It is the year 2159. All the world’s capitols have been obliterated- save South America and Africa (the only continents free of nuclear weapons)- and humanity is no longer able to reproduce due to the over-manufacturing of sex-bots. There had been three nuclear wars already, first of which involved USA and North Korea and the most recent involving Britain and Iran. EMP’s and cyber-hacks had taken out the grid long ago, leaving only a strand of humanity left whose bodies could physically adapt to life without WI-FI. Most of the main bands in the US which were based out of major cities perished as urban conditioning caused them to starve with no wherewithal to survive in the wild. All that was left were rag tag bunches of malnourished but darkly inspired bands of street trash scavengers who roamed the land with metal detectors seeking alkaline batteries to power their equipment (though these were also needed to power their sex-bots). Guitarists went back to using hand cranked Pignose amps, with vintage EV megaphones held in front to further amplify the vocals and guitars. (more…)
Twas the 5th day before Christmas, and all through the house, the creatures stared concerned and suddenly in need of psychiatric therapy. My wife said I have that crazy look in my eye, as my boss had jipped me on my Christmas bonus- the holiest thing of the American middle class baby boomer. The urge to kill left me trembling, barely able to stand, and I frantically raced to the garage and grabbed my chainsaw and son’s hockey mask. As the voices got louder, I found myself speaking in tongues- vocalizing a string of obscenities as if possessed by otherworldly entities. In an attempt to quiet the deafening commands to kill, I remembered that death metal was an outlet that had saved me years before. But it was 2017, and I did not know what the new death metal sounded like. But I had heard that Bandcamp were going to save the world with their social justice, so I thought I would listen to the top selling death metal bands on the first page of Bandcamp. Surely they had the most sales, and therefore were the most trustworthy, and true to the old death metal sound. I decided to download all 8 albums and burn to CD to listen to on my Walkman CD player. But when I heard…. when I heard… when I heard…
To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.
Earlier this year, independent music distribution platform Bandcamp claimed that many stoner rock bands are in fact doom metal. This is a common logical fallacy based around associating the pace and instrumental tone of the music with actual musical content. The stoner “doom” trend of bands that started in the late 90s and early 2000s and has continued non-stop right up until the present almost twenty years later was one of the earliest hipster attempts to assimilate heavy metal before the waves of speed, death, and now black metal aesthetics rehashed into pop rock for the safe space generation.
These random, gimped releases are held in high regard by high-pitched “metal” critics and core pogo stickers. The Death Metal Underground staff takes it upon themselves to scorn and defile them in the name of all that is good in the metal genre.
As part of our ongoing series of heavy metal topics, or rather the ideas that are the cause of the effect of choosing to make music that sounds like machinery re-enacting medieval warfare, we look into the isolation of modern humans.
Let us begin through the eyes of W.H. Auden (as suggested by M.J.):
The Unknown Citizen
(To JS/07 M 378
This Marble Monument
Is Erected by the State)
He was found by the Bureau of Statistics to be
One against whom there was no official complaint,
And all the reports on his conduct agree
That, in the modern sense of an old-fashioned word, he was a saint,
For in everything he did he served the Greater Community.
Except for the War till the day he retired
He worked in a factory and never got fired,
But satisfied his employers, Fudge Motors Inc.
Yet he wasn’t a scab or odd in his views,
For his Union reports that he paid his dues,
(Our report on his Union shows it was sound)
And our Social Psychology workers found
That he was popular with his mates and liked a drink.
The Press are convinced that he bought a paper every day
And that his reactions to advertisements were normal in every way.
Policies taken out in his name prove that he was fully insured,
And his Health-card shows he was once in hospital but left it cured.
Both Producers Research and High-Grade Living declare
He was fully sensible to the advantages of the Instalment Plan
And had everything necessary to the Modern Man,
A phonograph, a radio, a car and a frigidaire.
Our researchers into Public Opinion are content
That he held the proper opinions for the time of year;
When there was peace, he was for peace: when there was war, he went.
He was married and added five children to the population,
Which our Eugenist says was the right number for a parent of his generation.
And our teachers report that he never interfered with their education.
Was he free? Was he happy? The question is absurd:
Had anything been wrong, we should certainly have heard.
Then let us turn to the poets of modern dissatisfaction, thrash band Dirty Rotten Imbeciles, first with the second song on their first LP, “Commuter Man”:
I play Pac-Man and I watch T. V.
I’m so happy ’cause it pleases me
I couldn’t really ask for anything else
Maybe my own chain of Taco Bells
I’m perfectly happy right where I am
I could live forever in a traffic jam
It doesn’t really bother me to breath the poison air
I’d choke anyway, I don’t really care
Sometimes I think about getting away for a while
But when I return I will be out of style
You may say I’m not an ambitious man
But let me tell you I’ve got some plans
Like there’s a new car I wanna buy
And a video cassette recorder yet I’m not sure why
I wanna get married and have three kids
‘Cause I’m lonely and I’ve got the hard dick
Then detouring to a track from Four of a Kind:
Suit and tie guy
With his fashion phases
And his quarterly raises
Feels he’s better than you and me
Suit and tie guy
Thinks he’s real cute
In the bathroom for a toot
Until his nose starts to bleed
Suit and tie guy
I see he always hurries
I know he always worries
He’s gonna die of a heart attack
Suit and tie guy
On his way to feeding
Or an important meeting
Just like a car on a track
Suit and tie guy
He travels between stations
With certain destinations
Never varying from that routine
Suit and tie guy
And he’ll tell you in one word
That he is insured
And it’s not as bad as it may seem
Then, to cap it off, a venture into the world of later Black Sabbath with their acidic (from Born Again) anthem “Zero the Hero”:
Accept the fact that you’re second rate life is easy for you
It’s all served up on a gold plated plate
And we don’t even have to talk to you
Your face is normal that’s the way you’re bred
And that’s the way you’re going to stay
Your head is firmly nailed to your TV channel
But someone else’s finger’s on the control panel
What you gonna be brother – Zero the hero
Don’t you wanna be brother – Zero the hero
When you gonna be brother – Zero the hero
Impossibility impissibolity mother really a hero
You sit there watch it all burn down
It’s easy and breezy for you
You play your life to a different sound
No edge no edge you got no knife have you
Your life is a six lane highway to nowhere
You’re going so fast you’re never ever gonna get down there
Where the heroes sit by the river
With a magic in their music as they eat raw liver
You stand there captain we all look
You really are mediocre
You are the champion in the Acme form book
But I think you’re just a joker
Your freedom life ain’t so much of a pity
But the luv-a-duckin’ way you’re walkin’ around
The city with your balls and your head full of nothing
It’s easy for you sucker but you really need stuffing
What do we see here?
“Good” things such as freedom, commerce, love and self-gratification shown as a path to emptiness, heat death of the inner self and entropy of the mind.
“Bad” things that we fear such as discomfort, risk, danger and violence as having an appeal as getting us out of the purported “good” state.
In the end, a species sprawling in excess and writhing in misery, unable to articulate this because it requires going against public opinion.
The inaugural September installation of Shadow Woods Metal Fest, the new mid-Atlantic, open-air, camping-based metal fest, has moved slightly Southeast, from its initial placement in Southern Pennsylvania to White Hall, in Harford County, Maryland.
Set to take place September 25th – 27th, 2015, the new location of Shadow Woods Metal Fest is similar to the previous site, with deep woods, cabins and tent camping fields, yet is slightly closer to both Baltimore and Philadelphia, making it even more accessible to East Coast metallers planning on attending the diverse three-day festival. The more intimate setup of the new camp is equipped with several cabins, modern plumbing bathrooms, a professional kitchen, a lodge building, and access to a river, as well as an indoor stage.
Since initial announcements, Menace Ruine dropped from the lineup and was replaced by Black Table, yet the remainder of the Shadow Woods Metal Fest lineup remains the same, including lead performances from Midnight, Falls of Rauros, Occultation, Velnias, Iron Man, Anagnorisis, The Flight of Sleipnir and Stone Breath, along with twenty-six additional acts. The fest is also likely to be the first live performance for the surviving members of Wormreich since their tragic vehicle crash in April. The gathering showcases underground black, doom, death, and noise and experimental metal bands on two alternating stages all day Friday and Saturday. Camping and workshops on topics such as runes, guitar maintenance, yoga and more will be offered and are included in the ticket price. Artists and record labels will be vending alongside several onsite food stands.
There will be ZERO ticket sales at the gate for Shadow Woods Metal Fest– advance presales to those 21 years of age and older is the only way into the fest, and is still BYOB. Cabin beds are now included in the ticket price but are limited to first-come first-served. There is a list you can sign up on mentioned in the private group. There are only 350 tickets in total, and half of those tickets have been sold.
Additionally, the Shadow Woods Metal Festwebsite has been redesigned to include a store — including a new poster for the event designed by Fred Grabosky of Sadgiqacea. — as well as the newly-launched Shadow Woods Radio, showcasing artists set to perform at the festival. Check it all out RIGHT HERE.
What is the human problem? Everything we do is insincere, and any time someone rises above that standard, they are torn down out of the fear that their excellence might offend those who are mediocre, who (conveniently) comprise the majority of humanity. We separate mediocre conformity from people who make realistic, sincere and inspired art out of heavy metal genres, and ignore the blood on the floor and the tears on the fedora because feelings are always less important than truth. Step over the bodies of hipsters, poseurs, tryhards, SJWs, scenesters, day trippers, rationalization hamsters and sell-outs, and welcome to Sadistic Metal Reviews…
Torche – Restarter
What is sludge? It is what failed in other forms slowing itself down and mixing metal into its techniques in order to disguise that it has failed. If you tuned the guitars up, played it at mid-pace and avoiding the metal downstroke technique, Torche would be just another indie rock band in the late 90s style. The focus is on melancholic but egotistical vocal lines which are almost autistic and certainly narcissistic (and aren’t the two degrees of the same problem, which is exclusive self-referentiality?) in their tendency to confirm their precepts with their conclusions, backed by lots of downstrummed guitars and slow drums. In the 1990s, labels tried this style with Fudge Tunnel and later even Godflesh got in the game, but went nowhere, because people could realize the basic “Nirvana + doom” formula used back then. The formula now is even more basic. It is indie rock with metal technique and nothing else. Much of this sounds like outtakes from a Filter or Faith No More album, but updated with the kind of simplistic approach that became popular when music videos faded and became incorporated into mainstream cinema instead. This would be great background music for teenagers smoking dope by the old reservoir or similarly pointless rebellion that ends with them just getting locked into the system harder. This music is a fraud and its fans are idiots.
Armageddon – Captivity & Devourment
The title refers to the album itself: it lures you in with the promise of extreme metal, then subjects you to the 80s speed metal/nu-metal/melodeath hybrid cooked up by music industry executives looking over Excel spreadsheets of sales successes, or maybe just opportunistic musicians. Either way, most of our species are simple-minded idiots and this music panders to them with lots of Pantera/Meshuggah style violent verses and binary riffs that sort of wiggle around in the space between two points, ending symmetrically on the opposite note from the one that resolves the first half of the phrase. Lots of e-chord rhythm riffing in this style combines randomly with other influences and creates an end result that is not quite as blatantly distracting “carnival music” as Behemoth but more like heavy metal featured in movies: it sounds good when the solo kicks in, but the rest is lead-up to that with industrial music style vocals disguised as metal, and random riffs fleshing out what are otherwise pop songs whose parts barely relate to one another. For all the instrumental prowess of this band, they seem to have no idea what to write, and it shows in this amalgam of label darlings lashed together with rhythm for the brain-damaged.
Vermis Mortem – Evil Never Dies
The intro to this EP is pointless and should be deleted for being both without purpose and annoying. What follows is very closed-circuit death metal in a style like Angelcorpse merged with Hate Eternal and older Death, which is to say a very modern style, that emphasizes the vocals which lead songs through some rather stereotypical and extremely balanced and basic riffs. The result is painful boredom unless you like the vocals, which enunciate and jump around like a performer at a Shakespeare revival in the park, but this over-acting does not save us from the musical tedium of this release. It is catchy, its rhythms are compelling, but it develops nowhere. Vocal rhythms are obvious like children’s rhymes and riffs represent streamlined versions of what has worked well in the past 20 years, but in this streamlining, the parts of the riff that gave its shape interesting dimension are removed, and we are left with a three-part puzzle with no mystery. Burden a riff like that with the duty to provide support for vocals which are blurting out similarly quasi-catchy patterns and the result is a song which seems to chant in unison the most simplistic elements it has in common, and the listener is back in pop territory where repetition becomes a bludgeon and even small variations seem exciting. For as much as this band wants to be old school, its reliance on the ego — the vocals — forces it into surface-level composition and obliterates whatever of depth it may have hoped to express.
Pentagram – Relentless
We can all agree that 90% of everything on earth is crap and that most people are merely self-interested, meaning that there is no greater dimension to them, and as they tend to be incompetent they become the type of parasite that takes everything for itself and then destroys it, left blaming others for its “misfortune.” Most people behave this way and because they are somewhat aware of this, they seek material to camouflage their mediocrity with irony, novelty and other “different” and “unique” signals. These signals allow them to defer criticism by showing how they aren’t like the rest, which is a way of saying they are afraid we will find out that they are exactly like the rest. Pentagram has become somewhat of a media favorite and a crowd favorite mainly because it is not metal. This is straight out of the 1960s rock explosion, focused on melodic hooks in chorus and voice acting on the verses. They even made a movie about this band and its strung out vocalist, as if trying to make Pentagram into the doom metal version of Roky Erikson. The problem here is that Pentagram is a step back to before Black Sabbath but uses the muted strum of speed metal and the detuning of a heavy metal band, although its songs really have more in common with the previous generation. Beware of what the herd likes because they are liars trying to conceal their mediocrity, and this applies doubly with Pentagram. This band would not have gone far as a regular rock band but if you add the novelty factor of doom metal plus Satan-ish overtones, people are interested. Stoner doom metal is generally a fraud that disguises failed rock as innovative metal, and Pentagram is no exception. The herd lies and it will destroy anything it can control in its desperate quest to hide its own lack of soul, integrity and purpose. Throw this band in the ditch with the other 60s burnouts and move on to real, actual metal instead.
Acid King – Middle of Nowhere, Center of Everywhere
Heavy metal grew out of many influences including psychedelic music. The challenge to psychedelic music is to make sound that induces hallucinogenic experience in sober people, not to create music which appeals only to the very stoned with cover art that looks good next to a bag of Cheetos. Like most stoner rock, Acid King is a fraud: basically slow jam rock with heavy distortion played with a few aesthetic elements of doom metal, but essentially unchanged from the 1970s jive that sent people fleeing to heavy metal in the first place. This is boring music played slowly to disguise how little actually goes on. A female vocal drones alongside a rock-style riff, with no “shape” as metal riffs have, and then guitars wheedle-beedle and zeetly-zeetly-zeet after prolonged “melodic” solo introductions that are merely repetitive. If you are very high, preferably on the higher grade of cheap weed that deactivates all higher brain function except what is required to order pizza and play NES ironically, you may find this appealing because it is sonically well-formed and texturally distinctive enough. But there is no meaning here, nor even a really good distraction, which tends to be the case with all stoner doom (which we might as well be honest and call “nu-doom” or “nu-heavy” metal).
Eternal Solstice – Remnants of Immortality
What a horror: death metal styling applied like vinyl siding to what is essentially hard rock with an addiction to uniform conclusions and obvious riff forms. It is just blockhead, paint-by-numbers death metal. At this point, nothing more needs be said except to mention the electronic vocals, which would not be a problem except they sound like a bad American crime show where the bad guy uses a voice disguiser bought from Radio Shack back in the 1970s to hide his identity when calling over a pay phone. The style alone would not doom this band, if they could simply make hard rock in the heavier vein somewhere between early Motley Crue and later Pantera, but their music is just boring. No harmonic or melodic hook exists, and the rhythmic hook consists of the same type of expectation that comes from waiting for the person in the apartment above to drop the second shoe on the floor before retiring to bed for the night. Sometimes, bands like this get miscalled “heavy” because they are numbing through repetition and sheer simplistic mentality to their riff-writing, and Eternal Solstice qualifies in this department. What drives you to listen to this band is the quasi-OCD that people on the internet talk about, which is that if there is a basic sequence of events, you want to see it completed. Other than that, no appeal, and this one should go back to the pits of hell for recycling.
Recueil Morbide – Morbid Collection
Recueil Morbide takes the fertile music of the late 1980s where bands verged on death metal from speed metal and adds to it a sense of melody and modern metal vocals. The result attempts to fuse the Unique Leader style of brutal deathcore with melodeath and come out with a good result, which this band mostly does, but is limited by the demands of the style that it keep within one level of cause and effect, resulting in pounding riffs and soaring melodic passages being used as effects in otherwise fairly straightforward death metal songs. That is distinct from the classic death metal approach which used structure to express content, instead of doing so on the surface where structure was recombinant and vocals, lyrics, effects, etc. were required to make an impression on the listener. Too much of Recueil Morbide takes the same approach and the result is that meaning and interest — what distinguishes this band from all others — are left on the surface with a feeling of being unexplored. If this band wants to succeed, they will focus less on the stuff everyone else does and more on what they do, taking it from 10% of this album to a much higher figure. As a side note, the melodies that this band writes sound like variations on the James Bond theme, which happens several times on this release. Maybe it’s an allusion.
Znafelriff – Ruin
Creating melodic death/black with simple song structures, Znafelriff uses a number of influences along these lines — “Ruin” borrows quite a bit from “Mountains of Might” from Immortal Blizzard Beasts — to forge together music which keeps charging energy high but never intensifies the energy itself, leading to a kind of circularity. Songs start, launch into a riff, add a counterpoint riff, and then cycle until they wear down. When the band wants more power, they add blasting drums and more extreme vocals; for emotion, they work in melody. Many parts of this resemble early Tormentor given a death metal makeover. While nothing is particularly wrong here, it leaves no particular impression either since songs are exercises in maintaining a mood rather than developing it, and the style is a semi-unique mix of standard influences resulting in a genericism of low expectations. If this band wants to move further toward excellent, it should rely less on vocals and more on combining riffs to create a focal point at which atmosphere shifts, and to make that atmosphere resemble something other than a vague uncertainty, darkness and rage.
Nader Sadek – The Malefic: Chapter III
When I first heard this artist, I thought: someone attempting to make something of the Hate Eternal style, itself a smart move by Eric Tucker which tried to harness the appeal of modern metal through a style that still retained the coherence of older metal. The problem artists deal with is that this style brooks no compromise. It demands constant charging vocals ahead of the drums with insistent patterns and those lead the song, which crowds out other instruments as lead, which demotes guitar to a secondary role and thus demotes melody and structure as well, in favor of relatively monotonic vocals. Guitars appear as adornments to this basic style, which is closer to pop than heavy metal, but when the detour is over the ranting vocals resume. This forces the band to cram its best activities into relatively small areas of each song. Nader Sadek struggles with this impossible burden as well. It is simply paradoxical. The interesting parts of these songs are the little transitions and flights of fancy between the “hard” verse riffs with charging vocals and the parts of the solos that are designed to be fireworks for a “wow factor” with the mouth-breathing, fetus-hands and neck-bearded audience. Can’t some label give this artist enough money that he can write songs based on those interesting parts, instead of the parts which we know the herd will clap its little hands without forearms for? The style betrays the artist.
For that feeling of old school mid-paced death metal, Ossuaire makes a credible stab: good riff variation, songs fit together well, but with too much emphasis on vocals and not enough on structure, and often too much reliance on riffs that make their hook out of brief interruption of utter predictability. Those disadvantages are minor compared to the overall appeal of this brief recording which is its ability to keep intensity in a death metal style without relying on crutches, and while maintaining a character of its own, somewhere between old Morgoth, Infester and later Suffocation. The challenge for this band will not be to develop its own style, although it will want to go further in that direction, but to edit its material so that it presents its most dramatic elements at the right time after the right build-up, and so creates the kind of mood-shifting experience that made classic death metal great. All of the parts are there and the execution rapidly approaches that place; it would be aided with less reliance on the vocalist, which as many classic death metal bands found out, results in lessening of the influence of other instruments which bends composition back toward the rock/pop standard, which is designed as background music for vocals which exist to blurt out some message of peacelove or happiness, which was generally the point of rock ‘n roll. Ossuaire have done well to escape that, but if they do better, can be a top-flight death metal band.
Keep of Kalessin – Epistemology
This band went from being a bad black metal imitation to being a thinly-disguised modern metal band that uses melodic choruses to hide its otherwise bog-standard post-Pantera speed metal approach. Their “black metal” combined boring tryhard blasting with purposeless folk-metal styling and fooled a number of people, most notably the clueless NWN/FMP crowd, but apparently eventually the market caught up with them and started over-producing sing-song black metal so Keep of Kalessin switched to what could easily fit into the MTV hard rock of the late 80s with a stylistic upgrade to be contemporary. The melodic hooks are adequate but of well-known forms, and verses emphasize some kind of drama to distract from the underlying purposelessness, and the songs progress according to the formula of friendly verse, dramatic chorus, a brief bridge with noodly solo and then return to the loop. This formula appears in all rock, techno, blues, etc. and serves its purpose well for being background music to the unexceptional lives of the many people out there who, unwilling to step beyond the bounds of self to escape narcissism, flit from one distraction to the next without caring much about content. For anyone with a functional brain or any listening experience, Keep of Kalessin rings hollow and seems as commercial as it secretly is underneath the skin. It would be more honest to pick up an old Def Leppard album where these riff patterns and song forms are crafted with more conviction, and the nature of the music does not have to hide itself behind pretense, subterfuge and illusion.
The Basic Needs compilation of New England metal and hardcore punk bands can be heard online and purchased on cassette for those who wish to own a physical copy. Promoted by the shadowy forces behind Codex Obscurum zine, Basic Needs contains fourteen tracks of varied material from almost as many different bands, so it makes sense to review them by track.
Sagnus – “Gaspipe”
This track starts off in a death metal vein but rapidly descends into bluesy heavy metal with updated technique like At the Gates Slaughter of the Soul. Nicely compact with no surprises but also no random or pointless bits, it fades out into noise.
Human Bodies – “Stygian Reverie”
Very much in the tradition of older hardcore but with black metal styled vocals, this Human Bodies track puts a new face on a familiar riff style and adds a Discharge-like chaotic solo, but otherwise sticks to fairly standard song form but keeps energy high.
PanzerBastard – “Workhorse”
Essentially d-beat hardcore, complete with broken rhythms and surging double-hit riffs, this song showcases high energy with emphasis on vocalizations.
Sexcrement – “Chemical Handcuffs”
This track starts off as pounding death metal but detours into a hard rock/heavy metal number that shows the band setting up a groove and more internal harmony, which actually makes the chromatic passages seem less intense.
Suffer on Acid – “Ride the Light”
Raging high-intensity hardcore from the “blurcore” style that emerged when the punk stalwarts confronted the horror of post-hardcore, Suffer on Acid creates music from fast simple riffs with exasperated shouting over the top. This track begins with a Black Sabbath style introduction riff that sets a mood to be destroyed which it is, amiably, by a thrash-style burst of collisive riffing and a classic hardcore punk extended chorus riff.
Living Void – “Auxiliary Conspiracy”
Writing in the fast style of death metal that bands like Deteriorate and Nokturnel pioneered before Angelcorpse, Living Void charge ahead with a series of quality riffs but then slow things up for a trudge/groove passage. The former strikes more than the latter.
Suffer on Acid – “Terminal”
Much in the style of the former track, “Terminal” relies more on vocal rhythmic hook and uses a standoffish groove more than burst but fits in lots of vocal rage and fast classic hardcore riffs to match.
Living Void – “Categorizing Woe”
This track starts with a doom metal promenade, then drops into trope of muted downstroke before bursting into high energy speeding death metal complete with blast beats and ripping choruses, the detouring into a darker and more black metal styled cycle.
Ramlord – “Distant/Detach”
At its heart, this track is older speed metal updated with death metal stylings to give it energy and more fluid transitions, but falls back into trope rhythm of vocals/drums in which the guitars drop like an interchangeable part. Some interesting black metal styled melodic work later in the track.
Grue – “All Mortal Greatness is Disease”
Beginning as a sentimental heavy metal/melodic black metal track in the Eucharist or Dawn variety, but then diverges into a chanted delivery of later Bathory-styled vocals over trudging rhythm riffs alternated with fast melodic hardcore riffing.
Word of Unmaking – “In the Crypt of Dead Values”
A Tangerine Dream style dronescape peppered with acoustic guitars and vocal samples, this track develops from linear into cyclic and recedes, leaving behind a homeostatic hint of atmosphere, then expands into a funeral doom track with articulated riffs like those from early Ceremonium.
Fórn – “Dasein”
What’s with all the Heidegger worship recently? This sludgy doom metal track follows the Winter model of slong grinding chord progressions with lots of fills from noise and vocals, changing riffs relatively frequently over this nine-minute track.
Morne – “Coming of Winter”
Sounding like a heavier version of Pelican, this band creates droning indie-influenced doom metal with heavy stoner doom elements and a hoarse plaintive vocal.
Of unusually high quality for a local compilation, Basic Needs shows a wide variety of the more promising bands in New England. Living Void, Word of Unmaking and Suffer on Acid strike me as the standouts which interest me in investigating further but there were no complete dead moments.
For a short book that you can finish in an afternoon, Extreme Metal by Joel McIver packs a great density of information of unusual breadth into this deceptively simple volume. Comprised of brief introductions and then combination profile, history and review of the major works of each band, this book applies a flexible strategy to information and dishes out more on the more important bands but refuses to leave out essential minor ones.
McIver released two versions of this book: an original (2000) and this update (2005). With each edition, the book gains more factual information and the writing kicks it up a notch. I first read Extreme Metal I shortly after it came out in a bookstore and noted how some of the writing was boxy and distant, but how (thankfully) it did not drop into the hipster habit of insider lingo and extensive pointless imagery. In Extreme Metal II, McIver writes according to the journalistic standards of the broader media and skips over the conventions of music journalism and especially metal journalism which are less stringent. If there is an Extreme Metal III, the language will be even more streamlined and relaxed.
A good book on metal includes not only information but interpretations; all books filter by what their authors think is important, and one of the strengths of Extreme Metal is its ability to zoom in on not just the larger bands but a number of smaller ones that contributed to the growth of the genre. With each of these bands, McIver presents the information as relevant to a metal fan interested in learning the genre but also in hearing the best of its music. After an introduction by Mille Petrozza of Kreator, Extreme Metal launches into a brief history and afterward is essentially band profiles in alphabetical order. McIver includes all of the big names that one must include especially in any book that wishes to have commercial success, but devotes a fair amount of time to focus on the underground and the odd details that complete its story. He displays a canny instinct for rooting out the important, even if obscure, and relating it to the progress of the genre as a whole.
Written in a conversational but professional style, the book unloads a large amount of information with a low amount of stress and reads much like an extended magazine article covering the growth of the extreme metal genres. Depending on what sub-genres a listener enjoys, parts of the book will be skimmed, much as some Hessians glaze over whenever anything related to nu-metal emerges. McIver displays the instincts of a metal listener and refuses to sugar-coat his opinions, but does not drift into the trendy internet sweetness-and-acid diatribes that afflict those who rage at the excesses of the underground. Instead, the book assumes that its readers are open-minded enough to listen to any good heavy metal and tries to dig out the best of it, even if those standards need to expand when nu-metal or metalcore float by.
Massacra was a French ‘neo-classical death metal’ band and was formed in 1986. Three demos landed them a deal with Shark Records from Germany and later, the major label Phonogram. However, the band was put on hold in 1997 when a founding member, Fred Duval, died of skin cancer at only 29. Some members of the band formed an industrial band, Zero Tolerance, and released an album on the Active label.
Recommended Album:Final Holocaust (Shark, 1990)
Among the truckloads of paper published since Lords of Chaos convinced the industry that money could be made in books about underground metal, Extreme Metal distinguishes itself by being open-minded and yet straight to the point. Most books pass over perceived minor bands like Massacra, Autumn Leaves and Onslaught, but this book fits them into context and explains their relevance in a way that is both enjoyable and informative. While major bands like Metallica will always get more coverage, here McIver works to tie his write-ups of those bands in with traits of other bands who both helped make that success happen and carried it forward.
McIver has gone on to write other books including a best-seller about Metallica, a biography of Max Cavalera of Sepultura, retrospectives of Motorhead and Black Sabbath, a band history of Cannibal Corpse and most recently, a book about alternative band Rage Against the Machine. He demonstrates comfort at every level of above-ground and underground bands, but his instinct as a fan makes him a writer worth reading as he tears through metal, sorting the entropy from the growth. While one can write about underground metal to any depth, Extreme Metal strikes the right balance of information and expediency and produces an excellent first step for any fan or researcher looking into these sub-genres of heavy metal.