Darkthrone – Arctic Thunder (2016)


Article by Lance Viggiano

Darkthrone have spent the records FOAD through The Underground Resistance regressing into their pre-Celtic Frost influences. Sensing their customers’ growing unpopularity with this black ‘n’ roll approach, Fenriz and Nocturno Culto try to save face on Artic Thunder by regressing into their own work. The upshot is that nobody but Miller Lite Throne can sell mediocre riffs in cyclical songs as well as these two. The downshift is that they cannot muster enough enthusiasm or energy to play their own ideas with the dedication of a devoted bar-tier cover band.

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Incantation Tour Europe and Return to Finland

incantation summer 2016 tour

Incantation are in the midst of a European tour right now with Morgoth and are coming back to the continent in July. The Finnish festival date should be special for Hessians as Depravity is opening. Incantation also have a new album coming out later this year on Relapse Records and recently released a 25th anniversary compilation. From the band’s website:

Pennsylvania deathmongers INCANTATION have just kicked off a run of European dates with Morgoth, Darkrise, Methedras and Omophagia, which will see the band demolishing venues in Europe, the UK, and Russia this April. In celebration of the band’s 25th anniversary, INCANTATION has just announced a second leg of European dates this coming summer – the death metal veterans will be laying waste to Europe for two weeks this coming July alongside Brazil’s Nervochaos. INCANTATION has also been confirmed for a number of festival appearances this summer, including Obscene Extreme Festival in the Czech Republic, MetalDays Fest in Slovenia, and the third annual Hell’s Headbash in Cleveland, OH. A complete listing of dates is included below.

INCANTATION Live:
***All dates with Morgoth, Darkrise, Methedras, and Omophagia***
Apr 14 Ostrava, CZ Barrak Club
Apr 15 Erfurt, DE Club From Hell
Apr 16 Rheine, DE Hypothalamus
Apr 17 Drachten, NL Iduna
Apr 18 Rotterdam, NL Baroeg
Apr 19 Chapelle-lez HT, BE Maison Du Peuple
Apr 20 London, UK Nambucca
Apr 21 Glasgow, UK Audio
Apr 22 Southampton, UK Bristol Bierkeller
Apr 23 Oberhausen, DE Helvete
Apr 24 Villa de Barrosales, PT SWR BarroselasMetalfest XIX
Apr 26 Vilnius, LT Propaganda
Apr 28 Minsk, BL Brugge
Apr 29 St. Petersburg, RU Opera Concert Hall
Apr 30 Moscow, RU Monaclub

June US Dates:
Jun 24 Columbus, OH O’Shecky’s*
Jun 25 Crest Hill, IL Bada Brew*
Jun 26 Lansing, MI Mac’s Bar*

***All Dates with Nervochaos***
Jul 14 Obscene Extreme Festival – Trutnov (CZE)
Jul 15 Neudegg Alm Abtenau – Salzburg (AUT)
Jul 16 Elyon Club – Milan (ITA)
Jul 17 Le Korigan – Luynes (FRA)
Jul 18 Tba (FRA)
Jul 19 Tba (FRA)
Jul 20 Le Klub – Paris (FRA)
Jul 21 Muziekcafe Elpee – Deinze (BEL)
Jul 22 Little Devil – Tilburg (NLD)
Jul 23 Chaos Decends Festival – Crispendorf (GER) *Incantation Only
Jul 24 Viper Room – Vienna (AUT)
Jul 25 Akc Attack – Zagreb (HRV)
Jul 26 Metal Days Festival – Tolmin (SVN)

More US Shows Announced:
Sept 2 – 4 Cleveland, OH Hell’s Headbash 3

Most of Incantation’s back catalog can be checked out on their Bandcamp page.

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A Closer Look at Suffocation’s “Pierced From Within”

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The title track of Suffocation’s third LP is a very interesting subject of analysis (as much as other excellent songs such as “Depths of Depravity”, “Suspended In Tribulation” or “Brood Of Hatred” from the same album could be) because it is a great example of recurrent motives reused in multiple different forms, of riff (musical ideas) progression and of narrative structure that ends with a climax and a release that brings a satisfying conclusion. The first step before going further is understanding how each idea of this song is crafted around the very simple and overused concept of two intervals a half step away from each other. The song is rather chromatic and has to be looked at with this idea in head.

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In this case, as I will (try to) demonstrate, the most important interval is the major third, and then the perfect fifths/fourths. From this basis we can establish five constant elements that will be identified throughout the whole analysis.

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  1. Element “a” is the collection of pitches that represent the major third intervals. Suffocation plays a lot with those intervals to create new motives and harmonies. It could also be considered as part of a harmonic minor scale (the last 3 degrees and the tonic).
  2. Same thing applies to element “b” but with the intervals of perfect fifths (and thus fourths), although the relation between the chromatic 5ths/4ths will gain another larger dimension sometimes.
  3. Element “c” is a diminished chord, something we will encounter frequently (Suffocation also uses frequently tritones and augmented fifth chords, especially in the Breeding The Spawn LP).
  4. Element “d” is a precise motive (and not collection) that finds meaning during the development of the song.
  5. Element “e” is just an ascending 3-notes chromatic scale that is used many times to partially conclude motives and phrases. It is of secondary importance.

I am not claiming that Suffocation used those leitmotifs very carefully and consciously like a classical composer would have, but my point is rather to show how, despite the lack of tonal material in the song “Pierced From Within”, unity was achieved between all components and how it creates a great song, structurally.

*From now on all the examples are in the F-clef*

Riff 1

The song starts with a long phrase at a fast tempo (riff 1) that is twice repeated. As shown in the score below, it is a mix of power chords and fast, technical strumming. We can see many manifestations of “a” as well as the repetition of rhythmic cells to create coherence. With its additional time, the last bar helps to generate an effect of oddness and temporal confusion through a more simple and effective way than modern bands trying over-technical rhythms and time signatures. This technique is used a few times in the song as you will see. Some have written the 3/4 as 12/8 but I prefer the former to adequately show rhythmic accents.

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Riff 1 is followed by a short bridge made of an arpeggiated diminished chord (element c) and an augmented fifth chord (constructed upon two major thirds, suggesting “element a”).

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Riff 2

From this long and complex riff, the music moves on to a generic “br00tal” verse (riff 2) where the vocals enter. However, it still manages to rhythmically catch interest due to the triplets at the end of the phrases.

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Suffocation used different basic textures (tremolo, then muted power chords) to make both verses different while keeping the same harmonic outline, but this is not much of a big deal since the difference is not very flagrant:

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Riff 3

Between the two verses appears riff 3(a), an intricate “melody” which marks a break for the vocals. This interlude introduces Suffocation’s technique of creating long musical phrases by the juxtaposition of motives that share different conclusions, yet constructed with the same material, as explained below. In addition of this, the different parts of the whole riff shift between “tonalities” or “regions”; where in the first bar the notes revolve around a certain fifth chord, in the next bar this fifth chord will be a semitone lower, hence the “larger” utilisation made of “element b” versus “a”. This is a very common (and cheap) way to make your material sound less repetitive when you are a bad and unoriginal death metal band, but in this song it becomes justified by the fact that the underlying concept of this technique is also used within a single part of a riff (and not only between parts) as the basis to craft multiple different melodic elements (just like the beginning of each bar in riff 3).

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Right after our second verse, the song returns to the riff 3, but only for one bar because Suffocation shifts to a complete variation of it. While all the verses and riff 3a were written in 4/4, Suffocation adds another 4/4 bar after this first one (of riff 3b) and with the help of a drum fill switches to 6/8, once again destabilizing the listener. The ideas of riff 3a are then developed under groups of 6 sixteenth notes and constitute an even more intricate melody. Descending and ascending power chords bring us to an atonal cascade of notes which contains, of course, our previously identified elements rearranged in many ways. Mike Smith contributes to this by adding a lot of unexpected snare accents. Once again, Suffocation added a beat to the last bar to create the same effect as riff 1, but this time it is silent. This stop-start technique will be used a few times and is now an overused element of many technical bands. As usual, the whole riff is repeated with changes at the end to form a different and better transition.

Fun fact: the total of eighth notes comprised within the repetition marks of the riff is 47, a prime number, which proves the total irregularity of the “melody”.

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Riff 3b, containing less literal repetition, brings us to what I called a “development”, because it is a short section of unique bars. Bar 1 and 4 are similar in concept, and the latter builds tension according to the former that will be released with another break and two violent snare hits. Between this, bar 2 and 3 offer chaotic rhythm where low palm muted chords meet high pitched tremolo notes and artificial harmonics. Notice that bar 1 uses what could be identified as harmonic minor scales, and thus suggesting our “element c” of diminished chords.

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Riff 4

After this, riff 4 comes in as the powerful and savage release of the tension with its unmerciful tremolo phrases. You can see once again the technique of using different conclusions to the motive that starts each bar. On second repeat, the riff stays almost the same but emphasis is put on the phrases’ end with the removal of all instruments but one guitar to play the first beats of each bar, and with the addition of power chords on “conclusions”. The interesting element is right at the end of the riff: element d is heard very fast both times with both techniques. Then, again, the song stops and is followed by a slow, apocalyptic moment.

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Breakdown and return

This moment is what I called (more or less rightfully) the “breakdown”. Now here is the trick: the first phrase of this section is exactly the same “element d” that concluded riff 4 but played way slower with power chords. Suffocation plays once again with textures and creates different accents with the use of palm mutes. And for another time, the last bar of the riff has an additional beat for your daily dose of rhythmic anarchy (or nihilism, as would say a controversial metal reviewer). This last bar present a rising chromatic phrase that we can interpret as developing “element d” and that presents a new 4-notes collection than in the first two bars. If you take those 2 pitches collections, you can notice that they are a major third away from each other (element a). I am not saying this was intentional or not, but I try to point out (coincidental?) links between all parts of the song.

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The slow breakdown leads us to a sudden fast solo. I won’t analyze it here, but you can find a lot of “scales” constructed with “element a”. Listen also how the guitar sometimes melts with the triplets of riff 2.

The song returns to riff 3a, and then instead of continuing with riff 3b moves on to a new variation of the idea, riff 3c. This time, the riff takes a more urgent turn and creates the final tension, while Mullen cries the last lyrics: “I am your savior/Shapeless to your perception/For I am you/Pierced from within”. You can see how some melodic elements are now harmonized with major thirds. As usual, the second phrase (bars 3-4) uses a different conclusion.

After a repetition with a new ending, this rising tension is interrupted by a suspended chord that brings us to riff 1, played once. The song concludes abruptly before the end of the riff while the last words, “Pierced from within”, are repeated on the last four power chords. I did not talk much about vocals’ rhythm but it is cleverly constructed to fit the different parts of the song, and I am personally fond of how the lyrics are arranged in riff 3b.

Conclusions

As I said earlier, this approach might be over-technical and exaggerated, but the important thing for the reader is to at least understand how the song is well-crafted on every aspect and not entirely a sequence of random ideas. An analysis of a less technical song that contains great development would provide a good counterbalance to this article. Something out of Cianide’s The Dying Truth comes to my mind.

It is sad to think that after this album, Suffocation would never come up with anything on par with their previous material, because they certainly had to potential to improve and create new highly artistic pieces of aggressive and intelligent death metal. I still think their recent (post-reunion) albums are getting better each time and Pinnacle Of Bedlam, despite a terrible production, showed promising signs of great songwriting even though they apparently opted for a more tonal and melodic modern metal-like approach.

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Disentomb – Misery

disentomb-misery

Contemporary brutal death metal fills its world with feces and dismembered women in lieu of content. While that repugnant stench has kept the critical listeners away, the less-discerning still inhale the fumes, but now a band from Australia threatens to unite the audiences on a newer and more advanced form of the genre.

Attempting to deviate from the soulless average that has infested the genre, Disentomb with Misery unleash a work of complex but stripped-down death metal. Like the energetic offspring of Immolation and Disgorge, this album creates dark and dissonant brutal death metal yet still stays true to the frenetic riff-salad recipe that is inherent to the brutal death metal artistic voice. On Misery, the internal dialogue of these riffs projects the type of landscape we might find in a dystopic wasteland, tearing songwriting down to its bare, primal foundations in a method evocative of early Suffocation.

Misery exudes chaos, depravity, and most importantly, direction. While their contemporaries languish in a pool of defecation and flat-bills, Disentomb dream bigger and help steer brutal death metal toward a new direction. In particular, songwriting returns in a sense other than boxy variations on standard pop/rock song form. Songs vary from the brooding mid-paced drone of darker material to the bright and abrasive aggression of fast and chaotic tracks and use each other for contrast so the album as a whole highlights a range of emotions. The result is a complete package of death metal brutality and intensity that aims for an artistically alert audience.

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Swine Overlord live stream of Parables of Umbral Transcendence

swine_overlord-parables_of_umbral_transcendence-small

Grunting percussive deathgrind band Swine Overlord unleash their Parables of Umbral Transcendence on the world on August 19, 2014. The title might lead a listener to believe this album will be more jazz-lite “technical death metal,” but instead what you have here is gurgling blasting primitive and raw sound in the style of all bands inspired by Suffocation.

While much of metal has focused on hybridizing with known rock, jazz and blues genres, the deathgrind genre continues its development of its hybrid of primal death metal and raw explosive grindcore, continuing the gore and paranoid dystopic themes of its origin. Swine Overlord take a similar path with music and lyrics in the blasting mayhem and cadenced grooves of this work of utter depravity and abandonment of social trust.

To celebrate the launch of Parables of Umbral Transcendence, Gore House Productions and DeathMetal.org present the live stream of the album in its entirety:

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Sadistic Metal Reviews 12-12-13

garbage_dump

What are Sadistic Metal Reviews? Heavy metal is either art, or like the rest it’s a product to make sad people feel better about their empty and pointless lives. Brutal honesty is all that separates us from that abyss. Remember, tears are a sign that you’ve really reached people…

evereve-seasonsEvereve – Seasons

Nuclear Blast, this is NOT “music to mangle your mind.” This is the AIDS of the music world. Cheap, hokey synths ramble under tepid saccharine guitar melodies while effete whiny crooning that makes Morrissey sound like Tom Warrior radiates in the background. You can just about hear the teenage bedrooms of America, reeking of self-pity and masturbation, where the obese and inbred listen to this. It’s OK, kid, everyone gets turned down by a fleshlight at least once. If you can imagine heavy metal with all of its soul removed, candied like one of those disgusting little fruits in a fruitcake, this would be it. There is nothing here that is metal except under the flimsiest of pretenses. “Evereve” is more like “Summer’s Eve.” Seasons could be a forerunner for HIM. If you ever hear a note of this, you’re going to need hormone replacement therapy.

covenant-nexus_polarisCovenant – Nexus Polaris (also released as The Kovenant – Nexus Polaris)

The cheese of “black metal” circa 1998 is on full display here in this one album. Considering the Dimmu Borgir membership and the touting of a drum performance by Hellhammer circa his “help, I need money and even joined Arcturus” days, you know this will be bad. The vaudevillian sideshow vibe of later Ancient and Cradle of Filth is tricked out to sound like a joyous PG rated sci-fi soundtrack is playing over a rock opera, making this all sound more absurd. Imagine the music from a children’s variety TV show but with some drunk guitarist in the background hammering out heavy metal riffs with black metal stylings as he copulates with close family members while wearing a tutu. If you heard a “black metal” parody in recent times, chances are it sounded like this.

immolation-majesty_and_decayImmolation – Majesty and Decay

This album brings to mind Dogwin’s Law for metal: as a metal band ages, the probability of it reverting to its influences becomes one. Immolation started out as a speed metal band, then detoured into death metal for a few albums, and now is back to heavy metal but in a simplified form using death metal technique. When they did that cover of Mercyful Fate, it shook something loose, and Immolation thought, “Why spend hours fitting twisty riffs into intricate combinations?” Verse, chorus, break, solo — done! Collect check, buy motorcycle parts. This is the metal equivalent of baby food: over-cooked, pre-ground, sweetened and without any difficult parts. Gone are the wildly imaginative riffs and catcomb-like song structures. Instead it’s The Jets covering Bryan Adams put into power chord riffs. Embarrassed by their own non-output, Immolation tries to hide the emptiness by getting emo on the choruses but nothing can save this pile of paint-by-numbers metal. This is metal’s equivalent of Bangerz with some guy howling along in the background about stuff he read on Infowars.com.

morgoth-feel_sorry_for_the_fanaticMorgoth – Feel Sorry for the Fanatic

Another case of mid-90s “evolution,” Morgoth ditch the Death Leprosy worship for a sound more akin to Voivod at their most commercial playing Killing Joke at their poppiest. Vocals sound like a parody of Amebix, lots of mumbling and tuneless sung-shouts. Verse-chorus structures and an industrial rock production suggest this band was attempting to cash in on the industrial/cyber image trend of Ministry, Godflesh, and Fetish 69. With waves of label hype behind it, Feel Sorry for the Fanatic failed as only the falsest of marketing hype can. Creating a neutered album with fringe-accessibility to an audience that didn’t exist the year this album was released left the band to fall on its face in embarrassment and dishonorably disband.

wolves_in_the_throne_room-bbc_session_2011_anno_dominiWolves in the Throne Room – BBC Session 2011 Anno Domini

This band of hippies in denial have improved in the songwriting department, but by so doing reveal the underlying emo to their music. It’s clearer than ever before that Wolves in the Throne Room were never black metal. This two-song release allows the “post-metal” to shine, but musically “post-metal” is identical to emo, a subset of late hardcore/indie rock hybrids of the late 1980s. Musically, nothing has changed since that time, so if you’ve been in a cave since 1984 you might enjoy this band. These two tracks are far less random than previous Wolves in the Throne Room output. While they try to ape black metal with heavy guitar distortion and howled vocals, in harmony and choice of scale this material would fit in on a Jawbreaker or Rites of Spring album more than any black metal album. In fact it’s a complete sham to ever list this band as black metal because it misses out on what they do well, which is a very slow version of emo. Droning emptiness portrayed with slighly dissonant tracks that sound like self-pity incarnate. It evokes a lot of different feelings that boil down to the same state of suspension, in which mixed-emotions and self-pity that brings self-doubt resolve all things to the same. I wouldn’t recommend this for any metal fan or anyone who remembers the late 1980s.

solar_deity-devil_worshipSolar Deity – Devil Worship

If you approached a black metal band as if it were a doom metal band, you might end up with something like Solar Deity. Very musically literate in a way that is reminiscent of Necrophobic, with understated melodic riffs and good rhythm, this band nonetheless suffers from a type of drone syndrome where just not enough changes to keep interest, although there’s nothing offensive. Clearly mostly inspired by the first two Gorgoroth albums, Solar Deity attempt to set up a number of songs to narrate and develop theme, and do a reasonable job of it, but their riffs are rather lukewarm and repetition-intensive as is their usage. The result would be great if designed for doom metal, but as black metal ends up being an abrasive drone and sense of confused purpose within otherwise well-composed music. It might be good background music for repetitive tasks. You know, really feel that tedium as you clean water heaters, file taxes or chase hipsters off your front lawn with a shotgun (aim for the knees).

tribulation-the_formulas_of_deathTribulation – The Formulas of Death

Death metal isn’t hard rock. If it wanted to be hard rock, its members being honest people, it would have elected to simply be that instead. However, there’s a huge market in dressing up regular boring corporate product rock music as something “edgy” like death metal, which still hasn’t been conquered by the civilizing forces of socialization. Like previous Tribulation releases, The Formulas of Death is ambiguously in the death metal realm and in fact treats its death metal elements with ironic scorn. The result is a pretty good hard rock band embedded in a bunch of unnecessary stuff. Get a real vocalist, throw out the token chromatic riffs and d-beats, and re-style this album as something along the lines of early Queensryche or Cinderella and it would be great. This will make just about every “Best of 2013” because people can’t tell the difference between turd and steak tartare but also because it’s catchy. Simple music for simple minds.

skeletonwitch-serpents_unleashedSkeleton Witch – Serpents Unleashed

If focus groups found a way to slam Sentenced Amok and At the Gates Slaughter of the Soul into a metalcore product that panders to Adult Swim viewers, then Skeleton Witch would be the abomination unleashed. Tired and generic riffs more bound to cliche than tradition power an interchangeable series of mellow-deaf parts stitched into galloping rhythms. Although it appears to be like metal from a distance, I suspect if MC Hammer knew how to play a guitar, he’d come up with something like this. Poppy and bouncy background noise for people who value video games and Comedy Central more than music, Serpents Unleashed might be the sonic equivalent of a middle schooler’s diary: covered in stickers and glitter, but the content within is more than predictable in essence even if not in particulars, and in ten years it will humiliate them if unleashed.

beyond-fatal_power_of_deathBeyond – Fatal Power of Death

The problem with retro works is context. What was once a whole context is broken down into techniques, “moments,” transitions, tempo changes, riff-archetypes and melodic frameworks, and then reconstituted. However, since there’s no motivation except to be retro, there’s no new context except appearance. Thus the bands doing this tend to default to the simplest elements possible, which are either age-independent but average stuff the original genre tried to escape or conventions of the present age. The result is that you get the same stuff, but someone has covered it in retro-feeling-stuff. The end result is like a bison spray-painted with corporate logos, a contextless mishmash that’s oblivious to its own true nature. Beyond make a credible effort but they are trying to fit riffs together, not use riffs like words or colors on a painting, and as a result, nothing is communicated by frenetic energy, doubt and disorganization. Moments of this release are stunning, but the whole does not add up to much because it’s not about anything.

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Interview: Nokturnel

Nokturnel_7_copy_1283185558Tom Stevens has been providing technical extreme metal since the 80s. Known as a virtuoso on guitar and owning the distro/label Nokturnel Eclipse, he’s been a supporter of the old school since it began. Though Nokturnel has gone through numerous line-up changes, Stevens has defied odds and kept the flame burning with an indomitable urge to shred.

Nokturnel is what I would deem “old school technical blackened thrashy death metal” (OSTBTDM).

DeathMetal.org is proud to present an interview with Tom Stevens about his music and businesses.

Howdy Tom. Thank you for your time. What was the mentality that drove you to form Nokturnel? Was there a frustration that you had to unleash? Why did you spell “Nocturnal” as “Nokturnel”?

Nokturnel was not something I really intended to do, my first band Savage Death fell apart and black metal was “out”…. the Satanic thing took a dive and believe it or not it was considered uncool. I had only begun to take Savage Death into what was considered technical metal at the time, and when it fell apart I wanted to take technical to a new level. The drummer of Savage Death was cool with that and he went on to meet Martin O’Connor. By then I was beyond frustrated with generic sounds, so the three of us made Nokturnel as different as we could; we chose to spell it that way because we knew many other bands would appear with the same name.

What are your thoughts on religion? You have previously stated that you believe in aliens. Do you believe that aliens created the human species? How about a mutual collaboration of humans and aliens to further each other? Have you ever seen any UFOs?

Religion is too complicated for things that must be valued with “faith.” It never struck me. The song Force Fed Fear is about the fear knowing you were told there’s a price to pay for not believing in religion. I do believe in Aliens and think they have been part of Earth’s history forever…. I could accept the facts if they were proven; easy for me to have faith in believing in the existence of life other than here on this planet yet I cannot have faith in religion…. I think there will be good and evil Aliens… some will wanna help, some will want us for our worst nightmares… I have no trust in government and think it is a long established fact Aliens have already played their role in where we are now and we were are heading…

tom yelling into a mic at mdfI haven’t heard much on Nokturnel since your last recording ‘Ancestral Calling’.  What have you been up to?

I managed to get that single recorded right before we played MDF. I had a lot of fan support at the time. It was amazing and heartfelt to be in the position I was in as an independent with no label support and I took it all very seriously. I had a lot of problems I would rather not get into but my stress level was at an all time high. I made changes as best as I could for Nokturnel. It was beyond maddening to be on the verge of taking things ot the next level and not have a stable lineup. I did two more shows which were clusterfucks for me…. the last one killed my drive to be on stage again until I have whoever is playing for me sounding exactly as I intended it to sound. With that mindset I chose to go into the studio alone for the third time to record “Shadows Alive,” I used Kevin Talley this time and it is my favorite Nokturnel song. It was redemption for my self…but unfortunately it did not get half the coverage “Ancestral Calling” received.

I am so fucking fed up with what the younger generation considers metal I feel obligated to carry on…Not enough people have heard any of my music. Many who do pick it apart and have no idea what I am going for. The truth is I have never done the same song twice, and I am working on several new tracks now, far beyond anything I have ever done. I don’t know how I am ever going to complete this project, but I am glad I began a few months ago, I always give it my all but this is going to be the most shocking work of my life… mark my words. It’s 666% Nokturnel!

You’re an avid snake breeder. How profitable is this trade? What are your favorite breeds of snakes? How many do you own right now?

Being a snake breeder is a lot like being a musician. You see bands selling records and touring like crazy and they bitch about being broke as fuck. Snake guys have expensive animals listed for sale on web sites and drive fancy cars and they too swear they are broke. Snakes have been very good to me. I am a hard-ass and price ’em high and tell people my animals are too good for them if they want to haggle. Like any business it has its ups and downs. After 10+ years into the game I have a solid customer base. Some are people you would never think would pay attention to a psycho like me, I take an online bashing once in a while for being that evil metal guy. It is fuckin’ funny!

But snakes are animals that require care. It is low maintenance but I insist on them being in above average condition or they are not for sale. You have to put a lot into to get anything out of it. I think I have about 100 here now. My favorites are Southern Pine Snakes, Bull Snakes and Florida Kingsnakes… that is what I have the most of.

tom yelling into a micYou played with Incantation for a while. What was it like touring with them? Any highlights that you’d like to share?

It was like most tours bands do where a lot of it is kind of bad but as soon as you get home you cannot wait go back out. Highlight show was in Santiago Chile with Cannibal Corpse and Death… I met many cool people during my time in Incantation but it all soured for me. I did meet my wife because I toured through Texas back then so that is something I do associate with the band as of course a great thing that came of it. Musically I am not meant to play for other people. I should do my own thing. More than one Alpha in a band is bad news… it could have been something, probably should have been but fuck it all…. was not meant to be and I lost interest in that band a long time ago

I’m curious to see which genre you regard Nokturnel as. Is it Technical Metal? Thrash? Death Metal? Black Metal? Or all of the above?

I now prefer to call it death metal but I really do not care anymore. People have been trying to label me since ’85 and they are usually wrong and it is not worth my time to argue. Nothing But the Hatred era material is harder to call death metal especially due to some of the humorous lyrical content but I saw that as a mistake and left that behind. People should realize that the extra track on Fury Unleashed, “A Collision of Dimensions” was a song in between Nothing But Hatred and Fury Unleashed and it showed the direction I was heading…. more death metal. People talk so much shit… too many solos, the vocals should be this way… it is not death or black…. blah blah blah…. I have watched the “scene” turn inside out several times over the years. Very few people have my respect anymore. Therefore… I do not care what anyone calls it if they happen to like it. That is good enough for me,

Nokturnel Eclipse has been supplying metal warriors with leather and spikes for over a decade. How did you come to crafting leather? Have you always been talented in this field?

I was seeing the need for a product and had a business that could easily carry it. My wife had made herself something that we felt we could take more into a typical metal armband. Osmose/Moonfog Black Metal was everywhere and people wanted Spikes. After some trials we introduced a few designs. Nokturnel Eclipse started by selling CDs which was destroyed by the digital shit we have today and now Nokturnel Eclipse focuses on Spiked Leather and Leather Masks.

Working with leather for yourself is one thing. Being able to sell it to customer after customer and build a reputation is another. We are now well known worldwide and have taken the whole process of creating what we offer farther than we ever thought. Years of experience make a big difference but making every single order perfect for every customer means a lot of hard work on our behalf. We are extremely busy which is great but it is delaying other new items we hope to add to Nokturnel Eclipse soon. We started in 1999 but things really took off for us in the past few years.

tom at mdfPlease detail your contributions to Ripping Corpse. Are you still friends with Erik Rutan?

I became friends those guys early on in the Nokturnel demo days. We all got a long really well and were great friends, When they had shows booked out of state they did not want to miss and needed a bass player I was the go to guy. They knew I was capable of learning all their songs in a short period of time and I did just that including unrecorded new songs. They also stayed at my house during the recording of Dreaming With the Dead, I was there from the first note to final mix. I got to sing on all the backing vocals on the record and one other small part for half a second in “Glorious Depravity.”

I am friends with Rutan and consider all of them friends but it is Shaune Kelley I keep in touch with, I am a fan of almost any band any of my friends are in, of course that includes Hate Eternal but Shaune IS Ripping Corpse. The list of people I know in established bands is ridiculous. I do not speak to anyone on the phone often and do not go out of my way to keep up with any of them any more than any random person on the internet. I consider tons of people friends and we are happy to get together when they come through my area but I am a busy person and prefer the company of my family. My closest friends in bands get the invite to stay with us…. Rutan and Kelley would make that list.

You and King Fowley appear to be the best of pals. How many times have Nokturnel and Deceased played shows together? How long has your friendship been? There must be some crazy stories with you two in the early days of extreme metal.

Yes, we are. We agree on many things more so than disagree and know us older underground guys are a dying breed. I have known him and a lot of people since 1990 or earlier. Nokturnel and Deceased did quite a few shows together in the early 90s and I went to many shows down south where they were from on my own just to hang out. King and I are a lot alike but we are not by any means carbon copies of each other.

He is a unique personality and I would like to think people see me that way as well… One time I was with Deceased in Maryland we all piled into one hotel room. Long after everyone passed out I woke up to what I thought was a fucking gunshot. When I jumped out of my skin only one other person in the room woke up… I think it was King.. I looked through the curtain and saw some guy hauling ass through the parking lot, it was freezing during winter at the time. It turned out that some guy had bought a can of soda from a machine and smashed it through the window of the room next door. He was freezing out there and just had a freakout.

There’s some good babble [on this topic] in the book Glorious Times…One time in Cleveland we both played a show called Splatterfest. King misunderstood me and during their set invited the entire show to MY hotel. When I said see you there with everybody I meant Deceased… not half of Cleveland…. no fun telling carloads of people to go away that night, good times

You originally lived in New Jersey and relocated to Texas. I have noticed in previous statements that you have a disdain for your prior homeland. Why do you prefer Texas so much? Is it because Texas has the ability to secede if the US keeps twirling into nonsense?

Some people would consider leaving the area they grew up in a nightmare, for others it is a nightmare to stay. I much prefer the people of the South, not meaning metalheads…. they are the same no matter where you go, but people in general are easier to live with. NJ is a place I look back at knowing life for me got a whole lot better when I left. Some people refuse to leave and look for something better in life. I am not one of them. I moved to Florida around the time I joined Incantation which was no fun with the extra travel but even that was a massive upgrade for me.

Texas is fucking awesome. Great people, open minded and tolerant. Great weather, amazing food. When I met my wife she was living in Austin and it was a no-brainer for me to come to Texas instead of us staying in Florida. This is where we both want to stay. After living here and seeing almost everywhere you can think of…. I cannot see myself living anywhere else.

tom playing guitarHow long have you played guitar? You’re quite an amazing musician. What type of equipment, guitars, strings, etc do you use? What type of equipment would you recommend to new guitarists that are just starting out?

I began about 1980. I had experience playing piano when I was very young, which I blew off… I used to read complex sheet music and all this crap. I do not remember ANY of it. Matter of fact I only know the names of two guitar strings and one scale. All of my guitar [playing] is natural.

I took some basic lessons and was taught a few basic things before I was told I did not need any lessons and not to return. My teacher showed me “I Don’t Know” by Ozzy in the most retarded way imaginable. I showed him the right way; he was not mad. He made sure I knew how to tune the guitar and said I pick way too hard but I would be a great player some day… I was furious as I wanted to learn how to play lead. I figured it all out on my own. To these schooled modern shredders, they seem to pick me apart and explain everything I do in terms that mean nothing to me. “you don’t come all the way around on a this and don’t finish a that before you go into a….”…. I am thinking if I did that…. I would sound like you, and Nokturnel fans do NOT want that… so take your shred knowledge and tell someone who is easily impressed.

I am happy where I am in my own realm of demonic possession and appreciate others way more than they appreciate me. No sleep lost there. I am most known for using the Washburn EC29, but I currently play a Halo Inverted and having a Kahler Pro Series tremolo is mandatory. I only have one other V and am in the market for a new one now. I would appreciate it if you would link the Tremolo Torture video I did for Kahler. I talk a lot about why I need a Kahler tremolo.

I am a gain maniac. Crank a dual rectifier with active pickups and add more distortion and gain and noise and you are ready to create some noise, I think the two things a new player needs to help them gain confidence is proper reverb and a little delay effect. Best advice I can give anyone who wants to learn how to play… begin with Iron Maiden Piece of Mind, learn the riffs, learn the solos… you are now metal

tom playing guitar at mdfHow well was the single “Ancestral Calling” received? What inspired you to write it? The riffs don’t seem to differentiate much, but the technical ability is amazing. How did you approach this song? What was your mindset? How will Nokturnel top this song in the future?

Overwhelmed with it really. It was incredible for me. I set out to do something I had not done in 20 years. A song based off only a few simple parts like Savage Death did in the 80s. I also wanted a song where the vocals and storyline dominate and that it did, Playing that song at Maryland Death Fest was the greatest moment for me in all of Nokturnel history. Seeing the crowd respond and even sing the words with me was just unbelievable. I was worried I kept it too simple, had feared Nokturnel fans would just not be into it. I was wrong, they fuckin’ flipped over it and I gained a ton of new fans. I feel I did top it.

The followup was “Shadows Alive” which is completely different. It is also based on real life paranormal experiences I was cautious about sharing with anyone. It is a very personal song for me and also much more furious than “Ancestral Calling.” Finding myself standing alone again after the last show I played and passing on other opportunities I chose to turn my back on everything and go back into the studio.

That song for me is a personal triumph. Not content with the few offers I got to play in 2013 and all the hassle to get the line up going I am now doing the same thing. Back in the studio alone, writing. “Shadows Alive” surpassed “Ancestral Calling.’ The new stuff I am working on now is way beyond that material, and believe me when I say I love all my music. This is why there are only so many Nokturnel songs as opposed to 10+ CDs worth. I am striving to make the best music…. not the most.. Every song counts.

Thank you for your time. If you have anything else that you’d like our readers to know, please share.

I think you did a great job with these questions. I managed to keep it short for a change, Thanks for that! I do intend to play shows again but I have a lot going on and much more work to do on new material. This band means more to me than anyone could understand, I have a lot more to offer and will fight to the death to make it happen.

Feel free to check out Tom’s businesses and music:

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Hessian Studies

hessian_studies

The Hessian Studies Center was founded in late 1994 for the purpose of creating an atmosphere for study and respect of the Hessian tradition, folk art, and philosophical background. Over the next year it struggled off and on with authenticity and funding but eventually opted to remain underground because of the freedom given to respect metal’s traditions as independent, rather than integrated, with the western world’s containers for those philosophical and political entities. Additionally, the liberal policies of the Center regarding drug use caused ostracism and exile from the benevolent gaze of the herd.

The work of the Hessian Studies Center consists primarily of materials acquisition and content authorship, as well as think tank work in the continued architecture of Hessian history. Its members have authored numerous documents for this and related political efforts and continue their efforts to this day, striving for an independent Hessian state and the corresponding benefits of legal power (decriminalized recreational substances, an end to loudness ordinances, legalized crime).

The following is a reproduction of the original Hessian Studies flyer that kicked off the chaos back in 1994:

What is Hessian Studies?

Hessian Studies is the academic study of Hessians, Bangers, Metallians, Metalheads, death rockers, and other adherents to the genres of metal and grindcore. The Hessian Studies Department believes that any truly diverse multicultural population will contain representatives of this world-wide underground culture, with its rich and spanning historical and social contributions.

What are the aims of the Hessian Studies Department?

The Hessian Studies Department seeks to establish a presence of Hessians on campus and in campus events, as well as to create a comfortable environment at The College that suits the specific needs of Hessians at a small liberal-arts college. To this end, we have presented a List of Demands to the Administration:

  1. That there be Hessians hired to faculty and staff positions, and that all hair length rules and any form of drug policy regarding Hessians hired be abrogated, as Hessians have a religious need for some currently-regulated substances.
  2. That there be a Hessian Studies Center, complete with both audio and textual libraries and lounge area, for the study and advancement of Hessians.
  3. That the community radio station play more music favorable to the tastes of Hessians during prime-time shows.
  4. That the inscription at the gate of the college be changed to either “Fuckin’ Groovin'” or “You Suffer (But Why?)”.
  5. That discrimination against Hessians as a group of drug-addicted, drunken, long-haired incompetent losers destined for parole at best be eradicated from campus literature and mindset.
  6. That there be Hessian cultural events on campus, including concerts by noted Hessian bands and festivals related to various organic products enjoyed by Hessians.
  7. That the Hessian Studies Center be funded to provide late-night pizza and beer snack breaks.
  8. That Hessians be given equal time to speak at multicultural events, and the right to develop their own curriculum of Hessian Studies Courses.

Hessian Studies Center

Hessian studies is academic analysis of the international subculture of alienated heavy metal listeners and followers of intense music and noise of destruction. Our vision includes tolerance for all people and the right to individual autonomous direction and an end to compulsion and normative behavior.

Since its inception in 1994, the Hessian Studies Center has supported the international metal subculture through collection, analysis, and dissemination of the music and philosophy of thrashers, metallions, headbangers, metalheads, Hessians, longhairs, cruisers, piledrivers and others who comprise a virtual ethnicity of people inspired by the power of heavy metal, speed metal, black metal and death metal music worldwide. We achieve our ends through peaceful and herbological methods.

In addition to supporting the pantheon of academic and cultural programs above, the Hessian Studies Center aids with time and equipment as well as money the Dark Legions Archive, a repository of analysis concerning the music of the worldwide metal community. Headbangers, metallions, metalheads, longhairs, stoners, and other social rejects apply through means of this email link.

The United Hessian Front

The United Hessian Front exists as an extension of the Hessian Studies Center that seeks to find adherents to the subculture of heavy metal music and philosophy internationally and unify their voices in a forum for communication about future generations of metalion thought. Our goals are to acquire and disseminate information about the Hessian subculture in this process while reinforcing its objectives through our actions and treatment of others.

In order for Hessian culture to accelerate its own growth toward the future it must be aware of its past as well as the likely environment into which it will develop. As the world spirals closer to oblivion, entropy, and genocidal apocalypse, the vast suicide cult that is modern society seeks further methods of denying darkness, chaos, and destruction. Hessians exist so that this may not be so.

The objectives of the UHF are as follows:

  • Establishment of an Independent Hessian State.
    To ensure freedom for Hessian development and minimal intrusion from normals, sober people, and authority figures the creation of an independent and autonomous Hessian zone under self-rule is a primary objective of the UHF.
  • Religious Freedom and Controlled Substances
    The complex sociomystical structures behind the art, aesthetic and mindset of a modern Hessian lifestyle requires the stabilizing influence of chaos-generating psychoactive substances in order to remain efficient and content.
  • Equal Air Time for Nonconventional Music
    Current media tendencies exclude all but the most soothingly inane and simplistically melodic, leaving a void of contemporary music for the intellectual connoisseur or musician, generally attenuating the intellectual readiness of the population; for this reason alone we request more air time for metal and other non-mainstream forms of music.
  • Injunction Against the Christian Right
    Given the evidentiary state within science that concludes that so far agents of discreet brainwashing have not been found to be able to influence humans to extreme behaviors such as suicide, assault, or murder through the simple method of stereophonic amplification, it’s time to call off the Christian right from attacking metal and rap as “promoting violence and depravity.”
  • Flier for Public Distribution and Chaos
    Our reprehensibly straightforward and dissonant fliers bring all of the alienation and some of the isolation home to those you can dupe into reading them, as well as providing hours of family topics for discussion. Spread this bad news everywhere to deconstruct society the networked way!

Our vision is of a world where Hessians can be recognized as a virtual nation of headbangers, metalheads, and thrashers and will eventually be treated with respect to their specific needs and inclinations. Through mutual tolerance we can live together or we will surely die together.

Hessian Life

Introduction
Hessians come from the tradition of subculture, or resistant counter-culture embedded within a much larger cultural container. They have been spotted in almost every country in the world where electricity and a relative amount of personal music technology have been distributed. Most cultures have learned to recognize them and write them off — at their essential nature, they are a pacifistic culture of alienated and/or intellectualized rockers looking for truth in extremity.

Social Conception
Society encompasses their culture, but they treat it with dissonant indifference, realizing that its actions are beyond their control and are mostly ignorant attempts at control or manipulative, fearful and destructive compulsions to duty. The desperate impulse that is afraid of silence (as in silence one must think within) drives normal social activities to be centered around events and to aim at providing comfort. Hessians reject these ideals and instead favor indirection, mayhem, destruction and other chaotic acts in their free (not enslaved by school/job) time. Often they can be found gathered around a bong for interpersonal time, or gathered in small groups to become intoxicated and raise some hell. The heavy party culture that underlies all rock carries its extremities also in the extreme rock arena, where brutal concert violence and fastidious drug abuse are signs of successful interaction.

Philosophical Worldview
Beneath this fury of strange behavior a philosophical foundation supports but does not attempt to justify these acts. The naturalistic philosophy of the Hessians prioritizes justice and ideal at the same time it encourages chaotic fantasy; its essential communication is to live well through freedom from the clutches of neurotic thought, and to spend time in whatever liberating activities can be fashioned from the elements available. The nature of this in the trapped, suffocating world of commercial society (narcotic of the one true herd) is a relative overemphasis on intoxication and freedom from plans, morals, karma, memory, or the will of other people; the consequence is often an overindulgence in rebellion without a clear direction for self-preservation. However, Hessian philosophy as revealed by the metaphors within the music reveal a fascination with information, with fantasy, with power, with destruction, and an obsession with honesty and spiritual power to speak the apocalyptic truth.

Drugs and Mysticism
Hessians tend to believe in both the psychological/mystical power of drugs as well as the spiritual power of their music, although this belief is not shared by all. Often Hessians can be found gathered around a stereo consuming large quantities of marijuana, hashish, or other less-refined forms of drug. By liberating the mind in intoxication the Hessians believe they achieve a stable plane of nihilistic consciousness, where they are closer to the dark gods of winter and more able to comprehend the profundity of death. In this morbid ritual metalheads develop a comprehension of reality that supersedes all other methods of processing life and frees them from the drug of mainstream life, fear and consumption. In this more spiritual state they feel they can comprehend the complex messages transmitted through rhythm and metaphor in the music. Other parts of this ritual involve simple spreading of chaos in the fertile order of society, a mystical act of supreme rebellion and refreshing spiritual heresy.

Freedom Manifesto

Conventional social ideals would cast aside the non-ideal, the non-quantifiable and stay with the symmetrical and symbolic, fearing the ambiguous world of obscurity and metaphor. Double meanings, they say, balking in horror like the sheep they are. But what does the Hessian say?

The Hessian rejects insecurity and underconfidence and plunges ahead no matter how insane the project in conventional ideals. By denying the doubt of the people around them and aiming for loftier ideals than the simple “feed thyself” command of society’s trough, Hessians have created some of the most extreme and beautiful music ever to hit planet earth.

Their rejection of neurosis and mocking anti-idolization of society’s scapegoats make them a terror to the unstable and fragile balance of deception that allows our modern society to function.

“Turn off that fucking noise!” — every Hessian that has ever lived has heard it. Many people every day seem not to think about how unoriginal their comments are and tear into the usual insult of how Hessian music is “noise” and not music because it does not fit conventional classifications. The wily Hessian only laughs, and mocks back with even ruder noise — for the Hessian knows that human boundaries are only impositions of human understanding, and not inherent to the outside world — a place known for its nihilism and aggressive destruction as well as its nurturing instinct.

Through their addiction to noise Hessians have discovered a method of chaotic, spiritual, dark and naturalistic living that rejects the distinction between music and noise as it rejects government, religion, control and commodity as frivolous arbitrary containers of human invention for the purposes of competitive success. Who knows why humans think that way? But the Hessian only blasts louder, breaking down distinctions as his music breaks down assumptions and suggests a darker vision for art than the kitsch and design of mainstream consumer tastes.

The anarchistic views of Hessians rest in their fundamental choice to have will, rather than reaction, as their response to life. To be informed and to be of mental presence to make decisions, they say, is a fundamental part of the valuable capacity of being alive. Society is here to make room for the individual to create and to be, they say, not to glorify the process of society and to make it more demanding, more greedily afraid of its own destruction.

Through the needs of our industrial machinery we have enslaved ourselves to bureaucracy and the weakness of human need in the power-deprived state of an anonymous modern individual. We have seen, they say, the order of our grandparents and parents grow stronger every day to enforce its arcane social restrictions yet it cannot stop the problems it bemoans, but only makes them stronger as symbols against its rule. We have seen how soon all was suspect, and anything outside the norm became fearful — we have seen also how easily the scared will run to this strong will of order, begging for their dose of power from the dominatrix, doubt.

A civilization that worships fear is nothing to us, they say, as we like the ancients choose a broader, faster, freer life. We choose our will and our dreams over fear.

Naturally this runs against the order of society: sit down and be sensible, provide for yourself or you might become lost (sheep without pension must retire in poverty, and sheep without property may be beaten by the sheepdogs of the herd). For this reason to most in society Hessiandom is an Icaran falling into the abyss of fire, consumption by internal angst (although most of the inner tension is caused by the external internalized), but to Hessians it is the freedom in the one honest voice they hear, which affirms the nihilism of survival, the degraded state of the human race, the victory of destruction over life, and the uselessness of civilization as conditions of existence.

More than the violence of punk rock or the dissidence of political music, this scares the public because of its ambiguous but menacing message of deconstruction. But ineffective control has led to anarchy anyway, an anarchy of a different sort: the equal response to suppression is rebellious destruction; the power of denial cannot file this off the walls of our memory. And so metal is denied, as it has not yet been broken down into enough of a mainstream consciousness to be accepted as anything other than aesthetic.

In the shadow of this denial Hessians have had to find a new way of understanding their existence, when it is not often acknowledged and never given any credit for being as intelligent and architected as it is. This enforced internalization has reached its peak in the romantic but morbid subgenre of Black Metal, which encourages a fascistic love of self and misanthropic hatred toward the world. Alas, Hessians in this world are tainted by its virus, and this over-extension is sometimes as much reaction as independent direction. However their metaphor speaks its truth plainly, and rebellious deconstructs any rules or beliefs that it can lay a hand upon.

But were there only silence, the spirit of the Hessian would continue, in the same proclamation that life makes oblivious of its communication, a nihilistic acceptance and aspiration toward the light as if to become the world rather than consume it. This translates, through the voices of memory and individual personality, to a universal level of thought that refines to a simple message and harmonizes in the medium of chaos. In this arena, the medium delivers the message: with no order, it is free, and it has proclaimed itself so with the organic complexity of chaotic recombinance.

The dark nihilistic rage of the winter gods of thunder presents the looming possibility of spring, of death beyond life and life beyond the living death of modern society. In the combination of musics at modernistic minimalism and romantic construction, metal brings forth a future that may offer more answers and less emptiness than our current adaptation of our collective existence.

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Interview: Anders Odden (Cadaver)

Anders Odden is here with us from the band Cadaver, inc. He was an original member of Cadaver by its release schedule, and was with them on their two most popularly-known works on Earache records. He has now launched with others Cadaver, inc., which is an entirely different type of music within the same genre.

When did Cadaver form and what bands inspired the members at the time?

The first Cadaver was formed when a Black metal band called Baphomet split in 1988. We then got the bassplayer from Decay Lust and recorded the first album in 1989/90. The bands who inspired us at the time were Voivod, Slayer, Carcass, Celtic Frost and Morbid Angel.

Do any of you have strong political, religious, or philosophical beliefs, and what are they?

I’m a public enemy. I doubt that anything created by man ever will bring us to a higher level. I deny the church and all its powersymbols. Why is it that all the main religions come out of the middle east?! Religon and politics are there to oppress people. I feel the life we have today is basically without any goals and I’d like to own a little stuff as possible. I tend to get lots of shit piled up anyway, but I’m a fan of throwing stuff away. I dont know, maybe I’m full of BS…

If a drunken man falls down the stairs, he does not feel what would be painful for me. Some say the same applies to youthful indifference to death. How do you feel this influenced, if at all, your music?

I don’t think it had anything to do with what our music was. We just wanted to be able to play as good as our favorite bands, nothing more.

Did you have any favorites in the Swedish death metal genre? What did you think of God Macabre, Demigod, Dismember and Therion?

Not really. Of the bands you mention I’ve only heard Dismember and Therion. I like Black metal more than death metal.

Now that you’ve come back with Cadaver, inc., are people responding to the older material as well as the newer? Are you going to repress the first two albums?

We have played Innominate and Corrosive Delirium from Hallucinating and Mr. Tumour’s Misery from In pains… live. Those songs go down really well, but Earache has no plans for reissuing yet. It will be done some day with lots of extrastuff on it I guess. I have tons of live, demos and unreleased shit around my house, so it will be done.

It seems to me that …In Pains is from the same era as the first Darkthrone album, where metal experimented with mood and mellower textures in the death metal style. What inspired this album’s genesis?

This is easy to say now looking back. It’s never in your thought when you make stuff what the historic aspect of things will be. In Pains was released around the same time as Blaze in the Northern sky, so I felt we were very different band then. In 1992 I turned into industrial music for some time and didn’t follow black metal until 95 again. I saw the death metal era end in 92/93 when black metal revitalized everything, but felt it was my past and didnt care that much. You got to remember that the difference between death/black wasnt that obvious before 91/92. Mobid Angel is the best example of a band in between the genres. I always wanted to gain that sort of independent ground for my stuff and this is where I feel Cadaver Inc. belong. Along towards the genres and trends.

The first album had a tuba player as a member of the band. While some called this a gimmick, it seemed a natural experiment at thetime, since the tuba provides a gnarly low-end sound that could complement higher guitars.

What do you think of this when looking back upon it, and for what reason was this choice made?

It was trombone. You have to remember that Celtic Frost inspired us very much in the experimenting with things such as this. Into the Pandemonium and To Megatherion have lots of “brass” sections and weird things in it. It is still our intro when we play live, so it’s a trademark I guess.

Who are your personal musical idols?

In metal it’s forever Slayer, Celtic Frost, Voivod and Morbid Angel. These bands offer their own personal twist that you can hear on all their records. Apart from this I’m a big fan of classical composers such as Grieg and Mozart. They are true genius.

If you recorded another album in the worldview of the original Cadaver, what do you think it would be?

It will never happen.

What’s next for Cadaver, inc? Are you planning to evolve further in the direction that seems to be current, or taking a different step?

We have started working on the next album and I can reveal that it’s going to be much darker than this one. If Discipline is a agressive record the next will be more insane. I have left some of the writing to our drummer Czral this time, and his ideas are very sick. It’s very inspiring to have a band with such a high level of musicalityflowing. We are sure the next record will bring us a long step forward and that’s our focus all the time.

You mention that you like throwing things away. This touches a part of all of us I think that wishes to be unencumbered by material things. I’ve noticed many of the more intelligent people I know choose to live light given the unstable nature of the times and the tedious requirements of having stuff. It also resembles the destruction of memories and irrelevant or enslaving alliances, metaphorically and in dreams (from the relation of others). Do you think that removal or consolidation of stuffs, let’s call it garbage removal, is philosophically significant at this time in history?

You are probably right that this is something lots of people now are turning to. I think it’s a reaction towards the main-religion now, which is consumerism. Some people feel very attached to their stuff, and I think it’s a disturbing thing to be this way. We think what we have is important to us, but it’s all tools or necessities for living. The last time I moved me and my wife gave away 5 (!) big plastic bags of clothing. It’s ridiculous to have so much to wear, and we said farewell to a time in our life by throwing it away. It made me think, how the hell did I get so much stuff. I could not remember buying it all or anything. It’s more important to gain selfrespect by doing something rather than buying yourself status. Money alone makes no-one happy, and that’s the bottom line in anyones life. Happiness.

What do you think are the similarities between black metal and industrial music?

I don’t know how anyone see the similarities. It all depends on your perspective about what you think is black metal or industrial. Industrial to me is Skinny Puppy and Front 242. They are not very close to BM.

It seems to me that both have a similar approach to rhythm, relative to death or heavy or speed metal, and that both also focus on atmosphere and originate in a classically-influenced genre. Do you like the music of Kraftwerk, Tangerine Dream and Einsturzende Neubauten?

I enjoy Kraftwerk yes. I just have one Einstrutzene album which is great, but I’ve never sat down to listen to Tangerine Dream.

I’m going to rip off a line from Wrath of Averse Sefira (who could name songs from Hallucinating Anxiety in detail when queried at random, not having heard the album in seven years) who said that Celtic Crost in many ways were the first to unify visual aspect, and presentation, of their band with the content of their music and its raw, gnarly aesthetic. in many ways, they birthed grandeur in metal also. Is this something you feel?

Well, they had it all for themself for a long time and came up with very original concepts for album covers, lyrix and musical experimentation. They took metal places it had not been before with their avant garde style of composing. I admire their original style very much and they are the only band I really want to see on a reunion tour.

I agree that Grieg and Mozart are genius. How much of the effect of classical music do you feel is a result of its form, or the abstraction of artistic form in general (in view of jazz, Hendrix and progressive derivations of classical in modern popular music), where form is defined as the method of artistic presentation itself relative to the content, or unique expression within, each work?

Classical music from the 18th century (Grieg, Wagner etc. ) was a result of anti-darwinism and used to show that humans were special and not animals. I think the extreme metal has many of the same thoughts behind it as it’s normally very strict and concrete when it’s performed. The kind of metal we play has no room for improvisation in the way of music with blues/jazz roots. Form and content belong together to produce the music we make. I dont know what you are compearing jazz and hendrix to this for, but maybe I didnt understand your question..(?)

Do you compose with emphasis on rhythmic expectancy, or write riffs for conclusive melodic phrasing?

It’s too abstract to say it this way. I just play what sounds good and experiment alot with strange chords and melodic lines. I’m a riffmaker who needs a great drummer to complete my ideas. I view the overall sound first and foremost.

I asked earlier: if you recorded another album in the worldview of the original Cadaver, what do you think it would be? and you said: “It will never happen.” If we created a temporary reality somewhere where someone like you and the original members of the band somehow came together now, independent of this reality entirely, what would the next Cadaver album sound like? Imagine outside influences of tedium like job, mortality, items, etc.

What was will never be again. I have so different views on music to the rest of the original members that it’s nothing I would even like to do for fun. We have no plans for this and I’m pretty sure it’s never gonna happen…

You mentioned that Czral was writing more of the material on this round. Are you still influenced by black metal and industrial, or reaching toward a different sound?

We have written 3 new songs now. Czral has one song which is entirely with his riffs, and the other 2 have 1 riff from him and 1 riff from LJ in it. It sounds very exiting to us right now, but we dont know where it’s taking us yet. It’s more midpaced tempos now, but the blastbeats are still there too. I dont know what kind of industrial you’re taking about, but it’s got some more black metal to it than “discipline” so far.

How do you write songs as a band? Have you taken advantage of virtual songwriting (sending MP3s, tapes, WAVs, CDRs, to each other)?

We have 1 rehearsal a week were we try to complete 1 song each time. It’s a very ambitious project, but it’s forcing us to work on ideas all the rest of the week. We just meet now and then to check out riff and ideas with each other at home. We all live pretty close so that’s why it works.

I saw a little of your Milwaukee Metalfest performance last year (I think – I was wasted, and never visited the bar – it may have been a couple years ago) and it seemed like the music acquired a very linear quality with the tunneling dynamics of the hall. What would it be like to write music if you practiced in a huge thunderous concert hall?

That would have been useless. We play with volume down to hear all details and work towards recording in a studio, so the less noisy the better. I’m not 15 years old anymore…

I like the idea of practicing softly for better discernment. Do you play any acoustic instruments? By the same principle, they must also strengthen musicianship.

I play the piano and acoustic guitar too yes.

Do any of the members of Cadaver, inc endorse any lifestyles including drugs, cannibalism, sodomy, genocide, war, polygamy, polyamory or Judeo-Christian homegrown goodness?

We are so different people privately that I really don’t know that much about the rest of the guys in those terms. I don’t like bands that assure people they are normal all of the time. What is normal? I’m a creative person that seeks oppertunities for myself, and I work in the music-business fulltime. It’s lifestyle bound together by the music, all of the above is for people that needs a hobby. . .
very interesting. as a professional musician, you are here for musical reasons only. this explains the musical contributions of your works. what do you think are your largest contributions, as a musician, to the musical lexicon of death and black metal?

I dont know really. I find that the people who really remember what Cadaver did are mostly musicians themselves. It’s not easy for me to see what my contribution might be. Maybe it’s almost nothing so far, and that my real contribution will be in the future.

Anything else you’d like to talk about?

Another thing, I feel very much more in relation to the Black metal scene than the death metal scene of today. If you file Cadaver Inc. under anything, it should be black metal.

Thank you. Keep on buying CD’s so we can release as many as we can write!

This eternal accusation against Christianity I shall write upon all walls, wherever walls are to be found—I have letters that even the blind will be able to see. . . . I call Christianity the one great curse, the one great intrinsic depravity, the one great instinct of revenge, for which no means are venomous enough, or secret, subterranean and small enough,—I call it the one immortal blemish upon the human race. . . . And mankind reckons time from the dies nefastus when this fatality befell—from the first day of Christianity!—Why not rather from its last?—From today?—The transvaluation of all values! . . .

– F.W. Nietzsche, The Antichrist

Monotheistic religions alone furnish the spectacle of religious wars, religious persecutions, heretical tribunals, that breaking of idols and destruction of images of the gods, that razing of Indian temples and Egyptian colossi, which had looked on the sun 3,000 years: just because a jealous god had said, “Thou shalt make no graven image.”

– Arthur Schopenhauer, Religion: a Dialogue (1851)

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Timeghoul

THIS IS A PRE-ORDER. ALL ITEMS ORDERED WITH THIS ITEM WILL SHIP ON/AROUND FEBRUARY 1, 2012.

Timeghoul – Complete Discography CD

For the first time ever on CD Dark Descent Records proudly presents the complete discography from the legendary Science Fiction / Fantasy Death Metal TIMEGHOUL (USA). Born in the Midwest United States in 1987, Doom’s Lyre remained relatively quiet, recording no material before changing their name. In 1991, Doom’s Lyre, now renamed Timeghoul, set out by releasing two demos; 1992’s Tumultuous Travelings and 1994’s Panaramic Twilight.

Largely ignored and mostly forgotten, these recordings did not receive the recognition they deserved until years later. Timeghoul’s eclectic and complex style of US death metal started to gain momentum within the underground as overlooked and classic material.

Prepare for one of the most unique and complex death metal offerings the early 90’s had to offer.

Mark Riddick’s fantastic original tri-panel artwork covers this fitting six-panel digipak with matte finish. Additionally, this digipak comes with a six-page folder with lyrics and additional notes. This is a one-time limited edition pressing. Get your copy before it’s too late!

ALSO, AVAILABLE AND SHIPPING JAN 2, 2012:

Horrendous – The Chills CD

Horrendous’ 2010 demo titled “Sweet Blasphemies” was merely a brief showcasing of this band’s tremendous potential. In addition to the CD-r version of the demo, two separate 200 copy pro tape pressings were made and sold; first via a cooperation with Dark Descent and Skeleton Plague then later through Dark Descent Records.

Horrendous’ debut full-length titled “The Chills” is a full-on assault of the aural senses. Horrendous mixes HM-2 sound with unique melody and solos creating memorable and terrific song-writing . This is no “retro” band but a band that has clearly created a nine-song death metal masterpiece which ends with the epic nine-minute closer “The Eye of Madness.”

Do not mistake this band for a clone of Entombed, Autopsy or Incantation. Doing this would be a great disservice to a masterful album and you would obviously miss out on what will be one of 2012’s best death metal albums, hands down.

Cover art by Raul Gonzalez (Morbus Chron, Deceased, etc.) adorns this eight page booklet.

DISTRO UPDATES:

Cianide – Hell’s Rebirth Digipak CD
Cultes Des Ghoules – Spectres over Transylvania CD (Restock)
Decrepitaph – Conjuring Chaos MCD (Restock)
Fidei Defensor – Cognoscenti CD
Galdr – Galdr CD
Omision – In the Shadow of the Cross CD
Shemhamforash – Spintriam Satyriazis (Phallus Prestige) CD
Shemhamforash- Luciferi Omnis Ysighda…CD
Spectral Mortuary – Total Depravity CD (Restock)
The Cleansing – Feeding the Inevitable CD (Restock)
Turbocharged – AntiXtian CD
Warfield – Trivmvirat CD
Weltmacht – The Call to Battle CD

Dead To This World- First Strike for Spiritual Renewance (Color)
Hacavitz – Hacavitz 7″ EP
Mpire of Evil – Creatures of the Black LP
Sabbat – Sabbatrinity LP

Questions – darkdescentrecords@gmaiil.com

www.darkdescentrecords.com

Thanks!
Matt

Dark Descent Records
PO Box 18056
Colorado Springs, CO 80935
USA

Timeghoul – Complete Discography Digipak CD
$11.00

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