Wrestling is the oldest sport in existence. One can find it in any culture on earth, Egyptian hieroglyphs depict various techniques, Islam recognizes it as one of the main sports for preparation in combat and European knights trained extensively as a lot of armored fights quickly become tests of who could pin who to be able to deal a finishing blow with a dagger through the gaps in the plate armor. Throughout the years wrestling has proven to be the best art for all forms of combat as every region in the world has at least one form of indigenous wrestling.
Most people compare this music to Motorhead, but in my mind, it resembles a fusion between Black Flag and folk music like the old Bob Seeger tracks that limousine liberals pretended to like along with their Harry Belafonte and Leonard Bernstein LPs. A strong punk energy and rhythm pervades the music while a vocal-driven melodic sense guides each song to a quasi-ironic, bittersweet but triumphant conclusion.5 Comments
If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.9 Comments
Article by David Rosales.
Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.
The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.25 Comments
To be fair, one must approach judgement of a legendary and veteran band such as Sodom, with care, so that their present actions are seen in light of the road they have tread. In this spirit, it is appropriate that we go over the band’s career, taking a brief look at each step of their evolution so as to get a picture of how the band came to be as we see it and hear them today on Decision Day. If we are to start from the very beginning, we have to look back to their very first demo released in 1984, Victims of Death, which stands in an area between Metallica – Kill ‘Em All and Bathory’s self-titled debut album. Sodom’s first step is closer to contemporary hardcore punk than speed metal, which affords them a certain street credibility.20 Comments
Article by David Rosales; read yet another (negative) contemporary review of Belus here
After an incursion into ambient metal that lasted for a few albums, Burzum was seemingly trying to make a comeback to metal instrumentation. But appearances can be deceiving, and what seems like a failed attempt at creating streamlined metal music may be, in fact, an attempt at riffing-up ambient music. There is also a hint that it is packaged into an integral release that has to be listened to as a whole. This does sound an awful lot like the premise of post-rock, and while there is a good deal of wallpaper repetition, there are also plenty of good ideas in what is the closest heir we have to Vikernes’ seclusion.
The old DMU reception of the album when it had just come out is spot on in its criticism, but much may be added that redeems this understated album. A very clear line of evolution can be traced from Det Som Engang Var through Hvis Lyset Tar Oss and the anti-black metal ambient expansion of Filosofem to Burzum’s 2010 release. For all intents and purposes, an album like Belus is the next logical step. That it cannot harness the energies of black metal while it attempts to spread like synth ambient is proof of the impermeability of distinct genres.
This shaky, middle-ground positioning was resolved marvelously with 2013’s Sôl austan, Mâni vestan, whose incomprehension by black metal fans shows it as a next filter in the practical evolution of transcendental metal as it maintains its ideals. The filters before them can be seen in the commencement of different underground metal genres, with Black Sabbath being the first obscure revolution, Slayer and Metallica on their debut leading the second, and the waves of speed-going-on-black as intermediary steps towards the third explosion of death metal, which in its technical fetish gave way to the more musical black metal. The next great purge takes place after 1995 as several of the best black metal musicians lean heavily towards minimalist ambient-focused projects, which in some cases turn into affairs that are more electronic than metal in instrumentation (Beherit’s Electric Doom Synthesis is one of the crown jewels of this very select group).
Weakened as it is in its most objective sense, the soft, layered and simple cadences and droning melodies unique to Vikernes’ mind are still more full and less candy-coated than the likes of Drudkh. And where, in Belus, the music seesm to drone on, the choice in length is never as much as the likes of Sunn O))) so that it falls completely into the background. Hvis Lyset Tar Oss was a trip to another dimension, each moment pushes forward, but the next album was a trance with subtle pulsations and bumps, breathing in and breathing out in a quality that cannot be measure quantitatively but qualitatively at an abstract level, admitting no materialistic distinction. The repetition scheme here is a compromise and application of what was learned in Filosofem, relying on a certain quality of endurance that Vikernes’ simple but multi-layered riffs focus on and uniquely shine for.
At worst, Belus is solid ambient music played on suboptimal instrumentation, and at best, a unique chance at perceiving these landscapes through metallic lenses which distort and bring to the fore particular contours and colors. When positioned at the right place and at the right time (having the right mentality), the listener may find himself submerged into dense forests, fuzzy with the brume of unreality. The vision that Belus presents is not that different from Burzum’s early efforts, but where the quick underground fan may detect watered-down content, others may see a matured and spiritually refined thinking.
This is not objective music, this is a secluded path for those who have digested Burzum’s music beyond its atomic particles and into the very essence, flow and nature of it. This fourth filtering-out of profane minds certainly leaves most behind, and though these words may seem spurious, those with a balanced and logic mind, a strong and idealist heart, and an avid curiosity may find themselves on the right path to this shrouded grove.10 Comments
J.R.R. Tolkien wrote without an outline using only the thoughts gathered in his head over long hours of smoking his pipe and staring into a fireplace. Sitting at his typewriter, head wreathed in smoke, he pounded out a first draft of the Lord of the Rings mythos, and then discarded it, beginning again from scratch. As the story took form, it left behind a litter of empty blue-painted cans of tobacco.
The tobacco was Capstan Original Navy Cut. Members of his family remember the tins proliferating around the house and being used to store household items. When Tolkien and other members of his literary group The Inklings met, nicotine burned in abundance, and they could be found by following the trail of smoke. In his books, Tolkien inserted characters finding great comfort and wisdom in their pipes much as he did in his.
As part of a recent binge of writings by Tolkien and fellow Inkling C.S. Lewis, this writer has indulged in their favorite tobaccos. Capstan Original Navy Cut comes in “flake” form, having been pressed into table-sized cakes and then sliced into wafers about a third the size of a playing card. These are either stuffed into the pipe or “rubbed out” which converts them into ribbons of tobacco. Throughout this experiment, the thought lingers at the back of the mind: why this tobacco, and does it resemble the Longbottom Leaf or Old Toby of his legends?
Original Navy Cut is composed of pure Virginias, but the pressing and aging has converted some of their sugar and acid into a more hay-like flavor, the partial decomposition of the leaf having released its most irksome elements. What remains is a sweet smoke, with slightly more Nicotine (PBUH) than the average medium smoke, which burns evenly and rewards small “sips” or short slow puffs, as one might take while hammering out words on a typewriter. It also admirably complements the smell of typewriter ribbon, for whatever that is worth.
Virginia flakes such as this tend to appeal to either new smokers who want a blend that is sweet and strong like a cigarette, or to the experienced who can nurse a pipe for hours. Since Tolkien was a master pipe smoker, he fit the latter category, and apparently always kept a pipe going with this and other blends to power himself through late-night endurance test writing sessions. And we can enjoy the results, and the metal inspired by them.
Since ancient times man has looked into both himself and nature around him as a portal into dimensions our species’ abilities are not adequately or readily prepared to perceive let alone understand. This is why and the sciences developed their theory and instruments which became increasingly specialized and compartmentalized, to the point that the ulterior workings of, for instance, chemistry and physics are not even truly understood by any single person but that have been recorded and detailed so that theories can be devised to model them. This is both a weapon for more precise understanding and a blindfold that prevents us from seeing the big picture. The ancient occult sciences attempted something contrary to this, which was to grasp at the phenomenon as a whole, not by measuring bits here and there, isolating them and attempting to harness them for mundane tasks, but rather seeing how everything interacted and describing it through metaphor and accepting that knowledge concerning reality cannot be taught or communicated: the path can only be hinted at but it is for each person to take.
|“We do not know it because we are fooling away our time with outward and perishing things, and are asleep in regard to that which is real within ourselves.”|
Music can be used as a way to contemplation, as a window of what is in front and within us. This is a way towards the self, towards one’s nature, the species’ nature, and our place in the planet as life springing from it. When done correctly, it is not an escape from “reality” as materialists would have it, but rather a search for the experience and understanding of actual reality through human eyes. This includes an accepting of the limitations we can never truly overcome and yet trying to capture visions and feelings of what the universe beyond us is like. Music can convey this by acting as a conduct, taking the mind to a certain state. This is much more than the “setting of a mood” of pleasure-oriented music, and requires an active engagement by the listener, a locking in the senses, a voluntary stepping-through to the unreachable umbra of that-which-is. This is not about salvation or reaching out for a different world, it is a discovery of the cosmos as it is in reality.
|“Could one that’s damned stand in high Heaven, even there He’d feel within himself all Hell and Hell’s despair.”|
Underground metal and its related genres (dark ambient, for instance) as a mystical experience may lead us through a variety of paths, up to mirrors, dead-ends and upside-down positions which may seem incomprehensible at first but whose value is appreciated in retrospect as a lesson. At the end of the day, no vision reflects reality, we can only dip into experiences that transmit flashes of this or that aspect, but nothing that encompasses everything which is far beyond our capabilities. It is like trying to capture the infinite in one’s mind, or simply trying to imagine not being human.
|“To reach something good it is very useful to have gone astray, and thus acquire experience.”|
The following are a few album recommendations that the author feels are strong and sure passageways from whence grand sights a piercing eye may descry. Though each of these may follow a slightly different path, they all shine light into particular corridors and avenues by virtue of different methodologies and philosophies. Each kind of experience is in the eye of the beholder and is ever partial and incomplete, but the truth behind all of them is one and whole.
|Emperor- In the Nightside Eclipse
An album about the astral origin of our self, a constant reference
to the nightsky, the dark forest and the darkest confines of
the individual’s mind and a connection to the source.
|Burzum – Sôl austan, Mâni vestan
The day, the movement of the major celestial bodies seen
through the eyes of a druid. This album is the trickling of life,
the flow of energies from one state into the next.
|Endvra – Black Eden
This is introspection and the exploration of the self’s demons in
a sincere way. A complete closing off from the outside, it is
best experienced alone and in complete darkness. This is
a facing of everything within oneself through oneself.
|Mütiilation – Remains of A Ruined, Dead, Cursed Soul
Music for ruins, cemeteries and places in which dark memories
are still alive, this is the universe through deep pain. As with the
first item in this list, it hints at Black Magic, into illicit and
probably self-destructive channeling of negative energies.
Tags: 2015, Abyssum, Black Eden, Black Metal, burzum, Cursed Soul, dark ambient, Dead, emperor, Endvra, in the nightside eclipse, Mâni vestan, mütiilation, occult, Poizon of god, Remains of A Ruined, Sôl austan
Music serves a role in our lives: it connects us to truths about life and restores in us a belief in who we can be. Metal in particular either fills the soul with a rage for order, or creates an institutional-strength mental entropy by being disorganized. Bands that lack the guts and brains to write about real things and try instead to imitate what made others successful are doomed to fail, and we separate them from the rest with vicious strokes of the knife. Come for the cruelty, stay for the indignation and resentment, with this week’s Sadistic Metal Reviews…
Nocturnal Torment – They Come At Night
This punk/metal/grind hybrid acquits itself well by attempting to be no more than what it is: punk/grind songs with added death metal riffs, expanding upon a basic rhythm to drive it to detonation. If this band has room to improve, it is in putting the vocals into a support role for guitars and focusing more on continuing momentum rather than interrupting it early. Too much randomness and obvious riffs flesh out this album, but from the sound of things they were adopted to connect different parts in such a way that the vocals could continue their role as narrative organizer (N.O.) of the album. Like the first Bolt Thrower album, They Come At Night combines attributes of classic heavy metal with extreme underground punk hardcore, resulting in an oil-on-water separation at times. Lead guitars emphasize chaos in the way that enjoys bending the seemingly random into coherence just in time to slam into a conclusion, setting as much of the surrounding territory on fire as possible. There is much to like about this release, and a fair amount — but not more than is done right — to improve.
Feral – For Those Who Live in Darkness
Hopefuls send us their releases, and we murder there. Here hope must die: Feral is cycling Burzum-style riffs over simple song structures with emphasis on vocals to guide it. The vocals, unlike Burzum, forsake nuance for consistency and so quickly kill the mood. Riffs in themselves are not bad, but as assembled, are incoherent. This is painful to listen to for anyone who likes order, pattern or even chaos. It is just repetition of tropes in a slightly new form without the ability to express much but frustration at the four walls of an apartment and the desire to be in a black metal band. The challenge of humanity is to be able to tell the truth when it is unsociable, and that is what I attempt to do here. So much could go right with this release, but the best parts are marooned in a vast sea of disorganization and emulation outward-in of others, which stifles the inner voice. To this musician: go back to the studio, play music you like regardless of what your useless posturing friends say, and then record that. If it comes out as indie rock or folk music, only an idiot would think less of you for staying true to yourself and making something good, rather than this “me too” release.
Reptilian Death – The Dawn of Consummation and Emergence
More from the Nile camp, Reptilian Death uses the modern death metal sound of vocal-dominated songs with riffing as commentary that integrates intensely with drums to produce the kind of texturing that Meshuggah used, but without the overdominance of technique. To their credit, the band stitch together riffs well to produce tempo and layer changes that provide compelling background, but the focus remains on the vocals and so not only misses the death metal ideal but becomes repetitive in the way that nu-metal was: a chorus dominates, and a verse vocal rhythm backs it up, with instruments filling in the space. While well-executed in this case, that approach combines the worst of brutal death metal with the melodic hooks of indie-metal, resulting in catchy songs with no endurance.
Imperial Savagery – Imperial Savagery
In the style of new-death bands like Nile, this aggressive band orient themselves around the vocals and keep a rhythm drilling along that pattern while stringing along whatever riffs they can. These riffs show promise, but too often fall into the new-death paradigm of etching out a rhythm instead of a phrase, which results in a lack of coherence. Vocals pick up the slack, but the vocals are probably the least part of any death metal band, and that degrades the staying power of this release. Emphasis on jazz-style off-beat chording works as an interruption sometimes but appears too frequently to be a technique, becoming a trope. Angelcorpse-style charging riffs make up a large part of this album and they generate intensity but it needs to be “caught” by other parts of the song, and those devolve into the not-quite-chaos of relatively straightforward drum-guitar rhythm riff explosions. Chord progressions attempt to escape the ghetto of chromaticism but end up being so similar as to fade into background sound. There is nothing wrong with this release, but it falls short of enough right to have an enduring appeal. This is a shame, since clearly a great deal of fine musicianship went into this release.
Disordered – Carnal Materialism
This heavy metal/death metal hybrid would be best served by giving up the death metal pretense but keeping the drum attack. Quality guitar work, good melodic hooks and excellent pacing recommend this to the listener but as it falls short of death metal structuring, it ends up sounding empty where it could be more intense by simply opting to be edgy heavy metal. Iron Maiden and other melodic metal influences intrude where they can and are well-applied, but in the context of these songs seem floating in complete absence. As with most bands that have trouble organizing their disparate parts, Disordered rely too much on vocals, which correspondingly become the primary rhythmic hook, which forces guitars into a commentary role as in 70s rock. While nothing here is per se bad, the result does not form enough of a compelling narrative to be anything but background sound, and even then comes across as a hard rock band stranded in the wrong genre trying to make a tighter style work for what is ultimately a looser approach. Many of the tropes in this date back four decades and attempt to intermix with death metal pacing and layering, which just makes them sound ludicrous. This band needs to pick an approach instead of trying to satisfy “everyone.”
Sepulchral Aura – Demonstrational CD MMVII
Most people misunderstand black metal, especially the musicians after 1994. The point was to make beautiful music that concealed itself in an ugly sound. Most people interpret that as “ugly sound” and then add in quirks, idiosyncrasies and iconoclastic alterations to standard form. The end result reduces music to boredom by using constant interruption of its own process to produce an absence of end result, which ruins the function of music as a conveyance for emotion, understanding or even aesthetic appreciation. What is left is hipsterism and a focus on triviality. While there are some good riffs on this album, every one of the worst albums ever had some good riffs; what makes a great album is the ability to develop riffs in such a way that they reflect thought, reality, or emotion in a way that is meaningful to the audience. This release instead mirrors the confused mind of a modern person, and we do not need music for that, since an abundance of media and personal experience will come our way whether we want it or not. I had high expectations, but found the rule here of “if it’s after ’94, walk with extreme caution” applies on this album. The disorganized mess produces only a sense of emptiness, not the bravery going into emptiness that black metal once rendered.3 Comments
Post-metal, a dirty word in knowing circles, can and should be applied to Gorguts‘ classic Obscura. Post-metal is an offshoot of post-modernism, a school of thought that attempts to reject overarching structural meaning and belief in greater narratives. To the post-modern mind, existence and experience consist of pluralities, splintered into fiercely individualistic cells prone to subjective rule, and inimical to any attempt at establishing a universal system of knowledge. Under this philosophy, adherence to a common-law guidebook serving as a framework for value judgments would amount to giving tacit approval to an authoritarian scheme of things.
The post-modern mind rebels against the idea of linear progress and containing edges. Instead it chooses to break free of tradition and to chase the open-ended horizon, giving wing to its often reactionary attitudes; in fact, it can be said that post-modernism, as an approach to inspecting knowledge and the various forms it finds expression in, exists only to uproot convention. It seems to lack a defining purpose of its own, mired as it is in its perpetual obsession to bring down pre-existing ideological superstructures.
However, in the absence of a time-honoured, governing set of principles, can ambiguity be far away? Can a severing with tradition with no motive other than just the severing and that alone ever have an impact beyond the momentary fascination that novelty engenders? A need to improve on boxed-in ideas is natural but is doing so by gleefully discarding much of what goes into the making of the original idea any improvement at all?
The original idea, as metal goes, is as much structural as it is ideological. There are a few qualities that are common to how all true metal should be constructed.
- Melodic contiguity: All forms of metal, even the harshest strains, are inherently and recognizably melodic in nature. This means that the individual phrases that make up a metal song obey cohesiveness, as tenuous as it may seem at times. Though individual phrases are often in different keys, it is paramount that they share the same musical space.
- Movement towards a discernible and logical conclusion: This is the will to motion previously outlined in these pages. Metal’s roots in traditional story-telling with a beginning, a middle, and an end, are not to be forgotten in eager exchange of a need to experiment. There has to be a gradual ascent, or a plummet as it were, towards an ultimate punctuation. Though various approaches can be used towards achieving this, playing for time in false hope of creating mood, while using ideas containing little intrinsic worth, is anathema to metal.
- Rhythm section to assume a strong yet only supporting role: Metal is a predominantly lead-melody oriented form of music. Bass and drums are integral to creating a fuller sound but should only be viewed as swells on an ocean on top of which riffs and songs float. Often, swells rise and raise their load with them, but this hierarchy in relations is crucial and is to be preserved.
- Atmosphere created not through textural embellishments and quirks but as a by product of composition: All claim to that shady word “atmosphere” should come from immanent qualities in the way the music is written. Metal does not need overt experimentation with harmonics or tone if these asides are incapable of holding together on isolated inspection.
- Awareness that all forms of groove play to a far baser inclination in the mind’s analytical apparatus. They can be enjoyed on a case-by-case basis but are not something to be eagerly sought out or encouraged in metal.
- A keen comprehension of repetition as device: Repetition is to be used as steadily outward-growing eddies that take a song to a different place, yes, but one that maintains a tangible relation to the place left behind. Individual components within the repeating phrase should have some emotional consonance and not serve as mere padding.
- Conscious realization that metal is in fact composed music and not free jazz.
How does Obscura, universally regarded as Gorguts‘ creative zenith, fare in context with these? On an individual song basis and on an album-wide scale, Obscura flouts more than a few of these observations. Obscura‘s sound is a swirling melange of dissonant tones under cyclic orientation, created on a wildly giddy bedrock of percussion. Conventional melody is used not as the driving force behind the songs heard on this album, but as ballast to the band’s almost painful need to expand the template of extreme metal prevalent till then. Guitarists coax unnatural sounds out of their instruments, resembling those made by scurrying creatures of the night, and mold them into a form of strange melody not without appeal, but on honest reflection little more than an outlier gimmick.
While not all associations with the band’s previous classic Erosion Of Sanity have been severed, Obscura greatly favours repetition of its themes, themes that at times fail to register as true motifs, often to the point of tedium. Where the band’s younger work had irrepressible momentum on its side, they now seem stuck in a rut of their own making with no clear vision of how to extract themselves from it. Songs regularly lapse into the kind of navel-gazing that is so aggravating in modern technical bands, in hindsight obviously influenced by this album. The most obvious example of this would be ‘Clouded‘, an idea that would be deemed insufficient even for the most basic of interludes but here stretched beyond all limits of endurance.
It would be disingenuous to suggest that Obscura detonates the core of music entirely, contrary to epithets of “chaotic” and “cacophonous” regularly appended to its descriptions. There is a kind of twisted logic to these songs but it is so far removed from what has gone before in the metal canon that it barely, if at all, qualifies as metal. Perhaps the album’s greatest failing as a purportedly metal album is in the lack of a human aspect. One would have to project really hard to glean any kind of meaningful emotion from these songs, uniformly monochromatic, mechanized, and without hope, or rage, as they are. In its abundant jagged outcroppings and in its constant search for the next unorthodox detour, Obscura
What essence, then, does Obscura have to relate?35 Comments