A few times every decade, a work of literature or film comes along that astonishingly predicts the future with unbelievable accuracy. Back in 1994, we were given a dead-on glimpse of the social climate that we’re currently living in across modern western civilization through a seemingly harmless silly, good times college comedy, as it advertised itself to be. But instead, PCU showed us the world we would be inhabiting twenty years later.10 Comments
The first batch of bands for the Fall of Summer 2017 festival in France were announced in an overenthusiastic press release for a decent but not great lineup. Blasphemy, Demolition Hammer, and Bulldozer are playing along with a bunch of dumb hipster bullshitters and stoner doom idiots. Check it out if you’re nearby and want to deal with a bunch of drunken beer metallers.5 Comments
Among internet metal sites, Metal-Rules.com has a unique niche as being both popular with newer fans and proud of classic metal. During the last few melees over censorship, I encountered the Managing Editor there, a relaxed fellow by the name of Joshua Wood. Since we are both metal nerds, it seemed an interview was in order, and to his credit, it ended up being more interesting and more metal than people might suspect. Give a big hand in welcoming Joshua Wood, and read on…
What first attracted you to heavy metal?
Easy! Kiss Destroyer, 1976. The excitement, the fire, the blood, the power and the electric energy of it all. The top mainstream bands of the time were all soft rock and disco and along came…Kiss! They just totally blew everyone away.
What first attracted you to writing?
It’s funny, I don’t really consider myself a ‘writer.’ I’m just a guy with lots of strong opinions about metal! My main goal always was, and I suspect always will be, to support the underground and ‘real’ Metal bands, as per our site’s tagline, ‘Supporting Real Metal’ since 1995.” I’m not a critic; I want to support a band I enjoy and feel could use the support and or exposure. I don’t waste my time criticizing bands I don’t like, why bother? Live and let die, they can find their own audience. I’d rather write a positive review of a band and help them instead of slagging one of many, many crappy bands. As a result I write very, very few negative type reviews, whereas some mean-spirited critics seem to revel in finding new and amusing ways to insult bands. Those reviews are funny to read though!
How did you get involved with Metal-Rules.com? Today, as I understand it, you are the Managing Editor. How did you get into this job?
I started as a ‘Guest Writer’ (like all of our staff) back in 2001. Overtime I contributed and showed I was reliable, could meet simple deadlines, brought some creativity to the table and generally showed a passion to support the site. Back then there were very few website dedicated to metal, especially the metal I loved, not the nu-metal that was infecting the scene at the time and it was the perfect forum to show that there were still killer new bands out there besides the crappy/trendy sub-genres. Over time, I became the Managing Editor. It is strictly volunteer.
What does the job entail? What are the fun parts, and the harder parts?
I tend to oversee our writers/photographers, give people encouragement, support and direction. I contact labels, agents, bands promoters on behalf of the site, give out assignments and of course add and edit the content to the site. It’s always fun talking to fellow like-minded metal heads about metal and I suppose doing the book and DVD reviews is my favourite part. I’ve written over 1000 reviews for the site over the years! We have a private Metal-Rules Staff Facebook page where we discuss the months assignments, who is covering or reviewing what so we keep it all straight.
The least fun part is having to reject bands or labels that just don’t fit our mandate or interest, but I always try to be supportive and suggest they try other avenues. Sometimes when some crappy rap-rock and mallcore band sends me stuff or is asking for help I feel like saying, “Dude! Do you even LOOK at our site? We are so against the kind of music you make, why did you waste your time contacting us?” lol. Sometimes fixing the countless little mistakes of submissions can get laborious, but I just put on an album and type away!
What sort of metal do you like? Do you distinguish by genre, quality of bands or some other traits that they have?
I’m a fan of many forms/styles/sub-genres of hard rock and metal. It’s almost easier to say what I don’t like which are:
- Post Rock
- Post Black
I’ve been actively buying and collecting metal since the late 70s so I have a substantial personal collection of just over 10,000 items, albums, books, DVDs, cassettes, magazines, etc, including a decent stock of rarities, and I love it all! If you include authorized digital promo copies my collection swells to 15,000 items. Thrash, Death, Black, Doom, Power, etc have lots of every style to suit my mood. I do distinguish between genres but I try to keep it to a dozen or so broader genres, but I also enjoy micro-analyzing the subtle differences in bands styles, scenes and sounds.
I’m also the co-chair of the Heavy Metal committee for CARAS (Canadian Academy of Recording Arts And Sciences) the group who host/present Canada’s national music award program, the Juno awards…the equivalent to the Grammys. I tend to use those analytical skills in that role to see what really qualifies as ‘metal’ when it comes time to screen submissions for the awards program. You would be surprised the amount of crap that people consider ‘metal’ and submit to us!
What do you think distinguishes heavy metal from rock music?
That is a tough question! I think Metal has a bit more aggression, speed, power attitude, rebelliousness, negativity, skill, dynamics, sincerity, than the ‘average’ rock band.
Can you name the metal bands that have influenced you most, as well as the writers and other non-musical influences who shape what you do?
The bands that influence me the most are some old favourites, W.A.S.P., Manowar, Thor, Anvil, Raven, and Yngwie Malmsteen. These guys get it. The never bow to trends, they never break, they are all underdogs, survivors, productive and reliable! Many younger fans make fun of those bands but they could learn a lesson or two on how it done to persevere and survive to create real metal art. I doubt many of the new, trendy bands will ever have a 15-20 album, 30-40 year career like the above list.
Martin Popoff is a big influence, we have become personal friends over the years which is cool. Non-musical influences would be the normal day to day stuff, playing sports (soccer) my career, family, hobbies and volunteer work. It all keeps me busy, I wish I had more time to dedicate to the site as you can tell by how long it took me to respond to your kind request for an interview!
I recently wrote that modern metal — nu-metal, post-metal, metalcore and indie-metal — have one thing in common, which is that they are composed like rock bands but use metal riffs sometimes. What do you think distinguishes older heavy metal, underground metal and modern metal from each other?
I think I would agree! I feel much of the younger modern Metal bands confuse ‘heaviness’ with volume and screaming. I understand that there is a natural extension of Metal to want to go after, louder, more extreme etc but often they loose site of some of the key elements that attracted me to Metal…the riffs, technicality, proficiency, speed, power all that stuff. Some bands are so busy trying too hard to look or sound what they think Metal is, that they miss the point.
How important is technicality to you in assessing bands? What about production?
To me technicality is extremely important. I love bands like Dragonforce, Immortal Guardian, Joe Stump, Pathfinder, Dream Theater. I love guitar heroes; I have dozens of guitar/instrumental shred albums so that ranks very highly for my enjoyment. As for production, I don’t feel like I have a very refined ear. It amuses me that some people can say, “The production ruined the album or made it unlistenable”, but that is pretty subjective. I’ve never heard a truly horrible production job that radically diminishes my enjoyment of an album. I listen to two-track Death Metal demos from 30 years ago and I listen to full-on, 120 digital track albums from Prog Metal bands with orchestras and infinite layers of sound (like Devin Townsend for example) and I enjoy each for what they are.
Of all the things that you have written, what are your favourites?
I have a few editorials (and or rants) I have done that are more for my own amusement to point out trends or odd facts. One recent one I did was a piece that stated Slayer has copied W.A.S.P. their entire career. Of course, most people in their right mind would disagree but it was fun to find 10 or so interesting little facts and coincidences about the two bands and do a creative piece. Again, the book reviews are really fun to write. I’ve written close to 300 now. Film/DVD reviews are great as well, they can be more in-depth than just another CD review that ten other websites have already reviewed that month as well. Our site we believe has the largest collection of metal DVD and book reviews on the web, with the exception of the big (not-metal) sales portals like Amazon.
A few years back I was contacted by Dr. Niall Scott of the University of Central Lancashire in England. He is the Chair for the International Society for Metal Music Studies (ISMMS) and he said he uses my book review section for a reference which I thought was very nice, so the book reviews is probably my #1 fave for now. It’s nice, as the only site that really does many metal themed book reviews people constantly send me books to review which is an awesome perk.
What do you think of #MetalGate? Does metal have its own response to these issues, and not need an outsider view, or should it take influence from other rock genres and consider the SJW agenda?
I have to admit I was not knee deep in that battle. For one, I’m not heavily involved in social media, I don’t do Twitter or any of that stuff so it sort of went under my radar. Secondly, I really don’t care about or put stock into people who criticize Metal. People, the music industry, the church, the government, academics, parents, the media, watchdog groups and even (so-called) fans have been attacking metal from the beginning so I tend to ignore those ignorant fools. I was like, ‘Yup, another bunch of clueless morons with nothing better to do taking aim at Metal’. It was almost a non-issue for me. I’ve seen groups like the PMRC or MTV come and go and after waging deliberate anti-metal campaigns (and losing) so I lumped the SJW into that category. There are but a vocal minority seeking attention by using music (or art, or literature etc) to promote a specific social agenda…it’s like buzzing housefly or yapping little dog, you just ignore it even though you have the power to crush it. I would not want to dignify the SJW clan with a response because the wolf does not concern himself with the opinion of the sheep. Like Jack Black and Tenacious D said, “You cannot kill the metal!” However…. I do admire and support the warriors who picked up the sword and went into battle in the name of metal!
To directly answer your question: No, metal should never compromise and consider the agenda of others; that would be the polar opposite of Metal is. Metal is not about compromise, friendship, or trying to be some happy, all-inclusive, friendly, hippy, group-hug, drum-circle (despite what Sepultura did on Roots!) It never has been and never will be. Embracing that agenda would be one of the worst possible outcomes and it would dilute the purity and beauty of the genre. I think Alice Cooper said it best. He said, (roughly paraphrased) “Metal is not about politics. It is about sex, money and violence. Leave the politics to the punks.”
Can you tell us more about “Metal Mental Meltdown”? Is it true that you’re planning a digital version?
That is a whole other story. The brief version is that I created a heavy metal board game back in 1999. I sold it around the world and it was my full-time job for a short while. Overtime the game ran its course and I returned to the real world of work. I had written some genre-based extension packs but time, energy and money were the enemy. I have often flirted with ideas of some sort of digital version, an app, an on-line game but have yet to put it in motion. The hard copies are still for sale.
What is your radio show, Megawatt Mayhem, like? How do you pick bands to be on the show?
Megawatt Mayhem is one of the world’s longest running metal radio shows. We have been on air for over 29 years every Saturday night on CJSW 90.9FM in the city of Calgary, here in Western Canada. We are a two-hour magazine style show with news, views, reviews, interviews, concert listings and local bands. We have an open door policy for local bands, if a Calgary or area band wants to visit, as long as they have some recorded product of a minimal level of quality we invite them on. The host of the show champions local acts, I am more selective, but it is part of our mandate as a local station to support local artists. We have interviewed tons of bands from the brand new local band in the garage to Metallica.
I also host a more melodic Metal show called Attention Surplus Overdrive which features the more melodic side of the genres; guitar heroes, Prog Metal, symphonic Metal, Melodic Metal etc… it runs for three hours late at night so I can play entire albums by Nightwish or Steve Vai or whoever. I’ve been doing it for almost two years now. It is on the same station, right after Megawatt Mayhem, so I do a really fun five-hour stint every Saturday night/Sunday morning!
If people are interested in what you do, where do they go to find more information and keep up with the latest from you?
Anyone can drop me a line via one of my five (!) Facebook pages! lol. I’d be glad to discuss my involvement in the Metal industry over the last 20 years, from being a promoter, an Assistant Producer of a huge Metal festival, a hosting a Metal nights, and countless small metal-themed projects with anyone who wants to chat!
- Joshua Wood (Personal page)
- Megawatt Mayhem (heavier radio show)
- Attention Surplus Overdrive (Mellower radio show)
- Metal Rules (Webzine)
- Metal Mental Meltdown (Board Game)
Arctic Music Group (AMG), famed for quality death metal releases at reasonable cost in the early 2000s, will restructure itself into Arctic Media (AM) along with its imprint labels Arctic Music, Frozen North and Punktuation!.
Under the leadership of Julian Hollowell (Kult of Azazel, Hateplow) Arctic Music and Punktuation! will focus on extreme metal and punk. Under Ricktor Ravensbrück (Electric Hellfire Club), Frozen North will focus on electronic and industrial music. Finally, Mike Gallo of SBS Recordings will lead the new label imprint Blue Light which will focus on blues, country, reggae and world music.
Current roster artists include Vein Collector, Kult ov Azazel, Hod, Ptahil, and the most recent signing, iconic electro/rock/industrial act The Electric Hellfire Club. New releases have already been scheduled into summer of 2014. AMG will continue to work with distributor MVD, which will ensure its product will be available in all formats worldwide, both physical and digital. The label plans an emphasis on vinyl and other formats in addition to standard CD and digital downloads.
Viewing itself as a “a label run by musicians for musicians,” AMG has pursued musicians of longstanding status in the underground to implement its new vision. The label is currently accepting and reviewing submissions from artists and will also consider licensing existing releases from artists whose current contract terms have expired.
Submissions may be sent to:
Arctic Music Group (AMG)
PO Box 23308
Fort Lauderdale, FL 33307
Regular DMU readers may have noticed that Puerto Rico has been on this site’s radar since Brett Stevens interviewed José “Chewy” Correa of Organic last year, and for good reason. The “Island of Enchantment” is more than just beaches, bikinis and piña coladas; it’s also home to one of the most active and diverse metal scenes that you’ve probably never heard of.
So what’s going on in this little-known metal outpost in the Caribbean? More and more international bands play here every year. Local bands are touring and inking deals overseas. There’s an online metal radio station broadcasting live shows every week. An international academic conference on heavy metal will be held at the University of Puerto Rico in March. We even have a biannual metal flea market where metaleros from all corners of the island gather to buy, sell and trade metal merch while local bands provide the live soundtrack. And this is only a short list; there’s a lot more happening here.
Cultural idiosyncrasies aside, all national and regional metal scenes are built with the same three human components: the bands, the fans and the people who have the initiative to organize and execute the business and logistics of the scene, otherwise known as “the people who make things happen.” These men and women of action don’t often get the recognition they deserve, yet they continue to work behind the scenes to bring your favorite bands to a venue near you. (Kreator didn’t play their first show in PR last year just because people “liked” their Facebook page; someone had to organize and execute a plan and all the logistics involved.)
Some of these men of action, such as Ray López of Thrash Corner Records, have also managed to actually make a living in the metal music world — not to mention help build and shape Puerto Rico’s metal scene — while balancing the responsibilities of a dedicated family man. (In fact, I didn’t know that Thrash Corner was his livelihood until I asked him what his day job was in a followup email.) So is he lucky that he’s living a “metalhead’s dream” or is it his work ethic that makes things happen?
Ray López was kind enough to take time from his busy schedule to answer some questions about his label, Puerto Rico’s metal scene and his most ambitious project to date, the first Metal Expo Convention of Puerto Rico.
You’ve been active in metal for over 20 years, so let’s start with your label, Thrash Corner Records. What motivated you to start your own label?
I’ve been a metalhead since 1980, and my label has 20+ years in business. The story is kind of weird. One day I just got up and said, “I’m tired of going to the store (never finding what I wanted) and ordering by mail (waiting sometimes up to two months to get my goodies).” An idea came to my mind. What if I call a distributor (those days it was Caroline Records and RED Distribution) and tell them that I opened a store and want to buy wholesale? So I just got the numbers and decided to call, and to my surprise they just opened an account for me and I started buying from those companies.
I said to myself, “that was very easy,” then another idea came to my mind. Let’s say I call Relapse Records, Century Media, Metal Blade and many others. Can they sell to me direct? But then I had to remind myself that I was in Puerto Rico and most of the people in the mainland don’t know the status of what we are. Most of them don’t know we are a territory of the US, so I took advantage of that and also started buying direct from them. Then I got deeper and deeper into the underground and saw how things were moving with the small labels (everything was about trading productions between each other), so I just jumped on the wagon and Thrash Corner Records was born.
What were some the most significant challenges in those first few years?
To be honest, everything was happening so fast that I was surprised with what I had accomplished in just the first year. If I have to mention something, the first thing that comes to my mind was trading with the other labels outside the US. Back then with no Internet, setting up a trade sometimes took up to 4 months (all the communication was via letters).
What are some of the highlights and gratifying milestones up to this point?
Those are many and I don’t want to bore you with that, so I will just mention a few:
Traveling to different places, meeting with bands, hanging out with them and sometimes becoming friends (the ultimate metalhead dream come true).
As a label, signing bands from other countries, getting distribution across the US and other countries (and that is more gratifying knowing that you were the first one to do that and in some cases the only one to accomplish that).
I understand that Thrash Corner has had distribution deals with US bands such as Hirax and Deceased. What are some of the other bands on your roster, and are there any upcoming releases we should be looking forward to?
Yes, Deceased released one album with us called As the Weird Travel On, considered by many an underground masterpiece. With Hirax there is a licensing deal and we did their complete catalog (the only title we don’t have will be the new one, SPV is the one releasing it). Now that Hirax signed with SPV, we feel very proud because we worked very hard with them as a team to get the attention they deserve and finally it pays. We also worked with both Asesino re-issues (Corridos de Muerte and Cristo Satánico). Those were out of print for many years, but now you can find them. Right now we are working with the death/thrash band from Florida, Solstice, doing our own version of the album The Dust (their 2009 full length). We decided to do that one because it had a limited distribution and we want all the fans to own this piece of art.
From our chat prior to this interview, I got an unequivocal impression that you’re a firm believer in the old saying: if you want something done right, do it yourself. Is Thrash Corner Records a one-man operation? If so, how important is it to have total control of your business and freedom to do things your way?
You are totally right: Thrash Corner Records is just one guy doing everything. It is hard work but it is worth it. You control everything and you make the decisions, right or wrong (no one to blame, just myself, but I can live with that, hahaha!!!).
I can say without conceit that I work in metal 100% and I’m the only one making a living from it here. It hasn’t been easy, but if you strive for your goals you can achieve them. My normal job is the label, selling retail and wholesale on eBay, my website and Amazon!!!
During that chat you also mentioned that you were born in the US and that English was your first language. How old were you, and were you a metal fan already when you moved to PR?
Yes, I was born in New York, but moved to PR when I was 5 years old. I wish a was metalhead at the time, but the concept of heavy metal was not invented yet, hahahaha!!
The good, the bad, and the ugly: Can you tell us what the overall situation was like for independent record distros, promoters and bands in PR back when you started Thrash Corner? How does it compare to the situation today?
Back in the old days of my label and distro, it was hard in some aspects and easy with others. Right now there are a few more distros and labels, but back then I was the only one. As for promoters, I was involved in 90% of the shows here, one way or the other. Now there are more promoters and they found the formula to do shows without my help. I don’t mean that in bad way, back then I had a lot of contacts because of the distro and the label and I was the only bridge that they had. Now with modern technology you can find bands with the click of a button. And about the bands, basically most of them are in the same situation now as they were back then (let me make a BIG NOTE: we had a few bands doing things the right way, but I can say we have more now than back in the days).
How did the idea for the Metal Expo come about? Did you formulate it and then presented a plan to people who could help you make it a reality, or did you discuss the idea and sketched it out over time with input from friends and associates?
I was crafting this idea for a while (let’s say the main concept is mine), but now that we have a team everybody is bringing ideas to the table!!! That’s why we had to change it to two days (in the beginning it was going to be a one-day event).
Was an event like the Metal Expo imaginable 20, 10 or even 5 years ago? What are the “pieces of the puzzle,” as you put it, that make this event possible today?
20 years ago – impossible.
10 years ago – maybe.
5 years ago – yes (but some pieces were missing).
About the pieces of the puzzle, I prefer to keep them to myself (this topic is too sensitive, so I prefer to make no comments)!!
There are quite a few underground metal promoters here in PR (some might say an unusually high number for such a small place). Why did you choose to join forces with your co-organizer, Paul Martínez of Bloodstained World Entertainment? Can you tell us a bit more about him?
For me this is the biggest thing that I’ve ever assembled. I needed a person that I can trust 100%. We have a perfect communication and we have known each other for more than 30 years. When I started Thrash Corner, he was one of the first people to give me a hand. (The story is too long, we leave that for another day!!) Paul has been into metal his whole life, so he was perfect for the job. I know that if he was the one with the idea for the Expo, I would be the first one to be invited to participate!!!
As co-organizers, what exactly are your responsibilities in the Expo, and what is Paul’s role?
This is a 50%-50% responsibility, that means that we are sharing everything, we both brought ideas and we are working together with the other part of the team!!!
Can you tell us about the other local promoters involved and what their roles are in the Expo?
The Shownet Group just joined us over a month ago. We are very happy that they joined us. Now it is a three-way split of responsibilities!!!
You were going to start announcing one confirmed artist per day at some point back in December. Why did you choose such an evil way to build suspense?
Initially that was the idea, but some information leaked and we had to announce what we had earlier than planned. For now we have:
- Band seminar by Rafael Bracero of Khaosmaster Productions / Puerto Rico Metal Alliance.
- Trailer premiere of the documentary on Puerto Rican Metal and discussion panel with Prof. Nelson Varas and the crew of Puerto Rico Heavy Metal Studies.
- Guitar clinic by Ramón Ortiz (Ortiz, Puya, Ankla).
- Drum clinic by Alex Marquez (Solstice, Thrash or Die, ex-Malevolent Creation).
- Plus trivia, competitions, meet and greet, exhibitors and vendors.
- Anger as Art
- Thrash or Die
- Blood Feast
- Six Feet Under
Is the bill already full or is there still room for interested bands to sign up? What about exhibitors and vendors?
The bill is done for live acts. We are negotiating with the exhibitors and vendors. If you want to know everything, all the information will be announced on the official website. Visit us and click “like” to get all the updates.
One of your stated goals for the Expo is to bring worldwide attention to Puerto Rico’s metal scene. Why not do the typical two-day metal fest with just music instead? Should metal festivals offer more than just music?
If we do a festival we will never get the attention (they will see it like a big show). With the Expo you can add so many different things to get more attention. Just say the name of the event, “METAL EXPO CONVENTION” and tell me if you’re not curious and want to know what it’s all about???
The Metal Expo follows hot on the heels of another important event: the academic conference dealing with the topic of heavy metal music as a communal experience. Do you think it’s a positive thing that scholars have decided to study heavy metal, not only as a music genre, but as a cultural phenomenon? Some see that as “infiltration from outsiders.” What’s your take on the issue?
I think it is a positive thing that they decided to study heavy metal as cultural thing (metal has been around for nearly 40 years). That kind of exposure for us is perfect, specially in Puerto Rico. It will help our scene in many ways!!! We have the privilege that the person who is studying our scene is also a metalhead (Prof. Nelson Varas and the crew of Puerto Rico Heavy Metal Studies), so we have an ally. I was just investigating and I noticed that most of the professors of the International Society of Metal Music Studies are into heavy metal music, so there is no infiltration or outsiders. They are part of us and they just found a way to contribute to our movement with their profession.
At first I thought that the Expo would be held at a stadium or convention center, but it will be held at La Respuesta, which is the venue where most of the visiting underground metal acts play. Was that venue choice a conservative decision to keep things manageable? Tell us about the venue and the setup for the Expo.
La Respuesta opened their doors to heavy metal a few years ago, and it’s the official venue for most of the metal shows in Puerto Rico. We wanted to keep the Expo there for a few reasons: most of the metalheads know the venue and feel comfortable there, it has perfect spacing for this event (we’ve been running the Metal Market there five times and it runs smoothly) and we prefer to spend the money on the bands and not on a big venue. We want to give the fans the best experience they can get.
The island’s metal fans are expected to show in full force at the Expo, but in addition to them, do you expect to draw international visitors?
The response of the scene here has been great and we already started working with the promotion and invitation for visitors from outside PR!!! With this interview and some other notes that came out in other websites it will draw some attention to visitors from outside.
Internationally speaking, do you think that the island’s metal has flown under the radar? Are we at a flash point where Puerto Rican metal will conquer foreign shores? What bands do you think will lead this charge?
Yes, the island is getting some attention. These last few years we had so many more international acts here than we had in the last 20 years. Those bands are spreading the word when they go back to their countries, and all the promoters are getting more messages from international acts that want to play here. Years ago Puerto Rico had attention with bands like Puya, Cardinal Sin and Ankla, then there was a gap and now we have a few bands making some noise outside: Dantesco, Pit Fight Demolition, Zafakon and Severe Mutilation.
From what I’ve heard so far, most of the major metal genres are represented by various underground bands in PR. What do you think makes Puerto Rican bands different from other international scenes? Is it a combination of our mixed ethnic traditions, our socio-political situation, and the simultaneous identity pull/friction of being both a Latin American country and a US territory?
Like other countries, we have most metal sub-genres represented. The difference here is that our bands don’t sound alike, even if they are from the same metal sub-genre. Take two local black metal bands, like Argyle and Humanist. They are the same sub-genre, but they don’t sound alike. In other countries, bands within a sub-genre tend to sound alike and sometimes you can tell what country they are from just by listening.
Why is this? In my opinion, it is a little of everything you mention in the question, but in the end it’s hard to tell.
Ray, I know you’re a very busy man, so I want to thank you for your time. I’ll let you have the last word to all of our readers around the world.
Northern California’s Exhumed made themselves a name back in the late 1990s by fusing Carcass-style grindcore with energetic and melodic death metal of the Swedish style, injecting a lot of punk along the way.
Although this created more of a popular form of death metal than the original underground style, it introduced many new fans to the genre and created a framework for an integration of punk into the style. Its enduring popularity has provided Exhumed with a legion of fans.
We were fortunate to be able to talk to Matt Harvey, who has been “the voice of Exhumed” for almost two decades now. Most of our questions focused on Exhumed’s latest album, Necrocracy, and what the band’s been up to since.
I realize genre names aren’t all that popular, but what genre is Exhumed these days? Are you grindcore, or death metal, or did you invent something new?
I think we are what we’ve always been: Gore Fucking Metal. I don’t know that it’s something completely new, but it’s a combination of all the stuff we’ve always been influenced by, Death Metal, Grindcore, Thrash, NWOBHM, Powerviolence… All the good stuff, haha!
What is the ideal environment in which to enjoy an Exhumed album?
As long as there’s beer and lots of volume, then it’s good. I think that’s up to the individual. For me, I’d say you’d want a 12-pack of beer, some expendable furniture to smash, and a few friends would be the best accoutrements to a listening session.
Necrocracy is quite provocative. It seems to suggest that the world is not as peachy as my television tells me it is. Can you tell me more about the concept of this album?
Yeah, I’d say the world is not that peachy keen. The lyrics still revolve around death and gore, but they use those concepts as a metaphor to discuss a lot of the things going on in the current US political and socio-economic climate. The songs usually revolve around stuff like the destructive influence of corporate greed (Ravening), the gross inequalities inherent in the taxation / medical system (Coins Upon The Eyes), the meaningless pandering of the electoral system (Necrocracy), and the distorted perception that Americans have of their way of life and country’s role in the world (Dysmorphic).
You’re back after a hiatus. What made you personally and all of Exhumed decide to return?
It was one of those thing where it just made sense to do a new record. I had had enough of the break, and was just getting back into writing these kinds of riffs and songs and stuff. And it was one of those things that just kind of came together and took on a life of its own which was pretty awesome.
What are you most looking forward to on tour?
Free beer and seeing friends in different cities and states. Same as always! Plus I get a lot of reading done on tour, haha!
Do you think metal’s in bad shape? A lot of people seem to think it has become redundant. What do you think about modern metal, metalcore, etc?
I actually think metal is really healthy. There’s all kinds of niches and sub-genres all over the place, and every form of metal, from 70s proto-metal to the most modern math-rock stuff has an audience. If you think about it, the first Sabbath record came out over 40 years ago, and in order for the genre to move forward and stay viable, creatively and commercially, it has to change and evolve. Me personally, I’m really only into 70s / 80s / early 90s metal, but I’m in my late thirties. By the time my Dad was my age, I was thirteen, and it seems silly to think that a thirteen or fifteen year old kid is going to be into the same music as a guy that’s 37 years old. It’s easy to be nostalgic or think that one specific generation has “nailed it” and everything else is false – people into Blue Oyster Cult and Thin Lizzy thought “Kill ’em All” was just noise when it came out, people into Exodus and Slayer thought “Scum” was crap when it came out too. Things move forward. You don’t have to like it all, but you have to accept that it’s the way things work. While a lot of the modern stuff isn’t my personal cup of tea, it’s good that things keep moving forward and the genre stays viable.
How do you think Exhumed has grown and dare I say…… “progressed” ….over the years?
We’e always had the same kind of riffs and stuff, based our shit around the Repulsion / Terrorizer / Carcass / Napalm Death / Death / Autopsy template, but we’ve definitely gotten better at structuring songs, incorporating melody, using tasteful guitar solos and shit like that. It’s all been a very slow and gradual, so sometimes it seems to me like we haven’t progressed at all, but then I listen to some of our old stuff and I realize that we have come a bit of a ways through the years, which again, is a positive thing.
Are you planning to continue for another album or more, after Necrocracy?
We don’t have any plans of stopping, if that’s what you mean, haha! I have an idea for the next album title already, but we’ll jump off that bridge when we get to it, haha!
What do you think made death metal and grindcore what they were? Did it take a state of mind to make music like that? Can it return?
I don’t think it can ever “return” or be the way that it was, which is as it should be. At the same time, the same spirit of wanting to play more intense music, pushing the boundaries, it’s still alive, it just manifests itself differently because of the context of the times. There are still tons of great grind bands out there, Nails is awesome, Teething is great, and those bands are about as traditional grind as it gets. Same with Death Metal, there’s a resurgence of bands playing in the older style that’s awesome to see. There’s at least a nostalgia and a place for that kind of music that isn’t going away and that’s awesome and gratifying to see.
The song “Coins Upon The Eyes” is super-catchy and yet really abrasive. How do you write material like that? Do you just think up a riff, or sit down and design it?
We actually have a bunch of multi-colored balls that represent different riffs, then we throw the balls into a pool full of seals, and whatever order the seals flip the balls back to us is the order that we play the riffs in. It’s basically a foolproof hit factory!
Honestly we just think of things in terms of songs, not in terms of “brutality” or something ephemeral or subjective. With “Coins,” it’s almost like what we did with Waxwork, where you have one main riff (the chorus) and most of the other riffs build from the note choices and movement within the main theme. From there, the pre-chorus and the guitar solo parts serve as the contrast points, being in different keys with different rhythmic structures to build tension.
Of course, it’s not quite so scientific when you’re coming up with the riffs, there’s a fair amount of playing from the gut that kind of pulls you in the direction that the song wants to go. After you have something that works, you can analyze it, and that analysis will help you know what works next time around. I’m a big adherent to the pop songwriting philosophy and we try to always include some hooky choruses and catchy stuff in every song.
That’s really the ultimate goal, now that we know how to be heavy and brutal and all that stuff – whatever that means, haha!1 Comment
Sammath rose out of the ashes of post-1997 blackmetal with a flair for classical-inspired architectural riffing within the shorter format of metal songs that were both listenable and radically opposed to the complacent normalcy invading black metal. The A.N.U.S. interview staff were able to intercept J. Kruitwagen’s cell phone from an abandoned ferryboat off the coast of England, and captured this interview by pretending to be investigators looking for clues about al-Qaeda.
What event or idea triggered your desire to release music? It seems like many play instruments, and only some go on to publish or be in bands.
When I first heard Gehenna “angelwings and ravenclaws” I was already writing music but not at all with the intention to release anything. This 7 inch inspired me the most, the atmosphere they created was something I really wanted to do myself. The only problem was that no one I knew wanted to record anything. I even used to play along with Slayer on a acoustic guitar before I had a electric one when I was ten, you have to start somewhere.
Are your songs designed around emotions, visual perceptions or purely musical “shapes”?
A combination of all. Mostly musical shapes, I try not to let emotion get in the way but thats impossible. You can’t write hateful black metal after you just had a great day with your girl. Watching a war movie on tv or old world war two documentaries really is the most inspiring. Reading about Stalingrad and the hell in the midst of war. The songs are all written the same way, I get the lyrical concept and build the music around this.
What things inspire awe in you?
Anything that deserves respect, in any way.
If you patterned your music after anything you found in your outside world, what were these things? Or do you see the patterns of the outside world as stylistic inspiration, and the poetic content of your songs deriving from somewhere else?
The outside world has its influence, even if you dont want it to. I would say that everyday violence, war, despair, hate finds its way into the music. I of course have never been or seen war. I don’t glorify war but the way destruction and chaos always win intrigues me. The content of my songs just appear and naturally find their way into a track. If my music should represent anything from the world outside it would be a falling bomb with the listener sitting on it.
What is the hardest part of songwriting?
The hardest part to songwriting is knowing when a track is finished and should be left alone, I have heard so many great tracks by other bands to that just take too long or have to many riffs jammed into twenty seconds. The thing about black metal is that it is a combination of feeling and music, no one of these should lead. Luckily noone interferes while I write the music. Sammath is just me, I have a great band for live acts but they don’t write any music.
You had a promo tape and a demo before your first album; how did the music of Sammath change across these three releases?
The first demo “zwaardbroeders bij de bergengte” 1996 (brothers of the sword at the mountain pass) was really underground, bad sound, but the ideas for later SAMMATH where there. At that time I had someone else in SAMMATH, due to total lack of interest I kicked him out. The music at that time was heavily inspired by early Emperor and Satyricon, not even close to their level of songwriting but the atmosphere on the tape was good. The second demo/promo tape “de ruines fluisteren (the ruins whisper) was a full length demo with eight tracks varying from fast black metal to old style black metal. Both these tapes are four track recordings. From the first demo to the release of the cd “strijd” their was only a improvement on the sound, the music grew as it should but did not change much in style. The only difference being that it started to sound more original, the SAMMATH sound.
How is the new album different from Strijd?
Verwoesting/devastation is more violent in every way. The keyboard is gone and the music is faster. The tracks are of better quality as is the recording. There are also more death metal influences, after seven years of pure black metal it was time to evolve. I spend two years on this cd, everyday two or three hours. I finally had the opportunity to work with Fridus Klaasen a great producer. He does not have any connection to the metal scene and usually just masters classical music. This way you get a fresh sound, not like all bands who record in well known studios. The lyrics are no longer about dark forests and so on but realistic, war, death, questions upon faith. The whole concept is more brutal, every musician always prefers the latest album, go listen to the tracks and compare yourself. The music has evolved from being a rip off of other bands to a SAMMATH sound.
What do you think of mp3 trading (Napster, WinMX, Kazaa, Audiogalaxy); has it helped or hindered the underground?
I think it helps in one way, everyone can hear your music. Problem is that less people buy albums, the value of a cd is just no longer what it was because of the easy way to copy a cd but the prices remain the same. I am not in it for the money; that’s pretty obvious or I would have been writing pop music but I don’t see why everyone should get everything for free, if you like the album buy it. If noone buys albums there will be no more scene. On the other hand, there are so many releases that are not that good at all that you want to listen to but not buy. Folter records has told me he has had no problems. I believe that the older generation still buys what they want. What I like is vinyl, the best sound for metal.
What things do you love? Hate? Do most things fall in between?
I hate everything that has to do with religion, satanists are just as pathetic as christians, anyone who needs to be part of a group is just weak. I also hate the political talk within the scene. A couple of years ago those right wingers tried to get into the house/ trance scene, those people didnt want it so they thought, lets go and try the black metal underground. Not much falls between. Love is not really much of an inspiration for this music. Hate turns to music.
Is belief, or logic, more powerful to you?
Belief is emotions and not realistic, except if you want a life as a priest so you can get through life without having to face reality and you get to meet al sorts of nice little kids. Feeling though is a big part of SAMMATH, hate, war. Belief stands for weakness and self made comfort to get through life believing heaven is their for you, the truth is you die, get buried and rot. If we are all god’s children then our father is a ruthless bastard. He probably listens to metal.
What do you see as the differences between black metal and rock music?
Probably the state of mind of those involved. I think rock musicians think money earlier. Black metal has more passion. We evolved from rock music to metal to even faster. Rock music is written for a large audience and black metal however you want it to be.
Which were your earliest influences in black and death metal?
The earliest influences are not at all black or death metal, too numerous but Coroner, Mortal Sin, Rose tattoo, Slaughter (Fuck Of Death), Autopsy, early Cannibal Corpse. Mostly local Australian rock/metal bands that I saw live. I still get very pissed off when I hear anything from the mighty Autopsy. The earliest black metal would be Gehenna, Satyricon. Celtic Frost, Hellhammer. Good thing about Celtic Frost and Hellhammer is that you can play along pretty quick and just stand their headbanging to frost tracks, gives you a good boost, “I can play this shit!”, then improvise my own riffs over the originals on the LP. I think I listened to the same bands as everyone who is now near to thirty years old.
You are referring to Sammath’s music (on the site) as being “furious black death metal.” How do you conceive of the unifying factors behind the labels we use for music and other things? is black metal an ideology, a musical style, an attitude or an artistic style only?
We have to label music, even if we don’t agree with the term. Everything needs a name so that people can place it somewhere. It is so damned pathetic but mankind needs labels for everything. I created the furious black death metal mainly for the t-shirt design. I thought it fits the music well. Some people agree some dont, who cares. Black metal is whatever i want it to be. It’s all that you mentioned above and more. Everyone has different ideas about black metal. I try not to get involved in all that discussion about what is true or not. Foremost black metal should be just a artistic style. Some people get so worked up about how it all should be, I don’t give a shit who does what as long as its fast and brutal. A lot of people look very evil but have no idea what they are on about.
It seems to me these days people are negative about nationalism for the most part, but I always think they have patriotism and nationalism confused. After all, nationalism used to mean pride one’s specific tribe or culture, and didn’t have much to do with the flag-waving and Iraq-bombing we see these days. What are your thoughts on this?
Its going to get worse, wait till the USA and Europe split in about ten to fifteen years. Due to the fact that the world is getting smaller and more crowded people are grabbing on to whatever they know and understand. This means that nationalism and patriotism are automatically combined. Here is the danger. Culture is also being overthrown by Nike, Coca Cola and whatever else. So every kid al over the world looks the same in their youth. When they get older they want to reunite with their culture from their own country, not liking what they stood for so the line between patriotism and nationalism fades. The whole Iraq bombing situation is just going to go on until the USA decides to listen to europe or bomb everything. It’s a great place for them to test weapons. In europe the fine line has also disappeared. You cant wear the dutch flag on your jacket because then you must be racist, as you already mentioned people are confused. “the timeless splendour of chaos”
What are your favourite sensations while creating music?
The whole process of writing music. When a track works out well and turns out the way you thought it to be. When you write music like this al is a great sensation, letting your ideas twist into brutal fast metal.
Do you listen to much metal? If so, anything notable of late?
Very much metal, lately I listen to mostly older stuff but some good new bands are Abominator from Australia, not that new but damn good, Trimonium from Germany also on Folter Records, I don’t really follow the scene as fanatically as a couple of years back. There are just too many releases. Older dutch metal bands as Sinister, Pestilence and German thrash is what I mostly listen to these days. I still have great respect for Sadistik Exekution, Destroyer 666 who still have that “fuck you” feeling in the music. The Dutch scene is growing very quickly and some good bands are starting to appear.
Do you think that popular music will ever turn toward being more like classical music?
Ha ha, not in the near future. Their is no way that popular music will evolve to anything worthwhile soon due to the fact that people dont care about the music. If it’s got tits its good. If it looks cool it’s good. Those forms of music are about as far apart as possible.
What bands do you think are most responsible for the black metal sound as we know it today?
Venom, Frost, Hellhammer, for the younger generation is would probably be cradle of filth and dimmu boring. I think the early black metal evolved differently everywhere, with its roots in the mentioned bands. Black metal in Poland has a quite different approach then the Norwegians. Those bands inspired thousands to pick up a guitar, bass or start beating on a drum kit. Mayhem and Darkthrone probably played a big part as well.
What activities do you have outside of music upon which you rely for inspiration?
Outside of music I teach history, not the teaching but history inspires me to write music in many ways. Read any account of a battle during both world wars and that should give many ideas. The vast universe gives enough to think about.
Where do you hope to take the band next? Any future evolution’s of the art form?
The next album will be recorded with a real drummer. Koos Bos is probably the fastest drummer i have ever met. I want to record the album with the band members. I play guitar so I play bass as a guitar player; that’s not good for the sound. Recording everything yourself also has its disadvantages. I want to go on tour sometime next year when i return from australia. I still have a contract for one more cd with Folter records. I am pleased with his work for Sammath and the new tracks that I have written are in the same line as “verwoesting/devastation” I want to master the art of furious black death metal.
Do you think there is an ambient or atmospheric quality to your music?
Definitely, hypnotising riffs. Not for all. It doesn’t have atmosphere as Mortiis does. I create chaos, chaos has its very own atmosphere, more straight forward in your face. Everyone burning candles and listening to ambient would probably disagree.
Please speak on anything I’ve forgotten, and talk about anything you’d like.
Thanks for the interesting questions, metal or die!
Really unreflective people are now inwardly without Christianity, and the more moderate and reflective people of the intellectual middle class now possess only an adapted, that is to say marvelously simplified Christianity. A god who in his love arranges everything in a manner that in the end will be best for us; a god who gives to us and takes from us our virtue and our happiness, so that as a whole all is meet and fit and there is no reason for us to take life sadly, let alone exclaim against it; in short, resignation and modest demands elevated to godhead – that is the best and most vital thing that still remains of Christianity. But one should notice that Christianity has thus crossed over into a gentle moralism: it is not so much ‘God, freedom and immortality’ that have remained, as benevolence and decency of disposition, and the belief that in the whole universe too benevolence and decency of disposition prevail: it is the euthanasia of Christianity.
– F.W. Nietzsche, Daybreak
Contacts: Alex Perialas, Pyramid Sound Andy Adelewitz, PR consultant
Phone: 607.273.3931 Phone: 607.257.0455
Email: firstname.lastname@example.org Email: email@example.com
Pyramid Sound, Where Timbaland, David Gray, Anthrax and Others Recorded, At Risk From City
Bridge Construction Supporters Organize Protests, Petitions To Save Successful Ithaca Recording Studio
ITHACA, N.Y., June 21, 2012 — The future of a world-class recording studio that has hosted recording sessions by David Gray, Anthrax, Ginuwine, Aaliyah, Bad Religion, Missy Elliott, Joe Bonnamassa, producers including Timbaland and Tom Dowd, Pulitzer Prize winning composer Steven Stucky, classical pianist Malcolm Bilson, and many others is under threat due to the City of Ithaca’s poor planning of a bridge rebuilding project directly outside the studio walls.
Pyramid Sound, the studio operated for nearly four decades by producer/engineer Alex Perialas in downtown Ithaca, New York, has been unjustly condemned as of Tuesday, June 19, resulting in the devastating loss of a very successful business, and the potential destruction of its facility as the bridge construction gets underway.
After two years of asking for details of the construction plans and how they would affect his property, and being put off by then-mayor Carolyn Peterson and superintendent of public works Bill Gray, Perialas finally got an answer about when the project would commence when workers posted signs outside his studio warning the public that the street would close in two weeks. And as of yesterday, both the studio the separate storage garage next door, which Perialas also owns, have been posted by the city, after repeated promises from the
building department commissioner that they would not be; and no one, including Perialas, is allowed in.
Additionally, the building department employee who posted the building yesterday informed Perialas that the city had found his building condemnable two years ago, in the early planning stages of the bridge reconstruction. Perialas was unaware that an external inspection of his property had happened, and was never informed of the finding, leading to at least the appearance that he was deliberately kept in the dark until it was too late to mitigate problems with his facility, allowing the city to save money by condemning his property rather than compensating him under eminent domain or amending the unnecessarily aggressive construction
It marks the latest, and most grievous, in a series of bad-faith dealings with Perialas by the City of Ithaca. The story begins in 2004, when construction of a municipal parking garage across Clinton Street from Pyramid began. Seismic vibrations from that project resulted in cracks in the walls of the garage and studio buildings,
causing some damage. He complained to the city at the time, but was unable to see the fight through because he was simultaneously caring for his ailing father.
In May of this year, after being stonewalled by city officials for two months, Perialas received a report from a third-party structural engineer hired by the construction contractor in May. The report found the storage garage, which was closest to the bridge construction, to be in poor condition, and the external walls of the studio building itself to be in poor-but-stable condition; the method of pile driving that would be used on the bridge project would likely cause the nearest garage wall to collapse, representing a danger to occupants and the public. However, this report came two weeks after the bridge project was started, leaving Perialas with no
time to repair or reinforce his buildings. Yet the City of Ithaca has offered Perialas no meaningful compensation or assistance, and has refused to delay the project or issue a change order instructing the contractor to use an alternate, less aggressive method of pile driving that would not represent so great a threat to this thriving business.
After several meetings with new mayor Svante Myrick, Perialas was finally offered just $20,000 from the city to help cover the cost of reinforcing the garage wall. But that offer came just a day before drilling to prepare holes for the pile driving was scheduled to begin — too little, too late. And it came with the unacceptable
condition that Perialas indemnify the city against any further damages to his property caused by the bridge project.
Now that the buildings have been posted, Perialas is left with a slew of recording and mixing commitments that he’s unable to complete, as well as millions of dollars’ worth of sensitive equipment that he’s unable to check on or maintain. For example, the studio’s mixing board could overheat easily if the facility’s air
conditioning system were to fail, potentially causing a catastrophic fire; but with the building condemned, no one is able to monitor the studio’s climate conditions.
Perialas makes it clear that he’s not opposed to the bridge project in general, merely the way it’s been planned and executed without any timely consultation with him, despite his many inquiries over the last two years.
“There’s no doubt that this work is needed,” Perialas told the local weekly newspaper The Ithaca Times last week. “My concern is how it’s been handled. Normally when you do a project of this nature, you work with the property owner to deal with loss of business or interruption of business. You deal with them to talk about how
you’re going to shore the building if there’s going to be an issue, and none of that’s happened. The only thing that’s happened is that I’ve had to raise my voice, unfortunately, which I don’t really want to do. I’m not anti this project. I’m anti-the planning of this project.”
Perialas and his team have received vocal support from hundreds of local musicians and music fans who are horrified by the prospect of this historic local institution being shuttered, especially under such heartless circumstances. Two Facebook pages
And an online petition
In addition to signing the petition, supporters of Pyramid Studios (and of the rights of responsible business owners in general) are urged to contact City of Ithaca officials including mayor Svante Myrick (607.274.6501, firstname.lastname@example.org), superintendent of public works Bill Gray (607.274.6527, email his executive assistant Kathy Gehring at email@example.com), building department
commissioner Phyllis Radke (607.274.6508, firstname.lastname@example.org) and city attorney Aaron Lavine (607.274.6504, email@example.com) to courteously express their support for the survival of Pyramid as both a local institution of international renown, and a successful local business deserving of respectful, good
faith negotiation, and fair compensation for damaged property and lost business.
More information in recent local media coverage:
WENY-TV (ABC affiliate in Elmira, NY)
The Ithaca Times (weekly):
YNN (local TV news):
ALEX PERIALAS / PYRAMID SOUND SELECTED DISCOGRAPHY
Year Album Artist Role
1984 Live at the Inferno Raven Engineer
1985 Speak English or Die S.O.D. Producer, Engineer, Mixing
1986 Slow Train Savoy Brown Engineer, Mixing
1987 Legacy Testament Producer, Engineer, Mixing
1987 Power Chords, Vol. 1 Various Artists Producer
1988 New Order Testament Producer, Engineer, Mixing
1988 State of Euphoria Anthrax Associate Producer, Engineer
1989 Practice What You Preach Testament Producer, Engineer, Mixing
1990 When The Storm Comes Down Flotsam & Jetsam Producer, Engineer, Mixing
1991 Deeper Into the Vault Various Artists Music Coordinator
1992 Foul Taste of Freedom Pro-Pain Producer, Engineer, Mixing
1992 Live at Budokan S.O.D. Producer, Engineer, Mixing
1993 I Hear Black Overkill Producer, Engineer, Mixing
1993 Substance & Soul Last Tribe Producer, Engineer, Mixing
1995 Belladonna Joey Belladonna Producer, Engineer, Mixing
1995 Concept Sam Rivers Mastering
1995 Under Pressure Such a Surge Producer, Engineer, Mixing
1996 Ginuwine…The Bachelor Ginuwine Engineer, Assembly
1996 Sell, Sell, Sell David Gray recorded at Pyramid
1996 Metal of Honor T.T. Quick Producer, Engineer
1996 Oz Factor Unwritten Law Engineer
1997 Signs of Chaos: Best of Testament Testament Producer, Engineer, Mixing
1998 No Substance Bad Religion Producer, Engineer
1998 Step Beyond Without Warning Producer, Engineer, Mixing
1998 Wrong Side of Memphis Johnny Dowd Re-mastering
1999 Ginuwine The Bachelor (Bonus CD) Ginuwine Engineer, Assembly
1999 Pictures from Life’s Other Side Johnny Dowd Mastering
2000 Bronx Casket Co. The Bronx Casket Co. Mixing
2000 Looking Up Cooter Mastering
2000 New Day Yesterday Joe Bonamassa Producer, Engineer, Mixing
2000 Phubar Phungusamungus Mastering
2000 Positive Friction Donna the Buffalo Mastering
2000 Red Is the Color Sunny Weather Mastering
2000 This Day John Brown’s Body Engineer
2001 Best of 2001 Edition (Master Series) Pro-Pain Producer, Engineer, Mixing
2001 Faust Original Soundtrack Producer
2001 Hillside Airstrip 10 Foot Ganja Plant Mastering
2001 Legends of the Nar Dead Cat Bounce Mastering
2001 Temporary Shelter Johnny Dowd Engineer, Mastering, Mixing
2002 Allophone Addison Groove Project Mastering
2002 EP Sunny Weather Engineer, Mastering, Mixing
2002 Into the Unknown Double Irie Mastering
2002 Live From the American Ballroom Donna the Buffalo Engineer, Mastering, Mixing
2002 Pawnbroker’s Wife Johnny Dowd Mastering
2002 Punk Rock Songs: The Epic Years Bad Religion Producer
2002 Sing Desire Jennie Stearns Engineer, Mastering, Mixing
2003 At First Sight Pete Pidgeon Mastering
2003 Farewell The Dent Producer, Engineer, Mixing
2003 Wait Til Spring Donna the Buffalo/Jim Lauderdale Engineer
2004 Bigga Than It Really Is GFE Engineer, Mixing
2004 Home Speaks To the Wandering Dead Cat Bounce Mastering
2004 Radioman Dwight Ritcher Mastering
2005 Life’s a Ride Donna the Buffalo Producer, Engineer, Mixing
2006 Each New Day Sim Redmond Band Mastering
2006 In Flight Radio In Flight Radio Producer, Engineer, Mixing
2007 W.O.A. Full Metal Juke Box, Vol.2 Various Artists Producer
2007 Conch moe. Engineer
2007 Again We Bleed God Size Hate Mixing, Mastering
2007 Heavy Metal [Box Set] Various Artists Producer
2007 Burning at the Speed of Light Thrasher Mixing, Engineer
2007 Heavy Metal Box [Rhino] Various Artists Producer
2007 Standing the Test of Time Attacker Producer
2008 Drunkard’s Masterpiece Johnny Dowd Mastering
2008 Ginuwine…The Bachelor/100% Ginuwine Engineer, Assembly
2008 Until the Ocean The Horse Flies Engineer
2008 Room in These Skies Sim Redmond Band Mastering
2008 Aneinu! Hasidic Orthodox Music Moshe Berlin Mastering, Re-mastering,
2009 Machines of Grace Machines of Grace Engineer
2009 Infidel At War Producer, Engineer
2010 Bitten by the Beast David “Rock” Feinstein Mixing
2011 I Put My Tongue On Window Boy with a Fish Overdub Engineer
2012 Performing The Score Malcolm Bilson/Liz Field Engineer, Mixer, Post Production supervisor
2012 No Regrets Johnny Dowd Mixing, Mastering
2012 The Blind Spots The Blind Spots Producer, Engineer, Mixing
2012 Late Last Summer Dick &Judy Hyman Engineer, Mixing, Mastering consultant
Year Album Artist Role
1976 Like A Duck to Water Mother Mallard’s Portable Digital Mastering
1983 Anatidae David Borden’s Mother Mallard Producer, Engineer
1997-2006 Selected live performances and recording sessions for Cornell Glee Club and
Female Chorus Engineer, Mixing, Mastering
1997 Echos From the Walls Cornell Glee Club Engineer, Editing, Mixing, Mastering
1999 1970-1973 Mother Mallard’s Portable Producer
2001 High Rise Xak Bjerken Engineer, Mixing, Mastering
2002 Liberación Amy Glicklich Recorded, Engineer, Mixing,
2004 In Shadow, In Light: Music of Steve Stucky Ensemble X Engineer,
Editing, Mixing, Mastering
2005 Judith Weir: The Consolations of Scholarship Ensemble X
Engineer, Editing, Mixing, Mastering
2007 Midnight Prayer Joel Rubin Digital Editing, Mixing, Digital
2007 Under The Bluest Sky David Parks Engineer, Mixing, Mastering
2011 The St. Petersburg Chamber Philharmonic Engineer, Mastering
2011 Horn Muse CD Gail Williams Engineer
Year Show Channel/Institution Role
1999 Swiftwater Rescue Discovery Pictures Engineer, Mixing
1999 Wildlife Legacy Turner Original Productions/National Wildlife Federation Engineer, Mixing
1999 Wild City Turner Original Productions/National Wildlife Federation Engineer, Mixing
1999 The Legends Series Turner Broadcasting Engineer, Mixing
2000 Detonators: Sheer Force BBC Engineer, Mixing
2001 True Colors Learning Channel Engineer, Mixing
2005 The Cultivated Life: Thomas Jefferson & Wine Madison Film, Inc. Engineer
Year Film Producer/Company Role
1998 A Stranger In the Kingdom Kingdom County Productions Engineer, Mixing
2002 The Year That Trembled Kingdom County Productions Engineer, Mixing
2012 Performing The Score Malcolm Bilson /Liz Field Engineer, Mixer, Post Production
2000 – present:
Adam Day, Amy Glicklich, Atomic Forces, Aurelio Martinez, Avett Brothers, Bad Dog, Dalfa Toujours, Ballake Sissoko, Bamboleo, Ben Suchy, Big Leg Emma, Black Castle, Blackfire, Bobbie Henrie & the Goners, Boubacar Traore, Boy With A Fish, Bubba George, Buvas, Calico Moon, Campbell Brothers, Cary Fridley, Cherish the Ladies, Christina Ortega, Cletus & the Burners, Crow Greenspun, Cypher:Dissident, Cyro Baptista & Beat the Donkey, D’Gary, December Wind, Donna the Buffalo, John Anderson, John Brown’s Body, John Specker, Johnny Donegan, Johnny Dowd, Jones Benally&American Indian Dance Troupe, Joules Graves, J-San & the Analogue Sons, Kanenhio Singers, Kathy Ziegler, Keith Franks & the Soileau Zydeco Band, Kekele, Kusun Ensemble, Life, Little Egypt, Lonesome Sisters, Los Lobos, Los Pochos, Lunasa, Mamadou Diabate, Mary Lorson & Saint Low, Mecca Bodega, Michael Franti & Spearhead, Miche Fambro, Minnies, Moochers, Moontee Sinquah, Musafir, Nedy Arevalo, Oculus, Old Crow Medicine Show, Squirrels, Paso Fino, Patty Loveless, Perfect Thyroid, Plastic Nebraska, Preston Frank & His Zydeco Family Band, Project Matsana, Ramatou Diakate, Randy Whitt & the Grits, Red Hots,
Red Stick Ramblers, Revision, Rickie Lee Jones, Ritsu Katsumata, Rockridge Brothers, Rodney’s Nigh, Rokia Traore, Ronnie Bowman and the Committee Rusted Roof, Samite, Scotty Campbell & Zydeco Experiment, Shane & Diana, Sillanpaa Family, Sim Redmon Band, Slo-Mo, Snake Oil Medicine Show, Solas, Son de Madero, Steve Riley & the Mamou Playboys, Sujata Sidhu, Sunny Weather, Susana Baca, The Believers, The Blue Rags, The Burren, The Buvas, The Campbell Brothers, The Del McCoury Band, The Duhks, The Fierce Guys, The Flying Clouds, The Hix, The Horse Flies, The Lonesome Sisters, The
Mahotella Queens, The Meditations, The Overtakers, The Red Hots, The Splendors, The Super Rail Band, The Sutras, The Thins, Thomas Mapfumo, Thousands of One, Ti Ti Chickapea, Tonemah, Trevor MacDonald, Walter Mouton & the Scott Playboys, Wingnut, Yo Mama’s Big Fat Booty, Zydeco Experiment.
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Alex Perialas, Pyramid Sound
Andy Adelewitz, PR consultant
Ares Kingdom – Incendiary
Avzhia – In My Domains
Divine Eve – Vengeful and Obstinate
Graveland – Cold Winter Blades
Immolation – Majesty and Decay
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Into Oblivion – Creation of a Monolith
Mutant Supremacy – Infinite Suffering
Profanatica – Disgusting Blasphemies Against God
Slaughter Strike – At Life’s End
Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.
There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.
Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.
Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne‘ from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.
See review here.
The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.
See review here.
Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……‘ by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.
See review here.
The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.
True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.
Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty. Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.
–The Eye in the Smoke
Tags: 2010, Australian Death Metal, best of, Black Metal, Canadian Black Metal, Canadian Death Metal, Columbian Black Metal, Florida Death Metal, Mexican Black Metal, New York Death Metal, Pagan Metal, Polish Black Metal, Texan Death Metal, To do: update DM review links, USBM, zine-reviews
Once again the streams of ancient songcraft from the kantele of Finnish past extended their freezing grasp across the ages to bring death-skalds from around the world to gather in a morbid mass of heavy sound at Dante’s Highlight, Helsinki, on the wake of the massively successful event one year ago headlined by the supreme warmongers Blasphemy and Revenge. As if gripped by demiurgish megalomania the organizers deemed that two days of black/death hybrids and Blasphemy clones are not enough, this time the event spanned three nights of violence, bloodshed and alcohol while the weak were trampled upon the mossy floor of the woodlands.
The gates of Dante’s church opened wide for the worshipers to enter in the middle of the busy workweek of the middle class, but true to the ethos of Death Metal, it didn’t stop the venue from being filled to the brim with headbangers ’til the late AM hours. The attendance of underground gigs in Finland, especially near the capital area, has steadily grown from the meager cult of the 90′s and this contributes to the possibility of gig organizers to summon up massive events the likes of which are unknown probably everywhere else but Germany and USA. By all criteria, three nights of underground death metal mostly in a similar sub-style is an overdose but we couldn’t help but step up to the challenge. Even though the day already had included work, exercise and painting, I dragged my sorry ass up to the venue to get brutalized by the sounds of the foreign bands who deemed to come across the seas to herald the apocalyptic messages of old school Death Metal once again.
Vorum and Neutron Hammer from Finland are decent bands, but I didn’t care enough to try fitting their ritual into the schedule since plenty of chances to observe them await the locals. While traveling through the nocturnal cityspace, which always seems to bring forward a more grey, industrial, overcast threat when Metal is imminent, I inadvertently also lost the chance to see UK’s Craven Idol, reputedly a doomy, crisp and unpretentious massacre. I did get to see Diocletian‘s more old school incarnation Witchrist though, who spent about an hour conjuring a tempo-flipping contrast between Doom and Grind much like the forte of Finnish cult classic Rippikoulu, except lacking for one thing: intricate melody. Without it, the maiming down tuned web of chords seemed like a mockery of the modern war metal ethos with its Black Witchery spawned “street credible” ghetto hoodie “evilness”; lacking a dimension where essential things are said. Tough without purpose, the heartless spawn of urban netherworlds.
The wait for the main band of the evening, for this reviewer the main band of the entire festival, was torturously long since the Californians Sadistic Intent had but just arrived on their star-crossed flight and carefully proceeded with their soundcheck, as if carefully honing their weapons for the one and only decisive battle. At this point the atmosphere at the venue was expectant but relaxed, much less strung than the hysterical chaos that gripped even the most balanced partygoer in the insanity of 2009. When the sadists got their shit together, there was no evading the invincible force of Death Metal roaring from the stage. Sadistic Intent, who never released a full-length album in their career, had nevertheless realized the essence of Death Metal better than all those blackened bands of the 2000′s who were too caught up in “necro” manifestations of ghastly pallor; this band breathed energy, blasted away as if it was the world’s final hour. One of the central pillars of Sadistic Intent’s dark symphony was the sharply dynamic percussion work of Emilio Marquez, though we must not forget the clarity and precision of Rick Cortez’ and Ernesto Bueno’s dueling guitars. Through this band, the young audience glimpsed a mighty vision of the history of 80′s underground metal, with all its sensible and senseless implications – to me, it meant much more than the routine Morbid Angel gig in this land two years ago. –Devamitra-
This sound is no Nirvana
When arriving at Dante’s, I couldn’t help but feeling this visitation was to only a regular festival in the Finnish capital, for so strongly the walls of the old church emitted still the atmosphere of madness from the Blasphemy live ritual a year ago. That being said, it was time to commence the forthcoming aural hammerings. I didn’t see the beginning act, Stench of Decay, due to overlap in my tactical schedule. Them being a domestic act, I presume many more chances of seeing them in the future. Maveth didn’t ring any bells before the festival, and being the quick replacement for perhaps my most anticipated act personally, Cauldron Black Ram, I felt somewhat disappointed and in the end, Maveth doesn’t ring any even now after the whole event! Next up was Grave Miasma, who delivered their material as well as they could, I believe. Their precise playing and overall presence pretty much reflected the visions I have had from their “Exalted Emanation” EP. Even the sounds of the venue, in some odd way, seemed to back up their aural pathworking in the catacombs of darkness.
The muddy sound seemed to haunt all the bands during the three nights and not everyone profited from its nature. Mainly the rhythm and tempo of the bands seemed to dictate the clarity and catchiness of the acts, if one was without better acquaintance of the material being performed. This facet of reality added a huge positive impact into Hooded Menace‘s first live appearance, for their slower, blind-dead-worshiping, doomy metal profited from the overall muddiness of the sound, and structure-wise, concerning the night’s band line-up, their gig acted as a very functional breathing space between the other, more faster majority of bands, while Karnarium played their Swedish death metal of which I had only a few short experiences beforehand. The wickedness of live situations is that even though some bands do sound quite all right from their recordings, the reality of the gig can be just the opposite. All elements are right, but for some reason, the whole thing just doesn’t deliver. Unfortunately this was the case with Karnarium.
Although I expected things from Excoriate, their act suffered from the shitty sound at Dante’s and the whole gig just entirely passed me by, while my comrades praised their straight-forward deathrash brutality and merciless un-pretentious playing. Maybe I get to witness them again at some point in time and space. Also meeting an incognito man of mystery, who bribed me with a 7″ EP of best Finnish death metal and oversees the Finnish underground scene and the happenings from the shadows of the European Union committee, might have added an element of disturbance into following the deeds of the Germaniac necromancers. Nirvana 2002‘s classical Swedish death metal sound echoed throughout the church as the last act of Friday. I was a little suspicious about them being just another band riding the reunion wave. After the gig I really couldn’t tell if it was so. Maybe to some it served as a good soundtrack to beer-drinking, to some it might have refreshed the memories of the early scene of Sweden, and the band seemed to enjoy playing – might have been a reaction to the audience’s reaction. I guess that those not into the Swedish sound didn’t really get much out of Nirvana 2002, although they were supposed to be the very headlining act of the evening. –SS Law-
Towards the mist-enshrouded Infinity
For those who have not inhaled anything like the cold, northern atmospheres of Finland, it’s possible that they have never really taken a breath at all and filled their lungs with so much ancient mystery and natural purity. That these primordial dimensions of the Finnish experience could give rise to such canonical works of the Metal underground as are unquestionably from this realm, in all their brutal and grotesque yet contemplative and spiritual totality, is a unique and unsurprising fact. To be in the company of two proud Finns, journeying through eerie woods of twisted fractal forms, landscapes that crumble before the sea to be swallowed by sinister mists, and sites of the unknown dead, buried by millenia and rocks is nothing short of an education in the origins of Finnish Death Metal. An education that would close with the ultimate but unofficial final statement of this 3-day long Black Mass Ritual, taught by true professors of unholy metaphysics.
The doors of Dante were already wide open and broadcasting the buzz of hordes and other indeterminable bestial sounds from deep within, as one more apocalyptic night of darkness and chaos was underway. The bloodstained figures of Cruciamentum were the first band to be witnessed onstage as their set was nearing it’s end. The familiar polish and precision to their otherwise rumbling riffs, like a more rhythmical Grave Miasma, would be a sign that the sound of the venue would be favourable to this kind of band who played according to a careful dynamic framework, only to leave the blasting War Metal legions that comprised the middle-era of the evening struggling to convey their manifestos with enough clarity to lead any would-be army into battle. Blasphemophager from Italy followed with a set that would epitomise all the technical difficulties of the festival, with a lengthy period of being at odds with the sound before finally commencing their angry and drunken attack; a musical mess but nevertheless potent in the way the band creates a time-travelling vortex of sound, caught between the war worship of Blasphemy and the tropical heat of 80′s Death/Thrash from Brazil. Though not as peturbed by the failings of technology, Diocletian‘s sound would receive no favours from the set-up, with the indistinct noise of raging guitars falling short a much needed quality in this type of band, to justify their existence apart from the countless others who cast global nuclear omens. If there was any positive element of these New Zealanders’ performance, it lies exclusively with the hands and feet of their drummer, an expert in militaristic precision and the cascade of bombed city ruins and rubble.
With civilisation’s demise at least envisioned in some form, the time of more abyssic and introspective prognostications had arrived in the form of the legendary Death Metal band from Loimaa, Demigod, to once again reveal the eternal fate of all mankind. With all but a session guitarist returning as the force that channelled the transcendental ‘Slumber of Sullen Eyes’ album – one of the undisputed masterpieces of the genre – this was something of a special moment for anybody who recognises the importance of Finnish Death Metal and as the introductory keyboard motif of ‘Apocryphal’ finally sounded, this was the signal that the atmosphere of the venue was metamorphosising into a Dead Can Dance state of mystical curiosity. The band’s near perfect, though slightly re-ordered rendition of the album was a masterclass in riffcraft and energy as only the most elite Finns know how to deliver, demonstrating control over the requirements of their complex sound. Most notoriously is their penchant for disharmony which gives the songs their expansive and cosmic sense of beauty, as the blasphemy and discord of tearing down layers of ignorance and the control of human terror only serves to reveal the awakened visions of reality. Closing the set with the ‘Slumber of Sullen Eyes’ song itself, echoing those final words behind the mists of eternity, Demigod had completed a mesmerising and what should have been a headlining performance and dispelled all memories of the last couple of albums associated with this band.
Having shown all the young guys how to do it, even with an aging roster of musicians, Demigod entrusted the stage to one of the few worthy inheritors of true Death Metal spirit that remains in this current age. Greece’s Dead Congregation provided a highly competent and tightly delivered set that surprised the fuck out of the entranced onlookers. The sound was well-balanced enough to facilitate both the most crushing riffs and otherworldly ambiences, showing the strength of melodic composition as spectral leads passed through songs like an occultic storm of neutrinos. Dead Congregation demonstrated how they excel where other bands in this style fall straight into insignificance, putting many acts on this bill in their places. However, holding the supreme position on this night, as the night grew old and entered the early hours of a new day, Necros Christos had the daunting task of not just following two excellent bands, one being exceptional, but also risked lulling the entire audience into a deep sleep. Perhaps it could be said that they did just that, but with confidence and morbid intent, grasping the reins of the creeping, collective subconscious and transporting the entire venue to distant lands and times where the revelations of Hebrew gods are oppresed by the rule of tyrannical death-worshippers. Even Dante’s mists turned into a deep sandstorm as the cyberchrist-like figure of Mors Dalor Ra addressed the bloody, brainwashed crowds and launched into the sardonic dirges of the ‘Triune Impurity Rites‘, while introducing the promising and lengthy compositions from the upcoming Doom of the Occult. This veteran act concluded the night’s ritual with a sense of overwhelming evil power, regality and clarity, leaving the hordes to disassemble in a daze of hypnosis. A fitting end to the festival, and definitely justifying Necros Christos’ headlining status. Only the blackness of the morning unlight remained, to disappear into the mists where, in the words of Amorphis, “men can realise the meaning of life”.