This unruly album launches into a mid-paced, melodic death metal style and then turns up the intensity with constant pounding rhythm. Each song builds itself around a distinctive riff and uses modifications of it to fashion structure out of a stream of creative guitar work that aims first to make a strong statement, and only later to make it fit within a groove the audience can appreciate.
Vocals follow the riffs, giving guitars plenty of room to experiment, and consist of a harsh-throated partial enunciation that allows them to serve as a rhythm and textural instrument. Songs develop according to a rhythm emphasized by both the primary riff and the chorus, evoking the notion of Immolation hybridized with Sodom, and the rest of the song plays with that fundamental tension, although most of the song consists of a verse-chorus loop with one riff per section. Some songs show a riff sensibility derived from European giants such as Demigod and Sinister.
Unlike almost everything that flies over my desk, this band stands on their own, not as much stylistically as in composition. These songs pop out of the album as independent, and while there are many similar rhythms and tempi used, these are interrupted by many changes that shape the chaos into a smooth expression. For a band that works in the area of later classic death metal to withstand modernity and go its own way, and do so smoothly, is exceptional and results in an enjoyable release.
Thanks to Kunal Choksi at Transcending Obscurity, we are able to present this exclusive stream of “Manicheism Inertia” from Dying Alone by Affliction Gate:
In the early 1990s, everybody who was anybody had a Godflesh Streetcleaner t-shirt. That album broke out of the usual problems with industrial, which is that it was generally either rhythm music without beauty or dance music without aggression, and escaped the tendency of metal to be as intense as possibly by mixing in aspects of melody from crustcore and indie rock.
Since that time, Godflesh creators have spent their time searching for Selfless II. The crisis is that they are unsure of why that album is so revered. The band began its career with the rhythmic but amelodic Godflesh EP, which became repetitive and noisy but never rose to the level of grace of the album afterward, Streetcleaner. On that album, song structures expanded and use of melody and guitar harmony gave it a power beyond what the EP had. Then came Slavestate which introduced more of a techno influence, but underneath the skin was the same looping song structures with little more than rhythm that defined the EP.
After that, Godflesh tried Pure which attempted some melody, and when they were accused of being too “rock” on that album, Selfless which went back to tuneless droning in an industrial landscape for the most part. After that, the band experimented with alternative rock (Songs of Love and Hate, later resurrected in one of the bravest experiments in popular music, Songs of Love and Hate in Dub) and lost direction until Broadrick found Jesu as an outlet for his shoegaze/indie hopes. He kept enough of the metal and crustcore (remember his role as founding member of Napalm Death, which essentially combined crustcore and DRI-style thrash to make a new art form). But with the second album, Jesu lost its independent voice and became indie/shoegaze entirely, thus dispatching legions of not just metal fans but those who seek something unique.
With A World Lit Only by Fire, Godflesh attempts to return to the musical foreground but makes two critical mistakes. First, let us assume that Godflesh like a serial killer is a duality composed of “hard” and “soft” elements, which are stylistically grindcore and indie/shoegaze respectively. Let us also assume somewhat correctly that these create another binary of extreme rhythm and heavy distortion on one hand and melodic intervals and harmony through drone on the other. The history of Godflesh shows a band bouncing back and forth between these poles. When an album gets too soft, as Jesu did starting with Conqueror, the band bounces to the other area in which it knows it can succeed and sell product. On the other hand, when an album gets too abrasively grinding, it tries to go back toward the middle where it perceives Streetcleaner as existing. Its first mistake is being unable to find a style that balances its two extremes without varying them song by song, and as part of that, in failing to pick up on how much death metal influenced its choice of song structure and radically improved Streetcleaner. (When I last checked in 1994 or so, Godflesh was outright hostile to metal — understandable given the collapse of death and black metal in that year — although a few years earlier the influence had been more accepted as fact.)
The second mistake made by this band strikes me as more crucial. People create great albums in just about any genre but they need to introduce enough complexity to be able to clearly express an experience and corresponding feelings so that the audience can identify with the work and appreciate the viewpoint it illustrates. Napalm Death for example on its early albums succeeded by using individual songs as phrases in what essentially became a longer atmospheric work, but few people listen to it on a daily basis because it is mostly novelty. Not many people hail the Godflesh EP either because despite being a stylistic outlier, it makes for poor listening unless you like droning chromatic grind. The band lacked enough to express itself. With Streetcleaner, the band not only nailed style (mistake 1 rectified) but also nailed content (mistake 2 fix) by introducing enough complexity in song structure, melody, harmony and riff shape to be able to create atmosphere and manipulate it. Everything the band has done since, with the possible exception of Love and Hate in Dub, has focused on a one-dimensional approach where style is substance. While this “the medium is the message” makes sense in an academic setting, with music, it cuts out what Godflesh do well.
At this point, the meat of this review — the part that actually focuses on the new Godflesh album A World Lit Only by Fire — should be fairly obvious: Godflesh reverts to the mistake it made on its initial EP, Pure and Selfless and makes an album that is abrasive but repetitive and fails to introduce the elements of tension that gave Streetcleaner its power. If Godflesh finds a way to make an album like Streetcleaner in any style, even disco, it will take over the world. But that did not happen here. Songs are for the most part simple loops of verse and chorus riffs that while musically competent are essentially boring and rely on rhythm — very similar to Selfless — both in driving riff and in having an offbeat conclusion to each phrase. Over that, vocals rant out a phrase or two. The second half of the album improves with “Curse Us All” which has a powerful rhythmic hook, but the band never develops any of this potential into something with enough depth to want to revisit. This reveals that Godflesh has confused error 1 (style) with error 2 (content) because style cannot magically create content; it can only fit content and thus make it easier for the artist to visualize the content he or she is creating. Thus what we get is an album that sounds like classic Godflesh, but misses out on both voice and substance of classical Godflesh. Summary: Selfless II.
While that seems unusually cruel, even for a site known for its unrelenting musical cruelty, the greatest cruelty would lie in rubber-stamping this rather droning for fan consumption with the formula that most reviewers will endorse: “It’s hard like Streetcleaner, therefore it must be Streetcleaner II, not Selfless II.” This rubber-stamping displaces the funds that fans could spend on a better album and instead redirects them into what ultimately appears to be a dying franchise here, but also, lies to the artists about what they do well. They do not know, as is evident here. What made Streetcleaner great was a fully articulated style that did not slide into Pantera-style angry-bro rhythm music nor wandered into fixie-and-Pabst self-commiserating shoegaze. It took the best from all of its influences, including death metal, and made from it a voice unique to Godflesh. They can do it again; A World Lit Only by Fire is not that album however.
Former Dying Fetus member Jason Netherton, now proprietor Send Back My Stamps!, releases his latest creation in the form of a 480-page book of interview with figures in the death metal underground called Extremity Retained: Notes from the Death Metal Underground. The product of over 100 interviews over a three-year period, the book is comprised entirely of first-hand stories, anecdotes, memories and opinions.
The book attempts to “explore the scene through the voices of those who helped create it” and thus focuses its questions on zines, tape-trading and other rituals of the underground. These lengthy narratives are complemented by original cover and section art by Matt “Putrid Gore” Carr, incidental art by Gary Ronaldson, with design and typography from Tilmann Benninghaus, and title page by Timo Ketola.
Contributors to Extremity Retained: Notes from the Death Metal Underground include (but are not limited to): Luc Lemay (Gorguts), Alex Webster (Cannibal Corpse), King Fowley (Deceased), Stephan Gebidi (Thanatos, Hail of Bullets), Dan Swanö (Edge of Sanity), Doug Cerrito (Suffocation), John McEntee (Incantation, Funerus), Marc Grewe (Morgoth), Ola Lindgren (Grave), Paul Ryan (Origin), Kam Lee (ex-Massacre, ex-Death), Tomas Lindberg (At the Gates, Lock Up), Travis Ryan (Cattle Decapitation), Robert Vigna and Ross Dolan (Immolation), Jacob Schmidt (Defeated Sanity), Esa Linden (Demigod), Dan Seagrave (Artist), Rick Rozz (ex-Death, Massacre), Steve Asheim (Deicide), Jim Morris (Morrisound Studios), Terry Butler (Obituary, Massacre, ex-Death), Mitch Harris (Napalm Death, Righteous Pigs), Scott Hull (Pig Destroyer), John Gallagher (Dying Fetus), Robin Mazen (Derketa, Demonomacy), George Fisher (Cannibal Corpse), Ed Warby (Gorefest, Hail of Bullets), Rob Barrett (Cannibal Corpse, ex-Solstice), Donald Tardy (Obituary), Moyses Kolesne (Krisiun), Takaaki Ohkuma (Necrophile), Paul Speckmann (Master, Abomination), Anders Jacobson (Nasum, Necrony), Carl Fulli (Epidemic), Matt Harvey (Exhumed), Steve Goldberg (Cephalic Carnage), Ben Falgoust (Soilent Green, Goatwhore), Phil Fasciana (Malevolent Creation), Tony Laureno (ex-Nile, ex-Angelcorpse), Alan Averill (Primordial, Twilight of the Gods), Jason Fuller (Blood Duster), Alex Okendo (Masacre), Dave Witte (Municipal Waste, Human Remains), Lee Harrison (Monstrosity) and many more
Lost in the darkness
I fade from the light
Faith of my father, my brother, my Maker and Savior
Help me make it through the night
Blood on my conscience
And murder in mind
Out of the gloom I rise up from my tomb into impending doom
Now my body is my shrine
The blood runs free
The rain turns red
Give me the wine
You keep the bread
The voices echo in my head
Is God alive or is God dead?
Is God dead?
Rivers of evil
Run through dying land
Swimming in sorrow, they kill, steal, and borrow. There is no tomorrow
For the sinners will be damned
Ashes to ashes
You cannot exhume a soul
Who do you trust when corruption and lust, creed of all the unjust,
Leaves you empty and unwhole?
When will this nightmare be over? Tell me!
When can I empty my head?
Will somebody tell me the answer?
Is God really dead?
Is God really dead?
To safeguard my philosophy
Until my dying breath
I transfer from reality
Into a mental death
I empathize with enemy
Until the timing’s right
With God and Satan at my side
From darkness will come light
I watch the rain
And it turns red
Give me more wine
I don’t need bread
These riddles that live in my head
I don’t believe that God is dead
God is dead
Nowhere to run
Nowhere to hide
Wondering if we will meet again
On the other side
Do you believe a word
what the Good Book said?
Or is it just a holy fairytale
And God is dead?
God is Dead x4
But still the voices in my head
Are telling me that god is dead
The blood pours down
The rain turns red
I don’t believe that God is dead
God is Dead x4
Lyrically, it reminds me of “After Forever” but a bit more world-weary. Musically, it contains several allusions to past Sabbath and solo work by its members.
Thematically, it seems to me a response to black metal. Was Nietzsche’s target God, or our tendency to say nice things to each other and conceal the essential truth of the challenges before us? There are often many problems, but one root cause. If you don’t strike at that root cause, you get lost. If the problem is man, and not God, and society (collection of humans) instead of some external scapegoat, then we have a greater struggle than can be fixed by burning churches.
Black metal was purely Nietzschean in that it rejected the idea of a moral society and replaced it with the notion that the natural order of Darwinism produced better results. All of the Nietzschean tropes come out: praise of winter, of hardness, of privation, of wolves and of combat and struggle.
Black metal faltered in the mid-1990s when the bands realized that they might have missed their real target, which is something more like people socializing with each other and thus concealing unpleasant truths. While there are other intermediate and proximate causes of the problems we find it this world, the root cause often gets overlooked. That isn’t to say those other causes are good, or shouldn’t be fought in some form or another, just that they’re not the cause.
Black Sabbath is asking “Is God Dead?” and responding in the negative, pointing out that perhaps that last fifteen years of metal have been barking up the wrong tree. The first half of the song is questioning and self-centered, a personal drama. The second half, after the question is posed, is a thunderous rejoinder. The song splits on themes: the wine, the voices that fill the head (he cannot “empty his head”), the lack of any holiness outside the body that is the shrine, and the sense of a “mental death.” On the other hand, there is belief, a pervasive sense of something not fitting together with the narrative of the voices in his head.
Much is left ambiguous by this. “With God and Satan at my side” suggests a type of esotericism that mainstream Christianity will not embrace, and although there are references to the “Good Book,” a particular denominator has not been mentioned. However, the conflict between logic and intuition rises strongly in this song. On one side, there are empirical forces at work; on the other, instinct and a gut feeling. The song ultimately concludes with the idea that God is not dead.
And all of this happens under a banner formed of (a) a dour Friedrich Nietzsche and (b) a nuclear blast. This reminds me of not only black metal’s Nietzscheanism, but its apocalyptic viewpoint. In bad times, people start to get serious again about what they’re doing. Part of getting serious was, at least for black metal and probably for old Black Sabbath, rejecting what is popular and social.
Black metal is uncompromisingly against what makes people comfortable. In Until the Light Takes Us, musicians from Burzum and Darkthrone describe how they tried to get “bad” production for their music, to make it sound old and rotted. How they embraced evil imagery and acted out the most extreme things possible. This wasn’t a rejection of Christianity; it was a rejection of the social impulse behind civilization that prizes what looks/feels good to a group, to what is true — something that generally can be known by only a few, in the Nietzschean sense of the “apex predators” who have through natural selection risen above the rest and can see through a noble light how aggression is central to life.
Black metal may be anti-Christian, but more, it’s about the potentially mind-warping effects of socializing with others. Black Sabbath seems to be suggesting a new direction, which is less toward atheism and Nietzsche, and more toward sacrality, to which black metal might then respond that sacredness itself is what gets destroyed by socializing with others and obscuring the truth. This mirrors where a lot of the black metal guys went after the movement — Beherit to Buddhism, Darkthrone to cosmic space music, Varg to esoteric nationalism, the Graveland guys to folk music, and many others moving on to esoteric sounds like Jaaportit or Vinterriket.
Although they’d probably kill me for saying this, black metal people are generally the most religious people in the room. They believe that life is sacred, that forests are sacred, and that if nature is “red in tooth and claw” and life is “nasty, brutish and short,” that these are manifestations of the divine as well. Far from being “god is dead” people, black metal musicians strike me as being “we are worshipping the wrong god” people.
Hegel would argue that history moves through new ideas, their opposites, and compromises (synthesis). I would argue that history moves by the ideas created through a type of play acted out by characters representing extremes. In this, black metal shows us the antisocial, and Black Sabbath comes out for the sacred; the two will find common ground, because metal is ultimately sacred music. It worships power, death, nature and violence while others prefer pretty flowers and prancing kittens, but only one of those two perspectives embraces all of reality, while the other requires a social filter to merely exist. Black Sabbath and black metal are united in their dislike of that social filter.
I would assume that living in Salt Lake City, Utah would drive one mad. I’ve spent some time there last year, but I wouldn’t be able to maintain my sanity living around Mormons. Salt Lake City also has restrictions on alcohol content, with most beers having 3.2%. One way around such an obstacle is to sneak onto Hill Air Force Base (granted, if you have a military ID) and utilize one of their shoppettes to obtain normal booze. In my scenario of having a moody woman dictating my time while there, much booze was consumed. At least the mountains in the area are beautiful and I had the opportunity to go hiking away from the dreadful Mormons.
During my stay there I was acquainted with Dyingnysus from the bands Iconoclast Contra, Gravecode Nebula, Odium Totus, Krieg and others. I was invited to go to the recording session for the Odium Totus EP Nullam Congue Nihil, but I was unable to attend (conflict: moody woman mentioned in the previous paragraph). However, Mr. Dyingnysus sent me the cd after it was finished and the final product is quite good. It’s a nice strain of meditative black metal with a rather militant concept behind it.
After hearing this release I figured that it’d be suiting to pick Dyingnysus’ brain about his exploits.
Howdy Dyingnysus. Thank you for your time. First I’d like to inquire about the city that you reside in. How horrible is it to live in Salt Lake City being that it’s the Mormon capital? Is Black Metal well accepted there? What about the lackluster alcohol content in beer? Do you disappear to the mountains or salt flats when the Mormons drain you of your sanity? Or do you wage war with them?
Howdy to you as well and thank you for your time and efforts with the interview. Well, to start off obviously living in a place like Salt Lake City presents certain challenges that can seem difficult to handle. I know some folks who cannot whatsoever and have fled and never looked back. I’ve grown up in Southern California personally, so I know what else is out there of course, and of course I have come to realize in my travels just how really different Salt Lake is from other cities in the country. Honestly the reason why I stay here, well besides the obvious; family/friends, work and the bands etc, but there is some other reasons, cost of living is reasonable, I don’t have to worry about traffic, crime or other things I consider in other bigger cities to be quite substandard; the absence of ghetto’s/projects here is a big plus. I mean we have shitty neighborhoods but nothing like what you see in other cities. The liquor laws are a bit strange here, I’ll explain. The beer alcohol content is 3.2% by volume per can (which Utah is not the only one with 3.2% beer, there are 18 what they call “controlled liquor states” out there). So, in other states they measure by weight and if you were to measure Utah beer by weight it is actually 4.3% per can. Our local micro brews here are quite good too. All in all the beer is not as drastically weak as people are lead to believe. I mean you can get drunk drinking it. Another quirky thing is that if you want to get hard liquor or an out of state style beer, you have to visit a Utah State Liquor store and the prices are marked up quite a bit, especially on brands like Jack Daniels etc. Plus they close early, around 10pm and are closed Sunday, although you can visit a bar to get a strong drink on Sunday, last call is 1 am.
I don’t have too many dealings with Mormons or LDS people as you would think really, a lot of them live out in the suburbs and I live in the city, which only the wealthy Mormons live around the Salt Lake City proper really. I mean yes, they are all over the place though, and you’ll see them that is for sure. They are some of the most diluted happy go lucky idiots I have ever had witness to. I mainly just steer clear and don’t care to engage them often, or at least seek to. It is strange living in a religious capital at times, but that being said, I think if anything it benefits the music as we really have something to rally against. You are right in some of your assumptions that it can make you fairly agitated and pissed off to deal with the LDS influence and church here and some of the other quirks. I do not seek direct aggravated confrontation with Mormons typically like I said but I do try to make them uncomfortable in public, like in social situations hahah, that’s really about it. Black Metal is not a huge part of the music scene here really too much, and there have been bands come and go over the years. Still there is a small, albeit dedicated scene.
Congratulations on your Odium Totus EP Nullam Congue Nihil. I was rather enthralled by it when I first heard it during my commute to work. How did the concept of this project start? What are your goals?
Thank you, it is much appreciated! I’m pleased you were able to get a good connection with the music even whilst doing an activity we all do mostly every day, the morning commute! Odium Totus pretty much came into existence after a few rehearsals with the drummer Rick and me in May of 2011. At that point I believe we were at an impasse with other bands we were playing in, so the idea to just start something new seemed intriguing and I had some material that was sort of in the back of my mind and I also wanted to play in a band that owed more stylistically to the traditional black metal I grew up with, but also mixing in some of my more untypical influences, which basically includes a lot of classic, psychedelic, progressive and death rock stuff. I was also interested to start singing in a band as well, because I had a ton of lyrics written that I never got to use for anything and that sort of kicked the whole thing off more or less. Soon after these initial rehearsals we had gotten a few songs written. At this point my wife Kate joined on rhythm guitar and our bassist Micah as well. Overall goals are to keep playing live shows, and in fact taking our music to the people and to be a tight live band is a actually a very big goal as well as develop some more visual aspects to the show and to keep challenging ourselves to come up with darker more spacey tripped out music. Other goals include more shows; especially in other cities, more new music and records etc. We’ll see where the road takes us basically!
I noticed that the riffs on the EP are somewhat primitive, but have a meditative quality to them. How did you approach the song compositions?
I like that you take notice of that particular approach, in so much as keeping things simple in a sense. It is usually the best way for me to compose riffs on the guitar keeping that principle in mind. I think when you are more concerned with virtuosity as opposed to the moods and feelings that you are trying to convey with your music, the more the music loses that sort of atmosphere. So with that in mind, a lot of our riffs seem pretty straightforward in some respects yes. I mean, typically I just pick up a guitar and start strumming chords, sometimes I have an idea I am trying to get out of my head, but sometimes not, and whatever seems to work; if something particularly catches my ear I’ll file away for use in a song we are starting or working on etc. If it doesn’t seem ready though but has some quality I still think is worth pursuing, then I’ll work on it some more. Typically I will have at least 2-3 riffs prepared, before I work with our drummer. Although in some cases I have brought in fully written songs. Now at this point, usually it’s just me and the drummer at first to write the core of the song and then we bring in the rhythm section and flesh it out more. Some of the riffs come from that process as well, improvised or on the spot.
As of the genesis of this band, I have written a good deal of the guitar riffs, although our drummer is starting to come up with more in the newer material, which is always welcome. I am a very willing collaborator with the other people I play music with. I do not always want to be the one writing etc. I think the meditative quality you speak of comes from some of the stranger chords I am using these days, certain jazz chords as well as ideas in chords that were used by some bands in the 60’s and 70’s. You notice that in those decades, bands like Pink Floyd, King Crimson or Hawkwind for example had to figure out a way to build a big space with their music with the limited boundaries of the equipment they were using. Now you can have a lot of that with a push of a button, but we try to approach it the way those bands did. It seems you just do that by layering the instruments in such a way that it comes across strong and full of dense atmosphere. Of course a lot of echo/delay helps too don’t get me wrong!
I sense a rather nihilistic underpinning in Odium Totus. What are your thoughts on Nihilism? Do you think metal is the best weapon to encompass nihilistic themes?
Oh for certain, there is a common theme along anything I do creatively and Nihilism is always at the heart of it. It’s hard to characterize my thoughts on Nihilism in a sense, since when you think of it as a concept, it’s hard to wrap your head around really overall as it is quite multi-faceted. Does Nihilism mean for some people that, anything goes? For certain it does, and does it also mean that you do not believe in one simple tangible thing? Possibly!
I think one of the facets of Nihilism I value the most is that is pretty open ended and doesn’t need answers unto itself to be defined. I was talking with someone about how it is pretty hard to offend me deeply and truly, I mean other than my own petty selfish things that I get offended about, but I mean on a much larger scale with I guess just existence in general and the bullshit we have to deal with day to day. I don’t get too offended by the actions of a great number of people, past and present. Sure, I can certainly laugh or be disgusted with the absurdity and effrontery of such things, but usually I just shake my head though. It’s like the only way to keep my sanity, because if I started to care too deeply or to take it all at face value like many do, I’d go absolutely fucking nuts! That also helps in regards to people around me; I don’t care too deeply for what other people think of my outlooks and such, just as I don’t really care too much for theirs a lot of the time.
Philosophically, Nihilism is rooted in skepticism overall. For some, it means a total break from what is real or not real for that matter. Truth is not an absolute. So that part of it appeals to me too. When considering a Nihilistic view point in society, meaning all structures, organizations, whether they are religious or socio-political in nature are meaningless, or at least are rejected outright, that is kind of like a comfort in a way too ya know? It’s basically saying fuck everything, and everyone! No one has gotten it right. Also you can come at Nihilism from a destructive angle as well, like senseless destruction is considered to be nihilistic in nature right? At least we are kind instructed to think that way. Overall, it’s stark, strong and its cold, it’s really almost too realistic, without caring about reality. It’s really the only salvation for humanity, and thus, not a salvation in itself at all. Why care? Why concern ourselves with Utopian discourse? There is no point. I certainly do think that any sort of thoughtful music can convey Nihilistic messages and musings, philosophically or hatefully in the manner. Whether it be metal/rock, blues/jazz, classical, noise/electronic music, (I omit popular, hip hop and modern country music as I think it is counter-productive to include them as musical art forms).
You’ve done session work with Krieg. How would you define the American Black Metal scene? Which are your favorite bands?
I have done several live performances with Neill and Krieg now yes, even a short tour down the west coast (which Odium Totus did some dates as well) but no recordings yet, we are working on that, eventually we will do a EP. Hmmm, hard to define the scene overall, as some days I don’t even care to be associated with it. I don’t look at “American Black Metal” as phenomena stylistically unto itself as you could with say Norwegian or Finnish Black Metal for example etc. Still, it doesn’t matter on a level to me, when some people are interested in saying “the scene.” Really, truthfully, like everything in America, it is but a melting pot, a hodge-podge of several different musical styles, death, thrash, doom, heavy metal. It all came from Europe first, the basic heavy metal right? That much is true! That is what I find pretty ironic is that the Europeans, the British especially, took all this great music that was originated in American heritage and folk tradition, and just fed it back to us a little heavier and with fuzz pedals! It all comes from old Country, Jazz, and the Blues right? The rock and roll, and metal music, the blues especially was the catalyst for all of that music. The first doom metal is the blues jack, and that is the truth. Anyhow, bands I like from America (and none of these are blues and/or neo-psychedelic bands) are (the) Krieg, Ritual Combat, Nightbringer, Evoken, Grave Ritual, Velnias, Icon Of Phobos, Kommandant and many others. I can’t keep going on naming bands, because someone gets offended if I miss them. I’m sure I’ll lose friends all the time, so sad really (yes, being sarcastic)
Your other band Iconoclast Contra is reminiscent of War Metal more than Black Metal. Which genre is it? How would you place in juxtaposition the themes displayed to your personal beliefs? Do you believe humanity is worthy of extinguishing through war? If so, why?
As of now, I have resigned with Iconoclast Contra. We can get into all the reasons why, but it is nothing sensational, I just lost interest in participating, and truth be told it really wasn’t active enough to keep me interested anymore. Musically you are right; it is the war metal sound, with elements of thrash/death stuff. While a lot of that music is great and I dig a lot of bands of that style no doubt, it’s just not what I am into playing anymore. I just think I am more partial to playing my best when I do stuff like Odium Totus or the other band I am in, Gravecode Nebula, which is like the music that I think identifies me personally much better. The whole concept and ideas with Iconoclast Contra, for my part certainly, was a sort of heretical diatribe against humanity, and cleansing humanity with destruction, total and utter destruction, which goes back to a lot of the nihilistic beliefs and outlooks I possess.
As for humanity being extinguished completely? I think a catastrophic event is necessary and around the corner probably! War is probably what will happen, but be it war, or more of a natural phenomenon as long as it has the chance kick human beings back into their place or to eradicate them completely I’m fine with it if that is how it goes down, nothing can prevent the end of something if it is set in motion to happen. I will say that it would certainly make us more respectable beings if we survived a great catastrophe I would think, can’t be certain on that either though. Time will tell.
You previously played with Ibex Throne and released two albums. Why did the project stop? Was there a line-up issue, or did you conceptualize something new that you wanted to unleash? The original vocalist of Ibex Throne killed himself. Did this change your outlook on the band?
Ibex Throne was my first main band that really consumed a large part of my life (little shy of 10 years) we released two demos, and two albums. It was like my boot camp and where I cut my teeth ya know? The group towards the end was musically and ideologically/philosophically all pointing to different directions, and to me, it was time to move on especially. I didn’t have anything more to offer those guys, and vice versa. It wasn’t personal issues that came into it too much; I mean not that I can say. I think we all were just tired of that band. It was good while it lasted, and there were some memorable times for certain. I don’t care to comment too much on details of the member who committed suicide. It’s very old news for me now, and I’ve moved on. I will just say that it didn’t affect the band with our music or lyrics at any point, we never used it is a selling point and/or gimmick, and it is not in any way a reason as to why we are not together now; he killed himself very early on in the beginning of the group when we are all very young.
What’s ahead for your projects in the near future? Will Odium Totus come out with a full-length album?
Gravecode Nebula has an album coming out on Baneful Genesis Records this year called “Sempiternal Void.” We also are playing the Denver Doom Fest III in Colorado with tons of killer bands, and I think after that, it will either cease to exist or continue to create, I can’t say as of now. Odium Totus has time booked in May to record for a 7” EP called Let It All End. We hope to have released this summer, which will feature two new songs. Right now we are currently working on a full length record as well, we have about 3-4 songs in the works, and 3-4 on the way after that and we are currently on hiatus from live shows so we can focus on songwriting and rehearsals for the next few months, then it is back to the stage this summer, looking to get some shows setup right now, you can always keep an eye on our exploits via our Facebook pages:
Thank you for answering our questions. Anything else that you’d like to share?
Hey no problem, thanks for taking the time to prepare an interview for us, we appreciate the support and the chance to spread some awareness about Odium Totus, Gravecode Nebula and The Flying Burrito Brothers etc. Keep an eye out for more new records, and more shows from Odium Totus, we will be coming to play near you, in the near future! You can fucking god damn well be assured of that!! Diehard and kill!
Underground metal was rapidly dying by the mid nineties. The more musically successful death and black metal bands became disenchanted with their resulting limited financial success as the hordes of poseurs poured in through the gates of Byzantium, creating commercial rock that merely imitated the tones and texture of the monumental statues of the metal greats. The more popular death metal bands tried and failed at becoming rock stars while many of the more luminous minds in Norwegian black metal bands were dead or imprisoned.
To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.
I was listening to Persecution Mania yesterday when I opened my email and saw some new releases thrown my way to sift through for potential reviews. Although I’m generally skeptical of newer metal releases, the Shadows in the Crypt album was a pleasant and recent surprise, so I figured why not. (more…)
Many have expressed emotions of extreme shock and awe after discovering the explicitly Christian lyrics and aesthetics of my newest album, Deus Vult. How could I, the former singer/songwriter of New Jersey’s most popular Satanic band, find God and religion after 15 years of playing in bands with misanthropic, anti-Christian themes? What would cause a complete 180 degree change in lifestyle, a complete about-face in world view? And why would I recklessly proclaim such a change in heart to a world of black and death metal that would so surely respond in confusion, mockery, and utter malice?
To even consider the answers requires a great deal of courage and intellect, as most in the world of extreme metal have extensively conditioned themselves to the idea that metal, in all of its rebelliousness, is the antithesis to Christianity. But since the spirit of metal is one that has historically challenged authority and convention in a quest for deeper truth, those who truly understand its foundation will not cower from the mere suggestion of radical thought. And to those to I can assure that a long quest for logic and wisdom has unexpectedly led me at the foot of the upright cross. Not only did this provide happiness and fulfillment for the first time, but the foundation for meaning and purpose that many metalheads are currently in a vast search for.
In an attempt to explain as objectively as I can, this is how I came to embrace Christianity as my faith, and what it meant for my relationship with metal music.
Amorphis are known for their terrible modern output that consists of ridiculous pop cliches and monotonous chugging. While their latest offering has furthered the pretension of this band and their Opeth like attempts of appealing to pseudo intellectuals through whatever the mainstream considers to be “deep,” it is hard to fathom that this band once produced some of the greatest Finnish Death metal to ever grace our ears. Through restrained, simplistic melodies that were all very tightly knit and some basic understanding of chord theory, Amorphis carved a grandiose album that would see them climb to the top of a fledgling movement.
The album opener “Karelia” – an acoustic piece recorded with two 12-string guitars – announced the intentions of conjuring grand battlefields where heroes would emerge amidst the chaos. The first guitar repeats a basic melody in the natural minor scale as the second guitar follows with the appropriate combination of diatonic minor and major thirds. As the melody continues without variation the diatonic chords move up a few semitones up the scale creeping towards battle as the chords quickly return to their original position until distorted guitars announce the battle.