Deathspell Omega – The Synarchy of Molten Bones (2016)

Article by Lance Viggiano.

Deathspell Omega return with another uninspired and uninspiring record entitled The Synarchy of Molten Bones. Their last record, Paracletus, was built on a foundation of Voivod-lite chords executed with the alt metal sensibilities of The Dillinger Escape Plan. In an effort to build ambience, additional guitar tracks would attempt to produce a microtonal effect without actual production of microtones; just more dissonance. These techniques were then deployed over pop-leaning melodies which become pronounced should one decide to hum the otherwise atonal morass.



Tags: , , , , , , , , ,

Deathspell Omega – Paracletus (2010)


The secret to excellent marketing is found in the word “different.” A successful salesperson puts a surface on an ordinary product so it appears new, luxurious or otherwise distinctive. In music, the best method is to put a new surface on whatever is trendy at the time. Thus cloaked, it allows its listeners to appreciate the same stuff everyone else is listening to, but with its different appearance, they can claim they are different and unique special snowflakes.

Deathspell Omega took the idea of the metalcore dominant at its time — mix up dissonant and technical or jazzy riffing with metal riffs in carnival-style rotational song order based on internal interruption — and put a black metal face on it. For black metal, it relied on what Ulver and Satyricon did, which was to create long melodies that start impressively but go nowhere and require the song structure to intervene “dramatically” and interrupt before people realize that the melody is like the rambling of a drunken person. On top of this, they put choppy technical-style riffing and dissonant chords, but keep the focus on the vocals to distract from the carnival music nature of this randomness, tying it together with rhythm and the strong vocal as post-black bands like Behemoth did.

If the vocals were removed, good portions of this album would appear to have come from recent Cynic albums. Often a jazzy break goes right into hard rock riffing that comes from the pop canon, but as if the band becomes self-conscious, a more violent riff intervenes. The real problem here — as in all rock-derived music — is that unlike metal, this is vocal-driven not riff-driven. The riffs tag along for the ride as the voice tells you things it thinks you want to hear. As such, Paracletus is not only a pretender to the black metal throne, but worse, is musically incoherent which results in mental confusion and boredom.


Tags: , ,

Sadistic Metal Reviews: Write Good Riffs Or Die Edition

Article by Salustiano Ferdinand

I was listening to Persecution Mania yesterday when I opened my email and saw some new releases thrown my way to sift through for potential reviews. Although I’m generally skeptical of newer metal releases, the Shadows in the Crypt album was a pleasant and recent surprise, so I figured why not.


Tags: , , , , , , , , ,

Funeral Mist – Hekatomb (2018)

Funeral Mist are a Swedish band that came after the heyday of the second wave Norwegian bands. They were desperate to find a gimmick to stand toe to toe with their idols, but actual acts of hatred and violence proved too much for them. The band resorted instead to samples and pseudo-biblical lyrics, only to see themselves remain as irrelevant as they were before they even started. (more…)


Tags: , , ,

/smr/ Sadistic Metal Reviews: Baby Gasser Edition




>b-but I heard heavy metal is dead!



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

Portal – Ion

Newer metal bands in the mid-2000s went one of few ways: the competition among users of extreme techniques caused a degree of one-upmanship that obscured the message of the music of “technical” bands, while the desire to get the audience to move caused the compositions of -core bands to be infiltrated by danceable open-note rhythms, and those left outside these groups grew more and more abstract in execution as if to rebel against conventional songwriting.  The issue here is that all three avenues, despite the latter being the most declarative, require an aesthetic sleight-of-hand to mask the lack of authoritative message in composition while the music is steered with the effects on the listener in mind rather than coming from the innate desire of a composer to communicate.  Portal, along with Ulcerate and Deathspell Omega, ushered in a style of metal that is entirely rooted in audience manipulation through a reliance on discordance that borders on desperation.  A challenge in viewing bands like this objectively is that it is difficult to fully understand whether the intent is holistically realized or if the sound and execution is the result of having no spirit of communication beyond purely aesthetic virtues.  Perhaps the evolution in sound was the understanding that metal did need to progress, and although there were surely undiscovered ways to do so, an analysis of all prior compositions reveal that metal was comprised of a multitude of expressions utilizing the same symbols: songs needed intros, various types of phrases that build tension, bridges, climaxes, and resolutions, and the catalog of conventional music that we have is constructed of various shufflings of these elements.  So, although a new act could in theory have a unique approach to music, they were essentially draping a new skin on a tired skeleton.  Metal, and music in general, had to go somewhere and it had to be led by someone that had a clear vision of something to communicate. And most importantly, it had to be done so without a reliance on the tropes that human nature has formulated with respect to the idea of song; ultimately, it needed to cripple it from within.

Is Portal the band to breach these waters, or are the efforts of the band a reflection of a lack of having anything to say intrinsically while still being able to coast on a formulaic command of discordant textures where fully realized phrases once guided the listener through a narrative journey?



Tags: , , , , , , , , ,

Abigor – Höllenzwang (2018)

Abigor are back with their 9th album, which is sadly a continuation of the ideas on Leytmotif Luzifer.  Hailing from Vienna in Austria, Abigor definitely have the style and look associated with their hometown but even in arguably their last bad work : Nacthymnen ( From the Twilight Kingdom) they have always lacked substance in comparison to the greats in the European black metal style.  Leytmotif Luzifer was Deathspell Omega worship with the remnants of what could be qualified as generic second wave black metal. Here they continue in that substanceless yet somewhat more refined method of songcraft….



Tags: , , , , ,

Sadistic Metal Reviews: Grey Clouds of Boredom



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

Aversion to Advent Parallax

Article by Lance Viggiano. Read his take on Transilvanian Hunger here.

I was essentially swindled into purchasing the gorgeous gatefold edition of this Averse Sefira LP which showcases some rather magnificent and captivating artwork as well as an above average execution of the band’s themes, concepts, and symbolism in visual form.



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

Sadistic Metal Reviews: Fargo of July



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