The first official Demilich patches ever made are now available. Do you want to stick an official Demilich patch on your bag or battle jacket? Then buy them directly from the band and not some Greek, German, or South American bootlegger.4 Comments
Article by David Rosales; get more perspective by also reading his article on Timeghoul
Much has been said about Demilich here and elsewhere, but remarkably little has been written about the potential of their music as ground for future bands to elaborate. For starters, the fact that Demilich has a solid fanbase and many admirers among professional musicians, but very few bands produce music in the same vein tells us that it is no easy task. This may also be due to the fact that most people tend to confuse appearances with mechanics, and mechanics in turn with character and essence. It seems to me that there is very little to elaborate, since Demilich is only distinctive at its very surface, in a very similar case to Immolation’s. Anything anybody may take from them besides this sort of surface plagiarism are the abstract concepts of loosening and playing with rhythm and mode consistently to achieve a distinctive sound. Perhaps even taking cues from their distinctive style could yield the foundation for the trademark sound of a younger band.
First, what makes Demilich stand out is their idiomatic approach to death metal that takes the best out of playing with tritones and off-putting harmonies in the context of the gore-flavored aura strand of the genre. Where Immolation goes for uncomfortable and dissonant, Demilich takes the modal/harmonic and rhythmic aspects of death metal to the extreme of this aural potential without incurring in the surface character deconstruction of Immolation’s coloring. Both of these bands, however, make use of standard death metal song-wide structuring techniques of the riff-salad kind with motific liaisons.
This surface extravagance coupled with an inner orthodoxy makes it very tricky for anyone to successfully extract the core of their teachings. In the case of Demilich even more so, since it is the silly side of their music’s character that stands out the most, making it particularly difficult to emulate them without producing obvious imitations. This may lead younger bands to think that a particularly derivative passage’s conspicuous appearance might be mitigated by mixing it into a hodgepodge of different styles and sounds. But to the perceptive listeners out there this will only sound like a motley fabric, a bag o’ tricks on display intended to fill in for actual content (Editor’s note: Have we told you about carnival music?).
Finally, superficial appreciation of the music of Demilich often leads fans to single out their music as “progressive”, as “opposed to traditional death metal”. Frequent readers of this site should immediately identify the grave mistake in this. Be that as it may, when you take the misunderstanding how progressive death metal in general is, and you put it together with the common metalhead’s idea of what progressive rock or metal is, you may begin to envision the monumental blunders that might come as a result.
Rather than insert Demilich-sounding passages into modern Dream Theater soundtracks, the young death metal musician might take head from the way Demilich balances out their outlandish sound. Demilich’s music, when seen at an abstract and aural level, can be divided into passages that are either more pounding, more syncopated or what we now call doom-laden (Demilich never stops too much in these power chord phrasal statements, though, so they do not really stand out). The emphasis on groove and the goofy-gore character is a constant that gives them their trademark sound.
The value of these concepts lies in learning how to produce sections that create variety within a narrative, with a distinctive and constant language that lends a personality of its own to the music. The narrative is produced through the equivalent of formal statements, developments, pauses for air, retaking of the topic, etc, in their musical manifestations. This is the greatest value of the best classic death metal bands: their outstanding ability to articulate.28 Comments
Formed of five of seven Jess and the Ancient Ones members including Deathchain/Winterwolf guitarist Thomas Corpse as primary songwriter, The Exploding Eyes Orchestra explores a different side of garage rock which merges the nightclub chanteuse sound of the 1940s with the expansive atmospheric sound of 1970s heavy rock. The result has high emotional intensity, compelling vocals, and much of the darkness that keyboard-assisted bands like The Doors wrought from rock music.
The Exploding Eyes Orchestra launches its debut album, simply titled I, on June 12th via Svart Records. According to Thomas Corpse, the band channels material which was incompatible with the Jess and the Ancient Ones concept. Lengthy recording sessions in Kuopio, Finland during the winters of 2013 and 2014 produced two albums of material, the second half of which will be released as II in 2016, also via Svart Records.
The band prides itself on its “strong, carefully planned compositions” with classic rock influences and strong female vocals. The Exploding Eyes Orchestra has released a first track, “My Father the Wolf,” streaming below. For more information, seek out the band at the The Exploding Eyes Orchestra Facebook page.1 Comment
When too many utterly mindless and pandering bands pile up in the review queue, even life seems washed out and hopeless. At that point, even death metal has lost its power and mystique. When that happens, I throw on Demilich Nespithe and my faith in the genre is restored. This album presents such a creative and yet meaningful interpretation of death metal that it restores faith in a lot more than the genre.
The 20th Adversary of Emptiness reproduces a restored Nespithe complete with original art, adds two songs from the 2006 return of Demilich, and then compiles the demos of this formative band. Svart Records prints these on vinyl and CD formats, with the vinyl option as a box set and the CD for more everyday listening (that way you can have a copy in the car, too). Naturally this adds three areas for study.
The original album remains as powerful as it was back in the 1990s. If any remastering has occurred, it has been slight because the originally subterranean and organic sound has been preserved. There is not much to say about this classic that wasn’t said in the original 1993 review, but for a short introduction, it is a death metal album that uses lead riffing and complex riff-rhythm interaction and development to create an entirely otherworldly sound. Into this it drops doubt, loneliness, and a sense of restoration through imagination. It is from the oldest school of artistry and a work of intensely fine-tuned thinking and musicianship.
Much will be made of the newer tracks. I see these as an attempt to take the classic Demilich sound into the more technical and streamlined death metal of the early 2000s. In fact, two these songs — “of Vanishing” and “of Emptiness” — were written in the early 1990s, while “Faces Right Below the Skin of the Earth” was the only one penned in 2006. The three tracks hold true to the Demilich format but give it more aggression and death metal thrills. “Faces Right Below the Skin of the Earth” starts with a rhythm tear that resembles something Covenant-era Morbid Angel and first album At the Gates might envision if they collaborated, but then drops into a cyclic riff that follows the old Demilich pattern. In developing that riff, the band put it into the more rhythmically challenging format that contemporary metal listeners might desire, but then begin their trademark cyclic polyrhythm while mutating the riff toward a larger pattern. Eventually this becomes the concluding theme and the song drives hard to a conclusion. “of Vanishing” uses a Morbid Angel trope, namely “Immortal Rites,” but gives it the more complex rhythmic and melodic vision of Demilich. This then filters through a full stop and drum roll into Demilich-styled cyclic melodic riffing before returning to theme. Interesting guitar solo on this one. “of Emptiness” uses a throttling melodic riff more like the stuff that Necrovore used to apply, and builds into the most conventional song in this three-track set. It slides into an almost Black Sabbath-styled doomy charging riff and alternates it with lead-picked riffs used to change tempo and add depth, but then returns to its aggressive attack. This track uses a lot of stops and starts and loses some momentum. On the whole, these three tracks show an interesting attempt to modernize Demilich and make it more aggressive, but also show why the band probably did not want to continue going in that direction. Sometimes the past is too distinct to be resurrected as anything but itself, and not everyone may want to do that two decades later.
On to the demos… these are fascinating because they show how deliberate the final Demilich sound really is. These songs are familiar but each has different changes. In particular, different styles of lead guitar were tried as well as attempts to make the riffs fit more into the rhythm styles favored by different subgenres of death metal. The closer demos get to Nespithe chronologically the more they exhibit an intense technicality and unique style, but as one goes back in time they are closer to standard death metal with some unique innovations woven in. As time passes, the weaving becomes more intense and the new style takes over the raw elements. It is fascinating to watch these songs develop and the demo pressing here is entirely worth the price of this album (or even box set). They do not bore and there is always something new to be heard in each of these classic demo tracks.
20th Adversary of Emptiness offers something to just about anyone. If this is your first Demilich experience, stick to the first disk (Nespithe) for a glimpse into classic death metal when it wasn’t afraid to be weird. For dyed-in-the-wool Demilich fans and hardcores, there’s hours of interest to be found in tracking back these older demo pieces and seeing where they go. Both groups will enjoy the three 2006-era tracks which show a more violent and streamlined Demilich. Ultimately, this whole package lives up to its strange title because it is an adversary of emptiness.
This music evokes loneliness and a hollow, achingly empty universe without inherent point, and shows the creation of a mythos within that void that could keep us focused on survival and improvement even through a long and depleting arctic circle winter. Seeing these rare tracks ride again is rewarding as is seeing Nespithe get the credit that it has always deserved but almost missed as people chased death metal trends back in the day. The booklet, featuring both classic art and pictures, comes with a length interview with guitarist Antti Boman and his commentary on each song with lyrics. This is rare and wonderful also. Just make sure you avoid reading the introduction, which is written by some idiot and makes no sense.
- Demilich – 20th Adversary of Emptiness 3LP box set
- Demilich – 20th Adversary of Emptiness 2-digipak CD
With Nespithe turning 20 this year, it’s a good time for two decades of career to be compiled in a form that most people can purchase. Nespithe was a controversial album in 1993 and spent most of the next decade in sale bins, until mysterious forces caused its resurrection in the early 2000s and restoration to its rightful place in the death metal hierarchy.
The LPs in the box set come in three colors: transparent blood red (150 copies), slimy green (350 copies) and black (500 copies). The double CD comes with a 40-page booklet, and the LP with a 44-page booklet, including Demilich reviews, interviews, commentary and history.
For those of us who remember throwing this album on the CD player and broadcasting it out to a radio population that eventually came to accept and enjoy it, the transformation is gratifying to see. This box set also looks legendary, and sounds legendary as well. Below find a video showcasing the remixed sound of Nespithe, which according to the label is entirely remastered from the source tapes.
Here’s the description from Svart Records, who are putting out both the 3LP box set and the 2CD digipak compilation:
All boxes feature three LPs, the 1st of which is Nespithe in a separate jacket. Platters 2 and 3 have both the 2006 recordings and all of the group’s demos, wrapped in a gatefold jacket. There’s also a sticker, poster and a 44 page Demilich ‘zine, all housed in a sturdy box set.
20th Adversary of Emptiness contains everything Demilich have ever recorded, starting from Regurgitation of Blood demo (1991) and rounding things off with three songs the band recorded during their brief comeback in 2006. The only Demilich full length album Nespithe has been reissued several times over the years in various guises, but always using the inferior 16-bit CD masters and sometimes brickwalled beyond recognition. For this release we dug up the original unmastered 24 bit studio tapes for Nespithe and best possible sources for the demo material, and then had Sami Jämsén of Studio Perkele thoroughly clean everything up and create new masters. This is Demilich as you’ve never heard it before.
Nespithe LP is wrapped in the original Turkka Rantanen cover art, lovingly restored, and a new artwork by Mr Rantanen adorns the box itself. For the demo compilation cover the band commissioned new art from renowned underground artists David Mikkelsen and Johnny Maddox, inspired by Demilich lyricals. Mikkelsen’s art also comes as a poster in the package.