Algerian death metal band Lelahell are currently recording their second album, Alif, after a successful crowdfunding campaign. Alif will feature the drumming of Hannes Grossmann from Blotted Science, Necrophagist, Hate Eternal, and Obscura.
Article (obviously) by David Rosales
Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
- Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
- Deep Purple – Stormbringer
- Rush – Rush
- King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
- Judas Priest – Sin After Sin
- Motörhead – Motörhead
- Iron Maiden – Iron Maiden
- Black Sabbath – Heaven and Hell
- Angel Witch – Angel Witch
- Cirith Ungol – Cirith Ungol
- Metallica – Kill ‘Em All
- Slayer – Show No Mercy
- Iron Maiden – Piece of Mind
- Mercyful Fate – Melissa
- Manilla Road – Crystal Logic
- Manowar – Into Glory Ride
- Slayer – Reign in Blood
- Metallica – Master of Puppets
- Kreator – Pleasure to Kill
- Morbid Angel – Abominations of Desolation
- Sepultura – Morbid Visions
- Fates Warning – Awaken the Guardian
- Candlemass – Epicus Doomicus Metallicus
- Sepultura – Beneath the Remains
- Morbid Angel – Altars of Madness
- Bolt Thrower – Realm of Chaos
- Voivod – Nothingface
- Helstar – Nosferatu
- Powermad – Absolute Power
- Rigor Mortis – Freaks
- Pestilence – Consuming Impulse
- Burzum – Burzum
- At the Gates – The Red in the Sky is Ours
- Demigod – Slumber of Sullen Eyes
- Morpheus Descends – Ritual of Infinity
- Therion – Beyond Sanctorum
- Sinister – Cross the Styx
- Amorphis – The Karelian Isthmus
- Deicide – Legion
- Incantation – Onward to Golgotha
- Atrocity – Longing for Death
- Autopsy – Mental Funeral
- Cadaver – …In Pains
- Asphyx – Last One on Earth
- Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
- Darkthrone – A Blaze in the Northern Sky
- Emperor – Wrath of the Tyrant
- Graveland – In the Glare of Burning Churches
- Immortal – Diabolical Full Moon Mysticism
- Sacramentum – Finis Malorum
- Skepticism – Stormcrowfleet
- Suffocation – Pierced from Within
- Vader – De Profundis
- Gorgoroth – The Antichrist
- Graveland – Thousand Swords
- Summoning – Minas Morgul
- Deicide – Once Upon the Cross
- Sacramentum – Far Away from the Sun
- Immortal – Battles in the North
- Abigor – Nachthymmen (From the Twilight Kingdom)
- Funeral – Tragedies
- Dissection – Storm of the Light’s Bane
- Iced Earth – Burnt Offerings
- Gorguts – Obscura
- Vader – Black to the Blind
Incantation – Diabolical Conquest
- Dawn – Slaughtersun
- Sorcier des Glaces – Snowland
- Angelcorpse – Exterminate
- Blind Guardian – Nightfall in Middle-Earth
- Symphony X – Twilight of the Gods
- Rhapsody – Symphony of Enchanted Lands
- Suffocation – Despise the Sun
- Absurd – Asgardsrei
- Soulburn – Feeding on Angels
- Arghoslent – Galloping Through the Battle Ruins
- Master – Faith is in Season
- Skepticism – Lead and Aether
- Gorguts – From Wisdom to Hate
- Absu – Tara
- Martyr – Extracting the Core
- Lost Horizon – Awakening the World
- Deeds of Flesh – Mark of the Legion
- Averse Sefira – Battle’s Clarion
- Graveland – Raise Your Sword!
- Krieg – The Black Plague
- Avzhia – The Key of Throne
- Quo Vadis – Defiant Imagination
- Blotted Science – The Machinations of Dementia
- Avzhia – In My Domains
- Krieg – The Isolationist
- Burzum – Belus
- Divine Eve – Vengeful and Obstinate
- Atlantean Kodex – The Golden Bough
- Graveland – Cold Winter Blades
- Profanatica – Disgusting Blasphemies Against God
- Autopsy – The Tomb Within
- Overkill – Iron Bound
- Decrepitaph – Beyond the Cursed Tombs
- Black Sabbath – 13
- Condor – Nadia
- Graveland – Thunderbolts of the Gods
- Satan – Life Sentence
- Argus – Beyond the Martyrs
- Autopsy – Headless Ritual
- Profanatica – Thy Kingdom Cum
- Imprecation – Satanae Tenebris Infinita
- Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
It is a seldom-known fact that you get more of what you allow to exist. In a musical community, this means that whatever albums sell enough to attract some audience will produce imitators.
When a community is thriving, this means that good albums replace bad. When a community is dying, it means that labels pump out thousands of near-duplicates in an effort to reap profit.
The community that proves intolerant of the bad is a good step, but the community must act in the corresponding opposite, which is to celebrate the good. To hold up all that is excellent means that more of it will come, because it is rewarded.
As we pass through the 20th anniversary of the demise of death metal and black metal, which perished in a flood of imitators who pushed the quality material to the periphery, it behooves us to celebrate the excellent and use it to push aside the rest.
What follows is a partial summary of the highlights of the last five years. These are albums that should be played loudly, given to metalheads at Christmas, forced onto MP3 playlists and constantly affirmed as excellent. This is the only path to better metal.
Blaspherian – Infernal Warriors of Death
Underground metal began with Slayer, which mixed hardcore punk and heavy metal to make a new sound, inspiring in the next generation bands like Bathory, Hellhammer and Sodom who made a darker and more detuned sound. By the time the genre flowered in the late 1980s many bands integrated the Hellhammer style of bass-heavy thunderous material alongside the faster Slayer style of tremolo phrasal riffs. Picking up from that era, Blaspherian combines the thunder of Deicide and Immolation with the simplicity of early doom-death, creating songs that simultaneously use primitive parts and arrange them into more than the sum of those parts. A morbid and violent atmosphere emanates from this music as it rolls through a few basic riffs per song, setting up a Possessed-style verse chorus but then like Incantation and other old school acts, expanding on that context to create a ritual atmosphere. This mysticism of thunder and subterranean blackness pervades the resulting metallic onslaught which favors the dark, antisocial and evil side of metal. What defined the underground was this stepping away from the modes of seeing that most people use to look at society, and to instead associate itself with the bestial forces of nature and occultism that array against any form of order that has no goal but itself.
Beherit – Engram
When Beherit makes an album, the result will not only open full throttle on the ears of its listeners, but also change how we think of black metal. Its violent and simplistic early days took the deliberate primitivism of Blasphemy and Sarcofago and made from it violent amalgamation of dark moods and the unleashed human id which wants nothing more than to crush this overgrown, spoiled, decadent and indulgent world of directionless people and purposeless activity. With Drawing Down the Moon, Beherit created a standard that few bands could exceed, which was an album both inventive in its use of occult symbolism and distinct for its memorable, infectious and yet dread-intensifying riffs. After years and permutations later, Beherit returned to the fray with an album that aimed to expand the relationship between black metal and ambient music and operate as an album, moving us from one frame of mind to another through immersion in fragments of idea that add up to a whole picture. This is no trivial task! Engram begins in tribute to Venom and Bathory and ends in an entirely different style where hermetic atmospheres mingle with riffs that seem to use ancient numerology to achieve the balance between ear-addictingly hook-laden and a dark mood like atavism which creates a feral disconnection from the failed mentality of this world and transports us to another. The violence seems subdued at first but emerges in the mindset this album creates. It literally reprograms the mind, much like the thought objects that its title references. Better than most of its critics realized, Engram showed black metal a new way but that set the bar too high for most of the hack ‘n slash three riff crowd. It remains a testament to what this style can achieve even two decades from its foundation.
Sammath – Godless Arrogance
Sammath always made quality black metal that favored the duality of the original work: primitive/barbaric and yet elegant/beautiful. Shocking as it is, black metal appears designed after the dictatorships of Stalin and Hitler, which favored fancy uniforms and grand ceremony as they bombed, murdered, and subjugated their way across the world. If you can imagine a beautiful warplane with graceful curves and an inner beauty, and then visualize it destroying 10,000 enemies without mercy or even a pause for a snack, that is the sound of the new Sammath. It combines the elegant melodies and song structure of the band’s first album with the battering ram war machine approach of their middle works, resulting in an album that has the melodic elegance of early Immortal but the attack speed of Morbid Angel. Not only that, but this album shows across the board upgrades in songwriting for this Dutch band, with no extraneous material and tightly integrated arrangements.
Graveland – Thunderbolts of the Gods
Later Graveland inhabits the difficult zone between black metal, the Conan soundtrack and ambient neofolk. These albums are harder to distinguish at first listen because songs are based on the interaction and harmonization between different melodies instead of the emergence of a single guitar line melody which then defines the song. Starting with Memory and Destiny, Graveland morphed into its own genre with more in common with Summoning and Empyrium than conventional black metal. As a result, few know how to understand these albums, but it appears the best approach is to listen to them as albums and to fully intend to lose yourself in the sonic environment they create. Most descriptions of Thunderbolts of the Gods will combine “lush” with descriptions of martial power and motivation because true to its name, this is an album not just about war, but the reasons for war that mix sociology and theology in a potent brew that stimulates emotions deep within your average red-blooded metalhead. Like the earliest of Graveland releases, these describe lonely Celtic nights in the frozen Pagan mountains while waging warfare against unnamed unending enemies (like a buffet gone wrong). Not only does Graveland possess the same epic vision as before, but now the band has added epic instrumentation including layers of keyboards, synth instruments, strings and a guitar line that now organizes the other melodies instead of trying to dominate all alone. The result is like being lost in a book more than tapping your foot along to a record.
Profanatica – Profanatitas de Domonatia
Many are turned off by the somewhat amateurish album title but they should stick around for the music, which combines the best complex long-phrase tremolo riffing in the Incantation school with the acerbic and vigorously rhythmic black metal for which Havohej/Profanatica are famous. Before you can say “I vomit on God’s child!” (and you should say this daily) the album tears into its circuitous riffs that give relatively straightforward compositions an air of esoteric bafflement in addition to enjoyment of a good tune with forward momentum and acrobatic guitar work. While this album is not as raw and purely rhythmic as earlier Profanatica, it makes up for that by creating instead an air of mystery and paranoia, like walking into the court of a Satanic adversary and being told to justify oneself. Vocals retain their traditional rasp and as usual, Paul Ledney’s drum playing adds a richness of rhythm that most bands do not have. The result is pure enjoyment of the musical aspects of this band with the constant blasphemy as a garnish. Its inventive riffing and foray into death metal territory adds a depth to black metal that corresponds to the raw aggression this band has always used as the charge behind its warhead of apostatic occultism, and in this album the entirety comes together for a complex series of moods within a similar idea. If anything, this improves on older works which could be too straightforward for repeated listening, where Profanatitas de Domonatia holds up as a musical companion.
Demoncy – Enthroned is the Night
Always an outlier, Demoncy saw its greatest career height when it produced a death metal record with black metal atmosphere in Joined in Darkness. Not content to revisit past victories, Demoncy launch in a melodic direction and mix death metal and black metal influences into a smooth voice by always retaining the black metal atmosphere and refusing to get into the more abrupt stop/start mentality of death metal which loves contrast. Black metal is after all about emergence of ideas instead of discovering them at the end of labyrinth, and so Demoncy creates an album where riffs establish atmosphere and song structure provides gathering mood, creating a momentum of dark emotion which eventually dominates the entire experience. Unlike most black metal bands, Demoncy prefers to create atmosphere through steady application of layers and then selective removal, which avoids the charge into the abyss sensation but instead creates a sense of slowly sinking into the depths of human emotion. Riffs and ideas on this album borrow from the classic years of death metal, specifically the first two albums from Unleashed, but add to it the sense of an arch-predator on vigilant patrol above a wasteland of miserable, helpless souls that Joined in Darkness made so effective. Instead Demoncy lets these riffs ring out and then join simultaneously simpler and more cryptic song structures to create a sense of delight in the possibilities of darkness.
Divine Eve – Vengeful and Obstinate
Divine Eve combine death metal with the newer veins of doom metal, mixing in classic heavy metal and punk to give the genre more of a listenable approach and higher energy. What results is a command to battle that suffuses with the dread and morbidity of doom metal but joins it to a violent but almost boyish delight in the possibilities of music and life itself. As a result despite its doom inclinations and death metal styling, this album more resembles the adventurous explorations of a world falling apart that bands like The Doors embarked upon a generation ago. Guitar work prefers the boxy charging approach of punk bands or minimal acts like Cianide and Motorhead, giving these songs a bounding energy even when they slow down and removing the polish that later death metal used to obscure its dark intent. Although this is an EP and so runs shorter than an album, it gives a vision of Divine Eve joining the style and substance of their 1990s EP As the Angels Weep with the material most of the band released as Crimson Relic and some of its recent appearances. Rumor has it that Divine Eve are currently working on new material for release in the near future, which makes it more exciting that this promising release presages onslaughts which may amplify the promise it unveiled.
Blotted Science – The Animation of Entomology
Modern metal makes itself hard to like, both because it is a hybrid and thus a loss of direction, and because it is fundamentally annoying, being based in the late hardcore style of “carnival music” where the goal is to make each riff dramatically contrasting the rest, resulting in a type of randomness that appeals to lost teenagers in a lost land. Blotted Science take that approach to its logical conclusion by removing the vocals and the randomness, and preferring instead to stack together related riffs that initially do not appear to be so, causing songs to flow together like collapsing buildings where many disparate parts suddenly become a single momentum. Most reviewers will focus on technical ability, which is not lacking here, but the real triumph of this band is using adept songwriting to pull together a mess of a genre and make something better out of it. These songs, like those on Gorguts Obscura, embrace the chaos of life and impose order on it in unconventional ways, much like objects seen through a microscope do not resemble the physical whole seen without magnification. These songs speak to a delight in the power of music itself and the imagination to twist and obscure a message only to bring it out with greater impact after a roller coaster of riffing distorts reality and deranges the senses.
Continuing our series of metalcore bands, a brief look at Standard Whore shows us an exceptional version of the modern metal style combined with a guitar rock outlook.
From the mastermind guitarist and drummer of Demilich, this style in post-Gorguts Obscura era metal hybrids uses the post-hardcore tendency to string together surprising and alarming riff combinations with a stoner rock or guitar rock tendency to stitch it all into a big jam session. One thing’s for sure: if you’re looking for metal, look elsewhere.
The same quirky riffing that made Demilich distinct is here but with more groove, less complexity, and its weirdness has been redirected to a sense of catch and hooky sounds. The result is really easy to listen to, and joins other mostly-instrumental projects like Blotted Science in trying to forge a new late model of the old influences.
Boman’s guitar is the organization voice here and gives to this style a new dimension into which it could expand, which is to remove the pretense of deconstruction and allow a jam to bleed itself together out of these spacy riffs and tortuous tempi.
Somehow I missed this back in 2010, but it’s good to give it some air and light now. These songs are from a live rehearsal session featuring material written 2008-2010.
I’ve just completed reading the 2011 “best of” lists from a number of popular websites. The results are predictably dismal. Are these people incompetent or just deaf?
These lists tend to favor the nu-style of metal, which is to say a mixture of indie rock, post hardcore, shoegaze, emo, alternative rock and popular metal influences.
This new style is especially noisome when disguised as “underground metal” (Krallice) or letting its alt-rock roots hang out (Boris). Since this stuff is not metal at all, but rather a sad old product dressed up like some “new” version of metal, it appeals exclusively to over-educated idiots, and so these pathetic reviewers throw in some “old school” metal, but they invariably pick the one-note derivative ripoffs that ape the past but never come close to its attention span or clarity.
To save you from the fools and their delusion vision of music, we present this year’s list of especially violent music because the metal audience of today needs to experience metal of actual integrity and power, not pretenders of either commercial or faux underground types.
Esoteric – Paragon of Dissonance
Minor key dirge pace lamentation defines this funeral doom album on which Esoteric discover a new exhaustion that enables them to winnow their approach. At the cadence of a nocturnal mausoleum tour, the band alternate between spacious chord progressions with internal harmony, and grinding chromatic intervals. Chords collide and abrade one another slowly, letting distortion hang over the listener like curtains of lead, and then a second guitar fills the space with gentle sweeps to bring in a sense of melody. Semi-circular song structures take frequent detours, providing the most listenable and organized album from this band.
Gridlink – Orphan
Napalm Death deconstructed music by transcending scale, key, tempo and even intelligibility. What cultural purists of the 1950s said about rock ‘n’ roll came true in Scum, but with Brutal Truth grindcore shifted from deconstruction to a postmodern imitation of information overload. Gridlink picks up this mantle by throwing many different influences together into a high-speed stream of sound that mocks modern life by flinging at us an extensive lexicon of riffery in minute-long songs that never relent from their sprint. The ensuing rush holds together because these diverse riffs are variations on a not-immediately-visible common thread, delivering a cryptic but satisfying listening experience.
Death Strike – Fuckin’ Death
For the past 40 years musicians have sought the elusive metal/punk hybrid, but few have come close to the power of Paul Speckmann’s series of bands (Master, Death Strike and Abomination). Merging angry hardcore with streetwise heavy metal, these bands created simple songs with energetic riffs that avoided the rock cliches for the day to become a form of resistance music directed at modern society. This re-issue shows the songwriter at his best. Like punk, these songs construct themselves around simple riffs of a constant rhythm, but like metal the riffs fit together to drive tempo and structural changes. The result is plain-spoken but infectious and captures the spirit of metal in an instant of screaming anger.
Cianide – Gods of Death
Having contributed fundamentals of the doom-death genre, Cianide return with a late career album that shows them casting aside expectations to make the metal they enjoy, which is a cross between Hellhammer and Motorhead that thunders through the skull like an avalanche. They keep their riffs bold and simple so the resonating repetition can change over the course of each song as transitions change the nature of each song. Unlike most old school revivals, this album comprises changing moods that are startingly “mature” in that they are not polarized anger but moral ambiguity and relish for the morbid and aggressive. By escaping the self-conscious nature of most retroactive metal, Cianide land a slab of explosive power.
Deceased – Surreal Overdose
People want speed metal back and Deceased have listened. They replaced death vocals with a hoarse shout and upped the pace but otherwise this album comes straight from the days of Metallica and Rigor Mortis. Riffcraft shows familiarity with forty years of metal but for every couple of driving riffs, Deceased have thrown in something sweet like the candied fruit in a fruitcake: melodic interludes, doomy detours and passages of mixed emotion wrought in adroit lead guitar. If they want to take it to the next level, they can slow it down like Doomstone and make better use of dynamics, but as it is, this album is both more musical and more powerful than most of contemporary metal.
Heresiarch – Hammer of Intransigence
If you crossed an old school death metal band like Morpheus Descends with an energetic blasting terror like Angelcorpse, you might have something like Heresiarch. Chromatic riffs hammer you while war metal drumming races to keep up. Each song stays focused on a throbbingly catchy rhythm which it counterpoints with oppositional textures. Like a constant counterattack, this album is as primitive and amusical as possible, verging on the relativity that defined free jazz and noise. Rhythmic hooks and a pounding intensity make this EP a compelling effort from a newer band.
Morbus 666 – Mortuus Cultus
Going back to the roots of black metal, this album attempts to unify the melodic sound with the feral atavism of rhythmic violence that defined the birth of the genre. Showing familiarity with the wide range of melodic black metal riffs from the past, Morbus 666 nevertheless veer away from the noodly “Iron Maiden” style riffs for the kind of austere rigid blasting that early Gorgoroth and Impaled Nazarene made fly. Vocals vary from rasps, to shouts and Attila Csihar-inspired operatic singing with possible inspirations from Benedictine chants. Nothing too complex occurs here but it organizes itself around a singular intent, giving it a power most music lacks.
Nunslaughter – Demoslaughter
This two-disc retrospective reviews the career of this immensely prolific and influential band. This is primitive, rhythmic music that barely touches on concepts of key or harmony. Nonetheless, it uses vocal rhythm and riff to create strong themes that are distinct between each of the many songs from this band. If you like shades of grey in your riffcraft and emotions in the range of terror and despair, this highly creative band offer what are like horror movie soundtracks distilled to the barest of elements and infused with a rage for order that no human civilization can tame.
Ungod – Cloaked in Eternal Darkness
Back in the 1990s Ungod crafted primitive black metal from elementary guitar riffs and catchy choruses. Twenty years later and they return to do exactly the same thing. While guitar playing has improved, using more awareness of harmony and some influences from other metal subgenres, the basics remain unchanged. These songs are like the whispers of a devil who knows the simple self-referential phrases will stay in your mind and corrupt it. Songs emerge from a basic verse-chorus idea to mutate and discover new territory before returning to form, packing a lot of complexity into what seems like a basic form. The result is compelling.
Apocalypse Command – Damnation Scythes of Invincible Abomination
The approach of this high-energy outfit may be familiar to Angelcorpse fans since with songwriter Gene Palublicki is a founding member. If you combined early Bathory and early Slayer, you might have this constant stream of fluid riffs strummed at humingbird pace over drums which clatter to catch up. Songs charge through several interludes on top of the a circular structure of paired riffs, creating a discourse that is overwhelming by sheer energy and singular purpose. If you found yourself wishing that Fallen Christ would make a new album, and stretch out those hard-hitting riffs into pure ripping rhythm textures, then this will appeal.
Blotted Science – The Animation of Entomology
Despite the recent influence of faux progressive and technical death metal in the form of warmed over post-hardcore, Blotted Science start with later King Crimson-styled musically literate rock and add to it the ability to weave seeminly unrelated riffs into a narrative that made death metal great. Like Jarzombek’s other projects, Blotted Science use counterpoint and diatonic melodies to create a broad spectrum of emotions that transition through the course of each song. Aesthetically, the band eschew vocals and like to have a “kitchen sink” approach, but underlying that seeming chaos is strong technique. As they do not forget the metal soul in doing so, this band remains a favorite for those who seek additional dimensions of musicality in their metal.
Bahimiron – Rebel Hymns of Left-Handed Terror
After starting out as a band attempting to make black metal both feral and melodic in the style of Gorgoroth or Zyklon-B, Bahimiron detoured through a series of new sounds — swamp metal, raw and fast war metal, and chaotic rising of the Id — before finding their voice again with this most recent album. These songs are composed of only a few riffs, some variations of each other, but each has a topic idea that it expresses fully, giving this album a pleasant sense of being whole. Despite having a rushed second half that holds together less palpably, this album possesses songs that have a sense of being about something, even if an undefinable emotion. The result combines technique from the different eras of this band into a hard-hitting, ripping package.
Vallenfyre – A Fragile King
Using songwriting techniques from melodic doom metal, this band up the tempo and make a Swedish-style old school death metal band. Crude-hewn riffs are boxy and sparse but capture the death metal style of phrasal composition with a tantalizing melody buried within and emerging through hints, creating powerful mood pieces. While the riff tropes are simpler and fewer riffs are used than in proper death metal, if you view this album as sped-up doom metal it becomes a new experiment in mood music using old school death metal as a tapestry. It is more interesting than the death metal revivals which use nothing but disorganized rhythm riffs, and at times refreshingly beautiful.
Cruciamentum – Engulfed in Desolation
Working in the style of continuous long-phrase old school death metal like early Incantation, this newer band craft riffs of great potential energy and for the most part triumph into making them into onrushing apocalyptic songs. If they want to make it to the next level, they will drop some vestiges of pre-death metal genres — to be supreme in this form of music one must sound inhuman, arch, abstract and disinterested in petty human concerns like foot-tapping rhythms — but at present, the band create a reality distortion field that allows the listener to see past the ruined industrial horizon into the dark forces gathering in the future. Ominous, this release thrives on powerful riffcraft and vocals that sound like occult rage shouted from the depths of a funeral shaft, and portends great things from this UK band.
Rudra – Brahmavidya: Immortal I
Unlike most underground bands, Rudra embrace a highly musical approach as exemplified by their construction of riffs with a melodic basis to their structure yet without the surface element of “melodic” caused by overuse of fast strum and certain repetitive intervals on the higher strings. Over the course of songs, simple riffs develop into themes which then subdivide and evolve in linear progressions within the overall cycle of each song. Vocals are higher-pitched like black metal, but riffing is reminiscent of Demigod as fused with Afflicted’s first album. On the whole, this is an impressive work of music that includes some influences from progressive alternative rock within its death metal but never loses its direction and perhaps as a result makes more interesting music than all the “top ten” lists of commercial sites combined.
Abhor – Ab Luna Lucenti, Ab Noctua Protecti
This Italian band combines the open-string drone of Graveland Following the Voice of Blood with a seemingly horror-influenced, frequently melodic older black metal style. Vocals follow the Graveland model but the band alternates this homage with melodic riffs from other areas of melodic metal. As if forecasting a future for black metal, songs specialize in the transition of moods, suspending the listener in the midst of a dreamlike trance state based on more fluid harmonic motion. While not unique in style, this band makes up for it in spirit.
Primordial – Redemption at the Puritan’s Hand
Working in a hybrid between metal and celtic rock, Primordial craft a sound that is not unlike Iron Maiden using slower and more doom-metal style chord progressions for its choruses. Over this, a man bellows and then curves his straight enunciation into singing. This music is thoughtfully not noodly, and while repetitive, gains intensity from the building of a mood through a trope, and knows when to break the verse-chorus with profoundly musical variation. This is what U2 should have been: an emotional appeal to the common sense of land, heritage and history as expressed through dark songs which allude to rather than reveal their soul, which is a maudlin determination to resurrect the energy of creative destruction in all humans.
Beherit – At the Devil’s Studio 1990
For years, Beherit’s first “album” — a collection of noisy demos pressed onto CD by the label — have been a source of contention. Many love their devil-may-care chaotic burst of raw enthusiasm and dark, Blasphemy- and Sarcofago-inspired morbid rage, but others point to later material by the band and show a discontinuity. However, through their career Beherit have shown a fondness for noise, ambience, ambient noise, and highly structured experiences that like Wagnerian mini-operas walk us through a transition of realizations. At the Devil’s Studio 1990 shows us all of these influences in nascent birth from the noise into a more austere, deliberate and subversive vision of evil. This album gives these songs new life and black metal new dark energy.
Sorcier des Glaces – The Puressence of Primeval Forests
This unabashedly sentimental melodic assault creates a melancholic beauty through its two opposition parts, which are dark minor key wanderings and a counterpart in soaring powerful melodies that expand through variation on theme. The result is like Summoning a transition state from black metal in which the verse-chorus grouping has been replaced by a sense of unravelling or a story being told. While this is more polished than early Norsk black metal, it preserves that intensity with some of the lush melodic development of the Greek and French varieties integrated for a new sensation of possibility.
Obsequiae – Suspended in the Brume of Eos
Fortunately, this release replaces two odious variants of contemporary “black metal.” First is the faux progressive style which insists that a series of fast riffs with offtime picking of notes from “unexpected” chord shapes somehow constitutes interesting music. The second is a tendency to milk any boring three-note melody into “folk music” by playing it without distortion while beating on an ox-skin. Obsequia belt out a Celtic music hybrid not unlike what Celtic revivalists did in the 1970s by combining their music with jazz fusion and progressive rock. The songs sound very similar and by their focus on depth of musicality, often obscure the direction of melodic development or song structure, but are technically adept and offer a better vision of Celtic black metal than most of what has come before.
Amebix – Sonic Mass
In their return after two decades of absence, Amebix create a hybrid of their original crustcore, speed metal and shoegaze. If you can imagine Killing Joke, Prong and My Bloody Valentine in some kind of bizarre collision with UK pop, you will be able to envision the style of this album, which varies quite a bit as it tends to be ad hoc adapted in order to express what each song calls for. The hidden influence seems to be an influence as in early 1980s music on making songs that correspond to a visual idea (for an MTV video), much like the ancient Greeks combined poetry, music and theatre. This album wisely does not try to re-live the past. Instead, it gives us tuneful music that can compete with the best from the slick mega-media bands, and replace their quasi-truths with a more insightful vision of reality.
War Master – Pyramid of the Necropolis
The new style of old school death metal that War Master brings to the table wears its influences on its sleeve, from the expected Bolt Thrower influence to other notables like Obituary and Suffocation. The resulting fusion is a thunder of bassy power chords piled on each other in a series of inventive riffs, with song structure following along as best it can. Like a good puzzle or maze, the passages make sense when they connect but not before, and War Master avoid riff salad by judiciously using repetition of several main themes per song, some conforming to verse-chorus and some more abstruse in nature. Purists will appreciate the low end open-throated growl and the warlike percussion, as well as the range of tempi from doom-death to the more energetic grinding of later death metal. The end result is low-tech but powerful and brings a new language to the ancient art of old school death metal composition.
Blaspherian – Infernal Warriors of Death
Among those who still yearn for the epic power of old school death metal, Blaspherian deliver a satisfying cavernous descent into the dark netherlands of the subconscious. Drawing from older Incantation, Deicide and songwriter Wes Weaver’s previous efforts in Imprecation, Blaspherian sculpt songs out of a few chords twisted into protean riffs like bent wire, stringing it together with a sense of inexorable rhythm. Over this roars an unrelenting guttural growl and the decimating battery of militant percussion. No guitar solos mar the insurgent tunnel of destructive sound, but through its internal consistency it creates and then selectively textures a mood, creating a constantly changing experience that like the winding passages of a subterranean fortress leads through confusion to clarity.
So much of what we do in life is politics. Telling people things they want to hear and making warring parties proffer the olive branch. But metal should not be about politics. Metal should be about pure spirit, both inside of us and in the world at large, meaning that we know ourselves and we know reality. With that kind of background, we don’t need politics. We don’t need drama. We don’t need to be flattered. We want adventure — musical adventure, preferably with tragedy and triumph, violence and vengeance, sodomy and satisfaction! Meet this week’s Sadistic Metal Reviews, where sacred cows get sodomized and we find satisfaction in the diamonds among the cluttering turds.
Fenriz’ Red Planet/Nattefrost – Engangsgrill
We’re going to talk about the first band here, Fenriz’ Red Planet, because Nattefrost is forgettable 1970s punk rock dressed up as early 1980s black metal. This band is a hybrid between doom metal, 1970s heavy guitar jam, and what they call stoner doom now but was recognizable in St. Vitus, Pentagram and Sleep for many years. The production approach and song style is closest to 1970s heavy guitar rock, like Cream or even Led Zeppelin, in that songs are verse/chorus works with a big fat diversion stuck in the middle that may run through a couple of riffs but comes back into key and rhythm so the cycle can spin again. But over half of the riffs are straight out of old school 1980s doom metal, and that would be St. Vitus and Pentagram but also late-blooming NWOBHM with a doom edge like Witchfinder General and Budgie. It’s not exciting; if anything, it sounds like a demo where the band hasn’t yet finalized direction and aesthetic. However, it is good; these songs have character and a spirit to them which you cannot get anywhere else. You can hear a few lifts from Fenriz’ folk/metal project Storm and one or two similar themes to Darkthrone, but this CD doesn’t need to namedrop to stand on its own. They named it “Engangsgrill,” which apparently is a type of disposable barbecue, which fits exactly the kind of sloppy rock/metal hybrid you have here: pickup trucks headed to the country with a keg, a bong and some friends, followed by a weekend of the best neighborhood bands jamming, society gets forgotten until on Monday morning you drive back with a mouth full of ash and the kind of diluted hangover that comes from cheap beer in constant consumption.
Baroness – The Blue Record
Oh neat, an emo/stoner metal hybrid with lots of indie and punk rock touches. If you can imagine Neurosis and Jawbreaker making sweet love with newer Sleep, and throwing in tons of stuff from the heavy metal and indie rock canons, you’ll have a good image of what this cheeseball release has to offer. From the way the labels and the big industry reviewers — who have about five minutes to hear each CD, and put them on in the background while socializing for two weeks, then forget about them — went on about this CD, you’d think it was the second coming of innovation itself. Instead, it’s stale and completely loses what’s good about metal and punk, converging on a mean that’s closer to your run-of-the-mill hipster band. This is awful.
Despised Icon – The Ills of Modern Man
Metalcore is rock songwriting with technical death metal technique, and a desire like punk music to string together radically “different” riffs as if it can surprise us, and since it’s random in structure, built around what’s left: vocal phrases that end on the expectation of the offbeat like a sales pitch. Despised Icon is as a result about 80% the fratboy-pleasing, gurgling, blasting, very simple riffs played in difficult time of technical death metal, like Immolation, and the rest is bouncy moronic rock music that I got into metal to escape. Consequently, it has no attention span and cycles like carnival music between different styles and tempos, then crams it all into a barely-disguised verse/chorus structure. What is the point of typing this all out? To point out how to fail at metal. This is the abyss of music and is every bit as stupid as your parents claim your music is. If you want to fail at life, try listening to this random accumulation of parts — each part is in itself OK, not great, but together they add up to a conversation made by borrowing a phrase from 30 works of literature — and as a result project a scatterbrained, neurotic, pointless and non-constructive view of the world. No wonder people hate metalcore; it’s the nadir of underground music.
Cryptopsy – The Unspoken King
This is what’s left of the band that made None So Vile? The neatly structured, compact death metal has been replaced with blasting metalcore. Metalcore, as you may know, is kind of a garbage plate for underground metal and punk. Based around the interpretation of technical metal into punk structures that Human Remains showed us, metalcore loves randomness in circular song structures, so you get ten minimally-related riffs linked by a breakdown and a few slow chants, and then the whole thing repeats, and then the song ends. It’s music for a fragmented mind and as a result, has the IQ of a headless chicken watching daytime TV. Cryptopsy utterly fails to make coherent music out of this style as their countrymen Neuraxis eventually did, and instead defecate this collection of random riffs based around an egodramatic vocal track. It’s total garbage for morons.
These Are They – “Who Linger”
Imagine Iron Maiden doing a simplified version of 1990s Demigod or Amorphis. This CD is unique in that it successfully applies both (a) the old school death metal style and (b) a heavy metal, harmonized-guitar, bouncy riff style — and does it by coming up with a melodic phrase and answer, and using these to make layers of verse and chorus. Play riff; play notes of riff in variation of rhythm; harmonize guitars and repeat, then cycle. The choruses do the same. Nothing sounds out of place, and the deep guttural voice guides it along, but it seems entirely out of place when the heavy metal riffs and trills come into play. In addition, the riff salad of death metal isn’t here; like rock or indie, this rides one pattern for verse and one for chorus, and much variation is not to be found, which probably places this out of the range of old school death metal fans. Still, these are quality riffs and excellent use of basic harmony, which makes this easy listening and because it is not random, a great improvement on the metalcore-heavy stuff we hear daily. For albums like later Bolt Thrower, which tried to make a heavy metal/death metal hybrid, this is probably the best so far.
Vreid – Milorg
Black metal was about writing unique melodies and building song structures to fit them. Vreid is about mimicking the past with more intensity in each riff, but relying on predictable melodic strips and linear song structures in circular repetition, resulting in songs that are binary like nu-metal: a softer part, then a harder part, then a response to that which softens the hardness, then a restatement at full blast, fade out and win. Most of these riffs come from the 1970s and 1980s generations of metal and get a “black metal” treatment, so end up sounding like rock music in its Sunday black metal evil clothes. The music is driving by a chanting vocal which rides the beat like the shouts of the drummer commanding the slaves to row. Every now and then they launch into an extended melody like a pentatonic version of early ancient, and they have the raw rhythmic power of an early Marduk or Zyklon, but it doesn’t add up to more than most rock music, and considerably less than the formative works of Nordic black metal.
Black Funeral – Az-i-Dahak
Throbbing notes rhythm a rhythm that then reverses, examines a portion of itself in detail, and then picks up in a new direction which dovetails with the old; the throb remains, like symbols etched in the air with a torch caught on the slower memory of film. In this way, Black Funeral achieves an odd ambience similar to that of Impetigo, where a higher note is strummed repetitively at an offset rhythm where most bands would hammer a lower note on the beat, but by the nature of the larger melodic structure of the riff, this throb does not bounce jauntily like a rock rhythm; it hangs, like a reminder of mortality. Vocals are chant-ish black metal rasps and the mechanistic pedaling of the drum machine fits this sound like a glove, getting further inhuman as it distances us from musical expectation and clean aesthetics. Like the humming beeps of an alien machine exploring the night, this album rediscovers humanity by removing it from the picture and showing us the empty space in which we must construct as inevitable death closes in. While most experts agree “Vampyr” is the height of this band — and who am I to disagree? — this perhaps less proficient album is more haunting and bizarre, yet fits it into a pattern similar to our reminiscences of isolated nights when the future angled away from us like the shadow of an unknown doorway.
Decrepit Birth – Diminishing Between Worlds
If the recombinant album name and band name didn’t clue you in, here’s the skinny: this band is totally postmodern, meaning that they fit together all sorts of random influences and then link them together with the basics of rhythm and harmony. As a result, it’s like a fast ride at Disneyland: constant changing stimulus of radical difference so much that after a while you lose any idea of where you are, and end up thinking you’ve come very far, when at the very end as the buggy slows you realize you’ve been circling around the same relatively small space. Unlike most bands of this type, which I’m going to call crypto-metalcore because it’s (a) without death metal’s style of organization, preferring instead the hardcore method of having riffs have as little in common as possible and no narrative (b) of mixed riff styles and (c) depends on rhythmic buildup/breakdown for tension because you’re not going to get it in contrast between riffs, Decrepit Birth is good — it’s like an Iron Maiden album hidden in Deeds of Flesh with Blotted Science and Negativa offering critique. However, I can’t listen to this carnival music; it breaks down concentration and replaces it with elaborate versions of territory trod long ago.
Funebrarum – The Sleep of Morbid Dreams
What happened here? Eight years ago — before old-school “revival” was even a blip on the radar — this band had the apparent potential to give proper life to archaic death metal form. Their first album/demo was a brooding, infectious and grimly cohesive piece of work, enough so to make this sound almost brazenly cheap by comparison. Toss in every imaginable death metal riff style coined between 1989 and 1993, lay them out on a rhythmic smorgasbord and put them through enough mood changes to make a pregnant teenager blush and you’ve come damn close to this; add enough embarassing Bloodbath-sounding material (listen to the opener) to something otherwise “authentic” and you’ll never want to hear “old school” again. – kontinual
Star Fucking Hipsters – Never Rest in Peace
There are some of us who believe that rock and roll music, instead of being a thing deliberately created, is an aggregate of what was left over when we tested everything else against a captive audience. Star Fucking Hipsters prove this by carefully absorbing everything they can into the great sponge of melancholy indie pop. These songs usually start off with fast punk or speed metal (Slayer) riffs, and then pass through a few exciting transitions borrowed from anything industrial, black and reggage or between, but then we get to the core: darkish, self-pitying, somewhat helpless indie pop. True, it’s in pop punk format like The Descendents meets Blink 182 with Jane’s Addiction advising on behalf of the emo CIA, but basically, it’s pop. And when we get to that point we see this album is like a confused and lonely person in the city, covering themselves with newspapers or whatever fashions they can yank out of the wind, hoping no one will ever get a glimpse inside. If that’s its goal, this is supreme art, but more likely it is the emoting of such people hoping we’ll justify their existence for them. As pop, it’s not bad, a little toward the “poignant” side of minor key melodies sliding into major key to give you a sense of hope. But it’s really the same old thing, or the latest incarnation of it in whatever styles have stuck over the past twelve years, and so I can’t imagine why you’d listen to this instead of any of the 100,000 other albums this “good” in the rock style.
Ahab – The Divinity of Oceans
Funeral doom of a style similar to Skepticism if merged with Esoteric, with a tiny bit of Paradise Lost or Sleep in the wings, Ahab is a studied take on the slow and depressive atmospheric music that many people seem to enjoy. Stylistically, it is probably the most advanced of its kind; musically, it is perfectly competent; artistically, it is not particularly compelling. Its melodies have less of a sense of mixed emotions than do those of Skepticism, and its songs develop in predictable cycles within cycles, leaving us with atmosphere by default once all else has been blocked out. Like American rock bands, Ahab also has to throw in that sense of “contrast” where any dominant idea gets a contrarian voice thrown up against it, where bands like Skepticism bear down with enhancement and variation inside their major ideas. Few want to be the voice to stand up and say this, but most doom metal is boring, and not just because it’s slow. Ahab, while better than most, falls under this umbrella.
Jello Biafra and the Guantanamo School of Medicine – The Audacity of Hype
Purists will kill me for this, but this is Biafra’s best work — it’s musical. Where the Dead Kennedys sounded disorganized and messy without really building on that as an aesthetic, he’s slowed down to a pop-punk combo that uses hardcore riffs (Discharge, Exploited) to balance its melodic lead picking (Circle Jerks, The Plugz). That, plus Southern Fried guitar solos and lead guitar noise, forms the underpinning for a more interesting Biafra performance than has ever been heard before. On this CD, Biafra develops his vocal lines both melodically and in timbre, giving the performance of his life with verve and energy. You’ve heard these riff types before, and many of the note progressions are “pop culture” stalwarts that show up in movie soundtracks and commercials, but here Biafra and his band develop each into a song that’s half-rock and half-hardcore, creating a foundation that will introduce a new generation to the sounds of hardcore punk.
Akitsa – La Grande Infamie
Most of us love the idea of black metal: a few totally socially alienated people, armed only with the truth, pick up guitars one weekend and make a simple mind-virus that helps slay all of the vastly powerful illusions that make our modern world miserable. The problem is that this is far from the truth: most of the people who have made great simple black metal were expert players or at least savants who self-schooled themselves in a unique and powerful style, and their work is very deliberate and designed to make us enjoy life as much as convey some idea. But as in all things, each generation picks up where the previous generation appeared to leave off, so the source of the idea is always lost. Akitsa sounds like a cross between The Exploited and early Dark Funeral, with simple melodic riffs offset against sawing basic power chording; the melodic riffs are too candy-sweet and the power chord riffs are too much of a style we can get anywhere. “Silence” appears to be heavily influenced by “Thy Winter Kingdom” from the first Behemoth CD. The rest of the CD is alternating Burzum influences with later model droning melody. It is both not bad and not really compelling enough to want to hear again.
Orthrelm – OV
I wish this album were a joke, but like most modern and postmodern art, it’s an attempt to “demonstrate” an “idea,” and that idea has no correlation to the reality of an artist both entertaining and informing his listeners. Instead, you get a lot of fast chromatic playing over serial drumming with occasional breaks into jazz-style breakdowns that are either sloppy or misinformed about music theory. The result is a dissonant atmosphere after the band lulls you into contentment with repetition. Over time, the basic pattern increases in a period-doubling format, creating a linear expansion on a basic idea that resembles holy books that write about the universe expanding from a breath, except here the expansion leads to nothing but a reflection of itself. When Burzum did this with Det Som Engang Var, it built a mood that gained resurgent power of time; here it is purely deconstructive and fragments the listener’s attention span by forcing it through a narrow slit of musical awareness. People will like this because it’s unique, and talk about how genius it is because no one else “dared to be different” to such a degree, but as a work of meaningful art and a listening experience, it is worthless.
Blood Mortized – Blood Mortized
This band claims “active” status in the early nineties, with zero material to show for it. It may very well be true; current personnel have some of the more run-of-the-mill Stockholm bands to brag about in their ancestry. Excited yet? This falls somewhere between Amon Amarth and Dismember’s Massive Killing Capacity, smothered in the “soft” mimicry of the Sunlight sound that seems so common for these fence-sitting bands. The plod is painful and simple and the song development as bluntly screwball as the song titles, lending an air of crafted irony to the whole presentation lest somebody seriously stack it up against any of its predecessors. One wonders whence this stuff keeps coming — I’m wont to call this the “Swedish mid-life crisis” and leave it at that. – kontinual
Junius – The Martyrdom of a Catastrophist
What is post-rock? For most, it’s slow atmospheric rock beats with emo, punk, indie and noise riffs slowed down to provide texture. On this CD, Junius blend in a modern taste of the ancient with a Dead Can Dance influence. The result is like a river, winding around obstacles to rejoin itself, but only suggesting a topography. This music is comforting and melancholic, but not really exciting. It is pretty, but will find it hard to escape a lukewarm rock underpinning that reigns in its tendencies to escape for the outer limits. A reasonable comparison might be if Danzig decided to do a space rock album: you can appreciate it aesthetically, but sense how the voice isn’t really there, and how as much as these guys want to be ancient, they’re stuck in a modern paradigm.
Virus – The Black Flux
For the last time: if I wanted indie rock, I would have gone to a different part of the record store. Take your Sisters of Mercy gothic vocals, your bad indie rock open chord guitar riffs, and your basic song structures interrupted by dramatic outbursts, and put them there. I don’t want to fall into the old trap of saying “this isn’t metal,” because what I really want to say is that this is indie rock and should be integrated into that genre for the modicum of black metal stylings and ideas it still possesses. Sure, they’re going to call it a “post-rock” influence, but other than a little flexibility of rhythm, what’s going on here is the same stuff emo, indie and shoegaze bands were pumping out in the early 1990s.
Mefisto – The Truth
This CD resembles death metal in no way other than the vocals, which are the kind of reverbed whisper shout that made the first Sepultura EP so memorable. But the music… well, it’s stranded in the 1980s. Throw a lot of Metallica, Kreator, Slayer and Destruction in a blender — like every other band from that era — and you’ll get this mismash of riffs very similar to both the aforementioned bands and a huge heritage of heavy metal. To their credit, this band string them together well rhythmically but otherwise seem entirely random. Before someone convinces you this is a forgotten classic, ask them if classic means “good” or just that it was around in the early 1990s.
Sarke – Vorunah
We all want to love anything with the enigmatic Nocturno Culto on it. In fact, many of us were hoping he would pull off a Nemesis Divina where his skills converted an unexceptional band into a relative masterpiece. Not so on Sarke — his performance is phoned in, mainly because these songs are sparse, undeveloped, and entirely derivative of their influences in a 1989 way. In fact, the whole CD has the vibe of a collection of songs that have been kicked around since they got written in the 1980s, finally put onto vinyl years after the genre has passed them by. You’re familiar with these chord progressions and general rhythms, since many of them come out of punk rock and hard rock, and you’re probably not unacquainted — unless you’ve been under a rock labeled BLACK METAL GO HOME for the last two decades — with Culto’s interpretation of them. It’s all quite vanilla; nothing to really be appalled at here except how little you care about this flat regurgitation of the past.
Drautran – Throne of the Depths
We live in a time of fools. Given no real truths to chew on, they raise themselves on lies, and make competing lies so they can be heard. Then they tell us what metal bands to listen to, and they cannot tell the difference between good music and derivative shit. They will, for example, convince themselves that Drautran is folk metal, when really it’s indie rock songs dressed up in black metal chord forms with a little extra violence. Unlike metal songs, where riffs fit together and make sense, these are rock songs with some metal riffs dropped in between the sing-song verse chorus. They take their riffing inspiration from Enslaved’s Frost but none of the compositional coherence is here. Listen to this if you want to distract yourself, fragment your concentration and dull your possibilities of ever understanding the difference between good music and crap.
Moëvöt – Abgzvoryathre
Every now and then, people who lack direction in life and so pay attention to surface features more than anything else, hoping to use these to justify their emptiness, will try to tell you how good a band is because it’s unique and nuanced. Usually this includes some kind of infantilism, like extreme minimalism or incoherence. This tedious little recording fits the bill. People like it because it’s obscure, kvlt, whatever… the truth is that it’s melodically simplistic, goes nowhere in song development, and showcases no really unique ability except to waste your time. They try to eat up as much tape as possible with intros, chants, and very basic keyboard melodies, but basically there’s nothing here. Maybe that’s the artistic point — emptiness — but then again a blank tape would have been more effective, and pleasant.
Black Vomit – The Faithful Servant
Interesting approach by this Mexican band: take a more technical version of the full speed burst style semi-melodic black metal that Sarcofago made, and intersperse it with flowing keyboard-enhanced choruses in the style of countrymen Xibalba and Avzhia. The result suffers from the radical shift between two very identifiable poles, but the music although very basic develops gently through this style, and as a result is more credible than most of what we get sent here at the Dark Legions Archive Metal Reviews and CD Recycling Center. This is a band worth keeping an eye on.
Archgoat – The Light-Devouring Darkness
I’m convinced that a lot of death and black metal is music designed for children, because not only is it painfully simple and repetitive, but it also uses gentle rhythms of chord change — while playing at top speed. It’s like listening to a fan slowly playing an early Mozart piece. This album is similar. Sounds a lot like Blasphemy meets Impaled Nazarene, with the lower register production and slamming tempo changes of Belial. So as a retrospective of Finnish metal technique it’s great, but for anything else, it’s kind of a droning lullaby. What excuses it is that this CD shows purpose in its songwriting, and captures a mood, but for many of us the droning outweighs its significance.
Cruciamentum – Convocation of Crawling Chaos
During the past two years, underground black metal shifted from emulating the early 1990s — fast melody — to emulating the late 1990s, specifically Demoncy’s “Joined in Darkness.” The Convocation EP does its best to revive that sound, with an injection of Finnish death metal and possibly American doom/death like Incantation, Winter and Infester. Although it keeps its goals limited, which is appropriate for a demo, this release shows promise in songwriting in that (a) every piece works together (b) together they create a vision of some idea, experience or emotion we can recognize from life itself and (c) while a good deal of it covers known death metal archetypes, it does so without borrowing straight from one source and so gives us a sense of exploring these ideas from a new angle. Low rasp voices, downtuned rigid guitars, and drumming that sounds like it’s straight out of drone/hardcore punk fusion gives this CD a sense of growing out of the past toward something even more ancient.