Less valuable to us than yesterday’s Voivod announcement is this upcoming Cradle of Filth tour. This legendary traditional heavy metal masquerading as black metal act will be headlining the “Inquisitional Torture” tour, supported by Ne Obliviscaris and Butcher Babies. This tour is presumably intended to promote the band’s latest album (Hammer of the Witches), which came out in July and was undoubtedly of little interest to our previous editor. These concerts are probably not worth your time, unless you really like throwing rotting vegetables at stages.
The tour dates follow:
Jan. 26 Philadelphia, PA @ Theater of the Living Arts Jan. 27 Boston, MA @ House of Blues Jan. 28 Baltimore, MD @ Baltimore Soundstage Jan. 29 Raleigh, NC @ The Ritz Jan. 31 Charlotte, NC @ Filmore Charlotte Feb. 1 Atlanta, GA @ The Masquerade – Heaven Feb. 2 Orlando, FL @ Venue 578 Feb. 3 St. Petersburg, FL @ State Theater Feb. 9 Memphis, TN @ New Daisy Theater Feb. 10 Dallas, TX @ House of Blues Feb. 11 Houston, TX @ House of Blues Feb. 12 San Antonio, TX @ The Aztec Theater Feb. 14 Eaglewood, CO @ Gothic Theater Feb. 15 Salt Lake City, UT @ The Complex Feb. 17 Los Angeles, CA @ Avalon Feb. 18 San Diego, CA @ House of Blues Feb. 20 Sacramento, CA @ Ace of Spades Feb. 21 San Francisco, CA @ The Fillmore Feb. 23 Seattle, WA @ The Showbox Feb. 29 Ringle, WI @ Q and Z Expo Center Mar. 1 Chicago, IL @ House of Blues Mar. 2 Cincinnati, OH @ Bogart’s Mar. 3 Cleveland, OH @ House of Blues Mar. 5 Detroit, MI @ St. Andrew’s Hall Mar. 6 Toronto, ON @ Phoenix Concert Theater Mar. 7 Montreal, QC @ Corona Theater Mar. 8 New York, NY @ Webster Hall
White Death turn black metal into pop rock on their self-titled album, White Death, for scenesters who want to be tough and are mad that black metal songwriting was based melodic narratives instead of hooky pop-singalongs like Gothenburg metal. White Death aim to reach out to that group of scenesters who used to shop at Hot Topic back when they were teenagers. White Death even have an edgy Finnish nationalist theme to go with their generic, non-descript Satanism! Scenesters don’t have to want to send the world back to the Dark Ages anymore, they can just drink beer for the evil and chant sing-alongs about the 5’3 Simo Häyhä shooting hundreds of frost-bitten Ivans! Wait White Death’s lyrics are not even about the Winter War, just generic mall Satanism; the Auntie Anne’s Pretzels of evil.
Blood must be shed to atone for the sins of these mostly horrific recordings. Every single person who thought releasing these was a great idea should attempt to give themselves a self-swirlie while under the influence. Banging their head on the porcelain toilet tank lid will knock some sense into them or crack their skulls open. Hopefully the latter.
Everything you love is eventually butchered, emulsified, digested, and squeezed out by lesser life forms ranging from head hunters to bacterium to mediocre metal bands. Here are some Sadistic Metal Reviews for our readers’ pleasure:
Brazilian black metal band Mystifier outed themselves as avowed socialists, black supremacists, and evolution deniers in an unpublished interview from 1999 posted years ago to the Nuclear War Now! forum by the interviewer Werwolf.
Conqueror wanted to be a part of the “scene” but did not have musical ideas. The band discovered that the muddied sound of early Beherit and Blasphemy circa Fallen Angel of Doom could be used to obfuscate their dearth of ideas. Furthermore the hostility between the Norwegian scene and the rest of black metal could be amplified under false pretenses while not offering any truly satisfying alternative themselves. Basically, point to candy assed pop drivel like Dark Funeral but go to the other end of the spectrum entirely with a paper thin wall of television white noise with a drunken chipmunk howling nonsense. Conqueror’s “music” is structured which ironically stands contra to the concept of all out war. A little anarchy would at the very least allow the essence of battle to bubble up from the pot. Instead it’s a tame morass of very low effort grindcore riffs and mostly incomprehensible low E-string noodling. The best that can be said about Conqueror is that J. Reed has an identifiable sound.
A reader recently posted a comment asking my opinion on modern extreme metal bands like Teitanblood and Ascension. We often take it as an article of faith that modern metal is a fallen genre that parted ways from the aspects that made the heyday of this music so glorious; indeed, it is almost a guarantee that any random second or third tier album from the early years of the genre will compare favourably with the current wave of practitioners.
But why should this be so? Forget about the intangibles for just now; elan vital, vir, passion, and spirit, as much stock as one puts in them, are ultimately amorphous, unquantifiable entities. But to the discerning ear, the very manner in which this music is played contributes greatly to the nurture and propagation of these ideas. But let’s not leave it at that even; the manner in which music is played is the result of an outlook on life and the world around us, a perspective that originates inside the mind with very distinct inspirations and goals assigned for itself. At least it should be so for the genuine musician who is willing to pay tribute to something greater than himself rather than be just another among the flock vying for whatever holds his fancy in the moment. When looked at from this angle, song writing and the musical techniques involved therein become offshoots of a state of mind. The difference between old and new then becomes the difference between states of mind that are separated by time, culture, and upbringing.
On the surface – and this is a broad generalization but it holds for the most part – new extreme metal bands lack definition and detail in riffs. Consider the most recent Teitanblood album Death and contrast it with something as universally unheralded – deservedly so in many quarters – as Krabathor’s debut Only Our Death from 1992. Teitanblood, hugely influenced as they are by the war metal of Blasphemy, attempt to paint broad swathes of atmosphere through repetition as opposed to the many-toothed, serrated approach to songwriting that Krabathor and others from that pocket of time display. The former lulls the unsuspecting listener into a trance-like state by concealing its lack of songwriting virtue through synthetic extremeness, but the second approach usually contains more thought, effort, and dynamics, and mimics the constant upturning and redressal of values that great death metal strives towards.
Old death metal as a combination of romanticism…
Bands like Teitanblood prioritize mood over content and coherence
Borrowing terms from the schools of art and retrospectively applying them to metal, we can then say that old death metal is a curious but potent blend of romanticism and a nihilistic expressionism, on more or less equal footing: romantic in self-awareness, expressionist in revealing the horrors of the mind, and nihilistic in rejecting established values in favour of new belief systems. A band like Teitanblood, on the other hand, can be said to belong to an impressionist state of mind, the word impressionist signifying in no way any relation between Teitanblood and purveyors of that stream of thought in the arts. Instead, impressionism is used here merely to suggest the preeminence of mood over content, and the blurring of the music’s outer edges to the point of dissociation.
One might say that even undisputed classics like Darkthrone and Burzum used the repetition mentioned above to make their point, but the important thing to remember in those bands’ cases is that repetition was used as a story telling device to travel between distinctly realized book ends. Many modern bands seem to lack the roughest notion of what it means for a song to have a beginning and an end, and how islands spread across the length of the song can be used as “hooks” to hop from one spot to another, but always with the ultimate aim in mind: the song is God and everything else superfluous. Hear the song posted below from Ascension, a band many supposedly educated fans claim to be the second coming of the genre. Then contrast it with the Kvist song that immediately follows. Hear them back to back so that the dissonance stands out in stark relief.
Hear how the entire body of ‘Vettenetter’ is geared towards safeguarding the primacy of a greater idea, an idea that is directed outwards as opposed to the redundant, self-absorbed mannerisms of the Ascension track. The feelings Kvist induce in the listener can be classified as “romantic” in the truest sense of the word, a mixture of awe, beauty, human insignificance, yes, but also the perpetual struggle to understand and realize a greater meaning to our place in the world. As opposed to Kvist’s romanticism, however, bands like Ascension are entirely hedonistic, which by association implies a pathetic solipsism. The self is greater than the whole, the moment is greater than eternity, live now while you can, however you can, for who knows what tomorrow will bring?
This isn’t just abstract wool gathering; Ascension’s solipsism manifests itself in the carelessly strewn-about rock star solos, in the abrupt shifts in tone, in the complete absence of a unifying theme, and ultimately in the absurd, conceited belief that what they’re doing is in any way or form of artistic merit. Where Kvist intentionally dwarf themselves in humble tribute to the magnificent life-giving forces of nature, Ascension are like ghosts trapped between worlds, with no sense of who they are or what purpose they presently serve. Their concoction is cynically designed to appeal to Everyman, meaning the lowest common denominator in listener intelligence. A little of this, a little of that, take a potluck lunch home and you’re bound to find a bone to gnaw on. World Terror Committee, indeed.
Which of the two is the greater evil? Teitanblood’s impressionism, cheap and disoriented as it is, can be understood on some level as a honest effort from poor students of the metal genre. That is not to give it more credence than it deserves nor does it mean that it shouldn’t be called out for its many weaknesses or for its fans’ sheep-like mentality. But it’s only a matter of time before these bands are consigned to the dustbin of obscurity because of their self-devouring approach to music.
Bands like Ascension, however, work on the principle of fast-food equality, but through mechanisms subtler than what Cradle Of Filth and Dimmu Borgir employed twenty years ago. On the surface, they appear intoxicating to simpler tastes, shiny exterior, ersatz evil and all. They even go some distance in mimicking the sound of their elders, only to douse jaded listeners with buckets of icy cold water. Most listeners don’t care, however, and these pathetic tidbits are enough to guarantee the Ascensions of the world a name in the “new underground” for the foreseeable future.
The greater tragedy, however, is that these bands signify the death of the mind, and this is evidenced in the class of discussion that occurs around them and their music. To sensitive ears and minds, there is no higher emotion that a plastic, cookie-cutter band like Ascension is capable of eliciting, but by their subversive nature and by being infiltration points into this music for all the wrong elements, bands like these present the greatest danger to metal. That should no longer be considered an exaggeration, because for every new kid that discovers old treasures, ten more will flock to an Ascension and will eventually use the same strategies when they come to make music of their own, not knowing any better. After all, noise when amplified enough will always drown out quality.
Dismember is dead, Fred Estby was d-beaten to the cross, and not even Dave Blomqvist can sweep away these recent Swedish metal sins.
Black Breath – Heavy Breathing (2010), Sentenced to Life (2012), Slaves Beyond Death (2015) Smegma crust derivative deathcore. There’s sludge in here too as this was released by Southern Lord, the idiots who brought us Kim Kelly Kore like Nails and Wolves in the Throne Room. No Swedes are spared by these gang rapists. Black Breath even spread apart the cheeks and felch the fecal matter from Wolverine Blues’ asshole. Listening to any of their releases is hearing them play metal hot potato by passing around that firm bowel movement mouth to mouth like a mother bird feeding her babies. Black Breath lick that shit up and down to get the turd glisteningly slick before shoving it up Kim Kelly’s meat-hooked Hellraiser cunt. From there it will be squeezed out like soft serve ice cream for Pitchfork and Vice’s hipster cones.
Demonical – Black Flesh Redemption (2015) Demonical wants to play with the big boys. They have Boss HM-2 pedals and riffs Dismember rejected when writing the not-so-classic Death Metal. What they don’t have is any idea of how to write an adequate death metal song; these guys can’t even hammer out an effective two and a half minute verse chorus verse thrash basher. The four tracks each attempt to pander to a different lowest common denominator metal audience with their individual use of breakdowns, doomy interludes, and cheesy keyboards. The rhythm guitars take a backseat to the cheesy Amon Amarth vocalizations. There is about a minute of semi-enjoyable generic material on this record.. Snort the line of borax on the floor failure.
Entrails – Obliteration (2015) Three strikes is life in many states. Singapore will hang anyone who walks off a plane with enough junk. Medieval England executed children caught stealing anything worth more than two loaves of bread; mercy meant limbs lopped off. This is Entrails’ fourth offense. These recidivists need to overdose in a Cambodian shack on a cocktail of liquor, Valium, and chloroquine.
Interment – Into the Crypts of Blasphemy (2010) Yet another fourth rate band from the early nineties finally recorded an album. The songs are again dick beat punk and the metal riffs were pilfered from Entombed and Carnage. Just like Entrails no label gave these fools money to record an album back in 1993 for good reason. Now that they’re adults with jobs, this garage band can afford studio time to bore us. Interment need to quit trying to live out their delusional teenage heavy metal dreams and spend time with their kids on weekends.
Verminous – The Unholy Communion (2013) Verminous return with more punk rock masquerading as death metal. More bouncy hardcore riffs, more lame samples, and more gang chants. Whatever catchy riffs are on this CD are quickly worn out through strict verse chorus verse pop punk structures that make three minute long songs drag. I want to throw it at a homeless person. The lyrical themes are inconsistent too. Pop Satanism? Okay. Bukkake? Barbatos? Verminous are the Blink-182 of Svensk Döds Metall. Repeatedly listening to The Unholy Cumunion is equivalent to fucking your girlfriend wearing a used condom picked up off the sidewalk.
Drowned – Idola Specus (2014) Soulside Journey simplified into pop music. Drowned grokked the underground’s current nostalgia for the early nineties and rehashed a beloved classic into an easily digestible rock format. Pointless introductions and incongruent atmospheric verses are thrown in to appease doom halfwits and bore everyone else. Darkthrone is being bowdlerized for hipsters just as early rock ‘n’ roll whitewashed rhythm and blues for suburban teenagers. Truly Katy Perry death metal.
Tribulation – Children of the Night (2015) Tribulation first moved from Grotesque and Merciless worship to Rust in Peace meets Queensrÿche on The Formulas of Death. Children of the Night abandons metal altogether, becoming Moog synth laden regressive goth rock. Tribulation aren’t horror score Goblin now; Tribulation are strict, just out of the closet Lestat cosplayers. Where are the clean vocal hooks for the Cradle of Filth faggots? How the hell are Tribulation supposed to get into Hot Topic next to Deafheaven? They need to put away the Vampire Diaries, pull the buttplugs out of their rectums, and hire a real singer. Then go to Safeway, buy four gallons of bleach, and chug them like forties in the parking lot. That will clean out Tribulation’s gastrointestinal tracts.
Ghost – Meliora (2015) Repugnant failed miserably at death metal. Now Repugnant fail miserably at Duran Duran. Ghost have no musical influences from Blue Öyster Cult or Mercyful Fate; rather they play vocal pop with occasional speed metal riffs. Pop music centered around singing that makes Dave Mustaine sound like Ronnie James Dio. This has to be trolling: the vocalist sounds like Seth Putnam on Anal Cunt’s indie wuss rock parody Picnic of Love; grown men are playing dress up pseudo-metal like little girls having a Satanic tea party. Tobias Forge should lick lead paint chips off the floor and bash his brains out in the back of a police van.
Cut Up – Forensic Nightmares (2015) Cut Up? What kind of lazy band name is that? What happened to metal bands whose names actually referenced death? Treblinka? Autopsy? Immolation? Cut Up wondered what Dismember meant and looked it up in the dictionary. “What does Dismember mean bro?” “It means to cut people up.” Cut Up cuts up old death metal riff phrases into licks and rearranges them into death ‘n’ roll forensic nightmares. Songs are structured like Cannibal Corpse filtered through the randomness of metalcore. Ample slams and breakdowns disorient into a brain cell holocaust. The target audience is those australopithecines who believe death metal a more extreme version of beatdown hardcore. Go cut up your vegetables. Dismember : Lethal Weapon :: Cut Up : Samurai Cop minus the amusing bits