Autopsy “The Headless Ritual” coming this July, Cover art and track list revealed

KONICA MINOLTA DIGITAL CAMERAThis July 2, Autopsy returns with their sixth studio album of horror and gore inspired death metal, The Headless Ritual.

Featuring the returning quartet of Chris Reifert, Eric Cutler, Danny Coralles, and Joe Trevisano, The Headless Ritual explores the all-out sonic assault of and varied tempos that made Autopsy famous as a death metal band with variation. The album was recorded and mixed April 2013 at Fantasy Studios, San Francisco, Calif. with Adam Munoz, and features cover artwork by renowned artist Joe Petagno (Motörhead, Pink Floyd, Led Zeppelin) and will be released on Peaceville Records.

Drummer/vocalist Chris Reifert said, “Expect nothing less than the monstrous brutality that Autopsy has been known to offer. Laurels will not be rested upon, trends will not be followed and mercy will not be shown. Mark your calendars for June and pick out a coffin to lie down and die in. Darkness and death await…”

Autopsy formed in 1987 in the San Francisco Bay Area and released four albums on Peaceville Records, beginning with Severed Survival (1989) and peaking with Mental Funeral (1992), which many acknowledge as their best work. After disbanding in 1995, Autopsy returned in 2010 with the EP The Tomb Within, followed by the release of the band’s fifth studio album Macabre Eternal the following year.

1. Slaughter at Beast House
2. Mangled Far Below
3. She is a Funeral
4. Coffin Crawlers
5. When Hammer Meets Bone
6. Thorns and Ashes
7. Arch Cadaver
8. Flesh Turns to Dust
9. Running From the Goathead
10. The Headless Ritual

For more information, see the official Autopsy website or the mini-site on Peaceville Records.

autopsy-band_photo_2013

6 Comments

Tags: ,

Under a Toltec Moon – Memories on Mexican Metal

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

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

Introduction

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

The Hymn of Tlaloc

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

A desert walk

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

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

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

Nahuatli steel

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

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

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

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

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

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

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

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

Pactum – M.O.D.L.

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

Mortuary – Blackened Images

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

Transmetal – Amanecer en el Mausuleo

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

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

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

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

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

Cenotaph – Riding Our Black Oceans

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

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

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

Sargatanas – The Enlightenment

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

Aztec rites of darkness

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

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

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

Xibalba – Ah Dzam Poop Ek

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

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

Funereal Moon – Beneath the Cursed Light of a Spectral Moon

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

Avzhia – The Key of Throne

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

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

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

Demolish – Remembering the Cabalisticae Laments

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

Argentum – Ad Interitum Funebrarum

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

The Chasm – Conjuration of the Spectral Empire

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

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

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

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

The resurrection of the necrocults

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

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

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

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

Necroccultus – Encircling the Mysterious Necrorevelation

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

Yaotl Mictlan – Guerreros De La Tierra De Los Muertos

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

Infinitum Obscure – Sub Atris Caelis

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

Denial – Catacombs of the Grotesque

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

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

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

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

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

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

– Don Juan Matus

No Comments

Tags:

Sadistic Metal Reviews 7-23-10

Being a music reviewer is like playing a neighborhood game of softball. Most people just toss the ball at you in an underhand heave, figuring you’re probably too incompetent to hit it most of the time. Every now and then one comes in at a crazy angle, either because it’s the one kid who can pitch even if he’s tossing you a giant rubber ball with the aerodynamics of a bison turd, or they let the retarded kids play. Either way, that crazy pitch is one in a hundred, and I live for those. Either it’s the rare CD that has some intent behind it, and some feeling to it as a result, or it’s some immaculately oblivious basement dweller here to amuse us with failure. The rest fail just by being ordinary, unexceptional and therefore, completely forgettable.

Kayo Dot – Coyote: This King Crimson tribute project likes to use diminished melodies, atonality, and chaotic combinations of instruments, but at its heart it is pop music with a simple variation on a common theme — instead of using pairs of riffs, the band assemble their phrases in groups of three so that you can shift between them and feel a sense of motion without unnecessarily complexity intervening. Many songs rely on long passages of “building up” harmonic energy through texture, which are like fun jams that then dissolve into structured song again. Songs vary enough to keep interest but are aesthetically unfulfilling as they aim for an aesthetic of randomness and barely remaining organized, which flattens the emotional dynamic possible because every moment is a cliffhanger. In addition, the vocals are like a really bad version of Sigur Ros and will annoy most people who like aesthetically coherent experiences. The most common mistake in making progressive music is to throw everything but the kitchen sink into the pot and hope it sticks, but the best bands always worked from a very simple plan and then spun layers of detail off of that. The horns dominate and guitars are relegated to rhythm and noise. Individual instrumental performances are excellent however so if you are a basement guitarist hit this like a cuffed protester.

Aggression – Forgotten Skeleton: If you crossed Nuclear Assault with Dissection, and gave it punkish choruses borrowed from Cryptic Slaughter, you’d get Aggression. Lots of classic speed metal riffing that will delight anyone who really loves the period after Metallica but before the Dark Angel/Kreator/Destruction/Sodom influenced morphed into death metal, and linear riffing that’s reminiscent of Powermad. On the whole, it’s somewhat random like Destruction and the chanted choruses over the offbeat kickhappy drums sometimes makes me want to make origami out of an IQ test, but this is a credible effort. I just don’t want to hear it again.

Daughters – Daughters: If you crossed Mindless Self Indulgence and Talking Heads with the Beastie Boys, you might get this whacky indie band that uses drums like an industrial band and keeps a theatrical, almost vaudeville level of hysterical intensity with lots of background noise. The vocalist half-talks half-sings and the guitars follow a song structure of extended versions textured in found sounds and different guitar riffs but essentially like all good dub following the same rhythm. Unfortunately, it’s also abrasively annoying because it is essentially simple with many distracting sounds packed into its core. “Daughters” has a spacious sonic profile and weaves some catchy riffs cloaked in noise throughout it, delighting those who thought post-rock should be weirder than slowed-down shoegaze/emo mashups.

Battalion – Winter Campaign: I keep a clay pigeon launcher next to my reviewing station, and when a disc irritates me beyond all reason, I send it flying out over an oblivious world. This is bounce metal, this Battlion stuff, which means it’s like Exhorder crossed with something jaunty and stupidly hard rock like Motley Crue. Although they use a lot of death metal riffs, the majority of playing time goes to riffs which are straight out of the most cliche days of speed metal: chuggachugga chuggachugga chug chuggachugga chuggachugga chug, chug . It is so obvious you have to hold your head up to avoid slumping into a stupor. Not sleep — who can sleep with all of this noise? — but a stupor as if you had someone present to you a 19-hour lecture on how to pick your nose. Mundane is the word. Throw this out as fast as you can find it.

Grave Miasma – Exalted Emanation: There’s a recent spate of these “simplified Incantation/Demoncy” bands. The only one I like so far is Cruciamentum; they vary just enough to be a solid B level death metal band. Teitanblood and Grave Miasma are so obvious it’s just painful to listen. Grave Miasma in particular seems to draw inspiration from Grave, who would use basic chromatic progressions in the most obvious way in rhythmically very basic ways, such that the boldness of it made you want to like it, as with early Napalm Death. But then you’d reflect on it and realize there wasn’t much there unless you really enjoyed the guitar tone. So it is with Grave Miasma: standard song forms, plodding progressions, little harmonic or melodic development, and not particularly compelling rhythm — unlike Demoncy and Incantation, who used minimalism creatively, this is just minimal. I’d like to love this, or I’d love to like it, but I don’t want to listen to it again.

Zs – New Slaves: Tribal drumbeats with metallic noises for harmony, deconstructed sound and effects, and a wailing saxophone make up this experimental band that uses the dub structure of layered sound. The beat established early in a song almost never changes, although it may cease at strategic moments, as in a primal ritual; within the spaces between beats, additional percussion instruments lend their timbre as an electric guitar and/or saxophone make repetitive oddball sounds with minor textural variations, giving the sensation of the album slowly surrounding you like chocolate icing. While most will not have the stomach for the abrasive wall-of-noise technique, the ritual rhythms and ceremonial pacing to each song make it an enigmatic sonic wallpaper for the background, reminiscent of the K.K. Null/Merzbow project “Absolute Null Punkt” if hybridized with The Electric Company.

Diamondsnake – Diamondsnake: This band cracks me up. Well-known ambient dude Moby created it with some of his friends from non-succeeding metal bands. It sounds like middle period Motley Crue done by pop punk brats Blink 182, with lots of extra cheese and sleaze, more with tongue-in-cheek irony than attempting to really provoke a parent or legal guardian. For hard rock listeners, this album is about as clear as anything else in the genre, and has some retro appeal with its very “Quiet Riot 1985 turned up to 11” sensibility. One oddity is that the production is so thin and designed to resemble a pop band, because the reedy hum of guitars cannot compete with today’s louder and thicker sound. However, it captures vocals, which with infectious four-note melodies are what really drive this band, since the riffs are if not generic at least cut from historical archetypes. Like most popular music, it’s children’s songs — really basic 3-4 note patterns repeated as “melodies” — but it’s catchy, fun, and not half as bad as most of the trve kvlt releases we get here.

Catapult the Smoke – Unearthed: Stoner metal is about half Black Sabbath, with the other half being filled by the rock heritage that comes into metal through bands like Cream, Led Zeppelin and Iron Butterfly. This CD contains competent stoner metal with unsteady wailing for vocals, but its essence is rock ‘n’ roll wrapped up in a bunch of metal riffs. In fact, it could well be a case of regression to the mean; this band is not substantially musically different from the Night Ranger clones of the 1980s, but they used lower tuning and have a greater vocabulary of metal riffs, namely Candlemass and Cathedral. Song structures are very much radio rock and these songs suffer greatly because there’s no emotional dynamism in them, where we feel a sudden change in difficult emotions that has the effect of stepping onto a three-story water slide and riding out of control. Instead, these songs claim a space and fill it, but there’s not much internal change or feeling of any emotional conflict, so they end up being more like leaving a fan on at night for comforting white noise.

Vuohivasara – The Sigil: Sounds a lot like Niden Div 187, namely fast melodic violence with lots of chromatic fills and a basic riff/chorus construction. Not bad, not as good as Mythos.

Trauma – Daimonion: Metalcore-influenced modern death metal, reminds me of a cross between Pestilence and Eisenvater, but it does the thing every bad metal band does which is repeat a basic rhythm through everything. Vocals/guitars synch and chant. Riffs are very similar too.

Master – Slaves to Society: Paul Speckmann is a genius of metal who sometimes leaves things half-finished as he does with this album. Riffs are similar, and guitar wankery fills in the gaps. In addition, his chorus-chant heavy metal just makes for repetition. There are some awesome moments but it’s not Master’s best.

Beherit – Unholy Blessings: Compilation of demos. The early demos sound like the first album, the second album demos sound like the second album played hastily, and the live set is chaotic and brilliant but not really something you need recorded. Blasphemy cover is a nice touch. I love this band but don’t see the point to this bootleg.

Skeletonbreath – Eagle’s Nest, Devil’s Cave: I like this because it reminds me of what Carbonized attempted to do on their second and third albums, which is leave rock music and jazz behind by giving songs a pattern of development more like that of a movie soundtrack. Using drums, adroit bass, and a violin, Skeletonbreath create carnival-esque longer songs that resemble soundtracks for the greatest movies you’ve never seen. These songs have clear theme and develop through a series of melodies that comment on one another, creating a real sense of atmosphere and through change, emotion. One of the more interesting CDs I’ve heard recently and musically, head and shoulders above the rest.

Xasthur – Demo 2005: Xasthur is easy to like, at first listen, because it’s actually musical in the formation of its riffs and use of vocals. The problem with Xasthur is that songs don’t go anywhere; this is the same problem every “Burzum-influenced” band has, which is that it’s much harder to string together riffs into an atmosphere than maintain it with one riff and a few breaks. This demo represents the furthest evolution of Xasthur in that songs vary between several moods, like how in your average house, you end up in one of three rooms most of the time. It’s very pretty but doesn’t stand up to repeated listenings.

Wiht – Wiht: First track sounds like a cross between Capricornus and Celtic Folk; it’s very bouncy and very intense on repetition with layers of simple technique on it. Sounds a lot like early Abigor mixed with Samain and early Hades. Not bad, but needs more direction.

The Austerity Program – Backsliders and Apostates Will Burn: Melodic punk music interrupted by extended periods of bass/drums while some dude sings a faux Jim Morrison/David Bowie melodic ramble which is not so much directed as responding to itself. The chaotic result is really abrasive for the most part but has its moments of beauty. I’d like to like this CD but it forgets about the listener and has made a theoretical object instead. Most people will as a result find it annoying.

Antediluvian – Under Wing of Asael: This is like a death metal version of war metal. Take some of those two-chord rhythm riffs that Blasphemy made big, add a musically unrelated fill, and make it a song… then repeat. It’s not bad, it’s not great, it’s on the low side of good but too repetitive to listen to again.

Pyramids with Nadja – Pyramids with Nadja: Often when reviewing failed black metal projects, my thought is that the musicians involved are simply in the wrong genre. Our personalities determine our ideologies, and from that what we find good and what we find bad, and if those don’t match up with the genre, we’re out of place. Nadja the shoegaze emo black metal band is insipid crap; here, however, with personnel from Pyramids as well, the Nadja people are in their element and a great album results. This most reminds me of Mick Harris’ Lull fused with post-Godflesh project Final, if supervised by My Bloody Valentine, because it is layers of organic sound like distorted guitar usually not even playing notes so much as skimming strings and using vibrato directly; they use bass as percussion much like Final does, and layer their distorted waves like My Bloody Valentine, but the sense of songs arising out of silence through chaos into pleasing drones is pure lull. Piano serves here as a guiding voice that brings the surging noise back onto something resembling a melody; voices can be heard, like a Greek chorus in distant space represented by reverb, filtering through. The result is pure texture like noise music, but it’s a texture that takes harmonically related notes and builds from them a fullness that is gentle and intricate enough to hold the attention. This is where these musicians belong; burn your Nadja CDs, because they are nothing in comparison to this.

Aosoth – Ashes of Angels: This is very similar to Anael, in that they use a couple of additional power chord shapes to fake a sonic tapestry. Dissonant chord, consonant chord. Always a binary, like a nu-metal band: here is soft and sensitive, and now it collides with rough and tumble. This technique is as old as 1987, which is when I first heard it and these chord voicings used by emo bands. This release doesn’t understand the spirit of old school death metal, or how it’s composed, and the result is a boring, lukewarm, soulless and repetitive listen.

Cleric – Regressions: Metalcore mixes hardcore, emo and metal into music with the compositional style, pacing and chord shapes of hardcore, but often throws in metal riffs, textures and vocals. The result is like a bag of kittens, each one scrambling to be nearer to the top, and the result is pure chaos. Cleric throw in some droning guitar feedback that’s quite pretty, some odd pauses and lots of prolonged open chord strumming, but musically this is no different from 100,000 other bands since 1987.

Apostasy – Sunset of the End: This album inherits the worst of speed metal, which is lots of strumming in the background while drums race to keep up and some dude “white guy raps” over the top. They’re good at their instruments, and know that intersection of riffing between Artillery and Destruction that is so fertile, but it doesn’t hold together. My head hurts.

Blut Aus Nord – Memoria Vetusta II Dialogue with the Stars: When an album like this comes out, Mossad should be dispatched to the homes of the perpetrators to find the “Black Metal Paint by Numbers” kit they used to make this. Even the worst band made by 15-year-olds is preferable because in its randomness, it is not predictable. This is entirely linear and pulls every trick to sound black metally. There is no direction; it’s a school assignment, “write a black metal album.” And it takes forever to end.

Angel Eyes – Midwestern: Alternating between droning higher-end sound that resembles a siren Doppler test through a smoky sky, and a very basic hybrid between sludge metal (Eyehategod) and stoner doom (Sleep), Angel Eyes create a post-rock opus that almost escapes its roots in indie, emo and modern hardcore. Songs unfold like a rambling house with rooms of different sizes built onto one another in a gradual process of accretion. There’s a room for spacy electronics and heavily reverbed guitar throbbing across a mostly empty sonic platform, and there’s a room for metalcore riffing with about 50% more indie rock taming it from incoherent raging into sensible sound. There’s even the room — shows up frequently, like a storage room linking two wings — for a lack of distortion while simple sweeps echo radiant through the ears. Much of this material succumbs to the linearity of non-linearity, where it both tries to be out there and because it needs to be listenable, shapes its deviance around a very simple core. However, many songs develop in interesting and poetic ways. The weak spot in this band are the predictable elements it inherited: the metalcore riffs are predictable and don’t add much to the song, and the vocals are really pointless. Dropping those would let these guys do what they’re good at, which is designing sound like a playground, with interesting nooks and slides and tunnels and bridges to explore even though you know you’ll end up back at the sandbox eventually. If you want an example of post-rock you can believe in, this would be it.

Cenotaph – Saga Belica: Bands commit suicide after albums like this. The interesting facet is that it’s a cross between later speed metal, like Destruction, with symphonic metal like Emperor or Therion. That means lots of Testament-style riffing that bounces around a chord while vocals rage all over the place, then the verse/chorus slurry runs straight into a pause and keyboard fill, then accompanying guitar/keyboard melodic run. It’s as ludicrous as it sounds, and this album is as directionless as you might imagine. Sad as this was a once-epic band.

Harvey Milk – A small turn of human kindness: This music is really obvious. It’s really stylized, but really obvious. I don’t think anything else matters. If you fall for this, you like listening to first-turn-off-the-main-road variations on metal riffs from the 1970s which, because they’re in a dramatic format full of lots of high school drama student Pauses, are assumed to constitute songs. But songs don’t happen here. Loops of riffs do, and then there’s a bunch of noise and something that sounds like a Walrus on PCP howling, and then the song “peaks” by being super-chaotic then smooths out into normalcy, which is the usual boredom. If you were fooled by Boris and Opeth, you might like this, but otherwise it’s just a treacle of boredom tugging at your heels.

Cerebral Effusion – Impulsive Psychopathic Acts: This is straight off-the-shelf deathgrind of the Y2K+ variety. Breakdowns, pauses, lots of long battery runs with blastbeats. Not incompetently composed but the style is so painfully blockheaded that it’s hard to want to hear.

Dark Half – Reborn: Standard punk music played with metal flavoring, namely a minor key and some metally riffs. For the sense of tempo alone this band should be shot over an open pit, but the completely shrinkwrapped standard black metal riffs dumb this down even further. For bonus points, it’s half speed metal so you get the same hackneyed fifteenth-rate ripoff riffs that have been around for thirty years. Songs go nowhere, but you guessed that by now. If this band were an individual, it would be on the police blotter for stealing empty safes. People waste their lives trying to make themselves like crap like this.

Desexult – Demo II: For your convenience, we have compiled all of the blockhead riffs from the first month’s practice of every metal band ever created. It’s like Hellhammer, but without the insightful incompetence; it’s just sort of part of the ride. I can’t imagine why anyone would keep this around.

Disaffected – Vast: Painfully predictable technical speed metal/death metal. Obviously, these guys listened to a ton of Testimony of the Ancients, but never got their act together to find a style or direction. Lots of speed metal riffs and “wait for it” off-time paused-based riffing, like Pantera on a Dream Theater kick. Plenty of shredding but little going on. Save yourselves before it’s too late.

Disgorge – Consume the Forsaken: Standard totally incomprehensible deathgrind of the Y2K+ variety. Breakdowns, chug-a-lot, blast beats, gurgling vocals and very similar riffs. In fact, this band seems to specialize in the non-riff, or the linear chord progression played with different rhythmic emphasis. It’s a real brain drill, this CD, as you try to remember what you were thinking before the incessant chug-gurgle-blast invaded your mind. What was I saying?

Eradication – The Great Cleaning: Much as I stand behind the idea of killing off the stupid, this band missed at least one, which is this album. Predictable melodic black metal with dramatic pauses and blasts. The result is insipid because it recycles the past without a direction, so you feel surrounded in make-work interpretations of other, better bands.

Ereshkigal – Ten Years of Blasphemy: God is safe from these blasphemers. Really, really safe. This really lukewarm black metal merges the truding mid-paced sound with the goofy, placeless keyboards that Master’s Hammer could use to effect but Ereshkigal manage to use like some bizarre punctuation that intrudes wherever, somewhere, a retard shits himself. It’s not even interesting enough to be random. How did they not fall asleep when writing, or recording this stuff? Oh well just send it to the pressing plant, someone will like it. Anyone… anyone…?

Execration – Syndicate of Lethargy: Guys, you didn’t forget anything. You didn’t leave anything out. This brutal blasting death metal incorporates melody, Gorguts-style odd timings and melodic fills, and New York style harmonics and stop/start riffing. The problem is that it’s disorganized, so you get a ton of unrelated crap that has to streamline into the linear to complete itself. And then it’s boring.

Exmortem – Nihilistic Contentment: For a metal band, it’s easy to confuse “frenetic” with “has content.” This very busy — “chaotic” — thrashing madness has constant clanging bass, battering drums and whirring guitars. What it doesn’t have is any particularly unique or insightful view of the world, or an aesthetic experience that rewards consciousness with an expanded view of life. Instead, it’s like cramming your head into a tiny box and then beating on the sides with your tiny impotent fists.

Fatalist – The Depths of Inhumanity: Oh fucking awesome, it’s just like the early 1990s when the Swedish death metal gods ruled the world. Except that somewhere along the way, Fatalist lost its soul. They’ve aped the sound of the guitars, and play derivative riffs at the same pace, but the songwriting is a mess. Sure, all these riffs are in the same key, but they don’t relate to each other that well and aren’t that interesting. To compensate the guy doing the vocals rants in a really predictable cadence. The result is mind-numbing and lacks all of the interesting song structures, melodies and atmosphere of the original Swedish death metal, or any music more competent than jingles in commercials for cleaning products. If you wanted to know what it’s like to be a retarded child, listen to this extensively.

An Albatross – The An Albatross Family Album: This CD tries to capture the experience of taking bong hits while you flip through a random selection of cable TV channels, with a metal CD going in the background and something really intense on your mind. They patch their songs together from metal, punk and indie riffs broken up with sound samples, keyboards, and radically sonically different interludes and transitions that resemble the intensely emotional conclusions of nature channel documentaries. Much of this music plays with being on the edge of deliberately super-annoying, and so will fail the “do I want to listen to this again?” test, but as an exploration of pushing the limits of style, it raises some interesting issues that someone else could develop in a more coherent and expressive way.

Faust – From Glory to Infinity: Very linear music, embellished with technical metal frills, but this cannot disguise the basic blockhead approach and lack of aesthetic opening that defines this music. Reminiscent of a faster and harder version of later Rotting Christ, this is melodic metal trapped in the middle of absolutely predictable overractive rhythms. It’s a mishmash of speed metal, Meshuggah, and death metal riffing that ends up just wearing you down with its insistence. This band really needs to just step back and figure out what they’re expressing. This is a highly competent mess.

Faustcoven – The Halo of Burning Wings: This is hiking music, meaning that it keeps building on a single two-step throbbing rhythm and hopes you follow along. I’m sure there are tasty granola bars, and maybe topless female hikers at the next rest stop, but this is boring as hell. Trudge, chant sing-song verse, then chorus and dick around with some riffs before you end the song. I’m trapped in that two-dimensional mirror thing they used to store bad guys in the Superman movies. LET ME OUT

Child Abuse – Cut and Run: The postmodern music of the late 1990s onward has confused cause and effect. When music is unique, the cause is a unique view of life and a burning desire to express it (put it into symbols and sound). When music is not unique, you cannot make it unique by dressing it up in everything “different” without making a mess that’s both chaotic and annoying. Child Abuse sounds like what would happen if a nu-metal band decided to make grindcore with math-metal and metalcore influences. Lots of odd noises, weirdly bent guitar riffs, and then standard grind/punk riffing while vocals shriek and feedback imitates the stall warnings of a 747. This really is not a path to success.

Faustrecht – Demoniak: Now that every metal band has an intro, let’s be sure to include one. Make it especially wandering and pointless. Then speaking of wandering and pointless, let’s put together high-speed Venom-style riffs and Donald Duck quack over the top. Even better, let’s keep it as verse/chorus as possible. Minimalism is like being closer to Satan. Then a really catchy chorus, but don’t make it too distinctive, or it might offend our advertisers (lobotomy wound care products, no doubt). So it ends up insipid, but that’s convenient, because so is the rest of this disaster of an album. I’m sending it to the Large Hadron Collider people because “Demoniak” is so bad it will make time itself slow down. Hope you’re not feeling your mortality while you waste irreplaceable seconds on this turd.

Fear Factory – Mechanize: Staying true to the title, I think they outsourced this album to a Perl script. It does that annoying white boy rap thing for the verses, and then choruses are the dude howling three syllables over and over again. It’s like the worst parts of Godflesh and NIN, but they added VNV Nation style techno touches. But we’ll be DIFFERENT and throw in some singing to make you know hey, it’s not like the other brick-stupid obvious stuff out there; there’s SINGING! Did we mention the SINGING? Still it’s so driving yet invariant and depthless that it’s good for nothing more than driving your parents, if you’re deaf and so immune to this wreck. I think they clearly designed this for people new to music who don’t mind really obvious and prosaic music so long as they get the message. And with this degree of high volume repetition, there’s no way to miss it.

Fractal Gates – Altered States of Consciousness: This sounds a lot like early Nuclear Assault to me, but with death metal vocals and uptempo. Good melodic hooks, riffs are obvious but not out of place, and there are some pleasant melodic diversions. Very Gothic in its use of melody, like a short bus version of Gehenna or later Rotting Christ. I wouldn’t call it profound, and as a result, wouldn’t listen to it again, but it’s far more “together” than most of the shit in this review pile.

Funeral Moth – Funeral Moth: The good thing about a gimmick is that you don’t have to work on the content of what you do. Let the gimmick sell it. You’re a Japanese doom metal band; what else do you need? Never mind that Winter, Thergothon and Skepticism all did the very slow riffs thing better and they did it by developing those riffs. Just get totally linear. No one is going to be listening anyway, because they’re too busy talking about how you’re a JAPANESE DOOM METAL BAND. Exotic, dude. Pass the PBR, and continue half-listening to this insipid hipster nightmare.

Gammacide – Victims of Science: You wanted some chaotic speed metal? Good, because this is pure chaos. Fast riffs flow into faster riffs and then they get into the staple of 1980s speed metal, the trudging riff that’s basically a lot of fast strumming of a recursive but rather slow progression. Chanty vocals with jaunty rhythms are par for the course too. But there’s a reason this band never really took on the world. This stuff has personality, but you wouldn’t say it really nails it, or expresses anything interesting about life. It’s there and it’s metal.

Gorgoroth – Quantos Possunt Ad Satanitatem Trahunt: Droning misery. Constant drumming. Harsh background screams with predictable rhythms. If this is Satan’s music, I’m getting a Bible. Interestingly, other than the fast strumming, this music is identical to the mediocre crap that came out of the late speed metal era, including the riffs that are based on Slayer patterns but, to distinguish them, random notes get tossed in. When you think it can’t get any worse, they do a “dramatic” pause and then start up, or throw in melodic black metal riffs that are about as new as erosion. If you are busy doing something really difficult, you won’t notice this background noise is pointless and boring. But listen to it? It has the soporific effect of a televangelist’s sermon.

Grabnebelfursten – Schwarz Gegen Weiss: It must be that Reader’s Digest is offering a series of helpful articles on handy home repairs and making symphonic black metal. These riffs sound like the guitarist is feeling them out and just trying semi-random stuff as he goes, and the composition modus operandi of this band is to find something they like and pound it into the ground, then toss in something totally different so you don’t get bored. The result is circus music that’s comedic in how little it relates to itself, or anything else. Vocals are also of that ptomaine poisoning hurl that sounds like the vocalist is straining to keep up with the random clatter beneath. I think they should refer to this as “suicidal black metal” because unless you have the option to turn it off, death may be your only deliverance.

Gravferd – Demonized: Hi everyone, I’d like you to meet my Down’s syndrome child, Gravferd. He sits in his room and practices stuff he knows other bands have done, and then vomits it back in a random order so that there’s enough for an album. Any time he gets confused and starts to cry, we just double the tempo and then he starts barfing out incomprehensible lyrics recycled from a giant pile of cliches we keep in the diaper room. You might recognize intense moments from the last twenty years of black metal, stripped of all context and power, rendered incompetently. But he’s my tard, so I’m going to put a gold star on this fucking thing and publish it. File under G for “glazed over.”

Greymachine – Disconnected: People love ambient music because you can turn on the drum machine, start jamming over a simple progression, and by dumping layers of noise, found sounds, keyboards, vocals and guacamole on it you can gradually shape it into a song. Then you turn off the tape machine and mail the thing to your record label, who start talking about it like it’s the esoteric holy grail of lost musical genius. Let’s dial it back to reality: this is very stoned people dicking around in the studio, and it shows none of the genius that occured on Streetcleaner all those years ago.

Holocausto – Campo de Exterminio: You have to get this, it’s a classic! Undiscovered cult metal from the early 1980s… and there’s a reason it was undiscovered. Do you remember those record players they made in the 1970s for playing Disney records? They were all plastic and had cartoon characters molded into them. This album belongs on one, because it’s kiddie music. It’s super-basic, not in a profoundly disturbing way like Discharge or Sarcofago, but more like a cross between old Sepultura and Anthrax. Like Anthrax, it’s simple-minded. Like old Sepultura, it’s fast and blasphemous with incomprehensible vocals that sound like tearing Kleenex. Like much of 1980s speed metal influenced material, it has the uncanny ability to kill time by hanging out on a very linear, obvious series of variations on a rhythm. I really wish this was buried treasure, but it’s not.

I – Between Two Worlds: Predictable hard rock, meet black metal vocals. Yes, it sounds like a toad on meth, and the riffs that came out of the 1970s but now come at you twice as fast just make the ludicrous more painful. Even worse, the increased tempo means that there’s no breathing room, just constant cliche at top volume. Then when you think you’ve heard enough, the shitty guitar solo comes in to make you long for peaceful silence. Unless you’re a moron. Then this must seem like it was made just for you.

Homicide – Dale of Lost Souls: Here come the police — where can we hide this collection of stolen ideas from the FAIL file of bad 1980s speed metal? Oh look, we can stuff them into this blackened death metal band and no one will notice. Mainly because no one is listening because this sucks. It’s all over the place and to hide the fact they have no idea to develop a song, the musicians here rely on repetition to remind you which song you’re listening to. It’s the one with that borrowed, dumbed-down Exodus riff. Oh wait. That didn’t help. It’s the one that’s a microwave TV dinner version of Devastation… that won’t help either. Throw this out.

Ignivomous – Death Transmutation: I wonder how these musicians memorize these songs. Since the riffs fit together in tempo and key only, and make no sense as a metal tune, and the only transitions possible are dramatic pauses, it’s likely they have a mnemonic to this. Probably something like GDHJJKFLX because the whole album is incoherent. Good guitar tone, zero on the content, and like all shitty metal bands they have to shout it at top volume to try to distract you from the suck. The best course of action is to go do something more stimulating, like mow a lawn or punch out gargoyles.

Impurity – Lucifer Vomiting Blasphemies Over Christ’s Head: No, it’s Impurity vomiting inconsequential noise over your head, and over your wallet, if you bought this. This noisy foray into basic death metal sounds like war metal, which is to say that it’s near constant tempo incoherent riffing with a drunk guy gurgling while the drummer does basically whatever he wants because no one is paying attention. You can do better than this, probably with a pair of castanets and a broken fan to howl in the background. This album is the comical disaster that your parents would imagine upon hearing the title. Well, at least it presents itself accurately.

Infected – Crawlspace: Sometimes, when you get infected, you get a bad headache and you lose 20 IQ points. That’s what happened to this band. This is stop-start “wait — I’ve got to crap — look — some open ground” style semi-skeltonic brain-absent chanting over recycled riffs from failed Exhorder clones who perished in prison where they got sent for ripping the warning tags off of mattresses. The total failure of imagination, or connection to what makes music good, gets us this headache which has zero flow and zero appeal.

Inflabatan – Wanderer of Grief: Every melodic black metal album, boiled for 12 hours to ensure no flavor remains, served with peas steamed in dishwater and a tasty glass of fortified wine gone to vinegar. It’s not bad, it’s far from good, it’s just there. Kind of like when you have a late assignment so you write I ATE MY OWN ASS AND LIKED IT on a sheet of paper and hand it in so you at least don’t get a zero. It’s not a zero, but maybe like a 36.

Inquisidor – Inquisidor: You know, disco had its moments. It had melody. The songs often were distinctive, and sometimes, reminded you of a moment in life where you felt clarity and got excited about what was to come. Inquisidor is “generic” in the oldest meaning, which is that it fits into its genre dead in the middle and is exactly what you’d expect. Fast Kreator riffs, in songs structured like those of Sodom, with urgent blasphemous vocals. If it were the first of this type I heard, I might like it but find it a little boring. Now I just flee.

Inquisition – Magnificent Glorification of Lucifer: I can see why people like this — it’s competent. The rhythms fit together, and riffs work together. The problem is that it’s composed in an idiotic style, and is as a result limited. This is the fusion of war metal and Judas Iscariot-style slow ambient black metal, so you get (a) more repetition than you know what to do with (b) simple riffs on a bouncy rhythm and (d) detached, disconnected vocals. It’s about two riffs per song, often variations on the same theme. While they all fit together, and the result is pleasant to listen to because these guys are five times as competent as the average black metal band, it’s still boring. Nothing happens: what is going on when the song starts is what happens when it ends. That result doesn’t feel evil, or challenging, but kind of dance-y like later Napalm Death.

Wreck of the Hesperus – The Sunken Threshold: Imagine an indie-metal/doom metal hybrid. What you’re imagining even with half a brain is what you get with this release. Slow limbs of chord progressions rise and crash while drums keep a busy, jazz-inspired distraction going. Songs move slowly, verse/chorus, then conclude in a trailing out to insignificance. If Winter, Thergothon and Skepticism did it too well for you, here’s a generic version.

Vektor – Black Future: Hipster music. I say that because it’s dressed up (ironically) like Voivod worship on the outside, but it’s pure aesthetics; there is no understanding of the composition or content that made Voivod great. Instead it’s standard war metal, slowed down by 1/4, played with some of the chord voicings Piggy used. Songs are standard format, very busy with lots of chaotic drums and messy riffing, but no concepts that tickle the brain or even amuse the gut. On the surface, it’s Voivody. Beneath, it’s the standard punk/metal/rock that hipsters like, dressed up in a unique way. Watch this band disappear quickly.

The Shadow Order – Untold: This is probably the best Burzum clone I’ve ever heard. If you can imagine Burzum writing songs that transition from state “A” to state “B” directly, you’ve got roughly what’s going on here. It’s simpler, similar in spirit, and slightly more ear candyish (e.g. confines itself to conventional consonant voicings) but on the whole is pleasant to listen to. It’s unlikely to stand up to repeated listens well, but will occupy a position like the first Infernum album of being a reasonable alternative.

Inveracity – Extermination of Millions: This is a good solid release in the Deeds of Flesh/Suffocation percussive death metal style. It’s more linear than Doug Cerrito’s inspired riffing, but has a good sense of putting together a basic song and stacking up parts that contrast each other, so doesn’t fall into the monotonous camp of most material in this genre. While it is good, it falls short of exceptional and thus radically distinctive, so it’s always going to lurk in Suffocation’s shadow until it develops more of its own voice.

Insect Warfare – World Extermination: If you crossed Terrorizer, Assuck and Nasum you’d get something a lot like Insect Warfare. This is grindcore that sounds like some very energetic people dropped whatever they were doing, rushed to their instruments, and bashed out short but furious songs. These songs are well-composed; however, they’re also extremely basic and rely on riffcraft that alludes to much of extant grindcore. As a result, it’s kind of a neat album if someone hands it to you, but hard to want to reach for it when much more personalitied and diverse offerings like the early Terrorizer material exist.

Kaamos – Lucifer Rising: Pure speed, awesome Swedish(tm) production, and intriguingly blasphemous sound titles cannot compensate for having depth to your music. Kaamos is, like almost everything but the original wave of Swedish death metal, screamingly obvious. These riffs are almost entirely linear and capture no melodic or harmony; not only that, they aren’t shaped into interesting phrases rhythmically. The result is a CD that instantly descends to background noise. It’s pleasant-sounding but empty.

Liturgy – Renihilation: Get the hipsters out of metal. If you like emo-style melodies played really fast over chaotic drums, or the former hybridized with riffs from old Metallica clones but played in a kvlt black metal style, you may like this. I find it really obvious, although clearly musically more erudite than the trve kvlt types. The problem is that despite all of these interesting elements, the songs express nothing, and chord/note progressions are very similar from track to track. The frenetic drumming and vocals only accentuate, not conceal, this deficiency.

Malign – Divine-Facing Fireborn: You and I would really love to like this. It has all the promise of older black metal: a cross between Sarcofago and Merciless, interpreted through the filter of later Mayhem (lush chording, odd slow tempo changes, murky sounds) with the viciousness and yet very pop sense of melodic hook that all the Swedish black metal bands wield. Yet, that’s it. The surface traits are all; what’s underneath is unmotivational. So you end up with black metal wallpaper and an empty soul, but also, a bored one.

Maim – From the Womb to the Tomb: These guys have an interesting approach, aesthetically, in that they try to be Autopsy but mix in the speed and pacing of older Entombed. Sonically, it’s a great approach but not much changes in the song between the beginning and the end. It’s less like a big loop than a spin cycle: you start looking at something, then rotate around it and hey, there it is again. In addition, riffs are really basic variants on forms we’ve seen before from Kreator, Destruction, Atrophy and numerous death metal bands. They are very basic, very interchangeable, and lack the feeling of having been designed to fit together into something distinct with a meaning of its own. That depthless nature to these songs makes this album an endurance contest.

Perished – Seid: Strip away the death vocals and fast drumming, and this is plain boring hard rock like you might find on a Motley Crue record. Aesthetically, it sounds like Immortal, but without the greatness of personality that made At the Heart of Winter a great album, or the spark of insight that made earlier Immortal even superior.

Pathology – Incisions of Perverse Debauchery: Cross Deeds of Flesh with Dead Infection, and you get this gurgling deathgrind which is relentless and not bad, but also not exceptional enough to merit a re-listen. In particular, songs are streams of thudding riffs and relatively similar textural shifts, which makes it difficult to distinguish between them, although the radically varying production helps. I respect this more than most bands because it has a simple goal and fulfills it, although it’s hard to want to go through the experience when there are more interesting listens out there.

Pantheist – Amartia: If Paradise Lost and Skepticism had a baby, it would be this ponderous doom metal band. Songs are glacial with melodic underpinnings and a bit on the pop side, although they love their sonic dynamism and intense distortion. It’s competent but not particularly compelling in form or content, and the vermicular pace does not help us get over that.

Overthrow – Within Suffering: It’s a hybrid of Beneath the Remains era Sepultura and early Sadus, and it’s well-executed but not a standout in that these songs follow fairly cookie-cutter speed metal patterns. Riffs: you’ve heard their archetypes before. Vocals: they do that thing where they chant on the beat as the kickhappy drums crazy go nuts next to some chugging guitars — fucking annoying. On the plus side, they change riffs like Dark Angel so that there’s always tempo, harmonic or phrasal motion (or when disordered: commotion) going on. And lots of solos that sound like later Nuclear Assault going hog wild on the pentatonics. Ultimately, I find this really annoying but if you would let Sadus mount you from the rear, you’ll love it.

Pensees Nocturnes – Grotesque: This promising band confuses aesthetics and content. They’re good songwriters, with an apt grasp of the technical side of the music, but because they have never found an aesthetic “voice,” end up piling random types of stuff on top of one another hoping that summing up parts magically makes the whole bigger. This sonic collage features crashing slow metal riffs which give way to fast melodic riffs reminiscent of Enslaved’s Frost, and are periodically interrupted by transition material with piano and string instruments. On top of this, some guy is bellowing like he is getting raped by an elephant. While in general I’m all for overlooking aesthetic dislike to get to the core of a band, in this case the lack of aesthetic ties an arm behind this band’s back as far as songwriting is concerned — too much is lost as they try to conform to this bizarre format. In addition, they’ve picked up some of the chord progressions and bad habits of post-rock bands, with huge parts of this album resembling the lost Maudlin of the Well “Dave’s got the purple shrooms” sessions. When they are able to put together an aesthetically coherent part of a song, it flows well, but then drops back into their bad habits and crutches. My advice to Pensees Nocturnes is simple: standardize your vocals, become a doom band, and use other instrumentation at strategic points in each song instead of as a general technique — look at the first At the Gates album. Less is more, if that less is more organized than the more. But use more oboe.

Prevalent Resistance – Dynamics of Creation: I’d like to like this because it’s easy to listen to, is pleasant and comforting. Patterned after Dimmu Borgir’s Stormblast (the first version, with the video game music) and a smidgen of early Dissection, this album is candy for the ears. But that’s the problem. There is no tension, no moral conflict, no desire even for pointless destruction. It’s trying to make friends. Like a warm puppy nose on the leg. In fact, it resembles the indie rock of the last decade: slick, studied, and very good at writing a melodic hook into the end of a three-step phrase so that it gets that Hallmark(tm) “uplifting” feeling. I think if I wanted smoke up my ass, I’d just listen to indie rock. Musically this is adept, artistically it gives blowjobs for $10 at streetcorners.

Diabolicum – The Grandeur of Hell: I have tried to like this 1999 album for literally 11 years. It has all the right elements, and it starts well, but becomes shapeless in the middle. I don’t think this has anything to do with how industrial it is. I think it ran out of steam in terms of songs and what they are about. Typical of Swedish bands, Diabolicum write great melodic riffs and then have no idea how to develop them, so end up in circular song structures that leave you unsure of why a song ended; it just ended, when it did, semi-arbitrarily. The result is that there’s no reason to keep these songs in your head other than as a pleasant distraction.

Oxbow – Fuckfest: This music is both spectacularly annoying, and good but fairly standard. If you took a Motorhead/Black Sabbath crossover, made it more rock ‘n’ roll early friendly, then chopped it up with fast rhythms and dissonant syncopated riffing, you’d get this. The vocalist howls like he’s in the Bad Brains but with little of the musicality. I think they believe this is revolutionary. Musically, it’s not terrible but aesthetically it’s like a screeching siren in your head, making you wish the world would end.

Die Apokalyptischen Reiter – Licht: Most people are going to identify this band as a heavier version of Rammstein, but that’s only half the story: this ostensibly industrial band is a three way hybrid between pop punk, melodic death metal and very danceable industrial. They write their songs like At the Gates, with several riffs cycling during the verses after the first introduction, and they shift between these like rally racers taking shortcuts through the old neighborhood. Vocals are very pop punk, with a rhythm similar to Bohse Onkelz or other brainier punk, and riffs are often power chords staggered in the death metal style with an emphasis on the stop/start rhythms that industrial, speed metal and rock favor. However, this is in a very literate musical framework where subtleties emerge from what are initially very basic melodies, and songs develop around this melodic core and end up being quite beautiful and infectious. After about ten minutes, you no longer hear the heavy riffs, and you feel like you’re listening to a more touch-and-go version of Wolfsheim on guitars. This isn’t my type of music, but I respect it — which is more than I can say for most versions of most genres.

Droids Attack – Must Destroy: We were chilling on the porch trying to figure out what to call this new style, not yet quite a genre, where they put bands like Red Fang and Droids Attack. It’s like fast, bombastic, hard attack versions of stoner doom songs; this CD, “Must Destroy,” sounds a lot like the first couple Sleep releases: bluesy, hard without being aggressive, bounding party rock. It’s like they took the Detroit underground rock/punk sound from the 1980s (before The White Stripes) and merged it with Motorhead and the MC5, and got out of it this entirely rockin’ style that isn’t metal but borrows a lot from it, and isn’t punk but attacks with the same sheer verve, but then sticks into the heavy bounce of guitar rock like Grand Funk Railroad or Iron Butterfly. It’s easy to listen to but more motivational than techno, even, so makes great music for partying or cleaning the house. On this CD, the style is expertly implemented with lots of space between bounding riffs for introspective parts, like the calming parts of the ritual of a rave, so that you can listen without getting washed out by pure bombast. I see a great future for this style and this band as people get sick of the twee effete hiding-in-basement styles that have been popular for the last decade.

Nun Slaughter – Goat: When most people talk about old school metal, they’re thinking of bands like this that combine the barebones essentials of heavy metal (Venom), death metal (Master) and speed metal (Nuclear Assault) into one high-energy package. What propels this CD is its ability to keep momentum. Riffs follow each other logically and transfer energy like a locomotive hitting a truck full of bowling balls. This energy conservation is harder to do than one might think, because if a band just plays really fast, it doesn’t happen. It takes an awareness of the music and a love for the metal craft of putting riffs together so that they talk to one another and keep kinetic inertia. Clearly this band know their metal, as the riff forms — the basic phrase and arrangement upon which these riffs are based — descend from all generations of metal, but have been adapted to fit the song and NunSlaughter’s trademark crude but adept songwriting. Most songs are verse/chorus riff cycles with discursive bridges that lead back to triumphal restatements of theme, but given the rawness of the music, nothing else would really fit without making this a modern animal. If you like bands like Onslaught, Sodom, and Merciless, this band stays within the same range but is immediately distinctive. Like fellow midwesterners Cianide, they hide their subtlety and distinctiveness underneath a desire to make a riff language out of metal’s heritage and use it to sing of their specific experience, which seems to be a conglomeration of Satan, rape, blasphemy, violence and sodomy. Given this framework, however, it’s clear this band is a thoroughly enjoyable ripping ride through the dark recesses of human visceral emotion, and no matter how much people wail about it being derivative or lowbrow, it’s great stuff.

Morser – Two Hours to Doom: We should christen this band the German version of Human Remains. They play in the modern metal, or proto-metalcore, style innovated by those founders, meaning that they put metal riffs in punk-style songs. The result is an emphasis on individualism through deconstruction shown through the juxtaposition of random images, which if you think about it is the origin of all modern art. Instead of continuity and order, they show you many individual perspectives which don’t agree, further isolating you in yourself. 1980s crossover thrash on the other hand tried to make radically different riffs fit together like a storyline. While this style provides unbalanced listening as a result, it exceeds the competence of its genremates by making these songs fast and to the point, even if that point is a binary song with a fairly random third option introduced in the last third of it. Later on, bands took this style and threw technical death metal done in one dimension into the mix, but for now it’s honest punk borrowing from every style under the sun in a fast and precise but not show-offy fashion. You’ll hear the blues riffs, funk bass, prog trills, and even quotations from soundtracks and ethnic music, all done at high speed in blisteringly distorted guitar. It’s no wonder this release has, for a flavor of the day genre like modern metal, stayed in demand over the years.

Black Funeral – Vampyr: If you put a simplified Emperor/Ancient hybrid to Darkthrone percussion, it might sound like “Vampyr” — an unknown quantity of death metal rhythm, and ambient black metal made with the flourish of symphonic metal, but in the simplified and abraded sound that also qualified early American bands like Havohej and Demoncy. This is a very American thing, both North and Sound hemispheres, to simplify song structures to a standard form like in hardcore, where much of what made early Nordic black metal beautiful was that song structure was defined by content — in the way that early American phrasal death metal like Incantation was. While this album makes for more recognizable listening, and is clearly the musical peak of this band, for artistic reasons a discerning listener may prefer other works.

Chthonic – Seediq Bale: This symphonic metal band from China sounds like Dream Theatre melded with Cradle of Filth, as played by later Therion. More focused than any of those acts, it takes advantage of compiled conventions from the various constituents of this genre, and makes a distinctive version of them. If they more seamlessly integrate this with the indigenous music of China, it could be a powerhouse; for now, it’s a better option for Dimmu Borgir fans.

Blazemth – Fatherland: This short release charms the listener with its beauty, brave pasted-together emulation of black metal heroes and honesty in expressing something of significance even if at times the methods are crude. In essence, this band is a hybrid between early Emperor and Graveland, hoping for sweeping melodies interwoven with keyboards and spoken/acoustic dirges, creating an atmosphere that it then delights in breaking with riffs sounding like they come from the melodic heavy-metal-influenced black metal of Rotting Christ and Hades. This band specializes in contrasting textures of riffs: a mostly open simple riff will abrade when a flowing tremolo melody follows it, and chromatic death metal shredding offsets windswept sweep picking. While the individual parts are less graceful than their archetypes, they are nonetheless beautiful in the same way early punk was: individuals captured in their striving for an ideal that they may not achieve, while enjoying the struggle.

Blazemth – For Centuries Left Behind: Template driven from the early works of black metal, this band achieves an ambient black metal sound by attempting a simplified version of Emperor and other early black metal bands. Riffs are simple, production distorted enough to background guitars into a roughly harmonized blast of noise, and keyboards unite the rest into a smooth flow of sound. Emblematic of this album is the spoken introduction with which it begins; this is a guileless take on black metal that is not afraid to be ridiculous, but because it is earnest, never irks like the commercial cluelessness that followed. Its strength is an immersion in mood, but its weakness is that individual parts ape classics like Emperor and Burzum, just in an interpretation specific to this band. Although this will not blow anyone away with its breaking of ground, it remains more convincing than most post-1996 black metal because it has a clear ideal in mind and pursues it making creative use of what techniques and elements are within reach. Their followup, “Fatherland,” reflects more development; on this short CD are themes you have heard before, done uniquely in the homebrew style by this straightforward and committed band.

Jodis – Secret House: You have to have a high tolerance for slowness with this album. A chord plays, rings out, the distortion crumbling as the sound loses its solidity; then, two notes jangle with the seeming discordination of a snapping clothesline or the slow decay of metal in abandoned factories. Someone bellows. More noises, feedback zoning in and out like lawnmower noise across the street as you try to nap your way through a summer day. More bellowing. The songs are like hailstones, formed of layer after layer deposited upon the last. If you unfold the surface it forms a great linearity, like a giant strip of paper covered in words that blur together. Time goes by unheeded. You get up and change the CD.

Nihill – Grond: Standard uptempo Darkthrone black metal clone with really emphatic, dramatic, emo-style vocals still done in the guttural end of black metal sound, Nihill is technically competent but makes binary songs, meaning that they alternate between two moods until the vocals are done ranting and the song can end. When Darkthrone did this, it was to great effect because their songs centered around a contrast that conveyed a greater sense of mystery or discovery. Nihill is just cyclic and offers no hope, only a sense of inevitability. I could see this appealing to fans of Judas Iscariot.

Eradication – The Great Cleansing: An attempt to merge “Following the Voice of Blood” era Graveland with “Ugra-Karma” era Impaled Nazarene, for the most part this album works. The randomness of its melodies and the drone-strum technique from the Graveland side gently obscure some of the rough edges and more obvious riffs, which feed nicely into the full-speed-ahead woodchipper riffs from the Impaled Nazarene side. It’s a solid B+ for content, maybe a A+ for technique for being both original and nuanced enough to give this band its own voice.

Vile – Depopulate: If the Deeds of Flesh style second-wave percussive death metal bands simplified things a bit to the level of the first Deicide album, and chose very basic bouncy riffs with melodic accents like Brutality, you could well end up with Vile. It is both good and bad; it is good insofar as it develops, but it is bad because that’s often two steps of thinking away from a double-strum on an E5 chord. Chortling vocals battle it out with gurgling rasps over pleated sheets of power chords where the offtime notes are played in a muted strum, giving this a pirate shanty bounce which is then torn apart by drums like a multi-legged battle robot scrabbling through the ruins of a city. There are messy leads, and often ludicrous “my attention shifted suddenly when I noticed the shotgun” song structure deviations. While they do what they do well, this style of death metal limits itself too much for repeated listening.

Gifts from Enola – Gifts from Enola: Someone crossed Kyuss with uptempo indie heavy metal and threw in the developments in the last ten years of stoner doom metal, creating a jazzy and fluidly composed album that moves about at the pace of early Black Sabbath. With very little intervention from vocals, the band jam in this style with droit, jazzy changes and variation in riff types from psychedelic lead-picked atmospheric to droning power chords to harmonizations on par with what Iron Maiden did. These songs are relatively linear, with breaks and resumptions, but form a kind of sonic texture that is easy to absorb, comfortingly varied, and most of all — unlike most post-rock — pleasant to listen to because it contains an internal balance and musicality. If you’re familiar with the jazz fusion of the late 1970s, nothing here will be a surprise musically, but it’s in a new form with more force behind it and the crossing over of the loud and abrasive with the subtle and beautiful gives it an elegance jazz fusion could never hope to have.

Urna – Iter Ad Lucem: Cross Ras Algethi with a post-rock band and you have this mess. The chord progressions are typical of that emo, shoegaze and indie rock fusion that is “post-metal,” which in most cases but not all has nothing to do with metal except that thanks to black metal’s extremity, it’s what the angry activist life-did-me-wrong failures are listening to these days. The worst sin here is that nothing really goes on in these songs. A few notes go up; a few go down. This is repeated with layers of vocals, a la Teitanblood but more artsy, and drums that keep busy outside the main event like those in a doom band, but ultimately songs don’t evolve and only gain structure through linear variation on known themes. In addition, if you step back and listen to this, it’s ludicrous. Like Krallice, it’s soft rock trying to be evil and as with all paradoxical and half-witted goals, has instead made a squirting fecal mess of it.

So there you have it — like a cheap buffet lunch, mostly FAIL with some tasty nuggets stuck in there, only half of which will come out whole in your stool. If I had to design a record-shopping trip from this, I’d pick up the Nunslaughter and Gifts from Enola and call it a day.

No Comments

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

May 1st 2010 – Bolt Thrower, Benediction, Rotting Christ – The Next Offensive

Awakened in remorse

To rebuild from destruction

Recreate life’s evolution

Returning from the brutality of a Bolt Thrower show to recollect the events that defined it brings to mind the task of Ernst Junger, depicting the graphic scenes of martial violence and destruction in his soldier’s memoirs, ‘Storm of Steel’. Not merely the sounds of war and chaos, but the philosophy of death is what one has to confront on such a stage, and this sums up the depth of the Bolt Thrower experience. The great elemental gods of Britannia fired the opening salvo of the evening, unleashing a torrential downpour on the troops to be in attendance once conscripted into the dismal but still functional ULU venue, around the University College London site and home of the un-elite Utilitarian philosophy. A single flash of lightning, probably striking the Cenotaph for the war dead a few minutes away in Whitehall, would indicate that this night belonged to only one elite group, and the slowly multiplying hordes as if signalled to the venue by this storm omen, proved that the headliners were in everybody’s iron sights.

In the meantime, some fairly well-known bands would run through comparitively uninteresting sets in order to plug new albums or just an association with Bolt Thrower on this Next Offensive European tour. For the one unknown band, clearly grateful to the Coventry squadron for being able to provide opening infantry support, Ancient Ascendant took to the stage with some confidence and raged through their set infront of the minimal crowd at this time. The sound was not good and the technical setup of the venue’s sonic equipment would be a recurring issue throughout the night, usually leaving bands with an unbalanced sound. Even less impressive was Ancient Ascendant’s music, which was practically educated by the newer schools of Death Metal exclusively, sounding like a more frivolously melodic version of Bloodbath. A lot of generic rhythmic business with some predictably inserted flourishes of lead guitar lines and none of the compositional sense that at the very least ripping-off the old school Death Metal formula would have imbued the songs with by default. Even the next band, The Rotted’s only listenable song was from the older generic Gorerotted project, which is not much less moronic than The Rotted who are really damn retarded in this incarnation, with their stripped down songs consisting of one riff from a later Cryptopsy song played out as blasting Punk music. It’s also quite strange and not recommended to watch old, drugged up men performing breakdowns.

Considered by many as nothing more than a brief distraction, this was soon forgotten as the once powerful entity of Promethean Greek Black Metal took to the stage and the floor swelled with eager hordes. For someone that reveres the older fraction of their catalogue as highly as the Nordic classics, the Rotting Christ set provided both frustrating disappointment but also possibly the biggest surprise of the evening (not the appearance of Diamanda Galas). The transition from ancient Heavy Metal-inflected compositions of blackened mysticism to a boring and cheap form of fast and extreme Rock music with pseudo-cultural embellishments that would make Vangelis either laugh hysterically or summon the wrath of Mars upon Sakis and company, was made quite some time ago when the band sold out to Century Media and although the recent jump to Season of Mist has only marginally improved the quality of their music, the bulk of their songs is blockheaded rhythmic work that wouldn’t sound out of place on a System of a Down joke and disembodied keyboards typical of mainstream Black Metal bands to accompany the minute flickerings of nostalgia that is the signature Rotting Christ melodic style, the same tactic used by fellow Greeks, Septicflesh. Within this disastrous but obviously crowd-pleasing selection of tracks was something quite unexpected given the current direction of the band and their most recent live performances. Almost as though the old spirit of Necromayhem broke free from his sealed confines, the band launched mercilessly into ‘Sign of Evil Existence’, flooding the crowd with a sea of beautiful, extended phrasal work, causing an absolute frenzy and evoking the first old school invocations of the night. Not content with such a brief introduction to arguably the pinnacle of their early discography, ‘Fgmenth, Thy Gift’ continued the magic of ‘Thy Mighty Contract’ with the folky but regal opening riff surging into those magestic, ascendant patterns of guitar. The higher register key of these older songs manipulated the flatness of the sound setup brilliantly, with every note perfectly audible and a memorable contender for song of the entire show.

Benediction were next on stage, an aging group of Death Metal punks fronted by Dave Hunt of Anaal Nathrakh, Mistress and Never Mind the Buzzcocks fame, who nearly talks as much shit on stage as Barney Greenway, including an embarrassing appeasement of some girl’s sob story about a now deceased Benediction fan, thankfully met with a shout of ‘Only death is real’ from the front of the crowd. The set itself was a typically reliable collection of songs spanning most of their discography, better suiting the live environment than on CD, inducing as much violence from the crowd as their primitive, bouncy Death Metal can, like ‘Harmony Corruption’-era Napalm Death meeting ‘Tower of Spite’ by Cerebral Fix. It wasn’t much of a loss to have a guitar cut out during their stint, as the rest of the band seemed to push onwards, building up as much aggression as possible and justifying their placement on the bill, though it was huge relief to hear the end of Benediction at long last, for the lights to dim and the next offensive to commence proper.

Anticipation was immense for the legendary Grindcore/Death Metal ensemble and the battle hordes pushed forward like a scene from Braveheart, rivalling the force of a 90,000 strong audience gravitating towards the celebrity status of Metallica. Faint sounds of approaching war lingered from the amps over the field as Bolt Thrower finally took to the stage and launched straight into the sombre yet mammoth opening riff to ‘IVth Crusade’. The deliberate, sinister pacing of the double bass began to roll through and the crowd imploded into deadly chaos and aggressive force. As bodies began raining from the skies like mortar fire, crushing necks and leaving temporary indents of fallen victims, the atmosphere became thick with the smell of blood, sweat and the disturbing fragrances of shampoo. A large bulk of the set consisted of tracks from the last album but these were all delivered with enough power and rousing, anthemic vigour to blend seamlessly with the more skillful dynamics and evocative melodies of the older songs, from the brilliant rendition of ‘World Eater’ into ‘Cenotaph’ to the unforgettable lead guitars of ‘…For Victory’.

Bolt Thrower commanded the crowd, Karl Willets looked like a war-torn veteran but still yet to be tamed as the ferocity of his vocals didn’t let up for an instant. Jo-Anne Bench is undoubtedly the most menacing female presence in the entire Metal scene, and the poorly balanced sound worked well to render the songs with more bassy fury than can be heard on record. The subtle rhythmic variations of Baz’s guitars on the other hand were not as discernable, but for a seemingly undiscerning crowd, this did nothing to quell the primal violence that tore bones asunder in a ritual of combat replication. The signature riffs were also fairly muted but managed to somehow shine through like the sun between Afghan mountain peaks, and as the band returned for an encore, the perfect choice of songs scorched the stage like a vast napalm attack, with the ominous theme of ‘War’ transforming into ‘Remembrance’ as though the sorrows of Arjuna had been cast aside as he takes to the empty plains of Kurukshetra, seeing the world as it is.

Even as the band exited, the feelings of confrontation and pugilism reigned as brawls ensued and battered humans walked out to count their wounds. The show proved how bands such as Bolt Thrower who retain their integrity, remain possessed by this same eternal process of nature’s evolution and deliver like a well-trained soldier, with precision and consistency will rule for the longest time. We will remember them.

-ObscuraHessian-

No Comments

Tags: , , , , , , ,

Best metal of the decade 1999-2009

The twee indie hipster ironists at A.V. Club put out their list of the 100 metal albums of the decade, forgetting of course that what we, the listeners, need is”quality over quantity.” We don’t have endless time, money, or even bandwidth to explore all the goofy stuff that seems nuanced and interesting to a reviewer who will listen to it twice in his lifetime, once to write the review and once before he shuffles that promo CD on to Half Price.

This list is not going to make me friends at big labels who want you to pick up the latest dreck by some indie rock band that started playing metal ironically. It won’t win you scene points with the kvlt and trve. It will surely not impress your friends with how open-minded, cool and different you are. What it will do is re-awaken your interest in some of the best metal made during this decade, even if it was so good there was no need to make drama about it, and so it slipped under our radar as the years went by.

Demoncy – Joined in Darkness (1999, Baphomet)

When black metal had just discovered keyboards and carnival music, this lo-fi roar straight out of hell cut through the fat and pared our ears to the bone. Sounding like Incantation and Havohej, its primitive riffs in archly elegant songs retain their power a decade later.

Profanatica – Profanatitas de Domonatia (2007, Hell’s Headbangers)

For a return later in their career, Profanatica took the primal riffing of their earlier albums and worked it into longer melodies like a Swedish death metal band, creating an enduring mood of occult darkness.

Antaeus – Cut Your Flesh and Worship Satan (2000, Baphomet)

This album sounds like battle, with clipped rhythms and clashing riffs, but out of that emerges a sublime sense of melody in one of the last albums to really uphold the old school of early 1990s black metal.

At War With Self – Torn Between Dimensions (2005, Free Electric Sound)

Most technical metal is an oil-and-water separation, but At War With Self find a voice that smoothly wraps a progressive/jazz jam session around metal riffs and emotions.

Immolation – Unholy Cult (2002, Olympic)

Immolation achieve a rarity: technical death metal that doesn’t aim for highbrow technique, but a solid slamming songwriting technique that never leaves you in confusion, and on this album, the guitar fireworks match the fire of the stories told by these vivid, evocative songs.

Beherit – Engram (2009, Spinefarm)

As if attempting to sum up the past twenty years of black metal, Beherit makes an album in the style of early Bathory but updates it with quirk and insight, etching a complex sigil that requires repeated listening to decode.

Skepticism – Alloy (2008, Red Stream)

Funeral doom hangs drooping waves of distorted noise upon mortuary keyboards, dragging us through a dirge of misery, but Skepticism make it sound like an interesting mindset we could explore and even enjoy.

Ildjarn-Nidhogg – Ildjarn-Nidhogg (2003, Northern Heritage)

Ildjarn, with its minimalistic riffs and incessant high-speed drumming, is a band that people either love or hate based on how it sounds, but hidden in all that noise are transcendent short compositions that stroke the inner brain.

Gorguts – From Wisdom To Hate (Olympic, 2001)

Gorguts takes their subtly melodic brutal death metal and pulls it inside out to make mechanistic, complex song constructions that followed classical patterns and used multiple themes.

Summoning – Oath Bound (2006, Napalm)

To bring the sound of ancient Hobbit-infused landscapes into black metal, Summoning slowed it down but played at higher registers and faster than doom bands, interweaving keyboards and longer guitar riffs to create an ambient metal sound.

Blaspherian – Allegiance To The Will Of Damnation (2007, Blood Harvest)

Blaspherian prove underground old school death metal is not dead with this music in the style of 1991, but with the wisdom of years of atmospheric metal channeled into these riffs that resemble a subconscious thought with their eerily familiar rhythms and shapes.

Celtic Frost – Monotheist (2006, Century Media)

Returning from a recent history of false starts, Celtic Frost get back to their 1987 sensibility and modernize it, mixing industrial, gothic, speed metal and morbid death metal into an energetic but necrotic album.

Graveland – Memory and Destiny (2002, No Colours)

To be epic, black metal needs to transport us from The Now to the vast and lawless past, a frontier that Graveland opens wide with their martial, Conan-influenced black metal.

Cosmic Atrophy – Codex Incubo (2008, Metalbolic)

Just as metal gets codified, Cosmic Atrophy return to put the weird back into metal with a unique voice inspired by Demilich, Timeghoul, Voivod and all other metal bands from the other side.

Avzhia – The Key of Throne (2004, Old War)

Melding flowing black metal with militant fast drums, Avzhia take over where Emperor left off and throw in the new world sense of urgency and gritty, nihilistic, feral and crafty battle.

Legion Of Doom – The Horned Made Flesh (2008, Zyklon-B)

Like the roar of a hunting lion, this album makes destructive sound into a signal to attack, joining raw black metal riffs and melodic keyboards for a dreamlike listening experience.

Slayer – World Painted Blood (2009, American)

After long years of not having an artistic voice, and trying everyone else’s vision by their own, Slayer drop most of the “modern metal” influences and pick up where 1992 left off, in simpler songs that use rock-style pocket rhythm but keep the classic acerbic Slayer riffs.

Sammath – Triumph in Hatred (2009, Folter)

You might think black metal died and got so mixed with other styles it had no voice, but Sammath have mixed death metal technique carefully into their black metal songs, making a testimony toward aggression that sounds like Zyklon-B merged with Angelcorpse.

Motorhead – Inferno (2004, Sanctuary)

Motorhead have made a career of not changing their basic approach, and “Inferno” is no exception, fitting on the shelf next to the others but also being tighter, faster and darker than most of them.

Asphyx – Death… The Brutal Way (2009, Ibex Throne)

Performing the rare trick of coming back 20 years later with an album as good and un-diluted as their first, Asphyx bring you heavy basic riffs and lots of repetition, but song structures that emphasize the profundity of contrast and give these songs spacious atmosphere.

See a more detailed version of this list:

No Comments

Iconoclasm Sweeps Norvegia: Impressions of Norwegian Death Metal

1. Introduction
2. Pure Fucking Metal: The 80′s Underground
3. Vomit: Still Rotting CD
4. Mayhem: Deathcrush MLP
5. Cadaver: Hallucinating Anxiety LP
6. Darkthrone: Soulside Journey LP
7. Mortem: Slow Death EP
8. Old Funeral: The Older Ones CD
9. Thou Shalt Suffer: Into The Woods Of Belial CD
10. Arcturus: My Angel EP
11. Thyabhorrent: Death Rides At Dawn EP
12. Generalization: A Statement Of The End

Written by Devamitra with Fenriz (Darkthrone), Anders (Cadaver) and Manheim (Mayhem)

Introduction

 

I have had this Vision
of a voyage in mind and soul
Through silent Somniferous scenes
within the enclosed chambers of my
untouched spiritual experiences
Soaring through damp air
Seeing faces, twisting, plunging through my colour

– Darkthrone, Soulside Journey

 

From the downbeat plays by Henrik Ibsen to the introverted nightmare paintings of Edvard Munch, the Expressionist era of Norwegian art had a hundred years ago remembered the voices of the dead and listened to the weeping of the living.

Art connoisseurs took note of the summoned ancestors and the frozen shades of the Norse era, that had been united into jagged juxtapositions of a modern life and an industrializing society – a world of pain. As Norway rose in material wealth throughout the 20th century and discovered the dubious ideals of social democracy, the nation was forced to hide their deep embedded pride, honour and dignity into the bottomless domains of subconscious and hidden symbolism. Ghosts of the Nazi occupation haunted and shame caused people to understand moral problems. If grandmothers and grandfathers still had remembered the rites of witchcraft, the oaths spoken to the wallowing mist of the fjords, they were now abandoned to a worldview committed to science, humanism and well-being.

Pure Fucking Metal: The 80’s Underground

Young minds were seething with fury, anxiety and barely contained stellar potency of creation. Norway around them was filled with McDonalds, idiotic TV programs and insipid pop by A-Ha. The generation between 16 and 19 years of age had integrated into their worldview the stylistic tenets of punk, thrash and heavy metal, whose nexuses in the beginning were the heavy capitalist societies of the USA and the UK. The resulting chemistry was to inspire the manifestation of the most evil and brutal sounds possible, in retaliation towards the satiated ideal of “peace” that reeked of old, dying people and blasphemed the Viking ideal of death through battle.

Sweden, always ahead in trends of Western Europe and America, had led the path towards the Scandinavian idea of death metal with the original black metal sorcery of Bathory and followed with a string of demo-level bands (Corpse, Hellfire, Obscurity, Morbid and Sorcery to name some) years before death metal mania exploded. Finland lagged behind with Norway until Xysma and Abhorrence opened the gates of Hell there and death metal bands formed by school pals and neighbours surged from even the quietest suburbs that barely knew about heavy metal, as in Sweden.

Fenriz: There was no scene in Norway. For instance the Swedish punk scene wasn’t only 10 times as strong as Norway in early 80′s… try thirty times bigger! Finland was just a bit better with metal, but much better with punk. So we were like a third world country, and it was Mayhem and the Slayer mag that put us on the map originally in ’84-’88 (more intensely ’85-’87). Then a bunch of us others joined the underground with our bands too.

One without the experience of death metal life without public attention can not dive into the extreme and alienated emotion of a morbid artist who is intent on creating noisy demos with batches of cruel artwork, releasing only tapes or meager 7″ EP’s on mostly rip-off labels and this has to be kept in mind when the eternal “rock star” accusations are levelled towards the same people now. The spiritual impact of what these misfits created in the 80′s was as extreme of a phenomenon, if not more, than to commit crimes known to everyone in the vicinity. They were practically admitting to being insane.

Fenriz: There weren’t any fans. Everyone had own bands and were because of this isolation of course total maniacs. We had to make our own fans here, ha ha. But punks liked us, and we played good show at Blitz, famous Oslo punk house in 1990. Norway was not important, it was only underground work with snail mail that was important to me. That was 90% of my work.

Anders: This was before the Internet and to get a hold of an album like “Reek of Putrefaction” by Carcass meant
you had something truly extreme in your hands. The whole idea of being true and anti-normal came mostly from Euronymous and his developing Black metal philosophy. He had a strong impact on all of us and it was hard to get away from his force so to speak.

Manheim: It felt good, I can tell you that much. People didn’t understand it much. A lot of musicians and friends around us told us that we wasted our talent, and it wasn’t music that the average listener liked. But we didn’t make the music for the masses, we did it for our selves and for the few around the world that liked extreme music. We tried to make something new, and I do think we succeeded on that one.

In musical respect, the kickstart of the scene was from the capital Oslo, a violent clash between the anti-social, minimalist riff of hardcore and the agility exercise of speed metal; these sounds can particularly be heard in the demos of Vomit. Mayhem, also from Oslo, initially represented a similar style of music and Vomit members sometimes filled positions in Mayhem and vice versa, but it was soon to be conjoined with the extreme attitudes belonging to black metal, far before any other band in the world adhered to them. Small town (Kolbotn) thrash kids Gylve Fenris, Ivar and Anders created Black Death, which combined the speed metal of Destruction or Dark Angel with humorous lyrics relating to their daily life and later developed into the extreme entity that is Darkthrone.

Fenriz: 80′s metal scene was nothing in Norway, we made it ourselves, and broke away from all (lack of) standard here. Global underground was everything to us. Norway was not important, but became much better in ’89. Impostor was also a cool band, but had nothing to do with death metal.

Vomit: Still Rotting CD

The hyperactive Vomit was never to get a professional release for their material back in the day; this recent compilation hosts demos and rehearsals and the same line-up also reformed as Kvikksolvguttene in the 90′s to play some old and new songs. This CD contains several demo versions of the same tracks but it’s easy to listen all the way to such basic, catchy and hilarious manifests. Surprisingly sensitive, like a much simpler Slayer, this hyper-organic sequence of thrash aims its nuclear warheads towards society because of the realization that it is malfunctioning. It gives memories of early COC and Cryptic Slaughter, even Minor Threat in its high energy fueled rebellion – just check “Demonoid”‘s violence. The assaulting harsh vocals ranting about the legions from Hell remember Venom.

Musical cues from Kreator and Sodom in tracks such as “Rotting Flesh”, while rudimentary, suggest the evil power of proto death metal — confrontational punk metal in the spirit of Sepultura’s first album: non-produced and immature. When slowing down to groovy and grinding, the chaotic leads and chromatic chord progressions sound like a band from the old Earache catalogue. The primal energy in tracks such as “Armies of Hell” is simply infectious, inspiring to action for the sake of feeling, thrill and power, like this was a middle finger against the city, these kids were hanging out, overturning police cars and breaking windows. Overall it’s much better than today’s retro bands in a similar style.

FenrizVomit was the rawest well played band in mid-80′s, death thrash, completely awesome, as good as “Hell Awaits” or Dark Angel’s “Darkness Descends”.

AndersThe first Mayhem EP “Deathcrush” came out in 1987 and this is by far the most interesting release of the time.

Mayhem: Deathcrush MLP

Mayhem overturned the Norwegian underground with their maniacal proto-black metal, with an air reeking of chainsaw murders, snuff movies and glue sniffing. The barbaric simplicity of the songs defies even the logic of Hellhammer. We are witnessing the birth-gasps of the BM underground here as krautrock’s Conrad Schnitzler’s magniloquent, twisted avantgarde intro leads into an infernal journey through vistas of butchered early black metal. The recipe is mixing together the primal elements of speed metal and punk, then mangling them as unrecognizable traces of rock music that used to be “fun” but now torn to sarcastic pieces in the hands of bestial psychopaths. Any kind of elegance or progression was unknown to these guys. They make up for this bluntness by organizing with raw vitality and a clear purpose for doing it this way as the pieces of the image fit together. While Euronymous’ riffing is primitive-inventive and Manheim’s heavy drumming is perfect for the material, one can hear that the songs are still mostly in the level of demo versions for a band of Mayhem’s stature developing slowly towards their full potential. The impudently vicious lyrical side centered on gore and blasphemy would fare better through the mouth of the next vocalist Dead while on these recordings Messiah (not Marcolin!) stands out as the superior of Maniac of the two featured voices, as his Sodom-influenced pacing lends power to the old demo track “Pure Fucking Armageddon”.

ManheimThe band image and style was something that came quite early. But it wasn’t the reason for the formation of the band. We started the band because we shared the same ambition to make something different and extreme. I’ve tried to explain it on my blog post “Am I evil”. I recommend that you watch the documentaries “Pure Fucking Mayhem” and “Once Upon a Time in Norway”. The main musical influences were of course metal related, in combination with extreme musical genres. Lyrics were inspired by many sources, but were specifically designed to fit the musical soundscape and the aggressive image surrounding the Mayhem concept. The interest for avantgarde music was something Euro and I shared. We also formed a project we called L.E.G.O. where we explored ideas and concepts within noise and experimental music.

FenrizMayhem was unique, but not an inspiration for death metal. Euronymous only liked death metal up to “Scream Bloody Gore”. He was sceptical to Autopsy when I played him the demo in ’89. But we loved and still love Autopsy of course.

Cadaver was the next major band to heed the call to arms, from the small coastal town of Råde nearer to Sweden, playing a version of death metal not too far removed from the bass heavy, electric sound that was already becoming huge in Sweden and not surprisingly, Cadaver was to be the first Norwegian death metal band to release a full-length album on a label, racing past Darkthrone who still continued developing through a serious of demos in death, doom and black metal style incorporating a psychedelic tendency that was unique, Norwegian and unforgettable, actually sounding more like the Munch paintings come to life than loud rock rebels. By this time various other death metal bands were spawned by the soil which had absorbed the blood of the sacrifices to Odin. Like mushrooms bands such as Old Funeral from the pagan and occultist infested Bergen, Thou Shalt Suffer from the sports and music obsessed Telemark countryside and Mortem from “global” Oslo sprung up, all being practicing grounds for a legion of musicians destined to fame and glory in future projects.

Cadaver: Hallucinating Anxiety LP

The viral and persistent Cadaver took the death metal art in Norway to a new level: besides violating the listener with speed, the intricate composition aims to rip through artificial examinations of reality through morbid revelations. This controlled and logical death metal experience is not quite the absolute psychic expressionism of Darkthrone’s masterpiece but musically soars high above the previous releases and most of what was to follow. Quoting Celtic Frost and Morbid Angel for listenability, hardcore influenced beats underpin a consistently brutal and bludgeoning riffwork in Carcass’ minimalist vein, bringing to mind images of an industrial age wasteland. Vocals are harsh, grating commands in the rhythm of Brazilian bands, promising continuity of experience all the way into grim death. While hateful, arrogant and mid-paced, centered around gore and loss of hope, some of the most beautiful tendencies of Scandinavian death metal already arise on this release and are made all the better by incorporating the best of the deconstructivist tendencies from grindcore music. Twisted and narrative in arrangement, the barbarous and thundering old school death metal riffs of Cadaver proceed to explain the magic of reality in their series of devastating conclusions, proving the album a long lasting gem.

AndersWe had a variety of favorite bands that inspired us at the time. Apart from the bands mentioned we were all into Napalm Death, Kreator, Sodom, Slayer, Death, Autopsy, Paradise Lost, Mayhem, Equinox and not forget Voivod. We were a part of the scene and into all the stuff that came out on demos etc. too so it is not right to say we were influenced by just a few bands. We were into hardcore stuff like A.O.D., S.O.D., Carnivore etc. as well as black metal bands. It was a wild mix.

FenrizCadaver was absolutely great in ’88 and ’89, we played with them and saw them live many, many times! Cadaver was the first Norwegian death metal release, we came right after with the 2nd.

Darkthrone: Soulside Journey LP

An album released 20 years ahead of its time, it’s one of those timeless classics that defy description and comparison. Even today it’s impossible to find death metal that sounds quite like it. It somewhat escaped people’s attention back in the day and has existed on the verge of rediscovery with the sporadic bootleg and official releases of the Darkthrone demos but is still not very widely known among the Darkthrone fanbase. Resembling Celtic Frost taken by the hand of a witch doctor through a series of cosmogonic explanations while on an LSD trip, what starts as gnarly and crawling doomdeath becomes an experience from the beyond. The album has very little in the way of the overbearing brutality of Florida death metal or the catchy Slayer-punk riffing of the Swedes, but it is full of parts that stick to mind and make you come back to its sequences of mystical, foreboding and inconclusive themes and landscapes. Some of the resolutions of its parts are almost disgusting in their divergence from habitual speed metal, death and thrash and they wrack the mind. The evil and brooding melodies crawl over your neck like alien insectoids. Nocturno Culto’s vocals already show their depth and power and so do Fenriz’ inimitable lyrics. On this release Fenriz’ unique drumming skills are the most apparent; pure cult in the making. The eerie use of synths heard on this album would undoubtedly have spiced up some of the later Darkthrone material too. This is the birth of “death metal for the intellectual”.

FenrizThere’s only one Celtic Frost riff on “Soulside Journey”! We were inspired by Possessed, Autopsy, Death, Nihilist, Sepultura (“Schizophrenia” album only), Nocturnus (2nd demo), Devastation (Chicago) and such, Black Sabbath too… but most importantly we had a mission statement: all the riffs should be able to slow down and play on a synth as horror movie effects. So we played technical horror death metal with doom elements and also our eternal inspiration, visions of the universe: even our first demo in early ’88 had an outer space painting as cover.

AndersThe Darkthrone debut album has some great songs in it and it blew me away at the time. It sounds very Swedish and if it had the grim sound of lets say Autopsy it could have showed a different path for Norwegian death metal along with us for young bands at the time. Who knows?

Mortem: Slow Death EP

Mortem’s seldom heard EP boasted some of the most catchy riffs of Norway’s early death metal and one of drum legend Hellhammer’s earliest performances on record. Mortem joins the company of Vomit in aiming to produce the death metal experience with hardcore-like simplicity. Tracks such as “Milena” and “Slow Death” are pure headbanging mania, not much else, though the latter also has an interesting modal type of guitar solo. Considering the general sound quality, drums are surprisingly clear and powerful and show Hellhammer’s early skill in arranging rhythm. Such elements and the beautiful intro to “Nightmare” leave one wondering a bit how it would have been if this band had recorded an album. The heavily distorted vocal performance is of a dubious benefit, like an overblown imitation of Maniac’s already annoying screams on “Deathcrush”. However, they lend a chaotic, absurd and insane element to the proceedings of what is rather usual demo level death metal from a young band.

Old Funeral: The Older Ones CD

At times nearly reminiscent of “Soulside Journey” in enwrapping the listener with pure twisted melody riffs, its surprising that this compilation of material from some of the most interesting line-ups (future Immortal, Burzum and Hades members) of death metal is not too much celebrated. It’s easy to already hear traces of the epic ambient guitar that would characterize the members’ later bands – the Wagnerian “My Tyrant Grace” could easily be an early Immortal recording. Old Funeral’s recordings do often fall short of brilliance, songs having good parts but being incomplete. Old Funeral had potential to be a magnificent band but sadly never got a stable enough line-up or enough work and attention to make it happen. At worst (“Lyktemenn”) the material is unorganized and thrashy, emotionally anguished in a selfish way and using half written heavy metal influenced melodies in a despicable way, inconclusively jumping from one phrase to the next – obscure but not visionary or evolving, just a collection of moods. “Into Hades” approximates early doomdeath. “Abduction of Limbs” is inspired by technical US death metal and succeeds in building an evil ambience. “Devoured Carcass” is more obviously Scandinavian in manufacture, akin to the barbarous blasphemies of Treblinka or Beherit as microbic riffs intone trances of darkness in a nightmare of lost souls. Slower funereal passages on the compilation echo traces of ancient Cemetary and Therion. The black thrashing of “Skin and Bone” reminds of Bathory or early Voivod while throwing some sparkling, clever leads into the mix, creating a surprisingly war metal-like high energy plutonium explosion. This ripping and rocking track manages to approximate brilliance. The core simplicity of most of Old Funeral’s material will hinder the pleasure of the elitist metal listener, but much of it remains highly listenable as even the live recordings work surprisingly well.

Thou Shalt Suffer: Into The Woods Of Belial CD

Thou Shalt Suffer was the product of an already long development from band formations such as Dark Device, Xerasia and Embryonic, composed of future music-magicians who would form Emperor, Ildjarn and the Akkerhaugen sound studio. Mostly early 90′s Swedish satanic death metal in style, Thou Shalt Suffer assaulted the listener with disorganized yet compelling demo level death metal noise with submerged, intense and evil soundscape. Seriously brutal in nature, interlocking chromatic riffs in the vein of Incantation or early Amorphis race on, sporadically bursting into uncontrolled grind. Vocals are super-dramatic in Ihsahn’s craziest early style, ranging from humorously weird to total evil and synths repeat a few doomy patterns, foreshadowing Ihsahn’s later neo-symphonic obsessions. The songs are expectedly not quite there and everything sounds unplanned and spontaneous but for pure spirit it can be quite exhilarating to listen to it today. The discordant, fractured and genius stream of melody of the main riffing recalls ideas later developed further in beautiful way while the expert rhythm guitar is able to create the texture of an infernal landscape. Fragmented but compelling, it should go without saying that it has already done more than most of today’s death metal releases. A special award should be presented for the long experimental outro track “Obscurity Supreme”, seething with a truly avantgarde ambition beyond the later “art metal” habits, worthy of its title.

Arcturus: My Angel EP

The Mortem line-up returned with this piece of madness before plunging into black metal sounds using this band name. Arcturus started its career reminiscent of Swedish second tier satanic death metal bands in the vein of Tiamat, cutting through the intricacies of the narrative death metal of Cadaver and Darkthrone to hammer out Wagnerian power chord doom, with not much appreciation for subtle nuances. The first track “My Angel” starts out psychedelic and impressive, foreshadowing the deep symbolic exploration of the internal cosmos done later by bands such as Tartaros. However, in Arcturus it remains as just another eclectic act, as the dramatic development proceeds in an expected way. While the impressive parts are there it doesn’t reach the magnanimous stature it’s trying to achieve, with the keyboard melodies from film soundtracks and the evil vocals reminiscent of early Samael. “Morax” is a track with gothic, Cathedral-inspired doomdeath wrapped in a synth layer of Nocturnus. Arcturus attempted to obtain a complex, insane atmosphere of invocation but it was not to be their forte; the careening splendour of “Aspera Hiems Symfonia” would be better music.

Thyabhorrent: Death Rides At Dawn EP

Thyabhorrent, led by Occultus (another figure from the early black metal history around Mayhem and Helvete), specialized in simple death metal which used some speed metal riffs and emotive lead guitar interludes. Occasionally similar to Dissection, it seems to carry an eerie foreshadow of Gothenburg and today’s mainstream death metal style while still proudly enwrapped in the mystique of the Norwegian underground. The catchy metal riffing and try-hard vocals in “Condemnation” are halfway to serious power, falling short of the atmosphere obtained by almost all other works of the era. The good riffs are wasted by the very simplistic construction of songs and the unfortunate tendency to rip a wrong context: heavy metal. “Occultus Brujeria” displays an elegantly romantic tendency which could have been something with more development: doomy clean vocals herald simple black metal of expressive, gothic, über-dramatic character. Some of the interludes suggest ideas that could have turned this into an elaborate progressive black metal band but as it stands, it’s a much weaker and tamer version of the kind of material released by Necromantia, Burzum or Isengard early on.

Generalization: A Statement Of The End

The original death metal underground of Norway was alienated, silent and private and thus gave a chance to develop all these ideas towards their full fruition. When the scene burst into the attention of a million of trendy fans, it dealt a blow to the atmosphere that could not be recovered from it. The sanity of the fragile artistic mindset required that the adherents move away towards new areas of quietude and purity (“away from the noise of the marketplace” in the words of Nietzsche) to continue the serious contemplation of darkness. What follows is the history of the early 90′s black metal phenomenon; Cadaver remains the sole band of the ancient underground that is still around cranking out evil death metal.

Anders: We split up in 2004 – so no, we are not around. To call Death Metal trendy is a sidetracking of the whole thing. I don’t share the idea that we ever played something trendy. To play death metal in 1999 was as un-trendy as it could be. I call what I play death metal still because it is my playing style. Death metal can mean much more that most people think. I am a death metal man by hand and a black metal man by soul.

Fenriz: I can with my hand on my heart say that I only bought like 5-6 death metal releases in 1990, and maybe 2 in 1991… or none. The studios like Morrisound and Sunlight were fresh in the very beginning, but organic sound is the best and I quickly learnt to hate these click click bass drum sounds that started to ruin metal in ’89 and have completely ruined generations of metalheads later on. In ’89 death metal compilation tapes were overflowing the underground, I had already been through hard rock and heavy metal and power and thrash and everything possible, then I saw that thrash metal got boring and too copied and the same thing happened with death metal, it was too many bands, but the sound was good in ’89. But to me, I heard Hungarian Tormentor on one of those tapes, and got back into more “evil” sound again, like Destruction “Infernal Overkill” and such, as I hadn’t listened to them for a while. I saw it as just thrash, but after getting an evil revelation with Tormentor, I saw a lot of the thrash I had from before in a new black light, and I got more and more into Bathory. And in 1990 I mostly listened to the more primitive stuff, but our craft was technical death metal and we needed to complete our album. Even after our album we had lots of material pouring out of us (became “Goatlord” album) but it had to stop with this technical style, we were all agreeing on this except Dag. We took a U-turn unto the primitive lane in 1991.

Even a cursory investigation to the workings of the early Norwegian metal underground should dissolve one of the most persistent illusions about Norwegian black metal bands such as Burzum and Immortal: that they did not know how to handle their instruments, or did not have an extensive background in musical expression. Do you think they simply wanted to pose evil with corpsepaint? They were talented musicians who had years of experience playing technical styles of death metal before the black metal explosion. The simplified sound of black metal was due to the ethics of black metal and the spirit of black metal. The black metal resurgence intended to develop metal music to a new level of intensity and create a purer atmosphere, unpolluted by the social agreements of the new death metal people.

For most metal fans Norwegian death metal means either black metal or the new digitally produced bands in the vein of Zyklon and Blood Red Throne. The intent of this excursion has been to show how pure death metal was the fundamental force in establishing the original Norwegian underground metal scene and how it ultimately grew into the most vital and archaic musical movement of the 90′s, Norwegian black metal.

Anders: The bands such as Darkthrone, Mayhem and Immortal were in fact very inspired by death metal. If you listen to the latest Emperor, Satyricon, Dimmu Borgir albums they all have strong elements of death metal in them. The scene that was to become the Norwegian black metal scene was never a “one-way-street”. The issues with Swedish bands in ’91-’93 was mainly about the fact that death metal became conformed, predictable and non-dangerous. The strong standing of the black metal scene overshadowed any death metal band for many many years and this is still the case.

Manheim: I of course felt and feel proud of being responsible for giving people inspiration. That so many people in Norway and around the globe have taken this further is of the good. Of course there’s a lot of bands that appeared that didn’t do anything else than copying those before them, but the development of genres like Norwegian BM and others shows that there’s a lot of creativity and wonderful musical contribution that has been done after Mayhem released its first demos and “Deathcrush”. My personal favorite releases are Darkthrone’s early works – and if I have to choose, “Under a Funeral Moon”.

Fenriz still works on Darkthrone, promotes his favorite underground bands and speaks against forest industry. Anders has been playing live guitar and bass for major bands such as Celtic Frost and Satyricon. Manheim composes and performs experimental music and writes a good blog on culture and music. Deathmetal.org thanks them all for their kind contribution.

Cosmic Fear arrives, I hold a dead one,
Surrounded by my many candles
(I burn to cleanse the air)
Rotten Unclean Sacrifice Nightmares
Unreal Psychedelic Journey
Ride The Darkside
Search The Soulside

– Darkthrone, Soulside Journey

No Comments

Tags: , , , , , , , , , , , , , , , ,

Interview: Unknown I (Hammemit/Emit)

Emit creates ambient art for those off the beaten path and willing to indulge a contemplate, meditative, obscure trip through undefined sound, like a convergence of Lull, Final and Harold Budd. In addition to being musical, this project is produced by minds who have critically analyzed and chosen their path. We were lucky enough to capture this interview after being blindfolded, driven in circles in a 20-year-old Toyota Tercel, screamed at in Pashtu and Altedeutsch, and finally interrogated by Unknown I while we gobbled our rice rations of the day.

Do you believe that art requires an intention behind it?

Yes, but then all art has some sort of intention behind it. Even if the intention is purely a selfish one, like making money or seeking fame (or infamy), or taking the piss, there’s still a motive no matter how questionable. Deep down there’s a reason for every action made in this world. People complain of “mindless” vandalism but never think about why it is that an ugly steel and glass bus-shelter may seem like an affront or worthless object of derision to others. The fake surroundings we spend most of our lives in are so hideous in my eyes that it was natural to become involved with the courageous cultured barbarism of black/death metal, noise music and so on. To me, these music forms aren’t fantasy escapism but reflections and expressions of deep underlying truth and reality of existence. Most things seem to want to hide reality from you, i.e. your butchers and policemen as my old friend Joseph Conrad said, but certain art exposes inevitable death and reminds you that you’re actually alive and existing. A friend of mine used to badly cut himself on a regular basis, he said that people mainly did it (in black metal circles) because it was a brutal and “evil” thing to do to yourself, but he just did it because he liked it. I suspect that he did it because when seeing his own blood spewing everywhere and feeling the pain of it, he could taste mortality and thus found confirmation of his own existence within that. Do you truly feel that you exist until you realise that you’ll die one day? When you see what usually remains invisible (in this case, that which allows you to live; the internal organs, blood etc), the abyss between merely seeing and actually existing is crossed, said Yukio Mishima, loosely paraphrased.

If so, is art decoration? Is it propaganda? Is it communication? Please explain your choice.

All art communicates something, whether it communicates something worthwhile or not is another matter. The Greeks thought that the sheer craft of even an everyday object like a chair was art by itself, but then their furniture and so on was made by hand, not mass produced to a template by chinese industrial machinery. My own house is mostly purely functional, apart from a few choice objects here and there, the personal worth and interest of which are in my eyes therefore enhanced, or more accurately, are allowed their rightful place and not drowned out by crap. Owning and listening to too many albums, for instance, devalues the really great ones. So I don’t do it. If art doesn’t say anything to me (or if something else says it better) it’s probably useless and I’ve no time to waste on it. Propaganda is for tabloid newspaper readers and decoration as an end in itself only reflects the present culture it derives from, which in our case isn’t very good, from an aesthetic sense or any other. Ancient decorative art (from nearly all ancient cultures) glorifies all that’s great about their people, mythos and culture, truly aspiring towards and reflecting something divine and vital. The likes of the Pre-Raphaelite Brotherhood (particularly the mediaeval revivalist offshoot led by William Morris and co), attempted to inject this old ethos back into the increasingly industrialised culture of the West, and with Hammemit’s crude neo-mediaeval music I follow humbly in their footsteps. By “neo-mediaeval”, I mean taking the past and adapting it to modernity, not wearing old clothes and fighting mock battles as if pretending it was still the year 1300. I don’t want to retreat back into the past, I’d rather bring the past into the present day.

Kurt Vonnegut famously referred to art as a “canary in a coal mine”, or a warning signal for society. Other artists, notably Romantics, have claimed that art serves a necessary role in celebration of life. Still others believe it should celebrate the artist. Where, if anywhere, do these views intersect, and is it possible for art to exist as a discrete one of them and not as an intersection?

I used to talk several years ago about “anti-art”, because I considered what I did to be partly a reaction against pretension and fakery where most “artists” claimed to be so very deep and meaningful, but in actual fact their art was nothing but shallow and cheap gimmickry, or entertainment. It’s easy to pretend to say a lot if you hide behind a fog of flashy imagery and other useless bric-a-brac. It’s also surprising to me how many are taken in by it, as I thought art was supposed to go beyond the superficial.

I would have laughed when I was a teenager if someone had said to me that art like that of black metal celebrated life. But ironically, being obsessed with death and general morbidity is actually a healthy state of mind in a society where no one wants to even think of the word DEATH. I found it empowering and strangely uplifting (though it didn’t occur to me that way, back then) to be thinking of death all the time and carrying bones about in my pockets, because it’s a taboo and forbidden realm not to be mentioned in polite cunting society. So to be allied to a “cult of nature processes” ironically made me feel more alive and allowed me to breathe in the cold night air more deeply. Possibly it’s why I found (and still do find) great pleasure in simple things which others don’t find particularly remarkable at all.

Nature! We are surrounded and embraced by her — powerless to leave her and powerless to enter her more deeply. Unaksed and without warning she sweeps us away in the round of her dance and dances on until we fall exhausted from her arms.

She has brought me here, she will lead me away.
I trust myself to her. She may do as she will with me.
She will not hate her work. It is not I who have spoken of her.
No, what is true and what is false, all this she has spoken.
Hers is the blame, hers the glory.

– Johann Wolfgang von Goethe, Nature, a Fragment

Quorthon of Bathory refers to his music as “atmospheric heavy metal.” What does atmospheric offer that the world of rock music, jazz, blues or techno cannot?

“Atmospheric music” as I would understand the term offers a means of connection with the hidden world beyond, the mysterious unknown. It allows the creation of certain moods, ideas and images within the mind of the imaginative listener. Certain key passages in this kind of music can suddenly infuse you with an almost indescribable transcendence from your surroundings. There are moments like this in Graveland’s “Barbarism Returns” and Enslaved’s “Heimdallr” (the demo version more so than on the album). Simple rock music or whatever is a mere temporary distraction and serves only as a kind of audial wallpaper. Rock music may passively reflect the time in which it was created and the base preoccupations of its creators but that’s it. Atmospheric music pointedly reflects the time in which it was created and also suggests possibilities for the future, or contemplation. That’s the difference between your example of Bathory (I would say spiritual music) and one of their contemporaries like Venom (secular music). Speaking of Hammemit & Emit, I’ve always wanted to create active music for active listening, not passive background decoration, as I listen to music as an activity in itself, not for any other reason. Sometimes if I’m in the car on my own I’ll listen to music to just pass the time on tedious journeys, or boost flagging spirits. I hate martial/military music (outside of its intended context the purpose and point is lost), but I have a tape of good driving tunes by the SS Leibstandarte Adolf Hitler which encapsulates the optimistic atmosphere of the 1930’s. It makes me smile when crawling through some faceless city at 5 mph to consider that even a 25 ton Panzer IV had a top speed of 26 mph and could easily crush to pieces the cars in front and crash through the walls of the office blocks and shops lining the road, pedestrians scattering about like rural french peasants.

When you write music, do you aim for a completed concept, or develop a fragmentary concept and see where it goes?

I’ve always had a “concept” in mind but as the years went on it became more easily expressed. The Hammemit album is my most consistent work, and conveys my intended ideas simply and without any unnecessary ornamentation. My core beliefs haven’t changed radically but my opinions have changed somewhat from experience and such. I’m too young for my opinions to have fossilised into convictions yet. In order to communicate effectively, an artistic medium like an album of music needs to take a unified approach. It should have a distinct sound, a unique voice both visually and lyrically as well as musically. And this should all come naturally, not be forced in an unnatural, dishonest way like some calculated marketing campaign. A lot of bands understand this but only grasp it on the most superficial level; they have an “image” in promo photos, they use the same font on all their releases or whatever. They miss the point completely. What I want is for someone to look at the layout/images of the Hammemit album, read the lyrics, listen to the music and intuitively take from it something useful to them. That sounds dry and dull in words, but what I mean is that I ultimately aim to create with Hammemit the means for uplifting of spirit and transcendence in the listener that occurs when absorbing great art.

Many attack ambient music, like punk, for the relative lack of musical training or instrumental ability of its progenitors. Do you see this as an important criticism?

I doubt you’ll be surprised by my answer here, but no, of course it’s not at all important. Technique is merely a means through which you can express something. Lack of technique or limited musical ability just means you’re more restricted (or perhaps freer in some cases) about what you can do. Someone lacking musical ability or training couldn’t easily write or perform music like that of Morbid Angel for instance, but then some forms of expression don’t require that level of instrumental skill. Furthermore, technical ability is absolutely worthless if lacking any idea of composition. I think someone who has no real technical ability as such, may nevertheless still have an innate (possibly an unrealised, subconscious) understanding of melody and form, and thus be able to create good music. I don’t understand why it is that low technical skill is nearly always seen as a valid criticism by those who “know about music”. It’s like with these lists you see of “100 greatest guitarists ever”, ok, but how many of them made music that you actually give a shit about? Darkthrone were quite talented musicians but their best music isn’t hard to play to say the least. I bought a new guitar recently (an ostentatious act for me, but the model is not in itself ostentatious) and tried it out in the shop beforehand. I suppose that people usually have a long, showy masturbation session in music shops when trying out new instruments, but I just wanted to see how it felt to play and so on. I’ve never really wanted to drastically improve my playing skills, not through laziness or lack of ambition but because I actually fear losing my unfettered ability of expression. Over time I’ve improved gradually anyway as is natural, but I’m fond of the lack of refinement and “first take” freshness that can be found in recordings of people like Ildjarn or old Mutiilation. It lends a certain immediacy that becomes integral to the overall effect that the song produces upon the listener. For me it’s similar to the curious power of crude woodcut illustrations, which although primitive, nevertheless convey what is intended. I’m not advocating the old punk rock ethos of “anyone can have a go”, because plainly, not everyone has what it takes to create something meaningful or worthwhile. Indulge me and allow me to quote a favourite passage from a controversial figure of 1960’s England; “practically everyone believes they could write a book or compose a song if only they put their mind to it. They believe this simply because they can easily comprehend the finished products of others. It is not until they attempt the act of creation themselves that they become aware of their own limitations, lack of imagination, abysmal powers of self-expression and how unaccustomed they are to thinking deeply about anything at all. Becoming aware of the vast gap that exists between understanding and personal creativity – and the intellectual effort required to capture and express a complex idea in simple terms – is humiliating”. Technical prowess as such doesn’t necessarily hinder the creation of (good) art, but stupidity and a lack of anything to say certainly does. Just look at the music section of myspace.
black metal and ambient music seem similar in their use of layered motifs over a drone or constant beat in which syncopation is de-emphasized.

Is this from a similar world-outlook, or is it a megatrend passing through our time to aim for atmosphere instead of discrete conclusions?

In the first place that’s a really interesting hypothesis which makes a lot of sense to me, but I’m not sure if I know the answer to your question. I don’t really think that a similar world outlook necessarily leads to similar artistic output other than in terms of meaning, so it’s possible that intelligent artists who have something to communicate gravitate towards creating music that they feel speaks to the ancient man who finds himself living in the modern world.

EMIT has emitted (forgive me that) a series of releases, seeming with each to move farther from black metal in form and closer to black metal in spirit. Is that assessment correct? What has engendered this progression?

I think you’re right. With the Hammemit album, there are no percussion elements, no distorted guitar and mostly clean vocals. In previous releases there’s been a fair amount of variation with clean and distorted guitar, but ironically, I wanted to free myself from the conventions of what I used to do by limiting myself to a bare minimum as far as possible. It focused my mind and let me get to the core or essence of what I’ve already been doing for years. I believe I’m getting closer to an ideal stylistic approach, which has taken some time to reach. Now it’s a matter of utilising the approach in the most effective way possible.

When we speak of evil in music, what is its value? Is literal evil meant, or a mockery or evil, or is the metaphor being overloaded to take on new meanings? Are they recapturing the word “evil” like hip-hop groups have recaptured racial epithets? And finally, have you encountered any music you consider “evil” in the definition of your choice?

It seems to depend on whom you speak to. The religious bands of today mean literal evil in the biblical, moralistic sense. So-called “pagan” bands use the word as if to say “christianity turned our gods into devils”, recapturing the word, as you suggest. Overtly blasphemous bands like Havohej take delight in mocking the dualism and entire concept of evil with their crudely effective lyrics and stance. I don’t think I’ve come across any music that I find actually evil, only music seeking to portray that which is generally considered evil, and that isn’t the same thing as “evil music”. I said in another recent interview how I’ve never seen death and black metal as being much concerned with blaspheming, but rather praising or aspiring towards the numinous. That’s what I’ve always endeavoured to do with Emit and will continue to do with Hammemit.

Do you believe music should be mimetic, or reflect what’s found in life, or ludic, and show a playfulness with life that encourages us to experience it in depth? Do the two ever crossover?

When I listen to Hammemit, what comes to my mind is the moors, woods, rural churches, stone circles and ancient places of England as I know it. It encapsulates what I begin to think about when visiting or visualising them, and I believe that music ultimately is an artistic manifestation of thoughts and ideas. For instance, the guy from Absurd used to say that black metal was “listenable ideology”. Taking this further, I would even say that music could be broken down to something like computer language, a series of 1’s and 0’s which look like gibberish but can be understood if you have sufficient knowledge or have trained yourself over time. If you look at guitar tablature, it’s basically a series of numbers telling you where to put your fingers on the fretboard, but when you follow this on an instrument it creates something which we can understand, much like 111110010100110001111 might be code that forms a program for a computer. So if you translate thoughts and interpretations of the world around you into music, it could be said that you’re creating a program which allows other people to experience those same ideas and thoughts. I dare say this makes the whole artistic process seem less “magical”, but I like to try to get to grips with the mechanics of how important phenomena work.

I want to learn more and more to see as beautiful what is necessary in things; then I shall be one of those who make things beautiful. Amor fati: let that be my love henceforth! I do not want to wage war against what is ugly. I do not want to accuse; I do not even want to accuse those who accuse. Looking away shall be my only negation. And all in all and on the whole: some day I wish to be only a Yes-sayer.

– F.W. Nietzsche, Thus Spoke Zarathustra

When you create music, do you narrow your perspective to find what you seek to express in life, and then translate it back to sound? Do you feel others do this? What are the ways an artist can approach the task of making art?

I feel I’ve sort of answered this above, but certain noise music to me, sounds like the breath of woodland in a heavy wind or even birdsong, if I’m in the right frame of mind. I’m not sure I’d actually call it music as such, in all fairness, but it’s interesting to think of these mechanistic, artificial sounds interpreted back into naturalistic ones, as if being reclaimed. Trees smashing Isengard. Any artist who wants to communicate something worthwhile will choose a form which he or she thinks is most suitable (and personally enjoys themselves). Usually I’d imagine it’s pretty much intuitive, not so much a conscious choice. I don’t know how other people might go about creating music or writing or whatever, but speaking for myself, it stems from a desire to encapsulate that initial inspiration and rush of ideas and feeling. It’s “just” a matter of working out a way in which to best make it communicable. Not being unique, I suppose this must be how it is for many others, as well.

What influences from the world of ambient music were inspirational for you?

The sound of nearby church bells, rain on the rooftops and wind in the trees is perhaps the greatest ambient music I’ve heard and has influenced me more than anything else. Some have said that the Hammemit album reminded them of work by Brian Eno and he is indeed quite a visionary, though I wouldn’t agree that he was much of an inspiration to me. I like Tangerine Dream a lot, and anything that I like a lot tends to be assimilated somehow into what I do, but there’s no conscious influence from them either. My music is mainly based around the guitar, so two particularly inspirational guitarists for me would be Snorre Ruch (of Thorns) and John Dowland, the latter being a lutenist rather than guitarist but the principle is similar. I think my influences are more in terms of ethos and aesthetic than anything concrete in form.

Like many others, you were influenced by the black metal movement coming out of Norway in the early 1990s. What did you see in that movement that inspired you artistically?

I saw another movement like that of the Pre-Raphaelites for whom “the past is alive”. The music, image, ideas and actions transcended the mundane shit of day-to-day life in the modern world, touching on things deeply buried. “How beautiful life is, now when my time has come”, sounds like a line Mishima might have written. Most black metal bands of today in comparison remind me of the difference between Dead Can Dance and fucking Cocteau Twins. In other words, idiots tell me that if I like Dead Can Dance, I’ll also like these other clowns, but I DO NOT.

The long, long road over the moors and up into the forest–who trod it into being first of all? Man, a human being, the first that came here. There was no path before he came. Afterward, some beast or other, following the faint tracks over marsh and moorland, wearing them deeper; after these again some Lapp gained scent of the path, and took that way from field to field, looking to his reindeer. Thus was made the road through great Almenning — the common tracts without an owner; no-man’s land.

– Knut Hamsun, Growth of the Soil (1917)

Do you have any personal ideologies? Do these inform your approach to your music? Do they provide a groundwork for the content of your music?

I once began to distrust this word “ideology”, in black metal especially it became a word used to say whether a band was “true” or not. People began to talk about “ideological black metal”, which was used to draw a line between bands who stood for something and those newcomers or fakes who stood for nothing but making scary music to amuse themselves. But unfortunately in trying to emphasise the difference, a lot of bands started becoming overtly politically affiliated as if trying too hard to prove they had something serious and important to say. For example, the Polish bands of the mid-90s did this more and more as they saw the Norwegians becoming less interesting musically and much less radical in their statements and so on. I think it was good and necessary to start with, because the normal people refused to listen to politically-incorrect music like that of Veles or Graveland and stuck with safer bands. I gather that people even sent Veles CDs back to the record label because it had the word “aryan” printed in the booklet. It created a refreshing and stimulating, iconoclastic environment similar to that of the original outbreak. But there was a point where overt nationalism and political-incorrectness became sloganeering or even protest music and that’s where I lost interest. The point is that ideas don’t need to be expressed through some existing political party/system, or so obviously. It’s just cheap and vulgar and only appeals to idiots. To be silly for a moment, Hitler wouldn’t have listened to WAR88 but he might have given later Graveland a try. My own music says, “I would prefer to see a million people machinegunned than a forest put to the chainsaw to make room for their ugly houses”, but that isn’t the title of the album.

Do you believe objective reality exists?

Tell a class of schoolchildren to look out of the window and draw a specific tree and they’ll all draw something “treelike”. Therefore you can say that objective reality exists. But each child will probably come up with various subjective interpretations of the tree. Most will try and copy it as exactly as possible (and become frustrated when they fail to do so accurately), perhaps some will try and capture the spirit of the tree, others will not observe at all and draw a generic tree, etc. Personally, I always tried to be faithful to the object in question taking meticulous care over tiny details, usually running out of time and leaving it incomplete. Sometimes I found that when translated to paper, objects looked wrong, even though they had been accurately rendered, so I’d stop looking at what I was drawing and improvise or add what I wanted. I began to think at an early age, in the simple way that children do, that reality is something which although the same for everyone, reveals more to some than it does to others. It was hard not to feel superior when faced with the fact that those around me seemed totally blind to all but their most immediate surroundings. I find it stupid when people say their music is “inspired by nature”, because it seems to me that in nearly every case, they mean a picture postcard version of nature. They see nothing beyond the obvious, they just like the “dark atmosphere” of forests or the “inspiring” sight of distant mountains (what does it inspire them with I wonder). They might as well paint a drab watercolour picture because what they see around them has already been handily interpreted for them by TV and other mass media. We learn to interpret life vicariously through other people, so that when stood in a forest you should feel X, Y or Z, because that’s the limit of human understanding so why bother thinking any different. What’s the difference between visiting Stonehenge or a desert and watching some slickly edited footage of them on TV? I may see the same things such people do, but for all intents and purposes I’m not even on the same planet, my experience of life is not the same at all.

What consciousness if any exists to the cosmos? If one does exist, does it infuse you with a sense of purpose?

Well I certainly believe in a consciousness to the cosmos. But I don’t believe that you need the church or any organised religion as intermediary. In meditations and in my whole life I’ve tried to understand even a tiny piece of this existence and wondered often, and thought deeply about all of creation and the point of it all. My beliefs in recent years have more or less followed ancient gnostic ones, as I felt the closer you got to the beginning, the nearer you got to the truth, in opposition to modern thought, where it’s believed that with each new technological progression you come further to the truth and some ultimate, elusive satisfaction. In modern society people believe that with each passing second the world naturally progresses in a linear way. Well, it’s not “natural” that we should have an industrial revolution at a certain time and I don’t think all progression is necessarily good, or indeed real progression at all. If there’s an alien civilisation out there somewhere, it’s unlikely that they’d have developed the same as we’ve done. Terms like “the Stone Age” are very misleading. Having contemplated life in the modern world it’s very easy to conclude that absolutely everything is stacked against the deep thinking, spiritual person. When you come to this point it’s also very easy to think about suicide and I’ve had periods (now forever in the past) where I’ve vaguely entertained the notion. When I was younger I used to go on walks and towards dusk smell the summer air, listen to the last birdsong and I felt something huge missing within. I had no idea what this “something” was nor any idea of how to discover what it was, but it gave me a direction to strive towards. People always tell me that I think about things too much, but then I’m a spiritual person and contemplation seems to be a key to understanding. The consciousness (what people used to call god) that exists within and without this cosmos (and therefore us) does indeed infuse me with a sense of purpose. I think that changing yourself even at a solely physical level is not something as insignificant as it might seem, because everything is interconnected so such a change is nothing short of altering the entire universe piece by piece. Believing in the interrelation between microcosm/macrocosm as I do, I wonder how anyone can believe that the universe and cosmos will exist indefinitely. Is there any example in nature that suggests this is likely? Every living thing is just a miniature cosmos in itself, so therefore if every living thing has to die at some point, the cosmos itself must have to “die” as well. I personally don’t believe in death as a finite and permanent thing, but as a change in existence, energy moving elsewhere or eventually returning to the source. Worshipping death and the ultimate Death of everything in the way that I describe, makes existence tolerable by virtue of considering its otherwise total worthlessness. Life would be pointless without death after all, but Death still exists without life. It is therefore, the ultimate and oldest form of existence, coming both before and after material manifestations. Energy can’t be destroyed, it has to go somewhere and originate from somewhere, so death is evidently not a total nothingness in the way we might understand the word, despite not being able to comprehend it. There isn’t a dualism between death and life, death is actually a continuation of life in a different (higher) form. I don’t mean an afterlife as such in the sense of “heaven”, but I believe in continuation in different forms, though it isn’t comprehensible to us. You can say that as you can’t remember anything from before your birth, why should after death be any different? Well I imagine it isn’t, but non-awareness only means non-existence in the form that we know. Let’s say the cosmos came into being when it first became aware that it existed. On a microcosmic level, using a biblical metaphor, the first humans became aware when tasting the forbidden fruit and thus realised they were naked. Before that they still existed but were unaware of themselves as entities in their own right. Therefore going back to the cosmos as a whole, one can tentatively suggest that the cosmos existed before it came into physical manifestation, despite there being apparently “nothing”. Zero is still a digit (and a relatively recent concept at that), and there are also minus numbers, meaning you can go further back than nought. Death is a realm separate from the material one, therefore it isn’t possible to experience it by means of the senses or even deep thought – it’s outside of humanity. But it is real.

Nihilists tend to break the world into two groups, those who are looking forward in time toward something intangible that constitutes a purpose, and those who lack any such abstract goal so are focused on the tangible, both in physical and mental construct. Have you observed anything of this nature and, if so, what is it?

When you first look around at the world that surrounds you, you’ll obviously only see the immediate – buildings, people, trees, stars etc. Once you recognise these things and begin to file them away in your mind, you start to allocate meaning to them from further associations that link them and a million other things together build up into a massive network of meanings, memories and so on. Taking everything at face value would mean that none of these things you’ve observed have any intrinsic value whatsoever, other than those which you’ve learned or been conditioned to accept. You would understand for instance, that the paper notes used for currency, or even the shiny yellow metal called “gold”, are not worth anything, apart from the value society has given them. And so-called “human rights” is a meaningless, purely politically expedient concept. You’re then faced with a very difficult dilemma. You can either create or accept an existing mythology to explain the world you find yourself struggling to understand, or believe that you’re on your own and have been left to your own devices. Strangely, following on from gnostic beliefs, I’m actually somewhere in the middle, ha ha.

One of the fundamental divisions of our society is whether or not it can accept relativity. some turn it into relativism; others deny it and insist on “objectivism,” which is a rather rigorous form of scientific Social Darwinism. What do you think unites methods of relativity in linking together phenomena, and the human desire to make life easy and tangible and have us each perceive that reality is as we desire, even if contrary data exist?

It’s true that people prefer to see things as they’d like them to be, and hide away from what they really know is out there. That’s why D E A T H is such a taboo that people give it all these innumerable euphemisms. It obviously sounds like a much easier and “fairer” life if everyone decides to agree to disagree, because it means less conflict and less of people’s feelings being hurt. Unfortunately for utopia, people have a tendency of saying “no, we’re absolutely right in our beliefs, and you are heretics/infidels/cretins/gay for believing otherwise, and now we want to kill you”. You’ll often hear politicians and their ilk talking about how everyone should be able to live in harmony, not afraid to believe in whatever they want to believe in. Although of course, these same people will later go on to say they’re declaring war on another country to fight for what’s “right”. Opposing beliefs and ideas are always going to cause tensions when confronted with another, because to admit that they’re “both right”, or that “no one is wrong” is an admission of uncertainty and lack of faith in your convictions. It’s also blatantly stupid because both parties know that in truth, either one or both of them are utterly wrong. It’s like saying you know for certain that grass is green but accepting that some people think it’s blue. I believe that falling trees make a sound in the forest even if no one’s there to hear them, and that the world exists outside of our perception. It will still be here when I die. As usual, what unites all these things is a fear of death. The world is a frightening place if you suddenly take away everything that shields you from it. That’s why people allow themselves to be led down the garden path, willingly oblivious to the forest that lurks at its carefully trimmed and cultivated edges.

Did black metal die, and if so, what killed it and, has ambient/electronic music gone through similar cycles?

Everything has to die. I feel that like the world itself, black metal could have remained something brilliant, but stupid, shallow people and commerce ruined it. Concerning black metal (but not only that), I think most people including many who “were there” only see an idealised version of reality. Basically they see a relatively brief outburst of creativity and good intentions contained as a single neverending era and not as a finite period of innovation witnessed over time, followed by noticeable decline and inevitable death. I imagine citizens of the Roman Empire in its last days felt that way. Maybe Americans feel like that. People need a sense of continuity and belonging in order to feel secure and black metal is now a boring youth subculture like any other, not an evolutionary artistic movement. It’s about clothes, symbols, scene orthodoxy and total lack of substance for the most part. It’s hard to admit that the dream is over, that something has come to the end of its lifespan. The people who refuse to recognise that are usually those with the most to gain from its continuation and such people are dangerous because they prevent real progress from being made. But those who do acknowledge it are the first to rise from the ashes and forge something new. When an old, beautiful and much loved building falls down, the average guy says “I’ll rebuild this building, it’ll not be quite as good as before but it’ll keep the spirit of the old building alive”. But a radical, visionary architect says “I’ll rebuild this building, and I’ve a few ideas of my own this time”. However there are quite a few people out there who think of themselves as doing something new and original, but who actually aren’t. Playing a saxophone or tambourine or banjo or flute in a black metal context doesn’t necessarily make you a creative genius (in fact I’m damn sure it doesn’t). To cite an example I’ve used before, Darkthrone were obviously a positive evolution from Bathory and Celtic Frost, and to continue the architectural metaphor; are the difference between doric and ionic columns. In other words you don’t need to do anything completely new to be original, you just need to look at what came before in a new light, which is easier said than done of course.

What’s the status of EMIT, and when do we hear new material? What inspired this new material?

Emit has evolved into Hammemit; modern music for mediaeval sensibilities, by which I mean intended for those desensitised to the general chaos of modern life yet retaining a certain spiritual awareness and closeness to the world. The new direction isn’t a sudden development but a gradual progression where I began to lean more towards the calmer works than the noisier ones. The more consistent approach which can be seen in the Hammemit album stems from deep and prolonged contemplation flowing over into a group of connected lyrics. These lyrics really opened the way into a new holistic conception and execution of my musical work. I hope that as many people as possible will read the lyrics and that some will feel a deep affinity with the music, because I know that other people look at the world in the same way that I do. My intention is that people should feel the way I felt when I read “The Centaur” by Algernon Blackwood – that they’d found a kindred spirit. I feel I should elucidate further as Mr. Blackwood isn’t well known anymore, though I believe he deserves to be. He used to be quite a popular figure in his time, and would read his stories on BBC radio and even appeared on the then new cursed medium of TV (when it was basically still radio but with pictures). Yet his books are mostly out of print nowadays and his best works can generally only be found in secondhand bookshops or not at all. Lovecraft was a fervent admirer of his work, though this wasn’t reciprocated and Lovecraft’s writing unfortunately is largely still seen as pulp trash while Blackwood’s is just forgotten. His one major attempt at fully explaining his worldview came with a full-length novel, the aforementioned “The Centaur”. His preferred medium was the short story and it becomes readily apparent when reading it, but despite its very occasional failings as literature, I found it interesting and even exciting reading. What he proposed was not new, but the manner in which he set about describing the idea that the world was a living being and everything living on it were part of one entity, made it sound like perfect sense. This being because I could clearly identify with the two main characters, both of whom seemed to articulate exactly what I myself thought and had constantly struggled with. Blackwood would have as a basis for many of his stories a central character who was enthralled so much with primal nature that they “risked” being consumed by it utterly. This is best seen in his short stories such as “The Trod”, “The Touch of Pan”, “The Man Whom the Trees Loved” and of course “The Centaur”, all of which I recommend reading. As I said, I hope to do with music and lyrics what Blackwood did with his writing, I feel a real calling to do so.

If you were able to make an album that would be given mainstream radio airplay, would you choose to make your music closer to mass tastes but subversive, or attempt to wallop people with something very far from current mass tastes?

I wouldn’t do anything different from what I’m doing now. Why would I want to water down what I do in order to get the interest of shallow people who have nothing in common with the meaning of the music? I’d just be wasting everyone’s time. Look at Dissection and their “Reinkaos” album or Watain’s new one. Why even bother? Seeds on barren rocks. Good luck to them if they think their message will be spread further by simplifying ther music, but I’d rather not pander to the lowest common denominator. I don’t see myself as some supreme and elite being, not through modesty but through thinking about it. I aspire to better myself and to achieve certain goals, and I look at myself therefore as what a human should be like, it’s those falling under that who are below human. There’s only human and underhuman, everything else is aspiration for now. I understand the limitations of the masses and know that difficult concepts are totally beyond them, not always beyond their capacity to understand, but certainly beyond their attention span. The masses are guided by base instinct and self-interest and to make them otherwise is impossible. It’s easy to trick them into believing that something bad for them is actually good for them and vice-versa. As long as they think it serves their own interests they’ll be happy. They’re mere empty vessels who’ve allowed themselves to become corrupted and mindless, a bit like Tolkien’s orcs or the zombies from “Dawn of the Living Dead”. Their greatest and apparently only desires are to eat/consume, fuck and destroy everything beautiful. The individual I quoted earlier once said that serial killers acted the way they did because they were either consciously or unconsciously deeply aware of time passing by and wanted to take action while they could, to live each moment as much as possible and push the limits of experience. The masses are not in the least aware of time passing them by, they don’t think death will happen to them. They imagine an afterlife paradise where all their sickening desires and lusts will be fulfilled for them, so might as well sit and wait for it. A consolation for me is that they will all eventually be reclaimed, as into an amorphous jigsaw with billions of missing pieces…

DEATH DEATH

If you seek the kernel, then you must break the shell. And likewise, if you would know the reality of Nature, you must destroy the appearance, and the farther you go beyond the appearance, the nearer you will be to the essence.

– Meister Johannes Eckhart

1 Comment