Death metal folk wisdom tells that the epithet “technical” generally connotes music that is bad for a unique reason: it tends to get trapped in technique, including cute tricks from music theory, for its own sake, which in turn deprecates the art of composing memorable and relevant songs.12 Comments
Tom G. Warrior is a relentless innovator and amazing composer. As he details in his book Only Death is Real: An Illustrated History of Hellhammer he grew up in an abusive, uncertain environment within a broken home. He also grew up in “perfect” Switzerland, a place that has more rules than people. These events shaped his personality or rather, the limitations that are still imposed upon it.
What happened was that young Tom G’s ego was crushed and doubt was introduced into his mind. Doubt about the purpose of life, or even his own life. Doubt of self-worth. Fear that at any moment he might find himself without a justification for existing, and be truly discarded and alone. That’s a heavy load for a young person to carry, but the sequential success of Hellhammer and then Celtic Frost lifted Tom out of it. It also pushed aside a healing process.
When Celtic Frost evaporated, Tom launched on a series of attempts to find popularity again, but on his own terms. First, his highly inventive industrial music, and later, attempts to be contemporary. The latest two are below, and they are marked by a duality: a great underlying talent, desperately attempting to ingratiate itself with newer metal audiences. Like all things that do not take a clear direction, they are thus lost on both fronts.
This is not a hit piece on Tom G Warrior. Like many metalheads, I hold him in the highest regard. He is one of the great innovators and farseeing minds in metal. However, his tendency to try to adapt to what is current shows what is currently happening in metal: in a dearth of ideas, the genre is recombining past successes that represent the culmination of earlier genres, and is trying to recapture its lead by offering a buffet of different influences. But alas, like the music of Triptykon, these forays are lost causes.
Currently a morass of subgenre names exist. We can call it metalcore, or modern metal, or math metal, or tech-deth, or even djent, but all of it converges on a single goal: to make a form of that great 1980s speed metal — Metallica, Anthrax, Testament, Exodus, Nuclear Assault — that used choppy riffs made up of muted chords to encode complex rhythms into energetic songs. To that, the modern metal bands have added the carnival music tendency to pick entirely unrelated riffs to add variety, the grooves of later speed metal, and the vocals and chord voicings of late hardcore and its transition into emo.
What this represents is not a direction, but lack of one. By combining all known successes from late in these subgenres, modern metal is picking up where the past left off before death metal and black metal blew through and rewrote the book. The problem is that making music that is intense like those underground genres is difficult, and even more, unmarketable. It approaches the issues in life that most of us fear, like mortality and failure in the context of powerlessness and meaninglessness, and thus presents a dark and obscure sound that makes us uncertain about life itself. Like Tom G Warrior living through a shattered marriage of his parents and a society too concerned with order to notice its own boredom and misery, black metal and death metal shatter stability and replace it with alienated existential wandering.
On the other hand, late punk offered ideological certainty and heavy doses of emotion. Late speed metal, which Pantera cooked up out of heaping doses of Exhorder, Prong and Exodus, offers a groove and a sense of a party on the wild side. Inserting bits of death metal, especially its technical parts, and some of the frenetic riffing of Discordance Axis allows these bands to create a new kind of sound. But at its heart, this music is still speed metal. Where death metal played riff Jenga and put it all together in a sense that told a story, modern metal is based in variety and distraction. It exists to jar the mind, explore a thousand directions, and without coming to a conclusion ride out in the comforting emulation of the chaos of society around it.
But at its heart, these bands are speed metal. Like Triptykon who revitalize the E-string noodling and riff texture of more aggressive speed metal bands, with the bounce of Exodus and the groove of Pantera, these bands offer a smorgasbord combined into one. They mix in melodic metal, derived from what Sentenced and later Dissection made popular, to give it a popular edge. However, what they’re really doing is regressing to a mean. This has happened in metal before, when mid-1970s bands recombined Led Zeppelin and Black Sabbath into rock-style metal, and in the mid-1980s when glam metal did the same thing but mixed in the gentler sounds of late 1970s guitar rock bands. When metal loses direction, it recombines and comes up with a mellower, less threatening version of itself.
All of this is well and good if we do one single but difficult thing: recognize that what we’re listening to now is a dressed-up version of what metal and punk were doing in the late 1980s. We’re walking backward in history, away from that scary underground death metal and black metal, and looking toward something less disturbing and more fun at parties. It seems no one has come out and said this, so I figured it must be said. Enjoy your weekend.17 Comments
What are Sadistic Metal Reviews? The only path to metal glory is to make music that is metal both in form and content, and upholds the spirit of conquering the unknown and crushing the empty and pointless. Anything else fails and shall be mocked! Come for the impotent rage, stay for the occasional standout…
After taking much, much too long to get started (by the way, the ‘tension building’ here is hitting an open E chord for 2 minutes), the first proper track begins with a drum beat that I’d expect to hear from GZA or Del Tha Funkee Homosapian. It only gets worse from there. This album sounds like someone took Burzum, Strid, xanax, and nu-metal and threw them all into a blender. The downright hilarious vocals are just as laugh-inducing as Nattramn of Silencer, and the bass drums sound like bongos. The tracks that aren’t overly long suffer from a lack of direction, and end much too suddenly. What a mess. No wonder this band has gotten much more exposure, they have all of the ‘eeevol’ ingredients that make their music sound scary to the tweenies, but to the experienced listener this is like hearing a group of circus monkeys play Aske.
As black metal became awash in a sea of imitators, distinguish quality grew difficult due to the sheer number of bands that were releasing albums in the post-1996 entropic period of black metal. Thus it is refreshing to discover a release from that time with spirit and wonder in its construction. Hirilorn’s first and only album is that kind of release.
In a similar fashion to Enslaved’s classic Vikingligr Veldi, this album consists of lengthy songs with subtle harmonies and adventurous structures. Unlike Enslaved, however, Hirilorn are a power metal hybrid but not in such a way that sabotages direction in their music. A particularly outstanding element is the lead guitar, which often plays variations on the melodies of the main riffs throughout the song. It is very much in the forefront of the mix, which is quite unusual for black metal, but here the melodies are evocative and compelling, so this approach works. Vocals are a consistent mid ranged shriek, but occasionally clean vocals are used (such as in “Through The Moonless Night”). Though they are a bit shaky, the result is similar to listening to Quorthon’s singing; it’s not very ‘good’ but it is honest and therefore has a distinct charm.
Where this album succeeds is in creating a world to journey to; these songs tell stories which one can envision easily upon several close listens. It is performed well, ambitious, and seeks to create something new from black metal’s framework. Its failures are a tendency to be overlong and as a result this album feels unfinished at times. Still, this is an interesting work which is a definite highlight of the creatively uninspired late 1990s period of black metal.
Once you strip away all the layers of other aesthetic, this is metalcore of the melodic “death metal” type, like a hybrid between The Haunted and Dark Sanctuary, which is essentially very basic heavy metal with reliance on too much unison between vocal rhythms and guitars. Good metal leads with guitars and vocals follow, because that allows the most expression; bad metal sets up a vocal rhythm to make people feel comfortable and has guitars echo it, which ends up sounding like a TV commercial.
Extremely middle of the road grindcore. It’s hard to screw up grindcore, since there are no rules. This band keep their songs compact, balance between punkish open rhythms and grinding riffs that crunch momentum. Vocals are incomprehensible which makes all of this into one uniform texture. It’s both quality and unexceptional. Maybe drop the pretentious name and try to be a Napalm Death style grind band. Essentially, there’s raw material here that could be good and more importantly, the will to pare down songs so that they’re not random, but the band are unwilling to choose a direction. The nonsense shock name and nonsense shock album title are clues here, but even more so is the utter middle-of-the-road choices the band makes in tempo and riff that obscure its contributions. Refocusing this band would involve a lot more guts and probably a great deal more glory than this innocuous release will garner.
This strong band is divided between trying to be 1980s speed metal and attempting to fit 2010s “modern metal” into that framework. The verses are rhythmic, single-chord muted strum playing with quick turnaround fills. Choruses use melodic guitar riffs and more expansive patterns to create a sense of space. Unfortunately the vocals tend to influence the music, both by forcing metalcore/post-hardcore guitar-chasing-the-vocals riff-writing and vocalizations of the emphatic type that modern metal uses, where the vocal rants out a beat and then relies on lengthy decay for the last few iterations. Waa waa waa, waa waa, waa waa waaaaaaaaaaaahhhhh. This in turn drives drums to play a catch-up role. The result is that this band’s strength in riffing and song assembly is buried under poor choices. They integrate radical contrast riffs into these songs like a 1980s speed metal band, and while they don’t do as many dynamic shifts in rhythm, they know how to avoid hammering a trope into the ground as well. If this band wants to get ahead, it’s time to drop the modern metal vocals and influences and focus on finding a unique voice in 1980s-style speed metal. Otherwise they’re going to get lost in the modern metal morass, which is producing ten times as many bands as it can sell, and find itself offering the same thing others do without being fully trendy and modernized.
If you’re someone that is just getting into grindcore, it’s easy to see why this release might appeal to you. It’s got a pretty good handle on riffcraft, good dueling vocals, coherent songs, and is very punk in spirit adn approach. However, Helvete quickly loses its luster. The songs are incredibly simple to the point where one can guess what will happen in most by hearing the first few seconds. It also gets too groovy (moronically so), throwing out a lot of the actual grind for this.
The fact that it is very punky is another shortcoming; a lot of this music is just that — hardcore punk with some blast beats and nu-metal inspired groove — with very little actual grind to be found. What is left is aesthetic only and that tires quickly. Many do not wish to give this band bad reviews on account of the tragically unfortunate death of the singer/mainman, but it would be an insult to the artist to not grade this honestly: a C/C+ at best. If one is really interested in this band, their first album and the material before it are much more compelling, but you could always just listen to Discordance Axis or Blood instead. Turd chunder.
This is like the soundtrack to some pimply-faced kid wherein he imagines beating up the bullies and emerging victorious; except he never actually does this and continues to get beat up because he’s a wimp. That’s what this album sounds like. Retreat into a fantasy world that is incongruent with reality, dress it up with some weak black metal shrieking and Gothenburg riffs, rinse and repeat. It’s no wonder this stuff’s so popular – it hits all of the right marks to endear it to the mall going young teen demographic. None of these riffs even sound menacing, most are major scale based. So you get weird happy sounding riffs in music that is trying to sound evil. This band even labels themselves ‘thrash’…..well if this is thrash then I’m the new leader of the DPRK. Someone call the US government to let them know we have new suitable music for torturing prisoners in Guantanamo.
When bands claim direct inspiration from one other band in particular, one must approach this description with caution. Does said band actually take techniques/methods of their influences and incorporate them into new song structures? Or does said band merely try to sound as close to their influences as possible? For this album, it’s the latter.
There are some truly excellent, somber riff passages here. The problem is that instead of building up to a conclusion (such as in Burzum or Graveland, the two biggest influences on this recording) Abyssic Hate just drone on in repetition of the aesthetic influence. Three of these tracks could have had several minutes shaved off of each and they’d be no worse for the wear. The shortest track is the most complete, but that is only by virtue of it not being as overly repetitive as the longer tracks can be. If this group could develop its sharp riffcraft into more adventurous song structures, we’d be looking at something interesting. It doesn’t, so the end result is something that is atmospherically soothing, even a little eerie, but after a few minutes that wears off and you’re left with the sounds of a radiator buzzing for 40 more minutes.
Artists who produce great and powerful bodies of work leave behind less-noticed works that are by no means lesser. Bruckner’s Symphony No. 2 is actually his fourth symphonic work, and is relentlessly overshadowed by his more intense symphonies such as the lengthy and crushing Eighth, which produces a pervasive sense of inexorable conflict and restless destructive renewal.
The Second on the other hand builds quietly from a nearly pastoral origin to a peaceful state of mind that then like a dragon rising from the mist turns to fire and warfare in the tumultuous and restive finale. Beginning with a gentle interweaving of naturalistic themes, the first movement assembles them in a style not dissimilar to the riff sequencing of Celtic Frost or Incantation, a type of prismatic construction that excels in placing repetitive in sequences interrupted from within such that each recurrence is a return with new knowledge to a familiar theme and thus an expansion instead of a reiteration. These build to the two middle movements which reflect more of an inner state of mind, in which melodies are carefully organized into a developing sequence which shows balance and harmony. Expert organ improviser Bruckner shows his true power here in his approach to the sonic tapestry where resonant sequences gradually alter themselves and through negative space and absence generate a higher intensity of presence. These techniques expanded with his later symphonies but can be seen in a lighter application here as part of a focused series of techniques.
The finale rotates between nascent versions of several triumphant melodies, bringing each one out of primordial chaos so that it can develop, then detouring to another, then returning, so that these melodies complement each other and explode in a triumphant final martial processional followed by a meditative recapitulation of the mood and theme of the earlier movements. The result is a breathtaking dynamic that shatters not just expectations but the intractable egoism of humanity that renders them closed to the inherent adventure of life itself.
Listening to Bruckner always reminds me of the secret of life that hides in plain sight. These immersive and epic symphonies etch out a clue that all of life is pervaded with meaning and holiness, and we deny it only to feel “in control” which is nothing but pretense. I don’t care what religious tradition you come from, or even a negation of religion, because you can access this sentiment through any viewpoint. It is simply this: life is an intricate and balanced design of great beauty and thus, truth, and through this we learn why we endure, and even more, why we strive.
This outlook is always just below the surface of all that we perceive, but it hides from us, because we must be open to it to see what is potential, and thus, what is immanently real. Although most people choose death and control over being part of the great complex beauty that breathes incessantly around them, Bruckner reminds us that the option is always there to lose ourselves and gain a cosmos.12 Comments
Since the days of being a small child I have been fascinated by how things fall apart. At an early age I could recognize decay, but knew it was separate from the tendency of human efforts to disintegrate once they grew past their initial effort.
A simple example was our veterinarian. He started out with a group of other animal doctors. Then people realized this one guy does great work. He struck out for himself. Soon he had too much work to do. He expanded, hiring more people and getting a new building. Soon he was no longer doing great work and he was more expensive. It took people a decade to find out. Most of them were still telling each other the accepted truth that he was doing great work.
At the Gates have announced their reformation as part of the 2013-inspired wave that saw Gorguts and Carcass return. Unlike the 2009-wave of returning bands, like Asphyx and Beherit, this retro-underground-revival has featured classic bands “modernizing” their sound. It also generally exhibits bands who had already cast aside their metal roots for musical reasons. Where the previous wave was more a sense of bands returning to pick up where they left off, the new wave seems to be about bands participating in the new metal scene and trying to siphon off some of that interest, newsworthiness and cash flow.
At the Gates started from the ashes of Grotesque back in 1990. They quickly released an EP, Gardens of Grief, followed by an LP, The Red in the Sky is Ours. These two works constitute the important artistic output from At the Gates because they were so radical in death metal. First, they incorporated melody as a structural device, where previously it had been used as a technique and worn to death. Next, they showed song development that surpassed what most bands were doing. Finally, their use of single-note picked riffs and spacious drumming produced a greater range of dynamics for death metal. Between At the Gates and other Swedish death metal acts that used melody such as Therion and Carnage, the roots of black metal were laid.
After that, things got confused. With Fear I Kiss the Burning Darkness followed in 1993 but lacked the clarity of the early work, showing a band in conflict over whether it wanted to follow its initial style, or get more power chords and catchy choruses in there. This led to the departure of original member Alf Svensson and regrouping with guitarist Martin Larsson, formerly of House of Usher. At this point, the band reformulated their sound to be more like regular death metal and yet also more like accepted rock music, including displaying the technical chops expected in that field. Now, like countrymen Dissection, At the Gates sounded like a death metal wrapper around a regular rock band, and a good one at that. Interest soared. The band released Slaughter of the Soul to grand acclaim despite the album having more in common with the speed metal of the mid-1980s than the death metal of the 1990s.
After their most popular album ever, the band fragmented when the Björler brothers moved on to form The Haunted. Most metalheads recognize that moment as the ground zero for melodic metalcore, which combined the 1980s speed metal approach to songwriting with the late hardcore tendency to value random riffs stacked together in carnival sideshow music style. However, for a new neurotic generation, this distraction-oriented music was a perfect soundtrack, and The Haunted became a success in its own right. At the Gates put out a few retrospectives and occasionally re-united but basically was dead.
In 2014, it’s hard to imagine the band not making Slaughter of the Soul II. It was their greatest success and introduced themes of self-pity, such as suicide, which are always popular with the youth of narcissistic parents who essentially feel doomed from puberty onward despite living in relative luxury. Slaughter of the Soul was a clear precursor to The Haunted which took the frenetic randomness of bands like Discordance Axis and Human Remains and made it into a new style that, by using the sweet sounds of Iron Maiden-styled harmony, found mass appeal.
At the Gates made the following statement:
We know you are all curious about the new material, and to make a simple explanation of where we are at musically, we would describe it as a perfect mix between early AT THE GATES & ‘Slaughter of the Soul’-era AT THE GATES, trying to maintain the legacy and the history
This leaves us wondering what they consider “early” At the Gates since presumably that’s everything before Slaughter of the Soul, and they did not specifically mention the first EP or LP by name.
During the late 1990s, a different style of metal emerged in the death metal camp. Starting with bands like Dillinger Escape Plan, Killswitch Engage, Misery Index, The Haunted, Human remains, Ulcerate, Meshuggah and Discordance Axis, this new style was given many names at first.
It’s math-metal, they said. No, it’s technical death metal (later shortened to “tech-deth” to keep people from expecting something like what Pestilence did on Spheres). Finally someone came up with “modern metal,” which many of us use like a catch-all.
The record companies were excited. Musically it was different. This style is accessible to more musicians, in addition to more fans, than the old style. It’s easier to make a reasonable impression of it, at least.
Thematically it was different. It’s everything that rock ‘n’ roll has always been. It’s loud, angry, and chaotic; perfect to disturb parents, which sells albums. Finally, unlike metal, it doesn’t stray into truly dangerous areas of thought. It is more likely to be written from an individual perspective, and less likely to glorify war, disease and death than protest them. Socially, it’s much “safer.”
What made it new was that it wasn’t like the extreme metal before it. However, it shared many techniques in common not just with that generation, but the generation before it. Specifically, many of the composition aspects are similar to those from post-hardcore bands like Fugazi, Rites of Spring, and Botch. These differences distinguished it from death metal in the following ways:
- Vocal rhythms. Death metal vocals are more like speed metal, which is to chant out the rhythm of the main riff or chorus phrase. Modern metal vocals are much like hardcore, which uses regularity of intervals between syllables to form a sound of protest. Death metal also prefers monotonic delivery with variant timbre, where hardcore vocals prefer more melodic vocal delivery with invariant timbre.
- Riffing. Death metal riffs are phrasal, or written as a flow of power chords forming a phrase or melody, and these fit together to form a narrative with poetic form, meaning that it takes the song from an initial place to a final place with a much different outlook. Modern metal riffs are inherently designed toward circular song constructions, like hardcore, and are based upon radical contrast between each other to suggestdeconstruction, like hardcore. Metal riffs form a synthesis through contrast; hardcore riffs deconstruct through contrast and reject synthesis.
- Drumming. Death metal drumming tends to follow the riff changes; modern metal drumming tends to lead the riff changes, anticipating them. In death metal, instruments tend to act in unison. In metalcore, they tend to each work separately and overlap as convenient.
- Style. Death metal aims toward unison of all instruments and riffs fitting together to make a larger narrative so as to maintain mood; modern metal, like hardcore before it, seeks to interrupt mood as if a form of protest music.
Critics of the terms “metalcore” and “modern metal” correctly note that these terms are being used as a catch-all. That’s correct, but it’s only part of the story. These terms are being used to describe something that’s not new, but existed before death metal and black metal reached their modern form. It’s an alternate branch of metal’s evolution, upgraded with death metal technique.
For students of metal history, this isn’t surprising. Genres tend to lie dormant in alternating generations, and then pick up on whatever was done well by the intervening generation. For example, power metal is what happens when speed metal and glam metal bands integrate death metal technique. Grindcore occurs when hardcore adopts crust and death metal technique. Speed metal occurs when metal adopts punk technique. By the same token, metalcore is what happens when you mix Fugazi with death metal technique.
This is not an argument against metalcore. If we’re going to like metal, we should understand it; if we’re going to understand it, we should study it; if we study it, we should organize our categories and language so as not to mislead each other. By this analysis, metalcore is an extension not of metal, but of the post-hardcore movement using metal technique, and thus it should be analyzed as more like hardcore instead of having us project our metal expectations upon it.24 Comments
Music is never in stasis. It is composed of two parts, a form and a content. The two are related; in the best of situations, content causes the musician to innovate a new form. When the content changes, the old form is not relevant. However, some things are timeless and those forms persist.
Such questions emerge at the front of the mind when we look at Wisconsin’s Ara and their latest album, The Blessed Sleep. Whatever the changes that have been wrought in metal over the past 20 years, Ara roll back some of the tendencies toward excessive form and pointless technicality, and return the focus to songwriting. (See our review of The Blessed Sleep.)
Ara presents a challenge to what metal has become and to what many conceive of as metal. We figured we would go deeper for the whole story, and were fortunate to speak with guitarist and band cofounder Jerry Hauppa, who helped clarify the situation and told us about the inspiration and musical vision behind Ara’s latest, The Blessed Sleep.
You approach metalcore/tech-deth with a stripped-down style that focuses more on songwriting. What made you decide to do this, against the conventions of the genre?
None of us are really thrilled by the theatrics of sweeped scales masquerading as riffs in extreme metal nowadays. To the casual fan this can superficially be interpreted as sounding crazy and chaotic but we all come from older metal backgrounds where the riffs and arrangements had to have creativity and personality in order to express deviation between songs and moods. Cluttering up a song with a ton of parts can be an effective way to display chaos at times but we are trying to make sure each part serves the song well enough where nothing seems to be either filler or extraneous.
What do you think separates “modern metal” (metalcore, tech-deth, indie metal) from the older extreme metal like death metal and black metal?
The Blessed Sleep seems to have indirectly caused quite the argument about this in the comments section of your review for the record, but in my defense of death metal I clearly differ from the opinion of your readers in terms of what I feel falls under its umbrella. I think that “modern metal” is less a genre and more a statement that tries to separate any current take on the genre that threatens the ethos created in the early 90s. I agree that most of what I hear nowadays doesn’t resonate with me, but I’m not going to invalidate it by claiming it isn’t death metal or black metal because I’m afraid of what that means for me as a listener.
What I will say, is that I feel I have an uncanny ability to hear motive in music, and what I think you are getting at with the title “modern metal” is the unfortunate actions of -core acts that clearly resemble marketing ploys and the inhibiting crutches present in their writing, which throw at the listener a sense of immediate gratification through the aforementioned sweeps and of course, breakdowns. What we are trying to do is not throw the listener a bone so I feel we have more in common with the rebellious aspects of the early death metal movement than what people are considering to be “modern.”
In your view, what are the founding acts that influenced this style? What influences do you as a band have in addition to these?
The style shown on the record, or in modern metal? As for the latter, I have no idea really. I know that it seems many young bands don’t understand the history of metal and are trying to emulate a band that has emulated another band and so on, and that’s a shame with the ease of resources we have nowadays.
I guess as for the aspect of a more chaotic form of death metal, you could probably say that Cryptopsy’s Whisper Supremacy took the idea of a metal song arrangement and turned it upside down- at least for me, when I heard it, nothing really sounded like it. Today’s bands probably are really far removed from that record but the bands they ripped off might be familiar, I don’t know.
As for the influences of the band, for me, I’ve always been drawn to more complex music because I like to hear something new in a song each time I hear it. I’d say Gorguts, Anata and Cryptopsy are definite influences, as well as Theory in Practice and maybe the early explosion of Unique Leader bands. As far as how the record sounds, I could probably say I was drawn to the feel of Sinister’s Aggressive Measures record in terms of their atonal leanings and not having the guitars be tuned super low. The rest of the guys in the band have a huge list of influences, but I can say I know Erik worships Discordance Axis, Adam loves stuff like Fleshgod Apocalypse and Jim listens to everything under the sun.
How did you get the crisp sound on The Blessed Sleep? It sounds like you played it live, but somehow got a nice digital snap to each track. Where was it recorded?
We recorded with Shane Hochstetler at Howl Street Studios, and we are extremely happy with the sound. We have recorded there numerous times with other projects and he is a blast to work with and everything he does sounds amazing. I don’t really care for the sterile production of modern metal bands and really wanted this record to sound tight yet savage, so we deliberately left it without too much polish to give it its own atmosphere. As for how we got the sound, I know there are tons of guitar tracks going on all the time so it has a wall of sound that gives it the heaviness that I think a lot of technical bands are lacking.
What prompted you to found Ara, in the style you’ve chosen, and what additions do you hope to make to the genre?
I always wanted to do my take on death metal since I was a teenager, and only now am I lucky enough to be around the musicians that can make it happen. The style is I suppose an amalgamation of all of my influences in extreme metal, but as I get better at writing music I really feel as though the compositions are inherently mine and don’t directly emulate any particular band.
As far as the second half of your question, I don’t have any lofty goals where I think we can be flagbearers for any kind of genre movement, I just hope people check out the record and like it. If I had any wish that we could influence anything, I do hope the riff can come back. I miss and mourn for the riff.
Where do you want to go after The Blessed Sleep? It seems like you’ve reached a peak within this genre; are you going to grow in a new direction, or refine?
As of today I have written 11 songs for a full length and am really excited to see how the new material will shape up. The rest of the guys know four of the new songs and I would say it is decidedly different from The Blessed Sleep. There is a much greater focus on melody but not in the At the Gates way, probably more in an Anata way. I am trying to make the songs complex but with very few themes explored per song because I want each song to be its own entity. You can hear one of the new songs in the live set on the youtube video you posted, it’s the last one we played. I’m trying to balance melody with discordance in each song. Some of the newer stuff is way faster than anything we’ve done and we have some doomier stuff as well. If you like The Blessed Sleep I think you’ll be excited for the progression. Also, we are very much hoping for label support for future recordings.
What do you think draws people to your music?
The band is very new so I don’t really know yet. People like speed and we have and love lots of blast beats. We also try to be atypical so I assume people that like weird metal will hopefully like it. Time will tell.
If fans wanted to explore your music, where do you recommend they start, and what should they do next?
Will you be touring for this album? Will we see you in Texas?
I absolutely want to get on the road for this record and hopefully we can do so later in the year. Erik and I play in another band called Northless that is in the studio next month so after that is wrapped up we can get our scheduling straight and play outside our home town. We would love to play in Texas if everything works out and if so we will definitely let you know! Thanks for your time and the support!49 Comments
AC/DC – Black Ice: This has to be my pick of this batch. It lacks any pretense toward being anything but what it is, which is high octane rock music with a diverse set of influences on its lead guitar and total mastery of rhythm and songwriting. Each of these songs rolls off the mind as if buttered, lingering just long enough, composed to fit pentatonic scales but not in a brainless way. Melodies are mostly of the guitar nature because of the ashen-voice monotone in which they are mostly sung. The throbbing bass drives them, drumming keeps a pocket moving, and the rhythm riffs are inventive and topped by guitar that is more like a singing voice than fireworks, although it’s technically advanced. There’s a bit too much of three chord and turnaround songwriting formula for this to really endure in any meaningful sense, but for a band to be in the world this long and still so consistently listenable is impressive. No song will fully insult your intelligence although each will put it on hold, especially if you try to listen to the drunken babble that is the lyrics. AC/DC has gotten more Led Zeppelin over the years, with a few lifts here and there, and continues to incorporate a gnarly blues influence that reminds me of Eric Clapton working with punchier rhythms. Still, hard work shows in how well these pieces fit together like finely planed wood, and how each song keeps its mood with power and lacks any fat and confusion. There are not as many truly distinctive moments as there were on say, Back in Black, but none of these songs fade into the woodwork entirely either. Even if we pre-postmodern metalheads may not dig the motivations, one has to respect the craft at work here.
Disfear – Live the Storm: Motorhead with a D-beat and metalcore choruses and breakdowns, aspiring to the kind of melodic songwriting that made both Led Zeppelin and U2 household favorites. Unfortunately, the technique used reduce this to blurring noise interrupted by hookish choruses. Gone is the energetic punk of the past and now this band is falling into the worst habit of any act, which is to try to pander to your audience and so to incorporate enough of what has worked for others to drown out whatever might work for you. Vocals are underutilized, because this vocalist is clearly capable of some range and melody, but he’s afraid to open up and be sensitive in a meaningful way so we get the omnidirectional, pointless, nullifying Pantera-style rage. Musically this is derivative; artistically it is as hollow as corporate advertising. “Soul Scars” is a masterpiece. “Live the Storm” is a pretentious wannabe. Avoid.
Kataklysm – Prevail: this is pure chant cadence, repetition ad nauseam, with some death metal/hardcore hybrid riffs. Composition is stronger than most metalcore, but it’s also much simpler, which allows them to work out a couple really good riff patterns in interaction and then have the rest be something so repetitive it would even make Phil Anselmo nod off. It reminds me of Deicide’s “Once Upon the Cross” but even more sing-song, in a riot chorus kind of way. It’s not bad but I couldn’t listen to this. It’s like hearing someone each day come home from work and tell you exactly what went wrong, every single detail. First the copier was busted. Then I had to get paper from upstairs. Then I took a dump and it hurt. There were no sandwiches at lunch. It’s like a complaint anthem that pounds your head until you basically submit to apathy with a smile. same creepy mix of melodic and heavy chugging that alternates like linkin park between acoustic and distorted; really fucking basic.
Cynic – Traced in Air: When death metal was born, people said that death metal was incompetent musicianship and crass subject matter. The second generation of death metal, led by Pestilence and Atheist, tried to disprove that with technical music that incorporated the influences of progressive rock, jazz and classical. Since that time, progressive metal has become a big hit with people who want to think they’re musically educated. Most of it leans toward the jazz side, because this requires less of an ability to plan into the future and make a unique structure; you add a jam session to metal, which is easy and fun, so musicians love it and fans have something to be pompous about. “Traced in Air” plays into the worst of this tendency. Cynic has genericized themselves by pandering to an audience they know drools more over technicality than songwriting, and so have taken their technique from focus, mixed it up with generic jazz-prog-death, and have overplayed every single aspect of it so the CD is literally dripping with “prog moments” — but like a stew, the more stuff you toss in, the less distinctive the flavor is. We now have generic jazz prog-metal, complete with cliches. Drums are ridiculously overplayed; subtlety is dead, but you’ll spot that technique even if you’re dumb as a lichen. These musicians seem less interested in writing metal than in playing jazz under the guise of metal. You can hear the conversation now: “They went nuts over the last album, and now the market is finally huge! Let’s make it big with this next album, just make it jazzier and stuff it full of hot licks and drum fills.” I think people will listen to this for six weeks, then six months later be unsure when they stopped listening to it and why, yet not want to pick it up again. What a disappointment.
Speirling – The Piper: This reminds me of Ulver crossed with Satyricon with huge elements of a bombastic heavy metal doom metal hybrid like The Obsessed. Broad superstructure riffs crash into each other, recharging from their difference in conflict, and then drain to the ocean through a nice linear atmospheric riff. Repeat x 7. If you got into metal music so that you could find a way to dress up rock music as something rebellious, like a Priest in tranny French maid prostitute outfits, then this is great. Otherwise, why bother.
Apollyon Sun – Sub: Tom G. Warrior of Celtic Frost does Nine Inch Nails with an EBM/Industrial record that lets vocals guide its developments, which is a shame when contrasted to the power of industrial without a vocal lead, like Beherit’s Electric Doom Synthesis or Scorn’s “Evanescence.” As Warrior prepares to move past Celtic Frost and its triumphant return with Monotheist, his past work — this CD came out in 2000 — shows us much of where he might move. It’s much more rock, gothic and sleaze than Celtic Frost, more sardonic in melody, and the faster riff style is more triumphant and powerful. Above all else, it is catchy and follows modified pop and techno song structures, which means it’s both easy to remember and has a few surprises here and there. The vinegar vocals are less than listenable but not as terrible as much of Nine Inch Nails.
The Funeral Pyre – Wounds: Someone tries to resurrect classic At the Gates, but mixes in a little too much The Haunted. Melodic riffs reconnoiter after driving pure rhythm, a lot like Slaughter Lord, and the melodic riffs have more in common with “Slaughter of the Soul” or Niden Div 187 than early At the Gates. This gets a solid alright, especially for the periodic later Gorgoroth technique, but the melodies are too basic to really go anywhere. Lyrics sound like Dead Infection crossed with Neurosis, with DRI in the wings. It’s salady enough to be modern death/black, a/k/a metalcore. like The Abyss hybridized with Slaughter of the Soul, like Watain but better, still a lot of the indie/metalcore influence which makes it kind of simplistic.
Bilskirnir – Hyperborea: This is a very clever EP. Hybridize the Infernum style Iron Maiden/Graveland mix with the more Burzumy black metal clones, and you have something that sounds OK and bounces a long a lot like indie rock, not particularly distinguished unless the image, words or scene-significance gives you a reason to like it. If this is your first black metal, you will dig it, especially since it is very heavy metal. But over time, you will wonder why you bother.
Demonizer – Triumphator: So class, what’s black/death? Answer: when we run out of ideas, make speed metal and dress it up as black/death hybrid. I don’t see the point. Just make your Slayer/Metal Church tribute band and tell everyone you play fast because you love meth. This is like a simpler version of Sweden’s Merciless or Triumphator, with fast chromatic riffs leading into melodic chorus riffs. It’s pretty well done, actually, but in a style that makes even retarded kids bored after a few minutes. Clap your flippers and bob your heads.
Scott Kelly – The Wake: This Neurosis member also wants to make an acoustic album, and makes an intriguing one — is this a reference to Finnegans Wake, or just a wake? Because it sounds like one. Droning acoustic songs are blocky like hardcore, without much change or dynamic, but they plod on until they ingratiate themselves and have a primitive sincerity to them. The sensation is like the stunned moment after an impact when you’re not sure if your bones hurt or if the air around you is doing the hurting, and you just feel it. It will be interesting to see where he develops this style.
Devourment – 1.3.8: It’s hard not to like this at first because it is so relentlessly hookish in the weird way death metal bands lure you in with a cadence, and then make expectation of its fulfillment an ongoing necessary event in order to make sense of the otherwise overwhelming barrage of noise. Devourment switch between slow and chugging riffs and blasting mayhem religiously, downshifting with “breakdowns,” or deconstruction of a tempo by using internal attributes of a drum pattern to play off one another and slow it down, and upshifting with leaps in tempo that build up like a walk up stairs carrying a heavy automatic weapon. Much of it resembles the work of Suffocation, Malevolent Creation, Deicide, Deeds of Flesh and others who have worked within the percussive model of death metal, which inherits the palm-muted technique of speed metal and adds density of complexity. Here complexity and variation are necessary for this music to have staying power; its production is awful and tinny, and its songwriting is very similar between songs, which creates an onslaught of monolithic sound that few listeners will distinguish over time. Varying the technique and types of tempo changes would greatly improve this otherwise engaging, satisfyingly destructive band.
Agent Orange – Living in Darkness: Dug this out of the classics closet and have to say I like it. It’s melodic vocal punk like the Descendents, lots of bouncy stop-rhythms to guitar riffs and wandering, emo-style vocals that manage enough melody to keep themselves going. Would I listen to this stuff over Kraftwerk? No, but like the Descendents, the Minutemen, etc. it’s a part of the heritage of this music, and it’s a billion times better than punk now.
Diapsiquir – Virus S.T.N.: Say, what if Deathspell Omega were a lot simpler and incorporated the collage-of-garbage sound approach that WAR used? And maybe if they used lots of bouncy riffs and harmonized vocals? This sounds like a metal dog that has been kicked in the ribs singing how beautiful its death would be. Every clique and novelty possible has been employed to keep you from seeing that this band and this album slap themselves with limp wrists, gurgle and poo themselves.
Gridlink – Amber Gray: Containing ex-Discordance Axis personnel, this band aims to continue the fast-fingered assault of riffs that fit together like Tetris pieces and create a whole that, while like hardcore and grindcore is predictable in song structure, delivers the thrills with raw speed and dynamic phrase change like sigils flashing by in a mirror. Luckily this band has the wisdom to keep its work simple and to focus on what it does well, which is blasting slightly melodic versions of classic riffs. What I like about it is that it recalls the power violence and crossover music of the past which wanted to saturate us in insane energy as a motivic force, and with this CD, it works. Clocking in at 11 minutes it is nonetheless a full-length, albeit one that passes before you can recognize it. This CD has much more spirit than other CDs and while it claims to be grindcore, that’s grindcore like later Napalm Death with lots of metal influences in the formation of riffs and very punk song structures, except more jagged in this case which makes it tastier.
Shape of Despair – Shades Of…: Let’s make a Burzum clone but shape it into a doom band a lot like Skepticism, except even more entrenched in the vestiges of heavy metal? We’ll add a twist: play a rhythm lead, very simple, on a keyboard over the strobing riffs sound it sounds like a movie soundtrack to the proles. Fully competent, this band goes nowhere that Paradise Lost didn’t, and not only is less catchy, but depends on boring you into a stupor with Burzum-cum-Pelican drone technique that leaves most of us hoping to flatulate in harmony for variation. The most annoying parts are the rock rhythm, based on expectation like jazz or funk, so very bouncy and reliant upon us to care whether the returning rhythm catches the outgoing one. In fact, there are many good techniques throughout, but it’s basically verse-chorus music — with the simpleminded catchiness of a lullabye — that occasionally goes into extended overtime.
Equilibrium – Sagas: This album is simultaneously one of the better things I’ve heard this year, and one of the most completely ludicrous things I’ve heard. It vamps like a polka, bouncing with keyboards and guitars hitting together just before the beat, giving it a carnival atmosphere. Plenty of quality guitar work and overactive but competent keyboards, and songs with nice but very rock-ish two part melodic development, and hoarse death metal style vocals come together in a stew of confusion that has however very tasty bits. For strict songwriting assessment, this band is on par with later Iron Maiden and makes good songs. Aesthetically… if anyone heard me listening to this, I’d die of shame.
Soulfly – Conquer: This CD is Spinoza Ray Prozak musical hell. Every terrible idea in metal, recycled into a smoothly-written but directionless series of songs, has been offered up here in very loud production with a very angrily clueless vocalist. This is worse than shit. Feces at least decomposes in silence. Soulfly offer up generic Meshuggah/Pantera angry bounce-riffing, where any single impact is doubled so you expect its syncopated response, and the band hopes the catchy vocal ranting and bounce will lead you to care what happens next. It is battering, not heavy. It is a mile wide and an inch deep, with production that clearly cost a ton of money. I thought the whole idea of being revolutionaries was to be DIY and have the truth on your side. This album is propaganda for (a) Cavalera’s politics and (b) a vapid distillation of speed metal, death metal and punk hardcore into the most generic form of pointless angry music you can imagine. I use this CD to drive rats out of the attic but only the smarter rats leave.
Fullmoon – United Aryan Evil: While I generally detest neo-Nazi bands on principle, just like I refuse to listen to boilerplate leftist propaganda like The Dead Kennedys, looking for good metal these days means you run into bands who interpret the Romanticist Nationalism inherent to all good black metal as a narrow political ideal. It’s not much different than how punk bands translate being against mechanistic society into braindead liberalism. It’s hard to hate this band, but equally hard to listen again. They make paint-by-the-numbers melodic droning NSBM, and then interrupt it with slower melodic transitions, but the repetition waxes painful and the technique is a clearly lifted hybrid of Darkthrone, Graveland and Burzum. It reminds me of music for children, except that this tries to sound as deliberately blown out as possible, which with the tools available at this point is an obvious contrivance like Ulver’s “Nattens Madrigal.” When your best riffs sound like Burzum classics with one or two notes changed, something else must be done.2 Comments