Pushback Against SJW Invasion Of Metal Begins With Anti-Metalsucks Campaign

Sometimes recognizing parasites becomes difficult. They sidle up to your genre, think that is fairly cool and they want a piece of that action, and then they morph themselves into clones of the fans of that genre. Then they shlurp their way inside of its cell walls, consume its vital energy, and inject their DNA into its core, replacing all that made it unique and meaningful. (more…)

24 Comments

Tags: , , , ,

Morpheus Descends releases From Blackened Crypts compilation

morpheus_descends-from_blackened_crypts-cover_image

Early death metal band Morpheus Descends is back in the action, with future tours lined up and a re-issue of its complete recordings heading to stores. The compilation From Blackened Crypts combines the full-length Ritual of Infinity with the two EPs that followed, Chronicles of the Shadowed Ones and The Horror of the Truth along with other rare recordings.

The box set includes, in addition to the 2CD digipak, two new and unreleased tracks wich will see issue as a separate 7″ entitled From Blackened Crypts and a DVD entitled Visage of Malady which contains tons of live footage as well as interviews with the band, accompanying a 11×17″ double-sided poster and 24-page booklet. The tracklist is:

Disc 1
1. Oozing from the Urn
2. The King’s Curse
3. The Way of All Flesh
4. Corpse Under Glass
5. Immortal Coil
6. Trephanation
7. Proclaimed Creator
8. Accelerated Decrepitude
9. Submerged in Adipocere
10. Enthralled to Serve
11. Ritual of Infinity
12. Trephanation
13. Accelerated Decrepitude
14. Triformed Limbs
15. Stigmatic Crucifixion
16. Residual Kill
17. Cairn of Dumitru demo 93

Disc 2
1. The Cruciform Hills
2. Cairn of Dumitru
3. Autumn Bleed
4. Signs of Gehenna
5. Moupho Alde Ferenc Yaborov
6. Begging for Possession
7. Valley of Undead War
8. Shaitan the Unborn
9. The Horror of the Truth
10. Corpse Under Glass (Live Reunion-Martrydoom)
11. Accelerated
12. Trephanation
13. Triformed Limbs
14. Accelerated
15. The Cruciform Hills pre-release ’94
16. Residual ’91
17. Autumn Bleeds ’93

morpheus_descends-from_blackened_crypts-porn

37 Comments

Tags: , , ,

Morpheus Descends – From Blackened Crypts box set in pre-order

morpheus_descends-logo

Dark Descent Records announced the pre-order of a CD/DVD box set of classic underground death metal band Morpheus Descends (formerly Morpheus) featuring two CDs and a DVD including all past material from this formative act which influenced Suffocation, Cannibal Corpse and many other death metal bands from the early 1990s.

The box set will include, in addition to the 2CD digipak, two new and unreleased tracks wich will see issue as a separate 7″ entitled From Blackened Crypts and a DVD entitled Visage of Malady, as well as a 11×17″ double-sided poster and 24-page booklet. The tracklist is:

Disc 1
1. Oozing from the Urn
2. The King’s Curse
3. The Way of All Flesh
4. Corpse Under Glass
5. Immortal Coil
6. Trephanation
7. Proclaimed Creator
8. Accelerated Decrepitude
9. Submerged in Adipocere
10. Enthralled to Serve
11. Ritual of Infinity
12. Trephanation
13. Accelerated Decrepitude
14. Triformed Limbs
15. Stigmatic Crucifixion
16. Residual Kill
17. Cairn of Dumitru demo 93
Disc 2
1. The Cruciform Hills
2. Cairn of Dumitru
3. Autumn Bleed
4. Signs of Gehenna
5. Moupho Alde Ferenc Yaborov
6. Begging for Possession
7. Valley of Undead War
8. Shaitan the Unborn
9. The Horror of the Truth
10. Corpse Under Glass (Live Reunion-Martrydoom)
11. Accelerated
12. Trephanation
13. Triformed Limbs
14. Accelerated
15. The Cruciform Hills pre-release ’94
16. Residual ’91
17. Autumn Bleeds ’93

For more information, see the pre-order page at Dark Descent Records.

12 Comments

Tags: , , ,

Oblivion Called to Rise live stream and interview

oblivion-called_to_riseOf all the newer school bands out there, Oblivion struck us here at deathmetal HQ as one of the more imaginative ones.

It is clearly of the modern metal model, following the “great contrast” approach in riffing rather than the integrative nature of the old school, but it displays intense creativity and technical mastery. In addition, Oblivion seem to know how to make a song out of a musical idea and not devolve into randomness like so many of their contemporaries.

Other aspects of Called to Rise impressed us as well. There’s experimentation with sound on these tracks, a willingness to corrupt the metalcore “great contrast” riffing with some integrative ideas, and an adoption of classical forms, songs and approaches that pushes this album over the top.

Oblivion is a modern metal metal band to watch, and Call to Rise is an album that will surely stimulate some depth of discussion. We are thus fortunate here at DeathMetal.org to be able to both stream this album live, and present our interview with Oblivion’s Nick Vasallo:

What got you into metal?

I resisted Metal as long as I could. I was more of a punk rocker as a teenager, but I realized the awesomeness of Metallica’s “One” when it came out. During the double bass, palm-muted, open-E breakdown I was a secret admirer of metal. Seeing a band from Oakland called Eldopa (1332) sealed the deal. Then my good friend at the time (Ben Orum, who is now in Oblivion), turned me onto Death Metal. For this reason I still think Cannibal Corpse’s The Bleeding and Deicide’s Legion are the best albums from this genre.

As you grew into metal, what brought you to your current form? How did you all come together, and what types of music and ideas were influencing you at the time?

I formed Antagony with Ben, our best friend Carlos Saldana, and our late friend Jody Handy. We just wanted to create the heaviest, darkest music possible. We ended up creating something that was, in hindsight, very influential to other bands that came after us. I stepped away from music for a while, but had the urge to come back and write music that was more technically demanding on the musician and listener.

You’ve outlined a clear relationship between classical music and metal on this CD, with three string orchestra pieces and a cover of “Canon in E Minor.” What inspired you to write and cover these pieces?

I wanted listeners to hear that there is a direct parallel between these two musics. For instance, when the song “Multiverse” is initially presented it is a metal song because it is played by a metal band. In context we are stuck to this association. But when the song is reprised it is performed by a strong orchestra and we perceive it differently. Perhaps the complexities emerge because we now listen to it and look at it through a different lens.

Do you think metal and classical share anything in common?

YES, they do. I have written about this subject extensively and I hope it is okay that I direct readers to my writings here: http://nickvasallo.com/#!papers/ccca

Where did you guys get your technical chops? Are you professionally trained musicians?

I don’t like the term “professionally” trained. There are some musicians I know that have never taken up formal music training, but can play better than someone that has been trained since they were a toddler. Every musician picks up something from another. That is how music was taught originally. But to answer the question, yes – Luis and I have been trained academically. Everyone else has either taken guitar lessons with a talented musician and/or learned in from playing with a multitude of other talented musicians.

Can you tell us how you got the distortion on your guitars? Are you using pedals, processors, virtual amps, amplifier settings or a combination of the above?

We use tube amps with distortion. Ted is sponsored by Rhodes, Ben by ENGL.

Do you think metal is evolving? Where do you think it’s going?

Yes, Metal is evolving. And it better evolve or it will stagnate and die! Most bands stagnate and eventually die. Movement is necessary to encourage growth and progress. I don’t know where Metal is going. If it follows the same pattern, it will continue to find avenues of transgression. Only to revert back to its fundamentals one day, searching for truth.

What’s next for Oblivion? Will you be touring, and/or writing new material?

Begin writing our second album.

If you could ask fans to do one thing in order to understand your music, what would it be?

Put your phone away, put your internet away, and give your undivided attention. Listen carefully…

Do you think metal fans are open-minded or closed-minded or somewhere in between?

A paradox of open minded close-mindedness.

Now that you’ve completed this massive work of complex metal, what’s the next challenge for you as songwriters?

Evolving.

2 Comments

Tags: , , , ,

Manowar – The Lord of Steel Live

manowar-the_lord_of_steel_liveWhen snide ironism takes over music, authentic spirit and power are forgotten and ignored. That is, if you read the music media and listen to the music hipsters. However, back in everyday life people love it because it does what music does best: affirm life and urge us on to greater heights. It inspires.

Manowar joins superbands like Metallica and Iron Maiden in pleasing crowds with a kinder, gentler and non-dark version of heavy metal. The perfectly adjusted mix of power metal, speed metal, glam metal, hard rock and classic heavy metal, the music of Manowar is focused on the vocals and on chanted cadences that build up to foot-stomping, fist-swinging, chanting explosions of emotion.

It’s not unlike a church service or political rally. These songs usually start out slow with melody, and then build up the pace at which muted E chords shoot past. Over that, vocalist Eric Adams chants and sings, weaving melody in with a compelling rhythm to outline the rhythmic hook of the chorus. Suddenly it bursts out fully formed, a virus ready to take over your brain. You join the collective motion.

And yet with Manowar, there’s an honesty other styles of music don’t have. It isn’t about projecting yourself into the love story of two idealized people, which like porn makes you feel like you’re living out someone else’s life. This is fantasy on a grand scale, with wars and wizards and lone gunslingers, into which you want to join. But it isn’t about you. It’s about the thing you’d join.

This at least is what I hear seizing these crowds and propelling them to ecstatic emotion. Recorded throughout Europe and Eastern Europe, The Lord of Steel Live revisits classic Manowar hymns mostly from The Lord of Steel with a couple from other works and slows them down, focuses on the vocals, and creates a gospel of metal.

The slick blackened underground crowd will disagree of course. This isn’t metal like Necrocorpsemolestor, which is made in a band down by the river and accessible to only 500 die-hard fanatics worldwide. This is metal like Ozzy charming 100,000 people at a live festival, or Iron Maiden taking over Donnington, or even Metallica drawing out three generations of people in the tens of thousands. It’s music for the masses to discover music again.

The Lord of Steel Live is an EP with only six tracks. These are fairly lengthy, which puts this at a long EP or a short album, and creates the perfect escapism to drop out of life for twenty-seven minutes and indulge in some fantasy. Suddenly the living room has evaporated, and you’re shirtless and wearing viking armor as you assault the non-believers. You fight, you bleed, you struggle, you win, and then you come back to life to be another kind of hero. Perhaps the kind that fixes the leaky faucet, heals a kid’s wound and reconfigures the Wi-Fi.

While Manowar have not gotten enough attention from the media in the last few rounds, it’s clear their presence inspires many and those fans show no sign of waning. In fact, as underground metal has been swallowed up by hardcore and the true metal fanatics have shifted to power metal, the audience for metal has come closer to Manowar than any time in the past twenty years. It’s good to see this celebration of their work ready to inspire a new generation.

We come from different countries
With metal and with might
We drink a lot of beers
And play our metal loud at night
Fly the flag of metal
Brothers all the same
Born to live for metal
It ain’t no game

2 Comments

Tags: ,

Interview: Thorous (Deteriorate)

Deteriorate (Pennsylvania, USA) got their start as a band solidly and unmistakenly death metal of the violent American variety. Their debut Rotting in Hell, one of the premier domestic outputs of the infamous JL America label, broke little ground, but nonetheless manages to get spins from old-timers who have long appreciated its compact composition and caustic delivery. Not long after this sleeper semi-classic the band abandoned their death metal pursuits in favor of a faster, more melodic and hybridized style in line with the rising popularity of the European black metal of the day.

Interview from Heidenlarm e-zine #1.

Deteriorate Rotting in Hell came out near the end of the death metal boom, right before black metal became predominant in the eyes of many listeners. What was it like at that time to contemplate the styles in which you could compose?

Personally I was seriously into black metal since the begining…in fact if you noticed the change in styles between “Rotting in Hell” and “Gather the nebbish/The Senectuous Entrance” you can see my influences shining through out the whole cd; I wrote nearly half of the music on “Gather/Senectuous” around 1994…I was so saturated with old black/death metal like Venom, Bathory, Eestruction, Voivod, Slayer, Sodom, Kreator that it just flowed naturally in any riffs I would be writing…I mean I saw Kreator’s first US tour[I believe] at City Gardens in Trenton NJ with Voivod I think it was “Pleasure to Kill/Killing Technology” tour – this fucking show was so fucking brutal, I was blown the fuck away, it still to this day had to have been the most influential moment in my life, as I watched them play flawlessly I said to myself that’s what I want to do and I’m going to do whatever it takes to get there…so I played everyday for years until I was 17 formed my first band it was called “randomdraw” a hardcore/metal band we sounded like cromags vs rage against the machine…anyway after a few years of other bands and stuff I joined Deteriorate which is a long story in itself!…so my goal with them was to take it to the next level get so into the music and just fucking go apeshit and I think it all worked out perfectly…..

It seems to me that death metal has always had two opposing sides, one of which emphasizes fast tremolo picking and relatively few emphatic pauses, while the other side uses muffled strumming and a morse code of pausing and pounding to spell out its riffs. What made you gravitate toward the faster metal side?

When I started playing guitar in ’82 I thought that metal had a missing element that hardcore bands seemed to emphasize on “speed”. So I started playing as fast as I could thinking that it would make me more talented as a player…so I would write these riffs and put them together with my younger brother Justin and we would play these blazing fast songs full of ‘squeals’ and violent solos like Slayer or Cryptic Slaughter…but after some time speed wasn’t good enough so I added into my style harmony&melody…I wanted something different say warmer tones, so I got into Malmsteen alot and Voivod, Black Sabbath, Ozzy, Motley Crue, Iron Maiden, Celtic Frost ‘morbid tales'[my favorite guitar sound ever], Exodus, Violence, Metallica, Megadeth, Bathory, Anvil Bitch, Dominance, Faith or Fear, Flotsam and Jetsam, Death & tons more…I started going to 2 to 3 shows a week it was so intense there were lines down the street; as I saw these bands perform in the early mid 80’s I was blown away it was so intense my world had become near perfect! At the same time I was extremely jealous, I thought to myself why can’t I do that? There was one reason why —drummers—there is such a shortage of quality drummers that could do blaast beats or grind or doublebass let alone afford a decent kit…I was so into technical metal that it made it even harder to find someone.

There were fewer people involved with death and black metal in that time, unlike the current scenario. What do you think are the differences in a musician’s experience between the two?

Nowadays its more open to all; the styles combined, there are a thousand times more muscicians that are dying to play…equipment is far more affordable and more directed towards metal hard rock players…the nu-metal styles are bringing more people to wards heavier music especially women! I always thought that if you could get women into your band then men would follow hence bringing your numbers at the door up at the club you’re playing…

What to you makes a series of chords and rhythms a “riff”?

I’m always looking for something different or catchy or “hook” riffs…riffs that make you say “hell yeah that rips” and your hair stands up on your whole body…or like in the 80s the introduction of the word “mosh”or “not” where anthrax introduced to me the true pit styles I actually went nuts at every show we all our own style of moshing or dancing,or the dive kings, we tried every kind of dive you could think of it was a contest to us to see how long you could stay on stage or how long you could wave ride…it was the best years of my life it was so fresh new different and the normal people didn’t even notice any of these bands we were such a minority back then, I was always saying in school that Metallica will be the biggest band ever and 10 years later I was damn near right…I was the only kid in my juniore high with an earring and a denim jacket with death metal patches all over it…

Fo you compose by riff assembly, or is there a pattern into which riffs fit first?

Actually I have an odd style of writing I usually number the riffs along with names for each part and write it all down,so if I forget I have notes…in Deteriorate I played bass but I wrote the riffs on my 7string and brought my guitar to practice where I showed them the riffs…my newer bands I play guitar and sing on almost everything…I write all the music and vocals and let my drummer mike trush write the drum parts…I usually write all the music in my head at work and then go home and play my ass off…

Many of your songs on Rotting in Hell preserved a casual but intense atmosphere of using little introduction and tearing into the material on hand immediately. Was this a reaction to the riff-salad-heavy metal songs of the time, which often took half of the song just to get cooking?

Actually I didn’t play anything on “Rotting,” although I was in the band months before the recording sessions, I was asked to play on “Rotting” but it didn’t feel right playing songs on a disc that I had no part in writing so I declined…if you asked me about “Gather/Senectuous” I would have to say they were flowing and melodic…
lyrically, the band also played at least two sides, having some “gore” topics and a fair number that could have been interpreted as more gothic, romantic or moribund.

What inspired the lyric writing on this album?

As far as “Gather the Nebbish,” I sang 3 songs and wrote a major part of the music, my lyrics were directed towards my hatred towards a society that hates people like me…I would first get into a raging pissed off mood then write the music then the lyrics would just kind of “bleed” to me,you know what I mean?..I went in the studio and basically freaked out in the vocal booth screaming my heart out jumping around like a fucking lunatic,..in fact 2 of the songs I sang on “Gather” came about on the spot, I did the vocals on one take not even rehearsing them once: Evaporated Battleground/Ode to a Mortal” my good friend Trevor Schaible donated those 2 sets of lyrics and I took them in the studio and ad libbed the songs it just so happened they came out pretty good in my opinion total chaos!!

After Rotting in Hell, Deteriorate took a break. What happened during this time?

We went through some member changes and more of my writing came into effect, we really spent a lot of time rehearsing doing shows and getting more professional about ourselves and we said to ourselves what can we do to make this band better and more brutal and so we did just that…

After this break you released, The Senectuous Entrance, which in my view is two albums put together — one that could be described as Emperor-style gothic black metal, and another that was more heavy metal/punkish. What brought about this dichotomy?

I basically came into the band with alot of the ideas already to go, I brought to the band my musical background and it took over I guess…I never really heard any of the newer black/death metal bands, which bothered me when people said we are a rip of of Norweigan bands, its totally not the truth, I was doing this type of music inthe early 80s I was playing the 3rds minor this dissonant that you name it ..if you notice “Rotting” has none of the harmonies and minor chords, I brought that to the band and we took off with it, I was in bands prior to that which had similiar traits…

Your songs convey as much energy as any other band out there. How do you do it?

I tend to think to myself if I was in the crowd or a listener what would I want to hear and I do it…energy is the first priority nowadays in my band “Treading on Divine” I do simpler arrangements but it works for me, there is more flowing riffs and catchy hooks…

The band has been around since 1991. How do you think metal, or death metal, has changed over the course of that time?

All the genres have improved with the times…certain bands keep their styles others evolve into something different I think both scenarios work,it gives fans an oppurtunity to hear something new therefore creating another rip in the timeline for a new genre..

How has Deteriorate as a band integrated those changes into its music?

Currently Deteriorate is rehearsing for a new release in the future but Mike Trush and myself are quite busy so it takes some time to get it together…other members are in Krypton or not doing music at all…

Your songs are convoluted in the logic that produces continuity between their riffs, enough that they must be heard through once fully before being interpreted. How do you think the awareness of this process in the listener affects how you compose?

It gives me a flowing feel to it, I can sit and bob my head continuosly from start to finish, I can only assume that our fans or listeners do the same thing…it has that warm feeling about it…the 5 unreleased songs have a brutal chaotic war type sound to it, but we still incorporated the Deteriorate flow and sound to it…

When you are composing a song and have two directions in which it can go, how do you select which one should prevail?

It was always a band vote or else we would just open jam and if it went in some new direction that sounded cool we would work with it…it’s truly important to find muscicians that you can openly do unplanned jams ,its usually where you find a truly nwew and original riff,where as when you are at home there is no drums or band influence there to strengthen the song or give you a nod or an added riff between another riff….

You seem to be a non-political band, as far as lyrics are concerned. Do you have any political or social change views that you keep to yourself, or are you detached from the entire process of politics and ideology?

Personally I try to incorporate politics or truth in my lyrics, these topics enrage me making my songs come out even more chaotic, I try to let the lyrics influence my choice of riffs after the song is written of course, the lyrics might change a part into something different or brutal…

The USA may be about to wage holy war on Iraq and the Middle East. Is this a metal topic to discuss?

Yes and no…I feel it’s all a front to keep americans intrested in the politics of this country…the president has to do something to keep his people supporting him…with all the things like snipers, Iraq, WTC and racism, he can shift the peoples attention away from starting a war with Iraq, he made everybody shift their attention from Iraq to the snyper atacks, getting everyone pissed off, so now the people are hungry for some desruction somewhere other than here, and to make it work even better the one snipers last name was Muhammad…it worked, he’s got the ok to wage a war on Iraq, I’m not surprised and I do support this war…these people need a leader that has enough brains not fuck with the most powerful country in the world, us!!!

Do you think that music conveys values based upon what positive beliefs are affirmed in the music, even in simply its sound which resembles facets of the outside world?

It does…music has been the center of attention since the beginning of its creation…it can take you out of reality or define reality and it seems that both work very well…I mean people take a cd put it in then something happens, almost chemically in their brain and it feels good,others feel bad or angry or something, its amazing how this works…I always thought that you could totally control or program people of all ages through certain notes played in precise actions in the brain, when I hear certain notes a feel it all over my body its really quite remarkable [I hope this made some sense to you, I think I understand what I just said hahaha]

Is it possible to be a musician without sharing some of your views through music?

Definitely… I’m really into Burzum, Varg does an excellent job at creating a soundscape, it’s total headphone music, which is one of my favorite ways of listening, Varg uses his feelings and beliefs through beautiful music, but yet you can still understand his anger and pains…Mortiis does similar work but his feelings tend to be fantasy like or dungeons and dragons theme music, both are excellent…

You’re now working on new material with a band called Treading on Divine. This title seems to have more metaphysical implications than the gore-metal-ish idea of Deteriorate. What is different about the music and outlook of Treading on Divine as compared to Deterioriate?

“Treading on Divine” is a project that I started around 98 right around the breakup of Deteriorate myself and joe gorski were fed up with the scene in Philly so we moved to south florida and started playing…he was on drums and I played and sang..eventually we grabbed my brother [who is the best guitarist I’ve ever seen] and Conrad Eddings on bass…we had 3 songs and so it was born…down the road we fell into the party scene down there 3 of us worked in nightclubs so if we weren’t working we were partying thus the band suffered…I had also another band with the samme members except Chris Dino plyed drums that was called ‘twitch’ it was really good stuff….so eventually we after 2 years parted ways I moved back north and started the band with other people, Thorous-lead guitar, Mike Trush-drums, Chris Berwind-bass and Alex Davis-guitar….we rehearsed about a year and 2 of the members didn’t progress so I let them go, now it’s myself, Trush and filling in on bass Jason Hildebrandt from Funeral Mask, Cemetary Earth, Hazarax…we’re ready to record a EP..full length soon the title is “thy only god”..the difference between Deteriorate and treading is I write all the music and arrangements, they’re more flowing and basic riffs…it has black, grind,melody,harmonies,thrash,death styles…in Deteriorate the riffs were all voted on whether I liked it or not so alot of good riffs got trashed, since I saved these riffs and used them now,so some of these songs are quite old…we do one song called “Viral Gore” which is from 1988; some are from 89, these are more thrashy,…the “Treading” songs have “hooks” that make you say hell yeah! As far as the lyrics “Treading on Divine” is based upon my hatred towards authority, I don’t like being told what to do, ever! Not by anyone including my girlfriends….this is the topic I have been griping about forever…i get political on some sogs others are about my nonreligon attitude…being my own god and all that…

What bands are you listening to now?

Voivod-Deathrow-DBC-Burzum-Devil Doll-Elend-Marilyn Manson-Ozzy/Sabbath-Golden Dawn-Entombed-Dismember-Fantomas-Mr. Bungle-Thorns-Abruptum-Mayhem-Behemoth-Venom-Destruction-Kreator-Sodom -Vond-Ulver-old W.A.S.P.-Metallica-Megadeth-Slayer-Darkthrone-Mercyful Fate-Celtic Frost-Belphegor-Tartaros-Tomahawk-Jimmy Rodgers-Sabbat-Immolation-Exodus-Emperor-Autopsy-Laibach-Bloodstorm-Se rvants of Hate-Funeral Mask-LiveSufferDie-Ministry-Christian Death-Violence-Anthrax-Forbidden-Abigor… I could go on forever!

It appears the downturn in the US and world economies has affected metal. Are you able to find a label at this point in time? Are you going to self-release this upcoming album?

Actually Philadelphia has so many labels here…I am talking with a few labels none that I want to name just yet but I have made mistakes with labels in the past and I don’t want to lose money and touring again. When I first joined Deteriorate we had tons of touring offers, some with morbidangel for 40 dates but our drummer had a custody battle going on so he couldn’t do the tours, eventually that was why we replaced him with Darkwoods, Rich was a great drummer though…

How do you think the internet has changed music, from your first album in 1993 to your second in 1996, and now to the current time?

The internet is excellent for underground bands like us to get exposure…it’s amazing how much stuff is out there…I can always find something interesting on the web….

Do you think most metallers have a common general direction of their ideology, or is there no unity in thought in the scene?

I honestly think everybody is different anymore, I always hear different opinions about every topic…,sure theres unity but not really where i’m at…i live in a city that has everybody thinking differently I don’t know why…theres always bands that are jealous of others or pissed offf that they’re opening for a band that they think sucks,i’ve been dealing with this shit since 89…we used to get every tour package that came through philly no matter who was headlining the tour we always got the top slot on the bill…this made all the local bands hate us instead of supporting us which would come back to them in the end…i think nowadays its different theres more unity in the scene…back in the 90s we could’ve all stuck together and the philly scene would’ve been the next tampa bay thing,instead when the cell block closed the bands dissapated,noone astuck to gether and bands broke up, its a shame because we really had some good bands in our scene,to tell you the truth most of those bands are like invisible because I haven’t seen many of those muscians again….

After the rise of nu-metal and bands like Slipknot, does metal any longer have the “coming in from the outfield” strangeness and dramatic impact that it once had?

I feel that this is the metal years all over again, history is repeating itself but in a grander way…a majority of people today appreciate metal and hard rock, its not that uncommon anymore,you hear metal on the radio everyday…we have such a wide variety of bands to chose from along with a generation of people that grew up om metal ranging from 10 to 40 years old….most like something heavy if not ozzy/sabath then metallica or godsmack or something…to me this is positive for the scene…
why metal? it’s not an easy artform, there’s no money and most people seem to hate it or disparage it. why do you keep going? (this is not a criticism, hopefully obviously, since i’m still in this after as many years too!)

I can’t stop! I love it the heavier it is the better….then again everybody will probably hate me for this but I like Marilyn Manson alot…his music is super creative, its full of hate, evil, and other postive shit that just makes him an icon for heavy mainstream music he’s actually helping the world get into heavy music which opens the doors for bands like mine,he has the flow we were talking about earlier, I am open minded to some degree….I like stuff from almost every genre doesn’t mean its good for everybody else, but it’s good to me and I don’t care what anybody thinks….who cares what I listen to anyway you know? To each his own….theres a litttle bit of everyting in bands today it means that awider range of audiences will buy into heavier music…[i hope]…

If you could tour with two or three bands from anywhere and anytime in metal, who would it be?

Voivod!!!!!!!Slayer!!!Morbid Angel!!!

Where do you think metal will go next?

Its going to get even bigger, I know I want more of it and I’m not going anywhere but more angrier then before…I have more anger in me than ever before and I need bands to fuel my fire!!!

Jazz, ambient, industrial, and punk: all of them exist as separate genres, niches if you will, from the mainstream as does metal. But somehow jazz and ambient get more respect and never quite fully are able to integrate with the mainstream of radio music. Do you think this is due to increased technicality, radically unpopular song structures, ability of audience to appreciate complexity, or other factors? Do you think this same distancing from mainstream radio music could help metal?

Maybe the jazz thing is of the other half of society that doesn’t listen to rock or metal or mainstream music…it could be an older generation or possibly the trained muscicians of the world are more appreciated…I know I’ve never had a lesson in my life but it still kept me busy and somewhat talented…

It used to be there were tons of zines, and people mailing stickers and dubbed cassettes all over the world. Metalheads today trade web links and mp3s, and there are now thousands of websites each offering small fragments of information. Where is this weak(er), and what’s next after this? Do you think metal will consolidate its information?

it can only get better,the more publicity for my style of music the better…

Do you believe humanity is about to blow itself into vapor?

Not really its pretty much the way its always been to me, bullshit, politicians, religon it’s all always there its just a matter of what you buy into…

What has changed about the songwriting process for Treading on Divine that is separate from how Deteriorate worked in both incarnations?

Actually not much maybe different tempos or not so much blast and grind beats…I have been working on more catchier riffs that have a more grooving sound to them its still in the black/death metal vein…

Who’s in the band now?

Thorous[guitar/vox] Mike Trush[drums/vox/bass]

Are you going to repress Rotting in Hell and The Senectuous Entrance?

Actually we have the original recording of “Rotting in Hell” which was recorded at an entirely different rcording studio…the vox are even more brutal..we are going to release it soon with the original cover that was deemed to satanic for our onr guitar player….

Where do you hope to be in ten years?

hopefully touring the world and playing brutal music forever!!!!!!!

What do you do outside of metal, as individuals, and who is in the band?

I have my historic renovations business…I do old world/european style stonework and replications. I’m planning to do a house in Spain this spring, its my other passion in life!!

Any final additions?

Its cool to know that there’s people out there still into Deteriorate and the old school metal bands…I appreciate any people who would like a copy of unreleased material and videos…send me tapes and postage to: thorous—-170 smithtown rd. pipersville,PA 18947 Keep the metal world alive! Don’t give up playing your instruments,follow your dreams, I had dreams when I started playingt and so many came true, if I can do it anyone can do it! Keep trying your best,sing your heart out! Play all day and night! Make a difference, speak your mind! Don’t take any shit from anyone! Don’t let anyone push you around, you’re only as powerful as you believe you are! Keep metal alive! Kick some ass! – And support the local bands in your area, without people like you local bands will fade away, go to as many shows as you can, and buy as much merchandise as you can, it will come back to you in some way! Thanks for giving me the chance to vent SRP! – thorous…treading on divine….

The natural inequality of the two powers of population and of production in the earth and that great law of our nature which must constantly keep their effects equal form the great difficulty that to me appears insurmountable in the way to the perfectibility of society. All other arguments are of slight and subordinate consideration in comparison to this. No fancied equality, no agrarian regulations in their utmost extent, could remove the pressure of it even for a single century. And it appears, therefore, to be decisive against the possible existence of a society, all the members of which should live in ease, happiness, and comparative leisure; and feel no anxiety about providing the means of subsistence for themselves and families.

Consequently, if the premises are just, the argument is conclusive against the perfectibility of the mass of mankind.

– Thomas Malthus, Population: The First Essay (1798)

No Comments

Averse Sefira, Images of Violence, Devourment, Pleasant Valley, Insidious Decrepancy, Hatchetwork and Scattered Remains in Austin, Texas

Averse Sefira, Images of Violence, Devourment, Pleasant Valley, Insidious Decrepancy, Hatchetwork and Scattered Remains
March 11, 2006
Redrum, 401 Sabine Street
Austin, Texas

The Texas metal underground has historically been a divisive place: too many bands wanting to be number one and not helping others, so that there are infinite favorites but no greats. With the return of Averse Sefira to Texas after a long absence, a resurgence in confidence is seen in Texas metal. Not only has collaboration come to visit, but the community seems hungry for a few talented acts to represent a scene that was once overburdened with also-rans. This change in attitude is fortunate, because at this show not only did long-running Texas black metal legends Averse Sefira showcase a resilient and enduring sound, but also local death metal upstarts Images of Violence demonstrated the power and synchronicity of their new lineup.

After opening sets by Hatchetwork and Scattered Remains, one-man death metal machine Insidious Decrepancy banged out a set accompanied by drum machine. His music knows two modes of thought: first, a thunderous chromatic rhythmicism reminiscent of the elements of Morpheus Descends that inspired NYDM legends Suffocation, and second a fastpicked scattering of notes with minor key melodic implications in the style of technical death metal bands like Necrophagist or Martyr. The music is easy to listen to and gratifying in its old school attitude, yet seems to make no clear or forceful statement, even if in form – including vocals, guitar and the nonintrusive drum machine – it is highly polished. After this came Pleasant Valley, who craft a style of death metal that varies its consistency-heavy riffs with breaks and interludes that seem inspired by “found sounds” music in their attempt to mimic daily life. It was hard to figure where this band was going with their music or what was the desired content of articulation, but they were faithfully attended by a small crowd.

Images of Violence took the stage next. Fronted by local tattoo legend Jonzig and supported by former Acerbus battery expert Larry “The Professor” Jackson, this band have come together from the primitive death metal of their origins. Riffs flow smoothly together and those of little impact, the space-holding chorded disorder that many death metal bands use to connect disparate statements, have been dropped entirely. With new guitarist Dauber filling riffs with varied texture, including strumming speeds that would be oppositional to the motion of riff except for the high degree of internal counterpoint to the riff permitting parallax motion, Images of Violence have become more ambitious in addition to closing gaps in the conceptualization and execution of songs. They sound like an updated version of Montrosity that thanks to Larry’s percussion is able to stack rhythmic breakdowns in a constructive manner; other influences would be a smattering of Suffocation in the corrugated internals of riffs that are on the surface basic patterns that by virtue of simplicity and boldness demand attention, and a sense of progressive melody in guitar fills, perhaps Pestilence or Gorguts. The essence of this music is an old school roar like Obituary or Malevolent Creation, but bleeding from within is a desire for a voice that speaks all languages in the experience of death metal, and the result is an articulate band that sacrifices none of the pleasures or impact of the germinal form of death metal.

In the short break that followed, most of the attendees of this show coalesced back onto the floor, watching the stage. Averse Sefira is not a band that permits fence-sitting; people tend to follow them religiously or despise them with ornery ecclesiastical passion, but tonight there was a sense of appreciation for these musicians who braved public disapproval of black metal in the early days and in its later days, endured being lost in the masses of nearly identical bands who like spawning salmon recorded demos and, stranded up a stream they could not navigate, died. Averse Sefira outlasted them all and recently released a triumphant third album that capitalizes on their technical skill and spirited, occult vision of metal as an art form (and not simply entertainment, like a video game or sitcom). The club darkened suddenly after a cursory soundcheck. Concentration broadcast from three sets of eyes, and an introduction composed of opposites, the sonorous and the abrasively rhythmic, the ancient and the modern, the smooth and the dispersed, filled the room. It was followed by a sudden attack. Being a three-piece, this band requires each member to fill sonic territory like an occupying chieftain, and after two songs and an improvised speech on the heroic values potentially accessible to the Texas scene, the band tore into the rest of their set like a marathon runner escaping sodomitic jailers. The highly specialized application of guitar and bass came together, and arch-drum veteran The Carcass (also of Death of Millions and Show Me on the Doll) held back his legendary energy in order to fit into the contours of each song. Guitarist Sanguine A. Nocturne channeled the spirit of deceased Voivod guitarist Denis d’Amour by wrestling with lushy discordant noise and messy squealing harmony, but he used this mess surgically by applying it in counterpoint to his more emphatic playing, which smoothly synchronized to the rigid rhythmic structures supporting it. The result was an impressive hybrid of Immortal‘s triumphant romanticism and the lost wanderings in violent wastelands portrayed by Morbid Angel, with influences from throughout metal’s developing lineage. The collected experience of these band members, including for nearly a decade of death metal and radio presentation before Averse Sefira, gave them the confidence to pull off a performance that did not just “nail it” but was able to flex some muscles in the process and give depth to this experience. None of this was lost on the Averse Sefira diehards in the crowd, who lost it somewhere during the first song and probably did not regain mental stability until late the next day.

The crowd was respectful of this act who have bravely and steadfastly worked their way up the black metal food chain without compromising their ideals for anyone, or backing down from their high ideals of what makes excellent, enduring art. Interestingly, the audience of this show were mostly older, a fact given context by the emo-core and ambient alternative stoner grunge zydeco blaring from nearby clubs like Emo’s and The Velveeta Room: the horde of clueless kids who will find something to champion for their years between 18 and twenty-five have moved on, finding black metal to be less pleasurable than the next trend. These people bloated black metal in a situation reminiscent of microcosmic imitation of human behavior; they discover a good thing, and finding that people want it and people wanting it mean power, distill it into a basic but accessible experience and then flood it with wanton, careless, selfish people, at which point it collapses into a polluted ruin. Such behavior was more common five years ago but now has mostly run its course, since the imitators brought in so many bands that they diluted quality down to the level of mainstream radio rock, at which point most people who could pass the GED were heading away from black metal as a genre. Although this situation is still rampant, wiser heads have prevailed, and the ranks have thinned alongside the hairlines as the black metal generation has grown up and maintained the faith while the trendfollowers have scattered like their own vapid thoughts. Those who attended this show saw how this historical process affects bands through the newfound diligence of the crowd and the way that the few drunken failures who did turn up were rebuffed, quietly, as one might purposefully ignore a homeless person at a eugenics conference. Respect was given where deserved more than before, and this bodes well for the Texas scene not only recovering from black metal’s latefound popularity but getting over its carny hipsterism that caused problems for bands in the 1980s, as anyone who remembers dead horse deconstructing can attest.

Devourment played last with a style of disconnected technical metal that is both intriguing and completely visible as the bare bones of a simple animal: no matter how intricate some of the riffs will get, these songs like those of chug-metal veterans Skinless plod along with the aim of gratifying a primitive groove instead of shocking us through transition and layering as all the great bands in the style did. Although one of their guitarists came from legends Imprecation, it’s doubtful that this band will be anywhere near that important.

For some this was a first introduction to the Redrum club, which is a nice enough place built like conventional Austin housing on a raised platform over a winding polluted stream ridden with trash. Its airconditioning was insufficient, its bar lavish, its sounds system not just competent but endowed with a sound engineer who was dedicated to finding a representative sound for each band and watching over them during the show. The setup was more professional than past metal shows, and while it didn’t change the agenda of the bands onstage, it did make it easier to witness. It is no wonder that more Austin shows are going to Redrum than other venues. Thanks to the labor of several different entities, the entire show fit well into this kind of casual professionalism, and endowed the fans of these older but increasingly valid styles with a varied and yet consistently powerful concert experience.

Bands:
Devourment
Images of Violence
Pleasant Valley
Insidious Decrepancy
Averse Sefira

Promoters:
Redrum Club
Extreme Texas Metal

Media:
Averse Sefira video Live in Quebec (WMV) 

No Comments

Interview: Cory Allen (Acerbus)

Acerbus have for some time been the enigma of the Texas scene: music that takes the furthest extension of death metal extremity known to humanity, the technical deathgrind genre, and expands it with a progressive and conceptually advanced edge that leaves most typical listeners of any genre standing open-mouthed. Well-versed in conventional music, Acerbus are exploring for new ground, and we were lucky to be able to talk to guitarist Cory during a break from his rocket science experiments. “Can the man behind the mask answer a few questions?”

What do you see as the distinction between art and entertainment, if one exists?

I definitely think a dichotomy between art and entertainment exists. I believe that art is a mental expression through your physical self, releasing any number of emotions, creative ideas, or in some cases rather scientific musical ideologies based on charted biological responsive “information.” I believe that entertainment is more based around the ever-popular biological survival ticket, or the dollar. Entertainment is something that 47-year-old men sit around in boardrooms concocting trying to blend the perfect ideas to entertain the masses and rake in an easy 1.5 billion in 2 weeks. You know, prime time television shows, game shows, reality shows, family movies, blockbusters, etcetera.

Do you believe art begins as a conception independent of its medium, or is it strictly configurations within the medium that inspire an aesthetic appreciation?

I believe that this varies from individual artist to individual artist. Speaking personally it’s a mixture of the two. Without a doubt it’s more of an inspired aesthetic appreciation and vision yet independent conceptualism does play its roll in some of my song writing. As in extremely awkward things that related none what so ever, not even related percussivly to music induces a spawning of musical ideas.

Do you think it’s possible that a band make significant art with only a handful of power chords?

It all depends on your definition of “art”. It’s like a space-time continuum paradox similar to Schrodinger’s Cat or Einstein’s mouse. I mean, the most beautiful and amazing piece of art to me could be garbage to you, so it’s possible or impossible depending on your perception of what art is. Short answer Yes with a capital N and long answer No with a capital Y.

Are emotions part of the logical process of the mind in your opinion, or are they of the mind?

I think that emotions are stuck somewhere in our time-evolved mammalian primitive minds. They are thoughts that cause nothing more that problems and weakness yet they are necessary so that the human DNA strand will survive and not kill itself off. It was VERY smart and sneaky of our DNA strands to slip that anti self-destruct mechanism into our biological programming.

Are you a materialist (no other words besides this one) or do you have any forms of transcendent mystical belief?

In no way am I a materialist. I do have what I believe is a very open minded transcendent belief. A belief really consisting nothing more that knowing that there are an infinite amount of possibilities and a complete void of fact behind any of them. Even if there were “facts” remember what a very smart man once said, “There are no facts, only interpretations.”

Marijuana seems to be a divine substance to many. So you think this is an accident of nature, something we’ve conditioned ourselves to find, or an accidental property of the substance – or another possibility?

I was actually discussing this yesterday. Once again, there are millions of scenarios containing endless amounts of speculation within each but I will tell you about an interesting theory that I had on the subject. Say the earth is a living organism. Thriving physically and possessing an extremely advanced consciousness that of which is beyond our imaginations or comprehension, i.e., growing wood on its surface for its experiment “humans” to use to build devices to help them live easier therefore longer. It distanced itself the seemingly PERFECT distance from the sun so with its what we see as annual rotation calculated its experiment could live comfortably under the climate conditions. Basically, the miracle plant is just another thing that the earth has grown for us as it watched its experiment get more and more hostile toward one another and boxed into ridiculously small reality tunnels. The growing of the plant by the earth provides its experiment with calmness, happiness, heightened physical pleasure and expanded thinking modulation to help shatter some of those miniscule sized reality tunnels that the humans that are too scared of their own existence want you to reside in forever. But hey, it actually doesn’t sound that far from the truth does it? (You know you read too much philosophy when you answer a question with a question! HA!)

What would your ideal lifestyles be, if you were exempted from the problems of resource scarcity?

I would begin by eliminating 90% of the population, which would be a huge step in the right direction of an ideal lifestyle. Other than that, all I would really yearn for is to be alone in a huge building consisting of a giant music and book library, a state of the art professional studio and a musical instrument library consisting of every instrument in existence. I suppose a gigantic INSIDE pool heated to 98 degrees would be in order as well. I love water. Looking at it, being in it (when it’s clean), drinking it, and thinking about it. It’s pretty amazing to me. It’s the mystery substance!

Do you think some bands are better at aesthetics than music, and should be lauded for opening doors that musically competent descendants will explore? (Think: Venom)

My answer to that question is a rather repugnant one in that I do not approve of artists that rely strictly on aesthetics because 9 times out of 10 that reeks of gimmick. Yet as you noted bands of that illustration have opened doors for artists who have created relevant and meaningful art. Therefore, I think that the grandfather artist (ones of aesthetic dependence) should not be glorified simply due to the fact that their gimmicky “act” unbeknownst to them happened to influence an artist of substance to create something momentous.

What do you see as the ideological, musical and social roots of the death metal movement?

I think that bands such as Deicide, Suffocation, Carcass, Morbid Angel (barf), and Napalm Death fundamentally established the foundation of the death metal movement. Actually, I think almost every new band’s ideologies and “social” roots (not something I enjoy at all in the death metal world) are still somehow based and JUDGED (its VERY harsh these days) on what thoughts the revolutionaries first had. It’s as if these bands created a steel mold for the rules of the genre and all that really happens even after 10 years of existence is bands just filling that mold and ever so slightly expanding on it. That’s definitely something I try to focus on during song writing, to try something new for the genre, and by new I don’t necessarily mean undistorted jazzy fills and adagiated bridges but just in a compositional manner or how the over all conception of the endless possibilities of an instrument are conceived. I think that some people that have yet to get up and peek out of the top of that mold that they’ve been sitting in the bottom of for the last few years will be jaded by this but I think the genre will dry up, get old and fizzle out if some people don’t start having an open mind about the genre’s amazing possibilities and its future and if someone doesn’t have the gallantry to take a chance on expanding the genres limits. You know you can only eat your favorite food everyday for lunch for so many years before it become bland and uninteresting. Music needs spicing up ever so often just like food.

In your opinion, what are the primary musical differences in form between black metal and death metal?

First, touching lightly on the more prominent definitions of the metal genre, and what I would look at as somewhat stating the obvious to any competent individual, I think that DM’s energy is generally fueled more by gore and technicality and BM’s energy is usually fueled more by rage (as blind and unguided as it may be sometimes). The vocal style usually sticks out like a sore thumb as DM vocals prefer the guttural growls or pig noises and BM vocals usual prescribe to the high screechy or I just slammed my genitals in a sliding glass door vocal style. BM guitars are generally consisted of standard tunings, which goes along with the high screechy vocals, where DM bands enjoy the tuned down sound (which in my opinion has become rather ridiculous these days. ACERBUS tunes to CFA#D#GC which is two full steps down on each string and that isn’t really considered that low in comparison to some bands in modern times), once again the deep guitars are coinciding with the vocal style.

Now to get slightly more in depth with my segregation descriptions, I will try to expand more. The musical stylings that I hear in BM songs are primarily composed of mutated minor chords. Quite often I find BM bands utilizing natural minor chords, which lacks a major seventh. While “eerie” or “whiney” sounding it provides no real power or emphasis to the root note of the chord. Harmonic and Melodic minor chords are intermingled with the natural minors to provide power and still retain a “dark” sound. These Harmonic and Melodic minor chords are used to strengthen the minor keys, there for giving way for some dark powerful sounding riffing. As far as an individual riffing style I think audibly there is an obvious sound that is generally more “open” and “breathing” even a somewhat dissonant and definitely more disharmonious sound with a tendency to move in shapes and patterns based on a full note chord to a two and a half step dropped minor chord reverting to the previous full chord with a slight half step rise minor alteration then reverting back to a lower minor chord plus and uncontrolled arpeggiation to follow with implied and increased attack to end and finally execute one performance of a riff. As far as a BM orchestration goes, I think BM focuses more on long-winded repetitious movements using the vocal pattern as lead point of which to follow and adhere to, almost defined as a somewhat deranged classical definition of the term symphony.

I think that the majority of death metal band’s riffing focuses on using diatonic chords intermingled with modulated minor pentatonic single notes tremolo picked scales to provide a constantly powerful, even, and bludgeoning barrage of whole note patterns and movements. Unlike BM, DM bands are not partial to letting songs “breath” or become “dissonant”. DM bands are usual very heavily infatuated with a song structure that has no musical “holes”, or a lack of sonic intensity at anytime in anyway. Unfortunately, I think during composition a lot of DM bands lose sight of the meaning behind the word orchestration. Ive noticed that a lot of DM bands just seem like the write 50 riffs, put them into a hat and randomly pull them out in no order yet string them all together using drums fills.

Today there are plenty of modest and worthy laboreres among scholars, too, who are happy in their little nooks; and because they are happy there, they sometimes demand rather immodestly that one ought to be content with things today, generally — especially in the domain of science, where so much that is useful remains to be done. I am not denying that; the last thing I want is to destroy the pleasure these honest workers take in their craft: for I approve of their work. But that one works rigorously in the science and that there are contented workers certainly does not prove that science as a whole poesses a goal, a will, an ideal, or the passion of a great faith. The opposite is the case, to repeat: where it is not the latest expression of the ascetic ideal–and the exceptions are too rare, noble, and atypical to refute the genreal proposition–science today is a hiding place for every kind of discontent, disbelief, gnawing worm, despectio sui, bad conscience–it is the unrest of the lack of ideals, the suffering from the lack of any great love, the discontent in the face of involuntary contentment.

– F.W. Nietzsche, Genealogy of Morals

Is there such a thing as musical novelty? (a combination of notes striking or distinctive for purely musical reasons, with no other implications) or do you attribute what is commonly identified as such as being more of a stylistic novelty?

Yes, but I don’t think it is as much a musical novelty as it is a programmed effect that has thwarted us as time and “standards” have evolved. It’s almost more of a comforting thing to the ears of the close-minded more than a stylistic redundancy. Over time people have been “programmed” to recognize what sounds “correct” and “incorrect” in music, and really all other aspects of life as well. It’s quite a shame but its true. Certain progressions of musical notes or chords have been labeled “incorrect” because to most people they sound “ugly” (minor chords, several notes played at once which are out of key with on another), while others are considered beautiful (whole note chords, several notes played in octave). They both sound beautiful to me, just different. Who are we to say that certain notes grouped together are right or wrong? My interpretation of this ridiculous dilemma is that it clearly seems as if this musical decision coincides with the rest of general human ideology. Humans are always trying to label “beautiful” or “normal” people/animals good and “ugly” or “different” people/animals bad. This reflects onto all aspects of general human thinking so why not let it bleed into music as well? We are brainwashed into thinking that what is disharmonious is “bad” and what is harmonious is “good”. Some people might think its preposterous for me to make a statement such as this but I think its preposterous for people to be trapped in a musical box which has been assembled by their “peers” and guaranteed by record labels which focus on the business of music rather than the music of music.

In ancient Greece, poetry was considered incomplete without accompanying music which united the significance of the words with the significance of certain tones and musical shapes. Is there any relevance of this idea today?

I think so. Music completes life. Certain songs complete and are appropriate for every, and any occasion. The choice of this music is, of course, up to the individual and will never be the exact same for any two people. I’m generally awake 19 or 20 hours every day and there is literally no more than two hours or so of my day, everyday, that is void of music. Working in a music store definitely contributes to my habits.

What inspired you about the deathgrind genre, or was it a culmination of other influences?

It has been countless influences, and the influences that influenced the people that influenced me. As Einstein said, you must honor the gift of evolution that is life, which has been worked on diligently for millions of years. People often tend to look that fact of existence over. I try to take the same approach to music, it seems like great men in the past have already done all of the really hard things in music for me and I think that now, anyone who picks up a musical instrument is on easy street in comparison to these previous achievements. Do you know off the top of your head who invented the first sound recording device?

I will try and stop from getting to far away from the question at hand and get back to my most prominent influences. I guess in the very beginning, 6 years ago, when I was 14 years old and had picked up a guitar for the first time, I was worshiping 3 bands. The Jimi Hendrix Experience, Primus, and Deicide. I loved the sound experimentation and groundbreaking abstracting of music that Hendrix had, I loved the sense of humor and unconventuallity of Primus, and the aggression and technicality of Deicide. Those are the bands that made me want to pick up a guitar and that eventually drove me to create a band of my own that I wanted to contain all of the things that drew me to my early influences, in one single band. Now days the only thing that REALLY inspires me is avant-garde classical composers, i.e., Philip Glass, John Cage, Steve Reich, Kronos Quartet, ect.

What do you normally listen to in your time off from being death metal terrorists?

Actually, I enjoy listening to almost every genre of music. I really like Modern Psychedelic music, tons of obscure Classical composures, truck loads of Jazz and all of its sub-genres, of course Metal, Electronic music, Meditation music, Noise artists, and International (there are some really amazing eastern musicians). The list really has no end. What I’m listening to from each genre always changes but I can give you some things that are currently finding their way off the shelf into my CD player.

Kronos Quartet – “Black Angels”
Tan Dun – “Ghost Opera”
Suffocation – “Peirced from Within” and “Effigy of the Forgotten”
Jonas Hellborg/Shawn Lane/Jim Sipe – “Personae” and “Zenhouse”
Uncle Moe’s Space Ranch – “self-titled”
Clinic – “Walking with Thee”
Godspeed You Black Emperor – “Lift Your Skinny Fists Like Antennas To Heaven”
Philip Glass “Glassworks”
John Cage “The Seasons” (Margaret Leng Tan’s toy piano piece is amazing!)
Flaming Lips – “Soft Bulletin” and “Yoshimi Battles the Pink Robots”
Autechre – “Gantz Graf” and “Tri Repeatae”
Gyorgy Ligeti – “Ligeti Project II”
Medeski Martin and Wood – “The Dropper” and “Uninvisible”
John Zorn/Mike Patton – “Hemophiliac”
Pat Martino – “Live at Yoshi’s”
John Adams “Naive and Sentimental Music”
Primus “Pork Soda” and “Sailing the Seas of Cheese”
Nusrat Fateh Ali Khan – “Body and Soul”
Anoushka Shankar – “self-titled”

That’s what ive listened to heavily this week, but like I said the list is ever changing and I have a ton of CDs or so, so I’m always listening to something different.

Is there such a thing as political ideas expressed in art, or do you see there being a necessary connection between political ideas -> social ideas -> perceptive concepts?

There are political ideas expressed in art and rightfully so. Political ideas need expressing so why not use one of the most affective methods of convoying ideas as your medium?

I know you bastards read philosophy; what are your favorites? What did they express that was not seen articulated elsewhere?

Yes indeed. I guess a few favorites are Friedrich Nietzsche’s “Thus Spake Zarathustra”, Immanuel Kant’s “Critique of Pure Reason” (if you can make it through this book, read it again and ponder each line he writes, as each sentence holds at least a paragraph’s worth of metaphorical ideology. I own the Cambridge edition, it is abridged appropriately and edited in a way which makes the text easier {well I should say possible for most people to understand} for those who haven’t taken a Kantian philosophy course.), and while it is sort of a culmination of such topics as physics, philosophy, non-Aristotelian logic and semantics, I enjoy Alfred Korzybski’s “Science and Sanity.” I enjoy most titles by Robert Anton Wilson dealing with philosophy/consciousness expanding. While I believe most of his books are nothing more than other peoples’ ideas funneled down and regurgitated so people with “lesser intellectuality” can understand them and begin the process of consciousness expanding. Normally I would disagree with this method of funneling information/writing but he actually notes when he is taking from someone else’s thoughts or literature so that makes it valid in my eyes. His books are fun to read, he makes good points and has a great sense of humor. Stephen Hawking’s book, “A Brief History of Time” is good for the most part. I could go on forever here but I will list another good one, Carl Sagan’s “Demon Haunted World: Science as a Candle in the Dark.” To answer your second part to this question would be a whole other interview. The ideas expressed in these books that were not articulated elsewhere are so deep, vast and lengthy that a summarization of all of these individual ideas within a few pathetic sentences typed by myself, to me, would be an insult to the writers who I look at as some of the intellectual iron men of writing. Although, I believe a quick summary to someone who is interested and has never read or heard of any of these books is due. As basic and stripped down as it can be put, the over all point of all of these books is to force the reader to look at life in a different light. Metaphorically speaking, your mind is like a parachute. Closed you will die, open it will save your life and you will float above as you watch the others hit the ground screaming.

In spiritual practice, which is more important: coherence with natural schema of patterning, or symbolic adherence to human desires?

I think both are equally unimportant. Both are nothing more than a subconscious choice that is made of how a person perceives and interprets his/her own reality based on how their brain programs cropped and filed away the information of spirituality that has been directed to them and imprinted in their brains based on what experiences and information (or misinformation, really) they happen to come in contact with during their life that has consequently shaped their perception and beliefs according to these random events.

What do you think about Falun Gong?

From what I have read or been told about falun gong it’s really nothing more than Chinese yoga for people whose reality is based on pseudoscience. I know it involves physical postures accompanied by mediation which will supposedly promote mental/spiritual well being. I read an article in a magazine once with the “leader” stating by mastering falun gong you can obtain such metaphysical abilities as levitation and other supernatural powers. In my eyes, falun gong is as ridiculous as any other type or brand of a spiritual salvation that is defined by one living person (on an upside, at least their “leader” isn’t fictitious). Master Li, the “leader”, is the only person who can define the ways of F.G. therefore the ideology immediately causes me to burst into laughter and look at F.G. as nothing more than another man (Li) who is probably semi-intellectual who uses shills to control the minds of the mentally weak and needy. To me, the idea that a carbon based life form is to be looked at as a bringer of salvation is hilarious, pathetic and simultaneously horrifying in the fact that there are about 2 million people in the world that prescribe to the theory of falun gong. It’s a shame our species has bred beings that believe one of their own kind could be their bringer of salvation and are so mentally weak and distorted that they are sucked into a thin, as in lacking of content and containing no scientific relevance, vision of salvation in hopes of obtaining “supernatural” powers for no more than time and a likely weekly fee. I think the first step in demystifying any method that promises to bring salvation is if biological survival tickets (money) fit into the equation. I would imagine that a being that brings salvation would not be of biological content therefore would have an absent need for our (note the first word after the parenthesis) biological survival tickets.

Do you have any opinions of pornography? Do you feel it turns humans into symbolic structures in the same way religion does?

I think pornography is humorous. Not really from the point of view of the female who is baring her hide but from the male’s perspective. I think guys and women alike who enjoy pornography are either not aware of certain aspects of their existence or the worse scenario, are aware yet don’t care. Males tend to drool, stew, fantasize and obsess over pictures of naked females and critique their body in comparison to their personal preferences. Here is where the humor comes in. What males don’t realize whilst they enjoy porno is all they are doing is acting as the primates that they are, filled with a genetic structure that does not want to die out therefore possesses the constant need and want to reproduce. For example, when a guy says, “that bitch is hot”, unbeknownst to him he is thinking “the fat distribution and reproductive organs of the opposite sex in my sight seem extremely healthy and from what I’m perceiving visually has the ability to provide extremely healthy children for me.” When a guy looks at a pair of naked breasts he quivers, when in actuality that thought of lust running through his mind is nothing more that his deeply rooted and distilled thought that these mammary glands (plump breasts) will provide perfect sustenance for his offspring therefore promoting the longevity of his DNA strand, which is the most important aspect of a living organism. Apply this ideology to all other focuses of lust and there is a similar truth such as above behind each one. Peacocks spread their feathers to show the females the array of colors and the amount and fullness that their feathers possess which is a trait of a healthy male that in turn attracts the female, just as the human male works out, combs his hair, and wears becoming clothing etcetera, to attract the female. Unfortunately cars, money and so on are signs of power and well being which also attracts the human female. This is where the humor in pornography lies for me. When some pathetic male is gawking at or masturbating to a photo of a naked women he has no idea he is simply bleeding for his master, the DNA strand that is programmed to reproduce at all costs. Just as it is stereotypical for a male to feel and act “Zen-like” and feel necessary to reminisce of his previous nights copulative affairs with other males. He is satisfied physically that he has fulfilled his biological purpose in life and must tell the other males in his “tribe” of his affairs to gain a top dog status. Watching or hearing of these events provide me with endless laughter and entertainment; therefore the idea of pornography is extraordinarily humorous to me.

Another counsel of prudence and self-defense is to react as rarely as possible, and to avoid situations and relationships that would condemn one to suspend, as it were, one’s “freedom” and initiative and to become a mere reagent. As a parable I choose asociation with books. Scholars who at bottom do little nowadays but thumb books–philologists, at a moderate estimate, about 200 a day–ultimately lose entirely their capacity to think for themselves. When they don’t thumb, they don’t think. They respond to a stimulus (a thought they have read) whenever they think–in the end, they do not but react. Scholars spend all of their energies on Yes and NO, on criticism of what others have thought–they themselves no longer think.

The instinct of self-defense has become worn-out in them; otherwise they would resist books. The scholar –a decadent.

I have seen this with my own eyes: gifted natures with a generous and free disposition, “read to ruin” in their thirties — merely matches that one has to strike to make them emit sparks — “thoughts.”

Early in the morning, when day breaks, when all is fresh, in the dawn of one’s strength — to read a book at such a time is simply depraved!

– F.W. Nietzsche, Genealogy of Morals

What activities do you have outside of music?

I don’t do a lot that doesn’t relate to music in some way. I enjoy drawing, writing text in a style I call “metaphilosophtry”, which is a mixture of metaphor, philosophy and poetry. I love reading philosophy, physics, and psychology books and really enjoy psychotropic experiences. Not sleeping much and drinking lots of coffee fits in there. I rarely go “out” as I hate loud noises (yes I know its sort of contradictory to being in a band but loud music is the only loud noises that are enjoyable to me) or being around people. Other than that there isn’t much I do that doesn’t have to do with music in some way or another.

What do you do to relax and have fun?

Well, there is the obvious, I play in Acerbus, I write music at my home and record various guitar or keyboard pieces on my digital studio. I try and have an intellectually stimulating conversation with someone every now and then. I’m quite the hermit and often refer to myself as a “misanthropic nihilistic introvert”. I love studying and thinking about the psychology involved with musical notes and progressions and I suppose the previous question will answer the rest.

If music is a language, what distinguishes certain pieces as impressive relates to the poetic content they express. Is there a difference between content and form in music?

I definitely think that certain progressions or orchestrations in musical notes, patterns of notes or chords will draw out certain emotions or trigger thought patterns that are unique to each listener. This is where my main interest in music lies. With every piece of music I write I keep in mind how it (the piece) will affect the listener on individual levels as well as in cohesion with the rest of the composed piece. I hope this is subconsciously apparent to people who listen to Acerbus. When people come to me after our shows they will tell me that we just sound “different” and that they cant quite place their finger on what it is but we just sound “different” to them. Hopefully this is a result of my psychological study of music at play since I write music utilizing certain aspects and attacking the listener’s ear in such a way that their brain cant help but to register these sounds on their musical spectrum as “new”, hence people telling me Acerbus just sounds “different” to them. Hopefully this method is at play but one can never be absolutely sure.

What’s wrong with humanity?

Do you want me to write a 2000 page essay here? I’ll give it to you as stripped down as possible. Humans have “evolved” to a biological life form that holds horrible traits called narcissism, ego, deceitfulness and personal dogma. America has arrived at a point where everything is based on biological survival tickets (money) and milking and flexing the primitive aspects of humans for all that their worth. Everyone in America (99%) has the mindset as follows: me first, I’m right you’re wrong, I am not successful without loads of money, I must outdo everyone else in the world on every level to retain top dog status, I’m the most important being on the face of this planet that would shrivel and die if I were to cease to exist. It’s sad really because life would be grand if everyone would drop all of this self important hogwash and read a book about, or at least an introduction to non-Aristotelian thought. Unfortunately, this will never happen so I say it would be in our best interests as a species to destroy all existing political and social parties and try to start over again with an actual democracy instead of one that spoon feeds its residents the illusion of freedom, the illusion of choice and the illusion of safety.

if you could be one non-human species (imagine reincarnation or other “magical” occurrence) what would it be?

I’d settle on being a viperfish. There are amazing and undiscovered things in the deep sea that would provide an infinite amount of eye candy for me as I enjoy looking at things and pondering on them. Having photophores that cause light to emanate from your body using bioluminescence would be amazingly amusing. Knowing reality as an air breathing life form would make living underwater very interesting. As an added bonus viperfish are extremely gnarly looking so that is a definite plus for me as well.

Which book would you most likely have written, not being already given to a career in musicianship?

Without a doubt I would have written, “Prometheus Rising” by Robert Anton Wilson. It’s a great book that anyone on any intellectual level can understand that will help him or her expand his or her reality tunnel resulting in higher intelligence, understanding of their self and others and awareness of one’s own biological nature and an introduction to the ways brain programs work. All things I think humanity could use sorely at this current time.

What do you think of the Austin scene? Do you think a city’s collective attitude determines what music will emerge?

I’ve gotten asked this question EVERY interview I have ever done since Austin has the reputation for being the “live music capitol of the world”, which is total bullshit (there is probably at least 200 bands that play in clubs all over Austin every night, it doesn’t mean that they have any real musical substance to them), so forgive me for not elaborating in great lengths one this one. Let me say this, we play a lot of out of town shows and most of the people that are into underground metal in Austin are in bands. I think the attitude of a city has little effect on what bands will emerge. I see where bands from certain areas have certain “sounds” but I think that is probably just a factor due to a psychosomatic suggestion that bands from certain cities hold a certain sound that must be emulated. I’m sure bands from the same areas experienced the same influences and I would imagine that would have something to do with it as well.

Do you see yourselves as expressing the ideas of your environment, or reacting to those ideas? (not to be confused with reactionary opposition, or an emotional/irrational response of rejection)

I guess I create music based on my influences, perceptions of what I think is musically divine, my own thoughts and on what ways I think that music can and needs to evolve.

Do you plan to have a family and “normal” life, if the opportunity rises?

No. An American “normal” life is nothing more than the lowest common denominator.

When you are playing, do you visualize the difference between the shapes you are touching/pressing on the fretboard, or do you have another method of preparing for the radical sweeping fretruns that seem to be easy for you?

This is a hard question to answer, but I will do my best. I hope my response remains coherent to everyone because I know exactly what I’m talking about but it’s difficult to put certain brain/body functions in to text form. When playing I visualize geometric patterns on the fretboard that are segregated in a grid-like pattern (as in each fret contains 6 lines which can be looked at in cohesion with all others as a giant piece of graph paper, each line holds a tone and is programmed into my brain accordingly) with the boundaries for each possible note change being each fret and string. This method of playing is extremely critical during my four fingered tapping solos. Most times when I play I do it in a sort of subconscious manner, I just kind of let me hands go to work. The best comparison is typing on a computer keyboard; each key is assigned a certain character just as each string is assigned a different note. Certain words you type, after typing them a few times become natural and this allows you to type in a fluid and fast way. This is just like how I play guitar. After I write a guitar riff the hand movements that are necessary to create the sound of the riff become like a stamp. Once it’s forged all you have to do is apply it and its there in perfect relief. The assemblage of many riffs, rhythm, transitional or lead, form together as one giant hand pattern or in other words about 40 different “riffs” or stamps compiled will create one giant “stamp” or song. I think that is the best I can explain it. I hope it made sense.

When you interact with normal people, how much do you self-censor what you’re going to say?

Unfortunately I do. I don’t censor what is considered “foul” language but I majorly censor what I would like to say intellectually. While people are talking they generally want their opinion to be heard and they don’t want to feel inferior. If I say something to someone that is what I consider a slightly deep thought, people will most times not understand you and think your just trying to be a “know it all”. So whilst in conversation with people whether it is friends or strangers I just strip down what I’m thinking so everyone understands and no one feels left out forcing them to lie their way through a topic since humans can’t stand admitting to not knowing something. I consider doing this a social Valium, but I never said I had the best social skills.

If you make people feel that they know something, they will adore you, if you make people realize they know nothing, they will loathe you.

What does Acerbus do to prepare for a concert?

We all stretch our muscles, tune our instruments, and arrive at a mentally self-confident state of readiness. Larry prescribes to the athletic abstinence of all physical indulgences theory for several weeks before any show or recording. I suppose that is all.

Have any labels woken up and signed you yet?

No. I have sent promotional packages to countless labels but every response I have gotten has been that we are too “extreme” or “out there” to bring in a large quantity of sales therefore the labels are unwilling to take a chance. I guess I’m out of touch with the metal community because I thought in the early nineties when Suffocation, Carcass and Deicide were breaking new ground being as extreme as possible was the name of the game. I don’t mean this in an egotistical way at all but I’m not worried: I know we will get signed eventually its just a matter of when and who is willing to take a chance.

What do you see as the primary differences between classical music and jazz?

Another essay style answer is in order here but I’ll try and keep it to a few sentences. This will probably only be funny to 1 out of 10,000 people but here it goes… I’ll try and be “the minimalist” while answering this question about classical music. HAHAHA! Man that’s funny in a cheesy way! Anyway, most Classical music is very refined and often referred to as “educated” music that is based on theory and what is “correct” (except for my favorites), while jazz is a style of music, while still well refined, is characterized by improvisation and experimentation. Hopefully everyone reading this already knows this fact but the alternate definition to the word “jazz” is miscellaneous or unspecified things. There we go, short and sweet and without speculation as promised.

What are the most significant musical innovations in the last fifty years, in your opinion?

This is another hard question to answer, but I’ll give you the most prominent things that stick out in my mind. The invention of several instruments (electronic and others) has done music well. The fact that in the last 20 years musical genres seem to have been mixed up a lot more. Unfortunately, this genre mixing has not been good all the way around but it has produced a few gems. It’s like mixing paint colors together, if you do it right you get vibrant unique colors. If you do it wrong you get brown. I can tell you some artists that I think have really pushed the limits of music as a whole in the last 50 years. Philip Glass (whom I happen to be listening to as I answer this interview), Steve Reich, Jimi Hendrix, John Cage, Miles Davis, Ornette Coleman, John Zorn, Primus, John Coltrane, Black Sabbath, Thelonious Monk and the Kronos Quartet. These are just a few but I think that they have all have had a profound impact on music over the last 50 years.

Do you feel ambient music brings any theoretical change or alterations in form to popular music, and, if so, what do they signify in the mental processes of artists in this time?

Slightly, and by that I mean everything has an effect on everything. Any slight alteration or event will affect an infinite number of reactions that will cause change throughout the world. Introducing new musical ideas or genres will work in an identical fashion.

Is history cyclic, linear, or linear within cyclic? Please explain.

The thought of history being cyclic is not feasible to me. Charting reoccurring events and loosely comparing them to more recent events suggesting the idea that history is cyclic is very similar to people who believe in psychics or faith healers. Weak-mindedness and deluding myself into believing coinciding similar facts cause factual relevance in certain events is not something I’m a fan of. Believing that history is linear within cyclic patterns sounds like someone who is one the edge a cliff preparing to jump off but just can’t quite do it yet. I think history is linear and I think people that believe history is cyclic could probably be diagnosed with infophobia and need to get hobbies, try pseudoscience it will be right up your alley.

How do you reconcile the view that art is a matter of individual interpretation (#2) with the idea that all listeners are affected similarly by certain musical combinations (#1)?

A sense of relief falls upon me to discover that the perceiver asks for further information on questions that have what could be seen as contradictorily answers. I will attempt an explanation using metaphor with promises that my answer remains coherent. Imagine bottles of paint and a mixing palette. Each base color in the each bottle (red, green, blue, yellow) is pure and unaltered such as an un-interpreted message to your brain. Any disturbance to this pure thought or “pure color” (which represents and un-interpreted brain message) will cause the same amount of change to the final interpreted message (“mixed primary paint colors” or a thought that has been altered by your minds own personal perception. ) in the outcome. So, the fact that I stated that “art is a matter of individual interpretation”, resembles how everyone’s “final perception” or, a thought that has gone through your brain programs thus the outcome will vary based upon each individual’s “reality tunnel” or, the way they perceive reality. Now, when I say “all listeners are affected similarly by certain musical combinations” I mean that if I can find musical combinations that actually change the original unperceived signal (which is the same for everyone), then the outcome will be slightly different, yet different in the same way for everyone. I will explain again in a different manner to promote the illumination of my point. Imagine having 10 painters that are all using the same paint bottles. You tell them to mix the colors on their own palettes and to each paint a landscape. Therefore, each painter s final picture will be different based upon his or her perception of a landscape. Now to change each painter’s painting without changing their interpretation of the landscape we would change the base colors from red, blue, yellow and green to black, purple, orange and brown which would cause the same change to each painters painting without changing their perception of their landscape.

There’s too much to talk about, and I’ll keep asking questions forever. Is there anything else you’d like to add for benefit of broadcast to the world?

Thank you for reading the entire interview, I’m glad you made it all the way through! Thanks to SRP for writing an interview that owns questions of substance and once again I appreciate anyone spending the time to read this. Anyone should feel free to contact me if they wish: Acerbus@angelfire.com

Thanks Again for your time!

Cory

-ACERBUS-

1 Comment

Chronological death metal

From “Cambyses” over at Ultimate-Metal, here’s a list of death metal releases by year during the glory days of 1988-1995:

’87:

Sarcófago – INRI
Massacra – Legion Of Torture
Nocturnus – Nocturnus
Death – Scream Bloody Gore
Napalm Death – Scum

’88:
Rigor Mortis (US) – Rigor Mortis
Pestilence – Malleus Maleficarum
Incubus (US) – Serpent Temptation
Death – Leprosy
Nihilist – Premature Autopsy

’89:

Morbid Angel – Altars Of Madness
Dead Horse – Horsecore: An Unrelated Story That’s Time Consuming
Obituary – Slowly We Rot
Rigor Mortis (US) – Freaks
Repulsion – Horrifed
Autopsy – Severed Survival
Carcass – Symphonies Of Sickness
Pestilence – Consuming Impulse
Dr. Shrinker – Wedding The Grotesque
Nihilist – Only Shreds Remain
Terrorizer – World Downfall
Morgoth – Resurrection Absurd

’90:

Incubus (US) – Beyond The Unknown
Carnage – Dark Recollections
Disharmonic Orchestra – Expositionsprophylaxe
Massacra – Final Holocaust
Cadaver – Hallucinating Anxiety
Tiamat – Sumerian Cry
Baphomet – Inheritors Of The Dead
Entombed – Left Hand Path
Deicide – Deicide
Master – Master
Atheist – Piece Of Time
Merciless – The Awakening
Death – Spiritual Healing
Benediction – Subconscious Terror
Nocturnus – The Key
Cancer – To The Gory End
Impetigo – Ultimo Mondo Cannibale

’91:

Blasphereion – Rest In Peace
Megaslaughter – Calls From The Beyond
Atheist – Unquestionable Presence
Death – Human
Demigod – Unholy Domain
Master – On The Seventh Day God Created… Master
Revenant – Prophecies Of A Dying World
Unleashed – Where No Life Dwells
Gorguts – Considered Dead
Entombed – Clandestine
Death Strike – ****in’ Death
Edge Of Sanity – Nothing But Death Remains
Carcass – Necroticism – Descanting The Insalubrious
Therion – Of Darkness…
Suffocation – Effigy Of The Forgotten
Benediction – The Grand Leveller
Pungent Stench – Been Caught Buttering
Morbid Angel – Blessed Are The Sick
Broken Hope – Swamped In Gore
Corpus Rottus – Rituals Of Silence
Dismember – Like An Ever Flowing Stream
Autopsy – Mental Funeral
Asphyx – The Rack
Immolation – Dawn Of Possession
Authorize – The Source Of Dominion
Massacre – From Beyond
Massacra – Enjoy The Violence
Ripping Corpse – Dreaming With The Dead
Grave – Into The Grave
Demilich – The Four Instructive Tales …Of Decomposition
Suffocation – Human Waste
Lemming Project – Extinction
Cancer – Death Shall Rise
Immortalis – Indicium De Mortuis
Gorefest – Mindloss
Cartilage – In Godly Flesh
Pestilence – Testimony Of The Ancients

’92:

Incubator – McGillroy The Housefly
Morpheus Descends – Ritual Of Infinity
Mordicus – Three Way Dissection
Incantation – Onward To Golgotha
Seance – Fornever Laid To Rest
Baphomet – The Dead Shall Inherit
Cianide – The Dying Truth
Mortuary – Blackened Images
Atrocity – Todessehnsucht
Demilich – The Echo
Torchure – Beyond The Veil
Rippikoulu – Mutaation Aiheuttama Sisäinen Mätäneminen
Altar/Cartilage – Split
Disharmonic Orchestra – Not To Be Undimensional Conscious
Edge Of Sanity – Unorthodox
Epitaph – Seeming Salvation
Therion – Beyond Sanctorum
Asphyx – Crush The Cenotaph
Adramelech – Grip Of Darkness
Cenotaph (Mex) – The Gloomy Reflections Of Our Hidden Sorrows
Lemming Project – Hate And Despise
Torturer – Oppressed By The Force
Cadaver – …In Pains
Solstice – Solstice
Eisenvater – I
Unleashed – Shadows In The Deep
Grave – You’ll Never See
Necrosanct – Incarnate
Transgressor – Ether For Scapegoat
Monstrosity – Imperial Doom
Impetigo – Horror Of The Zombies
Necrophiliac – Chaopula – Citadel Of Mirrors
Sinister – Cross The Styx
Amorphis – The Karelian Isthmus
Demigod – Slumber Of Sullen Eyes
Vital Remains – Let Us Pray
Deicide – Legion
Disastrous Murmur – Rhapsodies In Red
Miasma – Changes
Depravity – Remasquerade
Malevolent Creation – Retribution
Fleshcrawl – Descend Into The Absurd
Pathologist – Putrefactive And Cadaverous Odes About Necroticism
Brutal Truth – Extreme Conditions Demand Extreme Responses
Merciless – The Treasures Within
Phlebotomized – In Search Of Tranquility
Totten Korps – Our Almighty Lords
Asphyx – Last One On Earth
Infester – Darkness Unveiled
Liers In Wait – Spiritually Uncontrolled Art
Adramelech – Spring Of Recovery

’93:

Brutality – Screams Of Anguish
Mordicus – Dances From Left
Utumno – Across The Horizon
Rottrevore – Iniquitous
Wombbath – Internal Caustic Torments
Disincarnate – Dreams Of The Carrion Kind
Demilich – Nespithe
Depravity – Silence Of The Centuries
Necrophobic – The Nocturnal Silence
Torchure – The Essence
God Macabre – The Winterlong
Depravity – Phantasmagoria
Benediction – Transcend The Rubicon
Broken Hope – The Bowels Of Repugnance
Ceremony – Tyranny From Above
Seance – Saltrubbed Eyes
Supuration – The Cube
Pestilence – Spheres
Misery – A Necessary Evil
Gorguts – The Erosion Of Sanity
Kataklysm – The Mystical Gate Of Reincarnation
Phlebotomized – Preach Eternal Gospels
Cancer – The Sins Of Mankind
Carbonized – Disharmonization
Grave – ..And Here I Die… Satisfied
Amorphis – Privilege Of Evil
Cynic – Focus – Remastered
Electrocution – Inside The Unreal
Unleashed – Across The Open Sea
Death – Individual Thought Patterns
Rippikoulu – Musta Seremonia
Sadist – Above The Light
Resurrection – Embalmed Existence
Suffocation – Breeding The Spawn
Morbid Angel – Covenant
Atheist – Elements

’94:

Morpheus Descends – Chronicals Of The Shadowed Ones
Brutality – When The Sky Turns Black
Cianide – A Descent Into Hell
Phlebotomized – Immense, Intense, Suspense
Banished – Deliver Me Unto Pain
Fleshcrawl – Impurity
Gutted (US) – Bleed For Us To Live
Incantation – Mortal Throne Of Nazarene
Pavor – A Pale Debilitating Autumn
Brutal Truth – Need To Control
The Chasm – Procreation of the Inner Temple
Oppressor – Solstice Of Oppression
Uncanny – Splenium For Nyktophobia
Cenotaph (Mex) – Riding Our Black Oceans
Abramelin – Transgression From Acheron
Hetsheads – We Hail The Possessed
Infester – To The Depths… In Degradation

’95:

The Chasm – From The Lost Years…
Sepsism – Severe Carnal Butchery
Suffocation – Pierced From Within
Agony – Apocalyptic Dawning
Solstice – Pray
Vital Remains – Into Cold Darkness
Adramelech – The Fall
Incantation – Upon The Throne Of Apocalypse

I wouldn’t say all of these are worth getting, but most of them are, and it’s fun to track the development of the genre.

No Comments

On The Ending Of American Psycho (2000)

The classic film portrayal of Bret Easton Ellis’s viciously dark novel American psycho has an incredibly open-ended ending that ultimately leaves the film’s conclusion up to the viewers. Chronicling the growing insanity of Christian Bale’s outstanding Patrick Bateman character, the film never makes a firm establishment of how real any of what we were seeing actually was. After eluding what seemed like certain doom in the form of confessing a massive killing spree to his lawyer, Bateman himself wonders if his murders really did happen.

This leaves the opportunity to make a case for three different theories:

  1. Bateman committed none of the murders, all of them happened inside of his mind.
  2. Bateman committed some of the murders, but hallucinated the others.
  3. Bateman committed all of the murders.

My belief was always the least popular of these three theories, but before I elaborate let’s take a moment to examine the other two.

(more…)

11 Comments

Tags: , , , , ,