer limits. A reasonable comparison might be if Danzig decided to do a space rock album: you can appreciate it aesthetically, but sense how the voice isn’t really there, and how as much as these guys want to be ancient, they’re stuck in a modern paradigm.

Virus – The Black Flux

For the last time: if I wanted indie rock, I would have gone to a different part of the record store. Take your Sisters of Mercy gothic vocals, your bad indie rock open chord guitar riffs, and your basic song structures interrupted by dramatic outbursts, and put them there. I don’t want to fall into the old trap of saying “this isn’t metal,” because what I really want to say is that this is indie rock and should be integrated into that genre for the modicum of black metal stylings and ideas it still possesses. Sure, they’re going to call it a “post-rock” influence, but other than a little flexibility of rhythm, what’s going on here is the same stuff emo, indie and shoegaze bands were pumping out in the early 1990s.

Mefisto – The Truth

This CD resembles death metal in no way other than the vocals, which are the kind of reverbed whisper shout that made the first Sepultura EP so memorable. But the music… well, it’s stranded in the 1980s. Throw a lot of Metallica, Kreator, Slayer and Destruction in a blender — like every other band from that era — and you’ll get this mismash of riffs very similar to both the aforementioned bands and a huge heritage of heavy metal. To their credit, this band string them together well rhythmically but otherwise seem entirely random. Before someone convinces you this is a forgotten classic, ask them if classic means “good” or just that it was around in the early 1990s.

Sarke – Vorunah

We all want to love anything with the enigmatic Nocturno Culto on it. In fact, many of us were hoping he would pull off a Nemesis Divina where his skills converted an unexceptional band into a relative masterpiece. Not so on Sarke — his performance is phoned in, mainly because these songs are sparse, undeveloped, and entirely derivative of their influences in a 1989 way. In fact, the whole CD has the vibe of a collection of songs that have been kicked around since they got written in the 1980s, finally put onto vinyl years after the genre has passed them by. You’re familiar with these chord progressions and general rhythms, since many of them come out of punk rock and hard rock, and you’re probably not unacquainted — unless you’ve been under a rock labeled BLACK METAL GO HOME for the last two decades — with Culto’s interpretation of them. It’s all quite vanilla; nothing to really be appalled at here except how little you care about this flat regurgitation of the past.

Drautran – Throne of the Depths

We live in a time of fools. Given no real truths to chew on, they raise themselves on lies, and make competing lies so they can be heard. Then they tell us what metal bands to listen to, and they cannot tell the difference between good music and derivative shit. They will, for example, convince themselves that Drautran is folk metal, when really it’s indie rock songs dressed up in black metal chord forms with a little extra violence. Unlike metal songs, where riffs fit together and make sense, these are rock songs with some metal riffs dropped in between the sing-song verse chorus. They take their riffing inspiration from Enslaved’s Frost but none of the compositional coherence is here. Listen to this if you want to distract yourself, fragment your concentration and dull your possibilities of ever understanding the difference between good music and crap.

Moëvöt – Abgzvoryathre

Every now and then, people who lack direction in life and so pay attention to surface features more than anything else, hoping to use these to justify their emptiness, will try to tell you how good a band is because it’s unique and nuanced. Usually this includes some kind of infantilism, like extreme minimalism or incoherence. This tedious little recording fits the bill. People like it because it’s obscure, kvlt, whatever… the truth is that it’s melodically simplistic, goes nowhere in song development, and showcases no really unique ability except to waste your time. They try to eat up as much tape as possible with intros, chants, and very basic keyboard melodies, but basically there’s nothing here. Maybe that’s the artistic point — emptiness — but then again a blank tape would have been more effective, and pleasant.

Black Vomit – The Faithful Servant

Interesting approach by this Mexican band: take a more technical version of the full speed burst style semi-melodic black metal that Sarcofago made, and intersperse it with flowing keyboard-enhanced choruses in the style of countrymen Xibalba and Avzhia. The result suffers from the radical shift between two very identifiable poles, but the music although very basic develops gently through this style, and as a result is more credible than most of what we get sent here at the Dark Legions Archive Metal Reviews and CD Recycling Center. This is a band worth keeping an eye on.

Archgoat – The Light-Devouring Darkness

I’m convinced that a lot of death and black metal is music designed for children, because not only is it painfully simple and repetitive, but it also uses gentle rhythms of chord change — while playing at top speed. It’s like listening to a fan slowly playing an early Mozart piece. This album is similar. Sounds a lot like Blasphemy meets Impaled Nazarene, with the lower register production and slamming tempo changes of Belial. So as a retrospective of Finnish metal technique it’s great, but for anything else, it’s kind of a droning lullaby. What excuses it is that this CD shows purpose in its songwriting, and captures a mood, but for many of us the droning outweighs its significance.

Cruciamentum – Convocation of Crawling Chaos

During the past two years, underground black metal shifted from emulating the early 1990s — fast melody — to emulating the late 1990s, specifically Demoncy’s “Joined in Darkness.” The Convocation EP does its best to revive that sound, with an injection of Finnish death metal and possibly American doom/death like Incantation, Winter and Infester. Although it keeps its goals limited, which is appropriate for a demo, this release shows promise in songwriting in that (a) every piece works together (b) together they create a vision of some idea, experience or emotion we can recognize from life itself and (c) while a good deal of it covers known death metal archetypes, it does so without borrowing straight from one source and so gives us a sense of exploring these ideas from a new angle. Low rasp voices, downtuned rigid guitars, and drumming that sounds like it’s straight out of drone/hardcore punk fusion gives this CD a sense of growing out of the past toward something even more ancient.

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