Sadistic Metal Reviews 07-25-15

smrtop

Superficially repacking the old into the new for a younger, naiver generation is an abhorrent commercial practice of both record labels and Hollywood studios. These five independent artists have bravely submitted their failures in doing so to the Death Metal Underground. May our objective criticism prove constructive to their suicides.

archemoron

Archemoron – Sulfur and Fire (2015)

Archemoron. Yes, Archemoron. Yes, this band named themselves Archemoron. Yes Archemoron were not joking; Archemoron are serious. When not ripping off Slayer, Archemoron play melodic black and death metal riffs arranged into rock dirges. Many of Archemoron’s own “riffs” are pinch harmonics repeated for two minutes. Archemoron’s tracks are five to seven minutes too long. Archemoron invoke Hieronymus Bosch about as much as Dark Funeral taking their pants off and whacking each others’ dicks with pool noodles for an hour before running a train on the ass of the one in the gimp chains invokes heterosexuality. Archemoron are arch morons.

deathwhite

Deathwhite – Solitary Martyr (2015)

Hoobastank is back with a new EP. What remains of Roadrunner has surprisingly not signed them yet. I am watching a group of shaved-ape Russians fishhook a fat hooker with their dicks. The mascara is running as they pound her face and ass. The asshole stretches to accommodate more Poles. Time for the money shot. So this is a creampie scene? Damn they are ejaculating in her ass one by one. That’s nasty. She’s squeezing it out now. Mother of god that is not watery semen; this is a group piss enema into a prolapsed rectum. That bloody red, inside-out Russian rectal meat is wet with piss and shit flakes. Only Relapse Records could masturbate to this.

enthring

Enthring – The Art of Chaos (2015)

Is this Hells Headbangers Motorheadcore? Slayer? Slayer doesn’t have keyboards. Chanting? Why? Enthring want the lyrics to be important in these rock songs so why are they detracting from what I can’t understand with a melotron? Motorhead didn’t need keyboards in the 70s, Motorhead doesn’t need keyboards added in now. Stop remixing music you cannot comprehend into carnival music metalcore with breakdowns. This is the Transsexual Serbian Orchestra of metalcore soggy biscuiting that Fleshlight Apocalypse that came in Nuclear Blast’s die hard edition.

goattorment

Goat Torment – Sermons to Death (2015)

Goat Torment attempt to preach to Death himself by prying open fans’ assholes with Sodom and Slayer. While many experienced heshers can instantly see through such a ruse, many of today’s trve metal warriors only listen to bands that their chill core bros designate as “bestial.” This audience is unaware nor cares of the thrash rehash cash-in. The martyred Euronymous himself was fond of cutoff Sodom belly shirts and dildo prostrate massages so Pitchfork will say that Goat Tormentor having a daisy chain finished by using Tom Angelripper’s visage on the back of their shirts as a cum target is a socially acceptable sexual practice. Sermons to Death is an Outbreak of AIDS.

kyy

Kyy – Travesty of Light (2015)

Cradle of Filth and Dimmu Borgir pandered “black metal” to Hot Topic tweens. Kyy attempt the same by sticking random minor key tremolo riffs in their nu metalcore. Twenty eight year olds with Vatnett Viskar backpatches, sleaveless jean jackets, and questionable sexual preferences won’t lap this up like they do teenage goth ass. Travesty of Light lacks the catchy screeched vocal hooks and emotional choruses to be distributed by Century Media. Only more randomness grounded by catchier vocal dichotomies may grant Kyy the hairy hipster fudge.

smrbottom

10 Comments

Tags: , , , , , , , , , , , ,

An Involution of Easter

Bill and Ted found themselves wandering through the middle east, somewhere. The time machine had finally shorted out when Ted connected it to his iPad, causing a brief detour through 1968 Christopher Street in New York and a Royal Navy frigate in 1780 at rum ration time before crashing somewhere into this Semitic wonderland.

(more…)

34 Comments

Tags: , , , , , , , , ,

Interview: MkM (Antaeus)

Editor’s note: this originally appeared in issue #3 of the zine “voices wake us…” (“Voices Wake Us…” Zine. $1ppd. voiceswakeuszine@hotmail.com) but it can be disseminated freely so long as this notice remains intact.

Questions by “Voices Wake Us…” Zine.
Answers by MkM (vokillz).

First off, what is your name and what part do you play in the band (instrument or vocals, etc.)?

vokalist, disease holder of AntaeuS. Satanik stigmata & preacher of the Void. 27 years old up to this day, non dead to most humans. Frontman & main voice for AntaeuS, I do speak for Him.

Now to the real questions. Black Metal’s legendary “first wave” included so many legendary bands like Mayhem, Darkthrone, and Immortal. Many conclude that the evolution of BM ceased after this period, so what do you think Antaeus’ relation is to the progression of the art? Is it justifiable to be merely more extreme? Can anything be added to the music at this point that has not been done already?

Black Metal does mix both ideology & musick, on this level, I would have to point out that most of nowadays bands have no linkz with the real meaning of this Art.Immortal never really took part of the bm kult, though their sound is very similar, their concept would be more based on northern landscapes, while bands like dark throne & mayhem had a more nihilitic death feels to the lyrikz & the aura was a bit more depressive in most cases.

We are payin hommage to those bands of the second wave, for their dedication in the early days & the message they did spread. We do evolve in the same vein, we hold the same message & our speech is based on hatred, denial of life & anything that would be related to “holyness” any religions wise, anything “human” related would be a target.

Black metal = SataN in its most strikt vision, we here speak of death, total death & the praise of the vortex that would swallow all. Though the utopia of such an ending is known of us, we do work in this way, spreading our disease & disgust of life and the concept related to it.

Sound wise, we are more extreme than the suscited bands, we couldn’t perform the same of art, for multiple reasons : we do breed violence more than depression (as individuals) & we do perform what we are & breath. The band is composed of 5 individuals more or less evolving on the Hate path. Me & Set being at the forefront of this, & since we are the main composer (him for the music & I being the sole responsible for any lyrikz & propaganda), we are the trademark of AntaeuS.

Also our approach is more destruktive than the “90s” gloomy approach of darkness, while they were opening gates of despair, we are opening gates of torment & pain.

Both are as effective, I truely find my inspiration in both, but violence is our key, our vektor.

Feel his pulse through us.

We are one stone of the edifice.

Black Metal is like a kathedral of Hate, it is not a question of evolution, the “evil”ution within takes place within the rankz of devotee evolving & praising the kult.

You have expressed dissatisfaction with the Cut Your Flesh and Worship Satan album as being too rushed in the studio. To me, I can say I do not think it harms the record and adds to the urgency of the album. However, you have a new album coming out and will this be different and in what way a “representation” of the band that we have not already seen?

Somehow you are right, now that the album is older to my ears (two years or so) I get to listen to it in different perspectives, not rekalling all the shitty detailz about its conception & its spreading.CYFAWS was a gathering of mostly old trackz, like demos & reh tracks, all gathered on the same full lenght. Only one track never appeared anywhere before the cd release (though I am not even too sure about that now, I should check the live tape on chanteloup creations…) also the cd had three different rekording on it, which was a bit messy & made it sound more like a recollection than anything else.

Now, I think that baphomet did allow the band to put all together the most efficient earlier track of the band (inner war, devotee, nihil khaos…) but a rerecording of the whole album would have been best, now that would be the main complain about this lp.

Also this album did cost us a lot of money, but I do not fool myself, it is the same way for many bands around here, still having labels to cash on your work without being fair to the band is something I will never tolerate. That made me freak out, the band never got a fuckin cent out of the sale of the band, considering it did reach around 3000 copies (which is amazing to us, we never expected this much) one could easily guess that we got massively fucked on this one.

DE PRINCIPII EVANGELIKUM the newest release presents a more compact release, being composed on a two years basis, the whole has a more “united” strukture & lyrikz wise, that did allow me to have something fully solid. This time the lyrikz are included, I had the time to type all in time so people will finally get to understand what lies behind antaeus, though it will remain obscure to most or simply fucked up.

DPE is less easy to get into, it took me a few month to get into some trackz myself, having one hell of a hard time to lay vokalz on those & get the whole strukture in the reh’ room

The band does reh’ around 6/7 hours per week in the reh’ room & more when we get nearer to live exp or studio rekording. We get ridd off a lot of material, our work is very serious & we are making sure to have the most efficient offering to the black metal kult.

I think that one thing that would lack on DPE would be the intro sektion that are truely important to me, this time the drummer & I did lack time to meet & do something of my taste, that is my main “negative critic” to the new album. Next release shall see a return to those sonic landscapes & all the frustration that did hide behind those.

Many BM bands are one-person projects (Burzum, Bathory, Taake, Krieg, Ildjarn, eventually Emperor, and at times Darkthrone). What is the band construct of Antaeus? How does the song-writing process work and who does most of the “legwork” for the band, ie: setting up gigs and record-related business. Any comments on past members or development of the band over time?

You would mention there strongminded individuals that had one hard time finding the right members to perform their art with, or simply couldn’t deal with others, due to ego conflikts.I was just a session member in the early days, being too busy with my zine & my distribution (& my former band)

When AntaeuS turned into a virus in me, I felt like it had to evolve further than the limitations that the main man back then had for it. I think that all took shape when I got hold of all the strukture of AntaeuS, getting set as main guitarist was the best move ever, since we have known each other for years & we had the same musikal taste (for the early 90s sound, nowadays we tend to listen to different aktz yet our basis are the same).

Drum wise, we decided to get ridd off the drum machine & never changed since.

Bass & rythm guitar wise, we might have had more than 20 different members within the band, but in 98 we did finally find the right one, being also involved in Eternal Majesty with whom we did a split demo back then. I did know them since they were working a lot with SPIKEKULT (since their first demo, “dark empire”).

Since then, the line up is perfekt & all of us are united & work on the musikal struktures.

For all the rest, interviewz, ideals, propaganda, kontaktz, ALL is done by me & me only. Mostly due to the fact that I am the only one speakin & writtin in english.

That does take a lot of my time, due to this I did stop all others implications (my zine, other bands & even spikekult for some months/years).

We do not seek gigs really, since conditions are always fuckin ridiculous or awful, I try to avoid to the max getting to play live, though we had two or three great shows since 94; mostly over the two past years.

Getting gas money & some beers seems to be the VERY best we could get in europe, even if we perform in front of 300 people… the cost to rent a place is so high that none could ever pay the band.

A couple reviews I’ve read of CYFaWS, while positive, have accused the band of not bringing anything new to the table. Stylistically, I would say that Antaeus is a) faster (I’d say only Krieg is as fast), b) more “grind”, c) less atmospheric, d) more brutal and divided into penetrating structures of noise than in an “epic” sense of many bands. Agree? What is the aesthetic you are going for here, other than just “fast.” Because it is definitely a unique and not just a retro sound.

I do agree with those reviewz, still we never did claim to bring anything to new, so I sometimes wonder why we are accused of that, just like we were lyin about it.True, we are faster, though I would use “more brutal” instead, since speed for itself doesn’t mean much to us, tons of swedish bands are playin hyper fast, but both the drumz & riffs are without any effects on the listener.

Brutality & Hate are the main faktors in AntaeuS sound, we do hold this pulse & seek to create such aura within any rekording of ours.

Our epic approach might be linked to the tension we do put in the rekordin process.

The grind aspect cannot be denied as well, musik wise, some bands are truely unique to me, but the message, most of the time, would be simply ridiculous or be the opposite of my ideas.

Older grind bands had more of a dark or sick approach compared to today’s fun/gore/political bands.

Hate is a large concept of the band. Does this reach over into politics at all? Many BM are clearly fascist, a politics based on hate, while others are nihilistic (and in that sense, partially anarchistic). Views of politics in yourself and in the scene?

Hate is anywhere, but most politics would serve some instead of others, while we support the death of ALL; all those fascist bands are always a source of interrogation in my kamp. All those linked to black metal & openly using both the sigils of SataNism & those of Nazism are creating a nonsense to me.the nihilistic part is often dealing with one hope for a brighter future, built on the ashes of nowadays society & values.

I do not have any hope of this kind, the only hope I have is tattooed on my chest.

Let’s go back on the nonsense, I don’t care about NS bands as long as they are not linked with black metal. Politics would limit the initial meaning of black metal.

NSBM seems more serious to the young than the “inverted cross”, since it would represent something more “socially involved”, having to deal with values that would be more “linked” to todays world & having more impact due to the importance of sigils (ie : the use of swastika or SS sigils are full of meaning & related to happening that took place less than a century ago). Politics are giving black metal a more “humanistic” approach, which I don’t really understand. I would understand sadistik exekution using SS symbols or funeral mist for their vision of death in general, but as far as “human values” are involved, I simply don’t get it.

Any individuals mixin bm with ns should realize that there is already a scene for that, anything metal related is more or less viewed as “outcast” due to the code of life (destruktive, alcohol, aggression)…

anyway when I think of those teens doing “sieg heil” here & there with their beers & long hair, they would be among the first to enter the gas kamp that does make me laugh

Death is the main goal anyway.

In what sense is Antaeus a “do it yourself” band that controls the aspects of recording, promotion, management, and production itself? You are clearly dedicated to the underground, but many people are not familiar with the metal underground as much as the more-established and cohesive American punk underground. How does the underground work and how much is Antaeus a separate entity from outside control and influence of labels, promoters, etc?

A would be my band then, since I would be responsible for most of those aspects.Being honest, I am not too aware of the punk scene, though got to meet up with some labels from around here pressing punk vinylz & their scene seemed much more “supportive” & less “inner war” in between labels & so on. I might have a wrong of it though.

I would be totally dedicated to one aspect of the ug scene, which I could describe as the only real scene, with true sick freakz & not wannabes & morons of any kind that would pollute the bm kult.

those idiots are numerous & for the past years, I would have spent way too much time on those inbreed fags instead on workin on my code of life & supporting what had to be supported with the scene (bands & labels wise). Now we are viewed as traitors to most, since we did sign to Osmose.

Osmose allows us a studio rekording budget & having the whole distribution in their hand, I could never deal with that myself, my daily job takes around 50 hours per week now (compared to 70 h per week for last year) which makes it nearly impossible to cope with the mail & any correspondance in general. Even reh’ with the band got closed to impossible for me. All is getting better now, but as far as I am concerned, if A didn’t sign to Osmose, all would have stopped. I couldn’t go on paying 300 usd per month for the band, not having enough to cope for my own living cost.

Now we do loose less cash, but we still loose. So when I get to read that we did become fucking rockstars or sell out, I might ask to whom did we sell out???

A band selling 5000 copies (which even ain’t our case) could never live out of it, I am sure that you are aware of that, but many readers out there that did write us do think that we do earn enough money with the band to live with….

It was ok to reply to those questions the first years, but after a while, it killed me that most people wouldn’t get how it workz…

But hell, we are talking about fuckin labels detailz & how bands are getting fucked most of the time

Right now with Osmose, all is doing ok, we just did spend around 400 usd for this one, (lay out & mastering) since we did excess a bit the budget allowed for the studio rekording.

How is the French “scene?” Are there many bands, zines, or venues to play in? Are there a lot of posers?

Scene in france is not my fave subjekt, I did support many bands from around here in the past, being proud of my “local scene”, but all those bands did fuckin backstabb us for no reasons or so. “allies of today are the backstabbers of tomorrow”, thus I don’t mention too much about bands from around here.There is a fair deal of akts though, most of them are amateurish to the core & spending more time in front of camera or doing shirtz than working on the musikal parts.

All of them are envious little morons who are offended when they realize it is not that “easy” to have a cd out. They all think that demos are useless & that the underground is just a chat room on the net.

For the older ones, we had either conflikts with them or totally different views.

Apart from a few dozen individual in the whole france, we don’t get along too much with individuals from around here.

I had my fair deal of war around here.

In the newer band ; dark opus & aosoth are among my faves

DEATHSPELL OMEGA must be the ultimate black metal band the traditionnal way. END ALL LIFE is without any doubt the best vinyl bm label, they must have by now the CYFAWS on lp out, & that is one Honour for us to be on that label.

Zines? well 666 is the best in the extreme bm/dm way, eternal fire was killer too but defunct (or simply no newz from them since long), stregoica was kult in its dayz, now they are doing ordealis rekords which is very promising (killer work from their part), deadfuckinchurch is a good zine but he said that his final issue will be the next…

Some distro are great too, like paleur mortelle & warchangel.

AntaeuS will have a split 10″ with AOSOTH on Paleur Mortelle (akhaeus@aol.com) in the comin month btw.

Gigs wise, the audience is way better than any us gigs that I got to visit (& I had my fair deal of us deals over the three or four stayz I did over there), we usually get from 150 to 400 nowadays, but places are not so numerous & each venues does cost around 2000 to 3000 usd to rent for a night, with such prices, no bands would get any payment, asking for gas payment is already a dream for bands.

Due to that, in 2001, antaeus only performed live Once.

We did perform a bit more over the past months, with bands like nargaroth, taake, enthroned, eternal majesty…

The last hellish gig we did do was in Paris with taake & enthroned, our best set ever since 2001

In nov 002 we will be among the opening bands for the DEICIDE european tour, we shall desecrate new countries & I do expekt that tour I must say.

It’s nothing you’d understand, but I do have something to say. In fact, I have a lot to say, but now is not the time or place. I don’t know why I’m wasting my time or breath. But what the hell? As for what is said of my life, there have been lies in the past and there will be lies in the future. I don’t believe in the hypocritical, moralistic dogma of this so-called civilized society. I need not look beyond this room to see all the liars, haters, the killers, the crooks, the paranoid cowards — truly trematodes of the Earth, each one in his own legal profession. You maggots make me sick — hypocrites one and all. And no one knows that better than those who kill for policy, clandestinely or openly, as do the governments of the world, which kill in the name of God and country or for whatever reason they deem appropriate. I don’t need to hear all of society’s rationalizations, I’ve heard them all before and the fact remains that what is, is. You don’t understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil, Legions of the night — night breed — repeat not the errors of the Night Prowler and show no mercy. I will be avenged. Lucifer dwells within us all. That’s it.

– Richard Ramirez

Most BM has diverged into “symphonic,” commercial crap. I’m sure you have some ventings on bands like this (Dimmu Borgir, Anorexia Nervosa, Ancient), or on “retro” bands like Dark Funeral. To many, Black Metal must remain underground and elite, and yet within it are elements that are more palatable to the masses- a band like Immortal proving that BM can be commodified over time. Thoughts on this phenomenon in Black Metal?

Like anywhere, when you get an artistic style that would be perceived as elitist & underground, one will have the wish to “extand” it on a different level, for various reasons.Some considers that the message should not be limited to one handful of individuals

some seems to think that they would sell more rekords having an “evil” image Some just find it “cool” to use such imagery Others are living the black metal kult, on a daily basis.

Music wise, I am closed minded when it comes to black metal, not opening myself too much to new genres, though I did try to pay attention to all those bands poppin up & crossing goth, indus & so on with black metal.

I must admit that diabolicum & mysticum were the only one that did match my expektations when it comes to the aura created.

On the other level, I also pay attention to the “performers”, for example : Anorexia Nervosa is often quoted as fag band, mostly due to the COF sounding of the musick. But on a personal level, the frontman is really a sicko & is among those few individuals I consider. Yet he would be a bit too much “rock n roll” sometimes eh too much drugz & autodestruction for me (which does provide a smile, that does you an idea on how fucked the man can be) aktually I think that when you get to meet him, he would be more in his place belongin to sadistik exekution than anorexia (musick wise) Ancient & dimmu borgir never made it to me, not even one track from their early days (the ep of ancient was ok though).

You did qualify some elements of black metal as “palatable” for the masses, yet we have to redefine masses then, since those masses would be the “extreme metal scene” which is not that wide, only a few thousands people I would say.

Not something that could be play on the air of any local radio show & musical tv shows or whatever. We are not dealing with “pop” music. But I do agree, black metal did sadly evolve to a wider audience & that doesn’t mean that the real audience did grow bigger, just that it did expand to people that simply don’t get a clue of what real black metal is about.

Having some individuals to compare napalm death to dark throne amazes me… the only link between those bands is mostly in the instruments used & some beats. (& some would kill me for the “rythm” comparaison)

Anyway, on our level, like other bands, we remain an underground band, you will most likely always find “cyfaws” & “dpe” on cd format, but we will go on doing limited tapes & vinylz. Only for those few sick ones that are also the pulse of the band.

It does mean a lot to us to be supported by like minded individuals, band members or zine editors or just listeners.

I do not get much letters in that vein, but with those few with whom we share visions, getting to read some comments on AntaeuS work is always rewarding.

Our satanik audio violence would be a weapon & only some individuals know how to handle it & how to view it properly.

Carcass or Bolt Thrower? Pick one.

Fuck… Bolt Thrower

at least they didn’t change & “cenotaph” is an instant classic for me, such as the “in the battle there is no law” lp. carcass had amazing trackz but fuckin wimped out too much for my taste.

When can we expect the new album (on Osmose, right?) and will there ever be an American tour??

the new rekordin shall be out on sept 23rd in europe, so obviously a bit later in the usa, osmose doesn’t have a distributor over there I think, so most releases are available mostly through ug mailorders & so on. I doubt one will find it as easily as CYFAWS over there. I seriously doubt on the american tour thing, though I wish we could go over there & perform with bands like black witchery, thornspawn, krieg, demoncy, gbk & so on. Since we are doing a european tour for “DPE” in november, as opening band for Deicide, I am not nearly sure that no tour will happen until the next release (the third album that is).Having us on a european tour would mean getting the band on a bigger “bill”, having an headlining band that could make it possible. As of now, I have no big expectation about a us tour, since it seems nearly impossible, we are not “selling” enough to be pushed that way.

The Deicide tour is already something really expensive.

In the future, who knowz? but I wouldn’t be surprised if the band never gets to perform over there.

Bands like marduk, satyricon & others took forever to go to the other continent & most of the time, itz like a money vortex more than anything else.

Time shall tell, we still have to perform over here first, that is our territory & we haven’t visited more than three countries as of now (which would be like performin in three different states for a us bands).

To you, what is most important in sustaining black Metal into the coming years, as it is increasingly an “endangered” form of music?

I see it that way : Evil will never dies, it might change shape, as long as some form of Art will be dedicated to its “grandeur”, I see no problem with itBlack Metal has somehow a more raw approach to it, a darker incarnation meant to appeal to more extreme masses, thus a minority of individuals are truely meant to understand fully the concept behind this genre.

Black metal is nowadays marketed as a musical genre only, with gimmicks to help the sales. Many bands did take the opportunity to rise using those “eye catching” ideas related to black metal.

Your top 5 BM records?

DarkThrone “a blaze in the northern sky”
Funeral Mist “devilry”
Katharsis “666” + “red eye of wrath” demo
Blasphemy “fallen angel of doom”
Beherit “D. down the moon” (& oath of the black blood)those are the ultimategettin near to that, I’d add sadistik exekution (all releases), profanatica, demoncy, krieg… I’d easily give 20 names that would represent the whole list of bands I really support…. Giving 30 names would be impossible though. not enough bands have individuals matchin the right ideology one should have within the bm scene.

Thanks for the interview! Good luck on your upcoming record and in the inevitable Satanic victory over the forces of light. Have a nice day

Forces of Light are forces of lies as well, they are their own failure & we shall be the witness & the temptation for them.Take a look in the abyss & the abyss will stare back at you

For we hold the ultimate void, we shall go on, we are Omega.

No Comments

Forgotten Death Cults from Finland

1. Overview
2. Corpophilia and Necrobiosis
3. Necropsy
4. Rippikoulu

 

Written by Devamitra

Overview

Midsummer’s sylvan possession will claim many lives tonight by drowning, stabbing, hanging and other morbid rituals that cloud the light of the greatest Finnish celebration. It can be said that the spiritual conflict between the barrenness of the Finnish urban life and the sudden plunge into the freshness of nature undertaken by most at this time of the year, combined with the gargantuan intake of alcohol, causes a temporary collapse of the veil of the civilization, when festivals end as festivals must. Under the deceptive tolerance of the society, dark depths boil and murderous impulses become sublimated thoughts. Some of these undercurrents were illuminated and analyzed almost as topics of transcendental philosophy in the dark contemplative statements of Finnish Death Metal, one of the strongest musical movements that ever arose from Finnish soil and also unarguably one of the strongest Death Metal scenes of the period. It is a testament to creativity that it’s still very hard to pin down a certain easily recognizable ‘Finnish sound’, but this does not mean a lack of mental images connecting them.

Among the first were the playful Death Metal / Grindcore crossover Xysma, the brutal Disgrace and the dreamier but less eloquent Funebre from the historic capital of Turku. In nearby Loimaa the discipline of Demigod and Adramelech formulated occult and mythological visions from these roots. The true monument of the early scene was created by Abhorrence from the modern capital of Helsinki, in their devastating demos that displayed the ferocity of old school black metal alongside articulate influences from British and Swedish Death Metal movements. Later the heritage of Abhorrence spawned into the more ‘professional’ folk influenced narratives of Amorphis des

pite the fact that the earlier band was far from amateurish itself. Besides Xysma, also bands from the wooded Birkaland county were heavily influenced by punk and thrash especially in anti-authoritarian spirit: Rippikoulu, Convulse, Purtenance and Lubricant. A counterpart were the quasi-Byronian melancholic poets of Ostrobothnia, heirs of the strict religious sects of the Bothnian coast: Sentenced, Cartilage and Wings. The same mystical traits combined with grindcore, Sarcofago and lots of booze in BeheritBelial (“Wisdom of Darkness”) and Impaled Nazarene, who composed the classics of Finnish Black Metal contemporaneously (not successively as in the world at large) to the Death Metal movement. The promising Necropsy from Lahti released a strong split album ‘Unholy Domain’ with Demigod but never managed to release a full-length album back in the day, while the cryptic and absolutely unique one album wonder Demilich from thrash capital Kuopio set the bar for Finnish ‘progressive’ Death Metal extremely high on ‘Nespithe’; only Unholy from Imatra or Paraxism from Jyväskylä (who did not release an album) could compete in sublime weirdness. Mordicus from North Karelia also left a legacy of one quality album, ‘Dances from Left’, while fellow Joensuu mystics Phlegethon only released demos and one EP before some of the same individuals surfaced in the Doomdeath tribute band Hooded Menace. The quest to bring back moments of old school Death Metal majesty brought about by later bands such as Devilry, Slugathor, Deathspawned Destroyer, Ascended and Lie in Ruins is discussed in more detail in our article “Ascension of Sepulchral Echoes: A Finnish Death Metal Revival”.

We are proud to present a sequence of tracks collected by Fenno-American Death Metal connoisseur Benjamin Tianen in tribute to Finland and its strain of artists and conjurers. This compilation of obscure quality Finnish Death Metal is recommended for listening in the twilit hours of day, preferably in rather uninhabited locations as most of Finland is. If there is one teaching one must bring home from Finnish artists and Finnish school of mental exploration, it is that one must not love happiness as much as one loves truth.

Corpophilia and Necrobiosis

Visitors remembers the Western shores of Finland mostly from their warm summer days, windstorms and chilly nights of Autumn. The dunes of the shore of Yyteriare unique in the whole Scandinavian region while most of the towns carry relics of past industries but have failed to establish themselves in modern or digital age, remaining secluded communities with little vital attractions to the youngsters. Thus it is not surprising that towns such as the historic Uusikaupunki, a weird silent nature-surrounded industrial port that has always baffled my spirit, gave birth to multiple demo level death metal insanities in the early 90′s.

Coprophilia described the twisted and tangled nature of woods, human remains and animal entrails on the four songs of their one and only demo, playing distinctive and intricate heavy metal influenced straightforward melodies to lend catchiness to songs that in their spontaneous clarity bring into focus the main influences for old Finnish death metal: heavy metal, Bay Area speed metal, horror music and UK bands in the vein of Napalm Death.

More sarcastic, irritant and grinding, Necrobiosis pummeled a simplistic punk-o-rama riffspace almost like Blasphemy or Archgoat would have done it except using the concluding expectancy common to dual vocal grindcore so that the grunts and screams echo exactly the phrases played by the rhythm guitar. Lead guitars often recall metal guitarists’ introductory practice pieces in the vein of Iron Maiden and Rainbow, as was the case with not only Coprophilia, but also AmorphisSentenced and many other greats. Curiously for a word I had never heard before, Necrobiosis was also picked as the band name around the same time by guys a couple of hundred kilometers away in Riihimäki. You might know this band better by a name they thought of later: Skepticism.

Necropsy

In an era when Finnish death metal was a freaky force of nature, punishing everything in its path, Necropsy from Lahti, Finland, was doomed to obscurity as many of their peers, the likes of Mordicus, Convulse, Funebre and Abhorrence. In five years (1989-1993) they created 7 demo tapes and appeared on one 7″EP and a split LP with Demigod on the infamous Seraphic Decay label. Thrashing and grinding, organic and brutalous death metal of this kind would freshen up the scene of today immensely and thus we welcome the rumours that Necropsy is staging a comeback in true old school spirit to show the weakened versions of Carcasses and Pestilences who still holds the true spirit of unholy death.

http://www.youtube.com/watch?v=RfxdKxkg-Ao&feature=player_embedded

Rippikoulu

What force in the inner core of man gives birth to death metal impulse? Is it fear, hatred, obstinence, passion, paranoia, vision or celebration of power? “Rippikoulu” is Finnish for “confirmation school”, which is an institution partaken by Finnish teenagers in order to be educated in the rituals and tenets of the Lutheran church. Celebrated usually in a camp away from the city and the participants’ homes, it ironically has a habit of devolving into a minor orgy of sin while the sole motivation of attendance for most is the hope of the meager sums of money elderly relatives usually bestow upon one, after the confirmation. When small town death metal cults produced their blasphemic demo output, it’s not far-fetched to say that it was this kind of absurd experiences with organized religion that led them to deny and spontaneously analyze the hypocritical, indoctrinating social customs that lead a child or a man to accept Christ for the sake of community and convenience, while at the same time materialistically mocking the values of the spiritual tradition.

Valkeakoski was another boring town even by Finnish standards which used to smell like feces because of the paper industry, an example of climate perfect for original death metal. At surface, the most notable characteristic of Rippikoulu was their use of Finnish language for invocation, which has often been abused but at the right hands and in the right mouth withholds the tremendous syllabic power feared by Nordic warriors since the Bronze Age, as recounted in Kalevalan mythos. The stupendous music of Rippikoulu’s two demos, “Mutaation Aiheuttama Sisäinen Mätäneminen” (“internal rotting by mutation”) and “Musta Seremonia” (“black ceremony”), bridge the grindcore influenced ecstatic physicality of Xysma with earthen, suffocated sludge in contorted, space-and-time stretching rhythmic dynamicism reminiscent of Winter‘s and diSEMBOWELMENT‘s most psychedelic lapses. It gives the impression of a blind, tormented prophet shouting fragmented glimpses of pure vision to the darkened, apocalyptic world with barely any ears left to listen to human voice amidst the collapse of industrial infrastructure. In the slow, emotional leads one could hear Paradise Lost, but in its warlike sparseness and logic, even nihilism, it’s something closer to the most doomed moments of Bolt Thrower’s “War Master” while the almost ridiculously disembodied parody of gloomy gothic organ in “Musta Seremonia” brings to mind Unholy‘s drugged haze; Faustian sorrow and blasphemous sense of humor united in one single strangely reverent and innocent package which is without question another forgotten jewel of the olden Finnish death metal scene.

1 Comment

Tags: , , , , , , ,

July 16th, 2011 – A Day of Death, Buffalo NY

When the stars are right, when the planets of alien coordinates align in perfect syzygy, when the arcane progress of dark matter warps the cosmos into gravitations of sinister consequence, the Dead Gods may once again rise from their eonian slumber… but only if the proper rites are set in motion by those giftedly prescient of mortals. Chainsaw Abortion-ist Brian Pattison was one such a prophet who had succeeded before in the act: 1990′s Day of Death, an atrocity survived by none but a fanatical few, and the tale obscurely recounted within the scripture known as Glorious Times. Now 21 earth-years after that most notorious of receptions in the death metal saga, a wiser but no less maniacal Pattison determined the time was ripe for another extra-dimensional conjuration, with no less a death-god than Kam Lee in mind as his ultimate summoned entity. Naturally, the Buffalo territory of New York would again provide the setting, with the chosen temple for this installment being the rather profoundly-named Club Infinity.

An unprecedentedly cavernous venue, Club Infinity can house up to 500 or so bacchants before it becomes a legal deathtrap — yet attendance for the day must have been less than half of that numeral. Apparently, the local Buffalonians who would normally haunt the premises for their fix of alcohol and loud noises had absconded to a different corner of the land, lured up and away by the promise of an outdoor barbeque/live music festival of some sort. As it were, only the blackest-hearted diehards heeded the call to this cursed slice of suburbia, where memories from beyond time would once again climax in a lurid celebration of the horrific, the macabre, the rapacious and warfaring facets of existence from which fleeting mortality truly derives its meaning. Our lives — and indeed our deaths — would bear the distinct and indelible imprint of this Day as a scar that never heals, and whose free-flowing ichor blazes a sanguinary trail across ages…

Lethal Aggression: New Jersey’s crossover-thrash godfathers themselves had been the honorary headliners for the pre-Day of Death celebration, which of course had been successfully realized the previous Friday night; but for Saturday’s Day of Death proper, Lethal Aggression actually re-emerged from their dens — bleary-eyed and wracked with raging katzenjammer — at an ungodly brunch hour to be the very-fucking-first band in the proceedings, which was a display of tenacity mostly lost on the scant gathering of earlybirds. What followed was a forthright little blitzkrieg of their trademarked “drugcore” anti-anthems, which was made all the more special for the occasion with the return of classic-era guitarist Dave Gutierrez (though he may have been initially unrecognizable due to his new blue-dyed and bespiked hair), who additionally was commendable for drawing the wicked Lovecraft-inspired design for the Day of Death T-shirts. Towards the end of their timeslot, though, it became clear that vocalist John Saltz had most anticipated getting to the last song on the list — “No Scene” — as he had accidently launched into that whole vocal line during the beginning of penultimate song “Spooge”, causing the band to screech to a stop and start all over. In retrospect, the mixup should not have been too surprising, as the apathy-decrying, poseur-scourging lyric matter (the key verse being, “All you do is come to shows, sit around and stare”) was uncomfortably relevant enough to boil our blood. And this was an absolutely necessary kick-in-the-ass to start everything off on the right track.

Hubris: Being the first of four local bands to open up a 13-band procession is a task about as unpleasant as serving in the infantry during a foray into an uphill battle, and yet the cadre known as Hubris still mobilized for their set like the hungriest of mercenaries — corpse paint, wicked demeanors and all. Though they are a relatively new constellation in our Northern skies (to wit, all of their embryonic recordings thus far feature a drum machine because they could not, until recently, secure a faithful skinsman) Hubris’ style of black metal extrapolates directly from the most abrasive entries in the classical Scandinavian school, falling into a nebulous scape between Marduk’s Opus Nocturne and Immortal during their soulraping halcyon years with Demonaz. But at 4 p.m. in a sun-baked, poorly ventilated enclosure, the band’s blizzarding invocations of carnage-strewn battlefields and holocausted settlements were all but guaranteed to a tepid reception. Frontman Hellskald vehemently refused to let the standers-by off easily, however, and at numerous intervals demanded choruses of quasi-fascistic fistpumping from every slouched, beer-nursing figure in the near and far vicinity. It would be difficult to not be impressed by the young band’s charisma, and Hellskald’s exiting exhortation to “Rape angels! Drink their blood! Castrate God!” would basically set the tone for the remainder of the rituals to follow.

Seplophile: Attribute it to that everflowing stream of youthful vigor if you will, if that would most efficiently explain how Seplophile had the mettle to burn through one of their own setfuls of brutal death, just a few hours before they would entirely re-animate the godlike monolith of morbidity ‘From Beyond’ with living legend Kam Lee. Despite Seplophile’s ostensible “newcomer” status, they are a band that follows “The Old School Spirit” as their unshifting lodestar, and their drive is incited by memories of the vital role that the Buffalo scene had once taken in the death metal genesis (that is, before everyone and their grandparents emigrated to Florida). Their discography to date apparently features none but a single demo ‘…And Death Shall Have His Dominion’, so the boys did not exactly have a hell of a lot of material to choose over, but their formulas exhibit a certain potency of form and execution that echoes the advanced blastations formerly mastered by the early incarnations of Cannibal Corpse and Cryptopsy. If anything, the set was a reassurance that this fledgling local band had talent in abundance for the daunting role of Kam Lee’s backing band, and that would only further whet our bloodlusts for the Massacre to come.

Resist Control: Reportedly one of the all-time favorite newer Buffalonian bands of Brian Pattison himself, Resist Control followed swiftly on Seplophile’s heels with high-octane, classic hardcore-thrash madness that veers more towards the vehicle of purposeful, distinct narrative rather than uncontrolled paroxysms of angered words and misplaced epithets. This is the type of band that would incite violent, all-consuming pits amongst any gathering of punks and skins on a normal night, but of course since Resist Control were haplessly saddled on the first quarter of a 12-hour-long engagement, they were mostly just gawked at by those who weren’t caught up at the bar or the merchandise tables with all the luminous death metal celebrities. Still, the band gave voice to outrage as sonorously as a good “canary in a coalmine” ought, and it would be well-off if they could soon branch forth from their hometown Buffalo circuit and reach more disenchanted ears out in the rest of the Amerikan wasteland.

Sam Biles: Caught in similar circumstances with antihero-of-the-day Kam Lee, Sam Biles is an illustrious frontman who for some reason or other stands separated from his classic backing band — Hideous Mangleus, in this case — and so performed his best-loved songs at Day of Death eponymously, with the aid of youthful and capable hired hands. Somehow, Biles had managed to secure and implausibly import a star-crossed trio of Texan luminaries to stand in as his henchmen: on guitar, Francisco of HRA; on bass, Dave of PLF; and on the drumthrone, Matt of Blaspherian. This ad-hoc convocation had actually never before rehearsed with Biles, and yet their set for the evening came together with such natural beauty that a blind man would no less envision the old gang of Feev and the Brothers Bonde back at their respective spots (except — dare we say it — with tighter musicianship?). Preposterously outfitted with all of cast-iron armbands, leather pants and a fucking Ratt T-shirt, Biles prowled the peripheries of the stage like a caged beast whilst animating every disturbingly hilarious lyric with guttural prowess — and of course, the Tejas Squadron behind him did not once skip a stroke, faithfully re-enacting the catchiest death-throes behind material like “Question Your Motives” and “Burning Children” (“Remember kids, don’t play with matches! Aaaaaargh!“). If the audience gathered for the night had any doubts about Biles’ solo appearance, their apprehensions were completely quashed before the first song even ended; and by way of analogy, it could be correctly assumed that Kam Lee wouldn’t need Rick Rozz, Terry Butler or Bill Andrews to pull off the old Massacre songs with masterful [dis]grace.

Avulsion: The final of the local marauders to be showcased for the Day, Avulsion are elder guardians (est. ’92) of the Buffalo death metal tradition, though their essence is thoroughly imbued with eclectic dosages of hardcore and grind. Shrewdly tongue-in-cheek yet convicted in their anti-humanist manifestos, this band effectively mimics the torments of alienation through truncated songs patched together from ambiguously buzzing tremolo riffs. But perhaps their most distinctive asset is the uncanny throat-power of their frontman, who is able to switch so rapidly between a strident punk shout and a rattling growl that it was easy to be fooled into believing there was more than one lead vocalist at work. After completing a formidable listing of original compositions in record time, Avulsion thought well enough to conclude their set with a cover of Carcass’ “Empathological Necroticism”, which certainly tweaked the ears of all those yakkers in the vicinity who were only half-listening otherwise.

Goatcraft: The horned and cloven-hooved brainchild of keyboardist Jason “Lonegoat” Kiss, Goatcraft is purest piano metal unbounded from the conventional backdrop of screaming strings and timekeeping clangor, essentially comprising foreshortened sonatas that weave narratives and paint airs with bleak minimalism — obviously, this performance would be the one looked upon as the “oddball” on the bill by a large portion of the audience, if only for their bewilderment over aesthetics! Matters were not made much more agreeable due to the fact that The Lonegoat did not have access to his personal keyboard for the night, and thus had to make do with a rented piece of junk that would hiss and sputter at loathsomely frequent intervals. Though the technical difficulties as well as the piss-drunken interjections of certain audiencemembers shot through any semblance of good ambiance for this listening session, the one-man-band remained steadfastly transfixed at his post, only uttering a few words of exposition when necessary, or still more rarely betraying a glare from beneath a heavily corpsepainted and bloodsoaked brow. It may be a sad inevitability that those few ambitious souls who elect to play solo, ambient Metal in a concert setting will never have the right kind of audience, as people who walk the hessian path between Classical and Metal appreciations are still unmercifully uncommon, especially in regards to the U.S front. But for any matter, Goatcraft is still a promising work in progress; expect to hear more from this satyrid maestro in further compositions both personal and collaborative.

Druid Lord: The newest creative vehicle of former Acheron axemen Tony Blakk and Pete Slate, as well as their skin-hammering Equinox comrade Stephen Spillers, Druid Lord is a death/doom affair that draws its most prominent tributaries from the sludge-tainted fountainheads of Winter’s Into Darkness and Autopsy’s Mental Funeral, with perhaps the faintest hints of vintage Cathedral coursing noxiously through the solution. But whatever feeble combinations of band names one chooses for describing Druid Lord, it remains that this band gathers its purpose in delineating true imageries and sensations of Horror: the same inspiration for all music branching from the germinal genius of Black Sabbath. For their Day of Death appearance, Druid Lord had driven up north nonstop from their vantage point in the opposite pole of the country (Orlando, Florida), which might have added an honest dimension of bodily-excruciation to their already torturous live show. Though their 2010 LP Hymns for the Wicked lists Druid Lord as being a three-piece, they have since added Ben Ross as a rhythm guitarist, allowing The Great Slate to solo to his evil heart’s content whilst dense riffing frequencies are maintained. Bassist/vocalist Tony Blakk, already bedecked with plenty of frontman’s credentials for his years in Equinox, was practically thespian here in his snarled descantations of grisly fates. But for the song “All Hallows Evil”, he stepped aside to allow Kam Lee to take over on vocals — a very honorary guest appearance that would only be shared for the night by Derketa. Speaking of which…

Derketa: As of late, reunions in classic death metal have occurred on such a frequent scale that even the over-sanguine among us are becoming rather desensitized; an entity like Derketa, however, is so improbable a phoenix to rise from the ash that only the ignorant could fail to take notice. Formulated in the foundational ’80s era by Sharon Bascovsky and Terri Heggen, Derketa holds historical leverage alone for being the first female death metal band; of course, they earned their musical leverage by their demo recordings and the ‘Premature Burial’ EP, which featured decelerated-tempo, incredibly growly songs that sounded somewhere deep within the realms of Hellhammer and Nihilist. But the immediate intrigue that the band’s output garnered seemed to cause the very pressure that broke them apart, although Bascovsky put forth several honest attempts to keep Derketa’s name alive over the years, finally succeeding in a full reunion by 2006. Only five years later did the revitalized cult feel strong enough to begin live outings: the first three in their native Pittsburgh, and the forth to be Buffalo’s Day of Death 2011 — significantly, the girls (minus current bassist Robin Mazen, who was busy with Demonomacy back in Florida) had been in the audience for the fest’s 1990 edition. When it was finally time for Derketa to commence with their first out-of-state appearance and the opening sequence for “Premature Burial” was sounded, practically the whole fan-populace in the venue came flying to crush in front of the stage. Guitars sounded appropriately huge and menacing (although in the beginning only Sharon and Robin could be heard, as Mary Bielich’s distortion pedal had shorted out), and it’s apparent that over the years Sharon has trained her vocals to be even more fearsome. It was especially uplifting, though, to see Terri reprise her role as the original female death metal drummer — still the rarissimus avis of the genre — and as she was able to borrow Rottrevore’s massive drum kit, her blows were as sonorous as they could be. A brand new song called “Rest in Peace” (dedicated to Seth Putnam and others in a growing list of “dead metal guys”) was showcased: it could be the most doom-influenced track they’ve composed yet, which probably hints a lot at the overall aesthetic to expect on the imminent debut LP, In Death We Meet. And, as mentioned before, Kam Lee made one more guest appearance for the song ‘Last Rites’, growling along with his brightest female disciple for what must have been a very high point in the band’s lifespan.

Rottrevore: After Derketa and Sam Biles-technically-Hideous Mangleus, Rottrevore were the last in a series of revitalized Pennsylvanian cults to preside over Day of Death with their characteristically Northeastern, bowel-wrenching odes to the evil in man. Known best amongst the underground for their solitary full-length opus Iniquitous — an onerous, eldritch epitaph crafted after the most primeval echoes of the Stockholm and New York schools — the band almost inexplicably vanished from the scene shortly after the release, issuing no signs whatsoever from under their official banner save for the ‘Disembodied’ compilation pressed by Necroharmonic some time ago. This being so, their sudden resurgence back into action this year — signing with Spain’s Xtreem Music, dusting off unreleased songs, logging studio time with Erik Rutan for a new EP — is more than remarkable, and Day of Death would be honored with the first Rottrevore performance in nearly two decades. Frontman Chris Weber did not at all contrive much fanfare and flamboyance about the distinction, however, and preferred to be businesslike in his dispensation of aural punishment. Their set of course included all the choicest bits from Iniquitous (this humble narrator was partial to ‘Unanimous Approval’ and ‘Incompetent Secondary’, but everything honestly sounded true-to-form), and there was also a peppering of the new material which sounded to be very close in spirit to the classics, which is a very good thing indeed. This reunion show turned out to be a success in any respect, and the fact that it was all only a preview of what is to come can only confer the best of prospects.

Deceased: Who could have imagined that our most beloved Virginian bizarro-deathmeisters Deceased would be the only holdovers from the first incarnation of Day of Death? Granted, in the 21 years that have elapsed since then, the band has metamorphosed into an almost entirely different beast: the latest album Surreal Overdose features a tightly-crafted continuation of the ripping speed metal that has become their standard since the mid-’90s; and of course, King Fowley now vocalizes at the helm rather than behind the drumkit, backed by a quartet of mostly drafted-for-the-live-show mercenaries (including, for the very first time, guitarist Danzo of New York City-area hilaritythrashers Vermefüg). With a varied listing of the old savage classics mingled with everything up to the newborn creations, Deceased had a canonical time-travelling drama to offer their audience, although their stage time had to be disconcertedly hurried along due to some fascist schedule-policing on the venue’s part. This constraint was especially bogus for a born raconteur like King, who barely had an adequate moment to address his audience between songs, yet he still strived for those full Deceased theatrics we’ve all come to expect, complete with fucked-up monster masks and all such related tomfoolery. Perhaps, in recognition of the spirit of Day of Death, Deceased should have traded out some of their later-period songs for more selections off the early milestone ‘Luck of the Corpse’ and so on, since the audience was uniformly comprised of old-school hessians hellbent on tradition. But whatever the case, it was gratifying to have one of the original fest participants return for the second incarnation — and how many bands other than Deceased truly demonstrate the longevity of the underground death metal practice?

Insanity: It would not at all be a droll exaggeration to nominate San Francisco’s Insanity as the least fortunate band in all of death metal, following from their absurdly tragical biography as the one-time most promising vanguards of the newly developing extreme style, poised at the very cusp of self-realization yet cruelly denied their seat in the pantheon due to terminal illnesses, crippling accidents, and the ever shifting sands of label-backed patronage. Fate is a bitch, as superhumanly tenacious frontman Dave Gorsuch knows only so well at this point, and Her cantankerous whims sure enough wrought hell on Insanity’s maiden voyage across the Northeast. The very first tour date in Toronto had to be cancelled due to issues with bordercrossing policies, and during that same time bassist Falko Bolte was sniffed out for drug possession and was summarily locked away in a local jail, for as long as it would take for his sentence to be issued. Shaved down to a trio with no low-end support, Insanity nonetheless soldiered onward to Club Infinity intent on following through on the warpath they had carved. Guitarist Ivan Munguia took over Falko’s vocal duties on the spot, and both guitarists turned up the bass on their amplifiers with the hopes of plastering up the frequency gap in their wall of sound. It was evident then that failure was decisively averted once the opening strains of ‘Attack of the Archangels’ sounded out across the hall, electrifying the East Coastal audience who had before only dreamed of bearing witness to California’s most mythical entity. Since Insanity’s complex, many-riffed compositions emphasize guitar theatrics over everything else, the lack of Falko did not distract too much from the live reenactments, and the normally-silent Ivan’s backup growls turned out to be commendably feral, especially for the newer material which draws more than usual from call-and-response vocal forms. But the high point had to be marked by the song “Fire Death Fate”, which might be declared the most well-known of all Insanity songs if mostly for the fact that Napalm Death did a cover of it on their ‘Leaders Not Followers’ tribute album: a rather late piece of evidence concerning the remarkably deep-rooted influence that Insanity exerted on British extreme metal. In all, Insanity’s appearance was laudable in spite of the hindrances that seem to perennially plague them, and your humble narrator would go on to follow the band for two more dates of the tour, which were similarly sublime beyond all belief and yet met with shockingly low turnout. But that, friends, is a story for another odd time and place…

Nokturnel: After Goatcraft and Sam Biles’ One-Off Backing Band, Nokturnel were the last of the fiends who flew up from Texas to play a set — although, most old-schoolers remember the band from when they were still based in their native New Jersey, rattling out an intriguingly odd permutation of Voivodian death-thrash on the oft-overlooked opus Nothing But Hatred (another lamentable victim of the doomstruck vessel that was JL America Records). But sadly, nothing at all from the back catalogue was to be on the menu for the night: Nokturnel were quite literally debuting a new drummer and it was simply not in their longterm interest to teach him anything other than their contemporary songs, which are structured and conceptualized out of a much different mindset than the ’90s fare. It was a let-down for the diehards — come to think of it, *everyone* who was gathered for Day of Death was essentially a diehard in some way (especially that magnificent bastard who adamantly demanded to hear “Nuke Seattle”: may you have Satan’s blessings) — but sets will be sets, and it was still fun to watch Tom Stevens shred like a maniac (until his guitar strap came flying off its peg in the middle of everything). We were, however, treated to some completely new material: “Demonic Supremacy” and “Ancestral Calling”, the latter of which was astonishingly pulled off despite the drummer’s inexperience of ever rehearsing it. But at the end of it all, when Tom and the gang were packing it up, the restless energy in the room very palpably spiked to the critical mass: with Nokturnel down, the strike of the fatal hour was fast approaching with the grand finale…

Kam Lee/Seplophile: Primogenitor, mastermind, chieftain, elder god — in death metal, these honorary titles can only officially be coronated onto one Kam Lee. As vocalist for the overwhelmingly foundational bands Death and Massacre, it was Kam who devised the guttural vocal approach closest associated with the genre; and — as is only natural for a Samhain-born son — it was also Kam’s profound knowledge of literary and cinematic Horror, as well as the darker facets of world history that gave concept and soul to an artistic movement. Though his deathgrowls became the stuff of legend early on in the ’80s tapetrading network, his best known contribution is arguably the full-length Massacre album From Beyond, and the fact that this meisterwerk would be fully re-concerted for Day of Death [or should it have been called “Asscrack-of-Morning of Death” at this point?] imparted a dizzying sense of disbelief on the intimate, rabid crowd clinging in front of the stage. But indeed, it wasn’t a collective delusion: the familiar hearkening of “Dawn of Eternity” resonated true through us all, and surely enough Kam Lee stepped forth from the shadows, with Seplophile’s instrumentalists trailing close behind. Previously, Kam had worn a Bone Gnawer shirt for lounging around with his fans and peers off-stage, but for this set he switched to one bearing a “Herbert West: Reanimator” logo — of course, very appropriately referring to the film based on the Lovecraft novella of the same name, with its central theme of profligate science hideously inverting the laws behind life and death. What followed was a set that went by a true-to-album, track-by-track order of those nine anthems we all know better and love better than family; Kam’s live execution captured the full, terrifying intensity of the recordings of his youth, and his ribald yet quickwitted banter in between is always prime entertainment. All the while, the axemen of Seplophile darted to and fro across the stage like winged nightgaunts, and considering how the band had only three rehearsals with Kam to prepare for the night, their performance was almost too good to be true. When “Corpse Grinder” finally ground everything to a halt, Kam and the boys made a hasty exit… but everyone knew the slaughter couldn’t possibly be over yet! And in no time, of course, the spotlights flickered back on and Kam had indeed returned with a few bonuses in store. There was “Provoked Accurser” from the fabled single of the same name, a cover of Impetigo‘s “Boneyard”, a ridiculously fun cover of “Skulls” by the Misfits (which Kam introduced with a paean to punk’s crucial relation to death metal’s genealogy), and finally the ‘Inhuman Condition’ EP’s cover of Venom’s “Warhead” (similarly introduced with reverent words for the Newcastle trio, and how they were responsible for Kam’s fateful crossover from punkship to metaldom). Kam also took advantage of his stagetime to relate some news concerning future exploits: apparently, he has rekindled his alliance with veteran Massacre/Obituary guitarist Allen West, and the duo are in the midst of a scheme Kam has decided to name “Corpse Rot” — a portmanteau of the Massacre song “Corpse Grinder” and the Obituary song “Slowly We Rot”… naturally! And with that, the stars again shifted into benign coordinates and the glorious spell was broken, yet the harrowing tale would be scribed immortally within the Necronomicon of death metal’s saga. For this Day would surely be the last Day that Kam Lee would perform those classic Massacre songs live in concert, and those who missed it, have missed it for all eternity.  

-Thanatotron-

No Comments

Tags: , , , , , ,

Chronological death metal

From “Cambyses” over at Ultimate-Metal, here’s a list of death metal releases by year during the glory days of 1988-1995:

’87:

Sarcófago – INRI
Massacra – Legion Of Torture
Nocturnus – Nocturnus
Death – Scream Bloody Gore
Napalm Death – Scum

’88:
Rigor Mortis (US) – Rigor Mortis
Pestilence – Malleus Maleficarum
Incubus (US) – Serpent Temptation
Death – Leprosy
Nihilist – Premature Autopsy

’89:

Morbid Angel – Altars Of Madness
Dead Horse – Horsecore: An Unrelated Story That’s Time Consuming
Obituary – Slowly We Rot
Rigor Mortis (US) – Freaks
Repulsion – Horrifed
Autopsy – Severed Survival
Carcass – Symphonies Of Sickness
Pestilence – Consuming Impulse
Dr. Shrinker – Wedding The Grotesque
Nihilist – Only Shreds Remain
Terrorizer – World Downfall
Morgoth – Resurrection Absurd

’90:

Incubus (US) – Beyond The Unknown
Carnage – Dark Recollections
Disharmonic Orchestra – Expositionsprophylaxe
Massacra – Final Holocaust
Cadaver – Hallucinating Anxiety
Tiamat – Sumerian Cry
Baphomet – Inheritors Of The Dead
Entombed – Left Hand Path
Deicide – Deicide
Master – Master
Atheist – Piece Of Time
Merciless – The Awakening
Death – Spiritual Healing
Benediction – Subconscious Terror
Nocturnus – The Key
Cancer – To The Gory End
Impetigo – Ultimo Mondo Cannibale

’91:

Blasphereion – Rest In Peace
Megaslaughter – Calls From The Beyond
Atheist – Unquestionable Presence
Death – Human
Demigod – Unholy Domain
Master – On The Seventh Day God Created… Master
Revenant – Prophecies Of A Dying World
Unleashed – Where No Life Dwells
Gorguts – Considered Dead
Entombed – Clandestine
Death Strike – ****in’ Death
Edge Of Sanity – Nothing But Death Remains
Carcass – Necroticism – Descanting The Insalubrious
Therion – Of Darkness…
Suffocation – Effigy Of The Forgotten
Benediction – The Grand Leveller
Pungent Stench – Been Caught Buttering
Morbid Angel – Blessed Are The Sick
Broken Hope – Swamped In Gore
Corpus Rottus – Rituals Of Silence
Dismember – Like An Ever Flowing Stream
Autopsy – Mental Funeral
Asphyx – The Rack
Immolation – Dawn Of Possession
Authorize – The Source Of Dominion
Massacre – From Beyond
Massacra – Enjoy The Violence
Ripping Corpse – Dreaming With The Dead
Grave – Into The Grave
Demilich – The Four Instructive Tales …Of Decomposition
Suffocation – Human Waste
Lemming Project – Extinction
Cancer – Death Shall Rise
Immortalis – Indicium De Mortuis
Gorefest – Mindloss
Cartilage – In Godly Flesh
Pestilence – Testimony Of The Ancients

’92:

Incubator – McGillroy The Housefly
Morpheus Descends – Ritual Of Infinity
Mordicus – Three Way Dissection
Incantation – Onward To Golgotha
Seance – Fornever Laid To Rest
Baphomet – The Dead Shall Inherit
Cianide – The Dying Truth
Mortuary – Blackened Images
Atrocity – Todessehnsucht
Demilich – The Echo
Torchure – Beyond The Veil
Rippikoulu – Mutaation Aiheuttama Sisäinen Mätäneminen
Altar/Cartilage – Split
Disharmonic Orchestra – Not To Be Undimensional Conscious
Edge Of Sanity – Unorthodox
Epitaph – Seeming Salvation
Therion – Beyond Sanctorum
Asphyx – Crush The Cenotaph
Adramelech – Grip Of Darkness
Cenotaph (Mex) – The Gloomy Reflections Of Our Hidden Sorrows
Lemming Project – Hate And Despise
Torturer – Oppressed By The Force
Cadaver – …In Pains
Solstice – Solstice
Eisenvater – I
Unleashed – Shadows In The Deep
Grave – You’ll Never See
Necrosanct – Incarnate
Transgressor – Ether For Scapegoat
Monstrosity – Imperial Doom
Impetigo – Horror Of The Zombies
Necrophiliac – Chaopula – Citadel Of Mirrors
Sinister – Cross The Styx
Amorphis – The Karelian Isthmus
Demigod – Slumber Of Sullen Eyes
Vital Remains – Let Us Pray
Deicide – Legion
Disastrous Murmur – Rhapsodies In Red
Miasma – Changes
Depravity – Remasquerade
Malevolent Creation – Retribution
Fleshcrawl – Descend Into The Absurd
Pathologist – Putrefactive And Cadaverous Odes About Necroticism
Brutal Truth – Extreme Conditions Demand Extreme Responses
Merciless – The Treasures Within
Phlebotomized – In Search Of Tranquility
Totten Korps – Our Almighty Lords
Asphyx – Last One On Earth
Infester – Darkness Unveiled
Liers In Wait – Spiritually Uncontrolled Art
Adramelech – Spring Of Recovery

’93:

Brutality – Screams Of Anguish
Mordicus – Dances From Left
Utumno – Across The Horizon
Rottrevore – Iniquitous
Wombbath – Internal Caustic Torments
Disincarnate – Dreams Of The Carrion Kind
Demilich – Nespithe
Depravity – Silence Of The Centuries
Necrophobic – The Nocturnal Silence
Torchure – The Essence
God Macabre – The Winterlong
Depravity – Phantasmagoria
Benediction – Transcend The Rubicon
Broken Hope – The Bowels Of Repugnance
Ceremony – Tyranny From Above
Seance – Saltrubbed Eyes
Supuration – The Cube
Pestilence – Spheres
Misery – A Necessary Evil
Gorguts – The Erosion Of Sanity
Kataklysm – The Mystical Gate Of Reincarnation
Phlebotomized – Preach Eternal Gospels
Cancer – The Sins Of Mankind
Carbonized – Disharmonization
Grave – ..And Here I Die… Satisfied
Amorphis – Privilege Of Evil
Cynic – Focus – Remastered
Electrocution – Inside The Unreal
Unleashed – Across The Open Sea
Death – Individual Thought Patterns
Rippikoulu – Musta Seremonia
Sadist – Above The Light
Resurrection – Embalmed Existence
Suffocation – Breeding The Spawn
Morbid Angel – Covenant
Atheist – Elements

’94:

Morpheus Descends – Chronicals Of The Shadowed Ones
Brutality – When The Sky Turns Black
Cianide – A Descent Into Hell
Phlebotomized – Immense, Intense, Suspense
Banished – Deliver Me Unto Pain
Fleshcrawl – Impurity
Gutted (US) – Bleed For Us To Live
Incantation – Mortal Throne Of Nazarene
Pavor – A Pale Debilitating Autumn
Brutal Truth – Need To Control
The Chasm – Procreation of the Inner Temple
Oppressor – Solstice Of Oppression
Uncanny – Splenium For Nyktophobia
Cenotaph (Mex) – Riding Our Black Oceans
Abramelin – Transgression From Acheron
Hetsheads – We Hail The Possessed
Infester – To The Depths… In Degradation

’95:

The Chasm – From The Lost Years…
Sepsism – Severe Carnal Butchery
Suffocation – Pierced From Within
Agony – Apocalyptic Dawning
Solstice – Pray
Vital Remains – Into Cold Darkness
Adramelech – The Fall
Incantation – Upon The Throne Of Apocalypse

I wouldn’t say all of these are worth getting, but most of them are, and it’s fun to track the development of the genre.

No Comments

Iconoclasm Sweeps Norvegia: Impressions of Norwegian Death Metal

1. Introduction
2. Pure Fucking Metal: The 80′s Underground
3. Vomit: Still Rotting CD
4. Mayhem: Deathcrush MLP
5. Cadaver: Hallucinating Anxiety LP
6. Darkthrone: Soulside Journey LP
7. Mortem: Slow Death EP
8. Old Funeral: The Older Ones CD
9. Thou Shalt Suffer: Into The Woods Of Belial CD
10. Arcturus: My Angel EP
11. Thyabhorrent: Death Rides At Dawn EP
12. Generalization: A Statement Of The End

Written by Devamitra with Fenriz (Darkthrone), Anders (Cadaver) and Manheim (Mayhem)

Introduction

 

I have had this Vision
of a voyage in mind and soul
Through silent Somniferous scenes
within the enclosed chambers of my
untouched spiritual experiences
Soaring through damp air
Seeing faces, twisting, plunging through my colour

– Darkthrone, Soulside Journey

 

From the downbeat plays by Henrik Ibsen to the introverted nightmare paintings of Edvard Munch, the Expressionist era of Norwegian art had a hundred years ago remembered the voices of the dead and listened to the weeping of the living.

Art connoisseurs took note of the summoned ancestors and the frozen shades of the Norse era, that had been united into jagged juxtapositions of a modern life and an industrializing society – a world of pain. As Norway rose in material wealth throughout the 20th century and discovered the dubious ideals of social democracy, the nation was forced to hide their deep embedded pride, honour and dignity into the bottomless domains of subconscious and hidden symbolism. Ghosts of the Nazi occupation haunted and shame caused people to understand moral problems. If grandmothers and grandfathers still had remembered the rites of witchcraft, the oaths spoken to the wallowing mist of the fjords, they were now abandoned to a worldview committed to science, humanism and well-being.

Pure Fucking Metal: The 80’s Underground

Young minds were seething with fury, anxiety and barely contained stellar potency of creation. Norway around them was filled with McDonalds, idiotic TV programs and insipid pop by A-Ha. The generation between 16 and 19 years of age had integrated into their worldview the stylistic tenets of punk, thrash and heavy metal, whose nexuses in the beginning were the heavy capitalist societies of the USA and the UK. The resulting chemistry was to inspire the manifestation of the most evil and brutal sounds possible, in retaliation towards the satiated ideal of “peace” that reeked of old, dying people and blasphemed the Viking ideal of death through battle.

Sweden, always ahead in trends of Western Europe and America, had led the path towards the Scandinavian idea of death metal with the original black metal sorcery of Bathory and followed with a string of demo-level bands (Corpse, Hellfire, Obscurity, Morbid and Sorcery to name some) years before death metal mania exploded. Finland lagged behind with Norway until Xysma and Abhorrence opened the gates of Hell there and death metal bands formed by school pals and neighbours surged from even the quietest suburbs that barely knew about heavy metal, as in Sweden.

Fenriz: There was no scene in Norway. For instance the Swedish punk scene wasn’t only 10 times as strong as Norway in early 80′s… try thirty times bigger! Finland was just a bit better with metal, but much better with punk. So we were like a third world country, and it was Mayhem and the Slayer mag that put us on the map originally in ’84-’88 (more intensely ’85-’87). Then a bunch of us others joined the underground with our bands too.

One without the experience of death metal life without public attention can not dive into the extreme and alienated emotion of a morbid artist who is intent on creating noisy demos with batches of cruel artwork, releasing only tapes or meager 7″ EP’s on mostly rip-off labels and this has to be kept in mind when the eternal “rock star” accusations are levelled towards the same people now. The spiritual impact of what these misfits created in the 80′s was as extreme of a phenomenon, if not more, than to commit crimes known to everyone in the vicinity. They were practically admitting to being insane.

Fenriz: There weren’t any fans. Everyone had own bands and were because of this isolation of course total maniacs. We had to make our own fans here, ha ha. But punks liked us, and we played good show at Blitz, famous Oslo punk house in 1990. Norway was not important, it was only underground work with snail mail that was important to me. That was 90% of my work.

Anders: This was before the Internet and to get a hold of an album like “Reek of Putrefaction” by Carcass meant
you had something truly extreme in your hands. The whole idea of being true and anti-normal came mostly from Euronymous and his developing Black metal philosophy. He had a strong impact on all of us and it was hard to get away from his force so to speak.

Manheim: It felt good, I can tell you that much. People didn’t understand it much. A lot of musicians and friends around us told us that we wasted our talent, and it wasn’t music that the average listener liked. But we didn’t make the music for the masses, we did it for our selves and for the few around the world that liked extreme music. We tried to make something new, and I do think we succeeded on that one.

In musical respect, the kickstart of the scene was from the capital Oslo, a violent clash between the anti-social, minimalist riff of hardcore and the agility exercise of speed metal; these sounds can particularly be heard in the demos of Vomit. Mayhem, also from Oslo, initially represented a similar style of music and Vomit members sometimes filled positions in Mayhem and vice versa, but it was soon to be conjoined with the extreme attitudes belonging to black metal, far before any other band in the world adhered to them. Small town (Kolbotn) thrash kids Gylve Fenris, Ivar and Anders created Black Death, which combined the speed metal of Destruction or Dark Angel with humorous lyrics relating to their daily life and later developed into the extreme entity that is Darkthrone.

Fenriz: 80′s metal scene was nothing in Norway, we made it ourselves, and broke away from all (lack of) standard here. Global underground was everything to us. Norway was not important, but became much better in ’89. Impostor was also a cool band, but had nothing to do with death metal.

Vomit: Still Rotting CD

The hyperactive Vomit was never to get a professional release for their material back in the day; this recent compilation hosts demos and rehearsals and the same line-up also reformed as Kvikksolvguttene in the 90′s to play some old and new songs. This CD contains several demo versions of the same tracks but it’s easy to listen all the way to such basic, catchy and hilarious manifests. Surprisingly sensitive, like a much simpler Slayer, this hyper-organic sequence of thrash aims its nuclear warheads towards society because of the realization that it is malfunctioning. It gives memories of early COC and Cryptic Slaughter, even Minor Threat in its high energy fueled rebellion – just check “Demonoid”‘s violence. The assaulting harsh vocals ranting about the legions from Hell remember Venom.

Musical cues from Kreator and Sodom in tracks such as “Rotting Flesh”, while rudimentary, suggest the evil power of proto death metal — confrontational punk metal in the spirit of Sepultura’s first album: non-produced and immature. When slowing down to groovy and grinding, the chaotic leads and chromatic chord progressions sound like a band from the old Earache catalogue. The primal energy in tracks such as “Armies of Hell” is simply infectious, inspiring to action for the sake of feeling, thrill and power, like this was a middle finger against the city, these kids were hanging out, overturning police cars and breaking windows. Overall it’s much better than today’s retro bands in a similar style.

FenrizVomit was the rawest well played band in mid-80′s, death thrash, completely awesome, as good as “Hell Awaits” or Dark Angel’s “Darkness Descends”.

AndersThe first Mayhem EP “Deathcrush” came out in 1987 and this is by far the most interesting release of the time.

Mayhem: Deathcrush MLP

Mayhem overturned the Norwegian underground with their maniacal proto-black metal, with an air reeking of chainsaw murders, snuff movies and glue sniffing. The barbaric simplicity of the songs defies even the logic of Hellhammer. We are witnessing the birth-gasps of the BM underground here as krautrock’s Conrad Schnitzler’s magniloquent, twisted avantgarde intro leads into an infernal journey through vistas of butchered early black metal. The recipe is mixing together the primal elements of speed metal and punk, then mangling them as unrecognizable traces of rock music that used to be “fun” but now torn to sarcastic pieces in the hands of bestial psychopaths. Any kind of elegance or progression was unknown to these guys. They make up for this bluntness by organizing with raw vitality and a clear purpose for doing it this way as the pieces of the image fit together. While Euronymous’ riffing is primitive-inventive and Manheim’s heavy drumming is perfect for the material, one can hear that the songs are still mostly in the level of demo versions for a band of Mayhem’s stature developing slowly towards their full potential. The impudently vicious lyrical side centered on gore and blasphemy would fare better through the mouth of the next vocalist Dead while on these recordings Messiah (not Marcolin!) stands out as the superior of Maniac of the two featured voices, as his Sodom-influenced pacing lends power to the old demo track “Pure Fucking Armageddon”.

ManheimThe band image and style was something that came quite early. But it wasn’t the reason for the formation of the band. We started the band because we shared the same ambition to make something different and extreme. I’ve tried to explain it on my blog post “Am I evil”. I recommend that you watch the documentaries “Pure Fucking Mayhem” and “Once Upon a Time in Norway”. The main musical influences were of course metal related, in combination with extreme musical genres. Lyrics were inspired by many sources, but were specifically designed to fit the musical soundscape and the aggressive image surrounding the Mayhem concept. The interest for avantgarde music was something Euro and I shared. We also formed a project we called L.E.G.O. where we explored ideas and concepts within noise and experimental music.

FenrizMayhem was unique, but not an inspiration for death metal. Euronymous only liked death metal up to “Scream Bloody Gore”. He was sceptical to Autopsy when I played him the demo in ’89. But we loved and still love Autopsy of course.

Cadaver was the next major band to heed the call to arms, from the small coastal town of Råde nearer to Sweden, playing a version of death metal not too far removed from the bass heavy, electric sound that was already becoming huge in Sweden and not surprisingly, Cadaver was to be the first Norwegian death metal band to release a full-length album on a label, racing past Darkthrone who still continued developing through a serious of demos in death, doom and black metal style incorporating a psychedelic tendency that was unique, Norwegian and unforgettable, actually sounding more like the Munch paintings come to life than loud rock rebels. By this time various other death metal bands were spawned by the soil which had absorbed the blood of the sacrifices to Odin. Like mushrooms bands such as Old Funeral from the pagan and occultist infested Bergen, Thou Shalt Suffer from the sports and music obsessed Telemark countryside and Mortem from “global” Oslo sprung up, all being practicing grounds for a legion of musicians destined to fame and glory in future projects.

Cadaver: Hallucinating Anxiety LP

The viral and persistent Cadaver took the death metal art in Norway to a new level: besides violating the listener with speed, the intricate composition aims to rip through artificial examinations of reality through morbid revelations. This controlled and logical death metal experience is not quite the absolute psychic expressionism of Darkthrone’s masterpiece but musically soars high above the previous releases and most of what was to follow. Quoting Celtic Frost and Morbid Angel for listenability, hardcore influenced beats underpin a consistently brutal and bludgeoning riffwork in Carcass’ minimalist vein, bringing to mind images of an industrial age wasteland. Vocals are harsh, grating commands in the rhythm of Brazilian bands, promising continuity of experience all the way into grim death. While hateful, arrogant and mid-paced, centered around gore and loss of hope, some of the most beautiful tendencies of Scandinavian death metal already arise on this release and are made all the better by incorporating the best of the deconstructivist tendencies from grindcore music. Twisted and narrative in arrangement, the barbarous and thundering old school death metal riffs of Cadaver proceed to explain the magic of reality in their series of devastating conclusions, proving the album a long lasting gem.

AndersWe had a variety of favorite bands that inspired us at the time. Apart from the bands mentioned we were all into Napalm Death, Kreator, Sodom, Slayer, Death, Autopsy, Paradise Lost, Mayhem, Equinox and not forget Voivod. We were a part of the scene and into all the stuff that came out on demos etc. too so it is not right to say we were influenced by just a few bands. We were into hardcore stuff like A.O.D., S.O.D., Carnivore etc. as well as black metal bands. It was a wild mix.

FenrizCadaver was absolutely great in ’88 and ’89, we played with them and saw them live many, many times! Cadaver was the first Norwegian death metal release, we came right after with the 2nd.

Darkthrone: Soulside Journey LP

An album released 20 years ahead of its time, it’s one of those timeless classics that defy description and comparison. Even today it’s impossible to find death metal that sounds quite like it. It somewhat escaped people’s attention back in the day and has existed on the verge of rediscovery with the sporadic bootleg and official releases of the Darkthrone demos but is still not very widely known among the Darkthrone fanbase. Resembling Celtic Frost taken by the hand of a witch doctor through a series of cosmogonic explanations while on an LSD trip, what starts as gnarly and crawling doomdeath becomes an experience from the beyond. The album has very little in the way of the overbearing brutality of Florida death metal or the catchy Slayer-punk riffing of the Swedes, but it is full of parts that stick to mind and make you come back to its sequences of mystical, foreboding and inconclusive themes and landscapes. Some of the resolutions of its parts are almost disgusting in their divergence from habitual speed metal, death and thrash and they wrack the mind. The evil and brooding melodies crawl over your neck like alien insectoids. Nocturno Culto’s vocals already show their depth and power and so do Fenriz’ inimitable lyrics. On this release Fenriz’ unique drumming skills are the most apparent; pure cult in the making. The eerie use of synths heard on this album would undoubtedly have spiced up some of the later Darkthrone material too. This is the birth of “death metal for the intellectual”.

FenrizThere’s only one Celtic Frost riff on “Soulside Journey”! We were inspired by Possessed, Autopsy, Death, Nihilist, Sepultura (“Schizophrenia” album only), Nocturnus (2nd demo), Devastation (Chicago) and such, Black Sabbath too… but most importantly we had a mission statement: all the riffs should be able to slow down and play on a synth as horror movie effects. So we played technical horror death metal with doom elements and also our eternal inspiration, visions of the universe: even our first demo in early ’88 had an outer space painting as cover.

AndersThe Darkthrone debut album has some great songs in it and it blew me away at the time. It sounds very Swedish and if it had the grim sound of lets say Autopsy it could have showed a different path for Norwegian death metal along with us for young bands at the time. Who knows?

Mortem: Slow Death EP

Mortem’s seldom heard EP boasted some of the most catchy riffs of Norway’s early death metal and one of drum legend Hellhammer’s earliest performances on record. Mortem joins the company of Vomit in aiming to produce the death metal experience with hardcore-like simplicity. Tracks such as “Milena” and “Slow Death” are pure headbanging mania, not much else, though the latter also has an interesting modal type of guitar solo. Considering the general sound quality, drums are surprisingly clear and powerful and show Hellhammer’s early skill in arranging rhythm. Such elements and the beautiful intro to “Nightmare” leave one wondering a bit how it would have been if this band had recorded an album. The heavily distorted vocal performance is of a dubious benefit, like an overblown imitation of Maniac’s already annoying screams on “Deathcrush”. However, they lend a chaotic, absurd and insane element to the proceedings of what is rather usual demo level death metal from a young band.

Old Funeral: The Older Ones CD

At times nearly reminiscent of “Soulside Journey” in enwrapping the listener with pure twisted melody riffs, its surprising that this compilation of material from some of the most interesting line-ups (future Immortal, Burzum and Hades members) of death metal is not too much celebrated. It’s easy to already hear traces of the epic ambient guitar that would characterize the members’ later bands – the Wagnerian “My Tyrant Grace” could easily be an early Immortal recording. Old Funeral’s recordings do often fall short of brilliance, songs having good parts but being incomplete. Old Funeral had potential to be a magnificent band but sadly never got a stable enough line-up or enough work and attention to make it happen. At worst (“Lyktemenn”) the material is unorganized and thrashy, emotionally anguished in a selfish way and using half written heavy metal influenced melodies in a despicable way, inconclusively jumping from one phrase to the next – obscure but not visionary or evolving, just a collection of moods. “Into Hades” approximates early doomdeath. “Abduction of Limbs” is inspired by technical US death metal and succeeds in building an evil ambience. “Devoured Carcass” is more obviously Scandinavian in manufacture, akin to the barbarous blasphemies of Treblinka or Beherit as microbic riffs intone trances of darkness in a nightmare of lost souls. Slower funereal passages on the compilation echo traces of ancient Cemetary and Therion. The black thrashing of “Skin and Bone” reminds of Bathory or early Voivod while throwing some sparkling, clever leads into the mix, creating a surprisingly war metal-like high energy plutonium explosion. This ripping and rocking track manages to approximate brilliance. The core simplicity of most of Old Funeral’s material will hinder the pleasure of the elitist metal listener, but much of it remains highly listenable as even the live recordings work surprisingly well.

Thou Shalt Suffer: Into The Woods Of Belial CD

Thou Shalt Suffer was the product of an already long development from band formations such as Dark Device, Xerasia and Embryonic, composed of future music-magicians who would form Emperor, Ildjarn and the Akkerhaugen sound studio. Mostly early 90′s Swedish satanic death metal in style, Thou Shalt Suffer assaulted the listener with disorganized yet compelling demo level death metal noise with submerged, intense and evil soundscape. Seriously brutal in nature, interlocking chromatic riffs in the vein of Incantation or early Amorphis race on, sporadically bursting into uncontrolled grind. Vocals are super-dramatic in Ihsahn’s craziest early style, ranging from humorously weird to total evil and synths repeat a few doomy patterns, foreshadowing Ihsahn’s later neo-symphonic obsessions. The songs are expectedly not quite there and everything sounds unplanned and spontaneous but for pure spirit it can be quite exhilarating to listen to it today. The discordant, fractured and genius stream of melody of the main riffing recalls ideas later developed further in beautiful way while the expert rhythm guitar is able to create the texture of an infernal landscape. Fragmented but compelling, it should go without saying that it has already done more than most of today’s death metal releases. A special award should be presented for the long experimental outro track “Obscurity Supreme”, seething with a truly avantgarde ambition beyond the later “art metal” habits, worthy of its title.

Arcturus: My Angel EP

The Mortem line-up returned with this piece of madness before plunging into black metal sounds using this band name. Arcturus started its career reminiscent of Swedish second tier satanic death metal bands in the vein of Tiamat, cutting through the intricacies of the narrative death metal of Cadaver and Darkthrone to hammer out Wagnerian power chord doom, with not much appreciation for subtle nuances. The first track “My Angel” starts out psychedelic and impressive, foreshadowing the deep symbolic exploration of the internal cosmos done later by bands such as Tartaros. However, in Arcturus it remains as just another eclectic act, as the dramatic development proceeds in an expected way. While the impressive parts are there it doesn’t reach the magnanimous stature it’s trying to achieve, with the keyboard melodies from film soundtracks and the evil vocals reminiscent of early Samael. “Morax” is a track with gothic, Cathedral-inspired doomdeath wrapped in a synth layer of Nocturnus. Arcturus attempted to obtain a complex, insane atmosphere of invocation but it was not to be their forte; the careening splendour of “Aspera Hiems Symfonia” would be better music.

Thyabhorrent: Death Rides At Dawn EP

Thyabhorrent, led by Occultus (another figure from the early black metal history around Mayhem and Helvete), specialized in simple death metal which used some speed metal riffs and emotive lead guitar interludes. Occasionally similar to Dissection, it seems to carry an eerie foreshadow of Gothenburg and today’s mainstream death metal style while still proudly enwrapped in the mystique of the Norwegian underground. The catchy metal riffing and try-hard vocals in “Condemnation” are halfway to serious power, falling short of the atmosphere obtained by almost all other works of the era. The good riffs are wasted by the very simplistic construction of songs and the unfortunate tendency to rip a wrong context: heavy metal. “Occultus Brujeria” displays an elegantly romantic tendency which could have been something with more development: doomy clean vocals herald simple black metal of expressive, gothic, über-dramatic character. Some of the interludes suggest ideas that could have turned this into an elaborate progressive black metal band but as it stands, it’s a much weaker and tamer version of the kind of material released by Necromantia, Burzum or Isengard early on.

Generalization: A Statement Of The End

The original death metal underground of Norway was alienated, silent and private and thus gave a chance to develop all these ideas towards their full fruition. When the scene burst into the attention of a million of trendy fans, it dealt a blow to the atmosphere that could not be recovered from it. The sanity of the fragile artistic mindset required that the adherents move away towards new areas of quietude and purity (“away from the noise of the marketplace” in the words of Nietzsche) to continue the serious contemplation of darkness. What follows is the history of the early 90′s black metal phenomenon; Cadaver remains the sole band of the ancient underground that is still around cranking out evil death metal.

Anders: We split up in 2004 – so no, we are not around. To call Death Metal trendy is a sidetracking of the whole thing. I don’t share the idea that we ever played something trendy. To play death metal in 1999 was as un-trendy as it could be. I call what I play death metal still because it is my playing style. Death metal can mean much more that most people think. I am a death metal man by hand and a black metal man by soul.

Fenriz: I can with my hand on my heart say that I only bought like 5-6 death metal releases in 1990, and maybe 2 in 1991… or none. The studios like Morrisound and Sunlight were fresh in the very beginning, but organic sound is the best and I quickly learnt to hate these click click bass drum sounds that started to ruin metal in ’89 and have completely ruined generations of metalheads later on. In ’89 death metal compilation tapes were overflowing the underground, I had already been through hard rock and heavy metal and power and thrash and everything possible, then I saw that thrash metal got boring and too copied and the same thing happened with death metal, it was too many bands, but the sound was good in ’89. But to me, I heard Hungarian Tormentor on one of those tapes, and got back into more “evil” sound again, like Destruction “Infernal Overkill” and such, as I hadn’t listened to them for a while. I saw it as just thrash, but after getting an evil revelation with Tormentor, I saw a lot of the thrash I had from before in a new black light, and I got more and more into Bathory. And in 1990 I mostly listened to the more primitive stuff, but our craft was technical death metal and we needed to complete our album. Even after our album we had lots of material pouring out of us (became “Goatlord” album) but it had to stop with this technical style, we were all agreeing on this except Dag. We took a U-turn unto the primitive lane in 1991.

Even a cursory investigation to the workings of the early Norwegian metal underground should dissolve one of the most persistent illusions about Norwegian black metal bands such as Burzum and Immortal: that they did not know how to handle their instruments, or did not have an extensive background in musical expression. Do you think they simply wanted to pose evil with corpsepaint? They were talented musicians who had years of experience playing technical styles of death metal before the black metal explosion. The simplified sound of black metal was due to the ethics of black metal and the spirit of black metal. The black metal resurgence intended to develop metal music to a new level of intensity and create a purer atmosphere, unpolluted by the social agreements of the new death metal people.

For most metal fans Norwegian death metal means either black metal or the new digitally produced bands in the vein of Zyklon and Blood Red Throne. The intent of this excursion has been to show how pure death metal was the fundamental force in establishing the original Norwegian underground metal scene and how it ultimately grew into the most vital and archaic musical movement of the 90′s, Norwegian black metal.

Anders: The bands such as Darkthrone, Mayhem and Immortal were in fact very inspired by death metal. If you listen to the latest Emperor, Satyricon, Dimmu Borgir albums they all have strong elements of death metal in them. The scene that was to become the Norwegian black metal scene was never a “one-way-street”. The issues with Swedish bands in ’91-’93 was mainly about the fact that death metal became conformed, predictable and non-dangerous. The strong standing of the black metal scene overshadowed any death metal band for many many years and this is still the case.

Manheim: I of course felt and feel proud of being responsible for giving people inspiration. That so many people in Norway and around the globe have taken this further is of the good. Of course there’s a lot of bands that appeared that didn’t do anything else than copying those before them, but the development of genres like Norwegian BM and others shows that there’s a lot of creativity and wonderful musical contribution that has been done after Mayhem released its first demos and “Deathcrush”. My personal favorite releases are Darkthrone’s early works – and if I have to choose, “Under a Funeral Moon”.

Fenriz still works on Darkthrone, promotes his favorite underground bands and speaks against forest industry. Anders has been playing live guitar and bass for major bands such as Celtic Frost and Satyricon. Manheim composes and performs experimental music and writes a good blog on culture and music. Deathmetal.org thanks them all for their kind contribution.

Cosmic Fear arrives, I hold a dead one,
Surrounded by my many candles
(I burn to cleanse the air)
Rotten Unclean Sacrifice Nightmares
Unreal Psychedelic Journey
Ride The Darkside
Search The Soulside

– Darkthrone, Soulside Journey

No Comments

Tags: , , , , , , , , , , , , , , , ,

Interview: David Herrera (Imprecation)

In the late 1980s/early 1990s in the expansive United States, the nascent genre of death metal developed multiple strains. The more accessible of them included the well-known, technically-impressive bands from the scenes in New York and Florida, respectively. A third major bloodline, arising from the likes of early Morbid Angel, Necrovore and Possessed found itself in darker territory, more readily embracing deep occult themes with palatable atmospheres of musical evil to match. Imprecation, hailing from Houston, Texas, were among the early participants in this subgenre, helping carry it to its mature phases in the mid-1990s along with acts like Incantation and Fallen Christ. The bands’s 1995 discography-to-date release, Theurgia Goetia Summa, is a succinct statement of death metal’s ability to inspire moral horror that reaches beyond the banal graphic fantasy often associated with it.

Answers by vocalist David Herrera.

What was forming a death metal band like, back in the early days before people really knew what death metal was? How did you explain it to people, and how did they react?

It was kinda strange, the whole “Earache” scene was starting to gain momentum, and yet there was an even ‘darker’ undercurrent that was gnashing it’s teeth into the throats of Christians. This is the cauldron that we bubbled out of! It was very unknown at the time, especially with everything being heard solely through tape trading or if you were lucky an underground radio program that would turn you on to bands that were only existing on word of mouth such as Incantation, Profanatica, Impaled Nazarene, Beherit, Phlebotomized, Demigod, Archgoat, and more. We had a radio program here in Houston called “Sweet Nightmares” airing on Tuesday nights/Wednesday mornings from midnight to like 4 am, hosted by Wes Weaver and Bill “the Master” Bates. We’d stay up out in the woods with lots of acid and alcohol and make bonfires to this radio program to check out all of the unknown stuff that they would turn us on to, it was such a drag when it stopped airing as this was a weekly ritual for us. I remember the first time I heard the new extreme in the underground, it was on this show in ’89 or ’90 and Wes had just got the advances from Earache of Morbid Angel’s “Maze of Torment” and Terrorizer’s “After World Obliteration”. He played them back to back and it completely floored us. That ‘s when I knew that I had to be creating this music, to actually live it!

I understand that two members came from the Kreator-y/Slayer-y “Dark Reign.” What caused them to make such a stylistic jump to greater extremity and darkness?

Well, Dark Reign were such a repected band in Houston, really no one was nearly as extreme as they were when they were around. To find out that I was gonna be in the same band as the main songwriters, well I could not believe it. It was like going from the pit to the stage in one swoop, I really lucked out to have my first official band to be rounded out with guys who took their craft seriously. I always felt that the “Ceremony of the Nine Angles” (NOT ANGELS! people to this day seem to think we misspelled this haha!) demo had a lot of Dark Reign and Undertaker (which was basically what Imprecation morphed out of) all over it. Basically I came in as a guitarist, they heard my vocals and decided they wanted me to contribute that way instead. The darkness was honed through some of the lyrics that i brought to the table, although Ruben and Phil were already some dark motherfuckers. I just let them know that if I was gonna be their vocallist, i wasn’t singing politics or government or anything of the kind, not that there is anything wrong with that. But my love lies in utter darkness, and blasphemy is my scripture.

What were the influences on early Imprecation, and did these change over time?

eh, basically it was more that we were inspired by certain bands, and these inspirations remain firm almost 20 years later. Phil came to me when we actually started to piece together our first song “Blinded” and said he was really bitten by the sound coming out of Sweden at that time, most notably Entombed and Carnage. I was always a big fan of Nihilist, so I completely understood! He’s also a big Hellhammer/Celtic Frost fan, along with Dark Angel and Possessed, so I think that is where we got our music stylings guitarwise from, kinda a mixture of those styles. Ruben has a drum style completely all to his own, Ben Falgoust once said that you could make a comp with a hundred bands on it and throw a project with Ruben involved and he could pick his drums out of the lot. I totally agree 100%! I once asked Ruben what made him tick, and he just basically said he was a big John Bonham and Keith Moon fan, as well as a fervant supporter of Mercyful Fate, Slayer and Exodus. To this day he definitely marches to his own drum beat heh heh. My vocal stylings were born of early Morbid Angel, Blasphemy, Beherit, and Immolation worship. Also a healthy dose of early Deicide, I always dug Benton’s approach especially on the self titled LP and “Legion”.

What is good?–Whatever augments the feeling of power, the will to power, power itself, in man.

What is evil?–Whatever springs from weakness.

What is happiness?–The feeling that power increases–that resistance is overcome.

Not contentment, but more power; not peace at any price, but war; not virtue, but efficiency (virtue in the Renaissance sense, virtu, virtue free of moral acid).

The weak and the botched shall perish: first principle of our charity. And one should help them to it.

What is more harmful than any vice?–Practical sympathy for the botched and the weak–Christianity…

– F.W. Nietzsche, The Antichrist (1888)

Theurgia Goetia Summa is most often compared to early Incantation, with a healthy infusion of early Morbid Angel. Did these bands influence you at all, or do you think you hit on a style that’s inherent in metal?

eh, Incantation is fuckin killer but I’d be lying if I told you they were an influence. I was a big fan, and still very much am, but they never came into the equation when we were writing any of our material. I saw them on their tour with Anal Cunt, supporting their “Entrantment of Evil” 7inch and their “Unholy Massacre” cassette at both the Pik n Pak and the Axiom and let me tell you, in 1990 it was a unheard of to see a band of their magnitude live. At least down here in Texas. Also in that same year we saw Morbid Angel on their “Altars of Madness” tour, with heh heh, you guessed it, Dark Reign supporting their Texas shows. I cannot deny the impact that performance had on my life, and what that album plus their “Abominations….” album did for us muscially, but as I said before it was pure INSPIRATION. I feel to this day that Imprecation were on to something special and original, especially with the “Sigil of Baphomet” ep and the Mark Beecher fronted ‘deathymns’ (A.S.!) that started the first three tracks on “Theurgia Goetia Summa”. Even when Mark took ’em in a more black metal direction it still had that Imprecation low tuned crush that made us easily identifiable!

What, in your view, is the difference between black metal and death metal, if any?

Well if you are talking about pure negligent praise of moral destruction and the end of life as we know it, there is no real difference. But that is where it stops when talking as a genre in it’s entirety. I always felt that true Black Metal was very focused on atmosphere and infernal aesthetics, kinda like a funeral shroud that draped around your being, candles lit and pure Satan worship whether Satan existed as a deity or a form of negativity. True Death is more embracing the soil, the musk of things decayed, the creak of a coffin lid, the chop of an axe, and focused on bringing it to you in a very unforgiving and pummeling assault to the senses. I prefer when either style mixes a little flavor of the other to make it a grand combination of destruction. That is where I think Imprecation succeeded most of all, through a perfect balance of Death and Black. Bands like Archgoat, Necros Christos, Teitanblood, Katharsis, Incantation, Watain, and Portal bring this type of rotting stench to my speakers! Death Metal that is as pitch black as a bottomless pit, falling through the infinite abyss…..

Do you think that metal bands, like indie bands, need to develop a “persona” that they support with a unique lingo, habits, styles of dress and mannerism, etc?

Sometimes it is okay to have something that can bring identity to one’s stylings, you know to give ’em that certain trait that makes them all their own. Venom, Voivod, Sadistik Exekution, Hellhammer/Frost, Carnivore, Judas Priest, Blasphemy, Bolt Thrower, Mayhem/Darkthrone, Misfits, W.A.S.P. hell; even Manowar whom I fuckin hate had something that made them stand on their own. I don’t think a band has to develop it’s own original persona or sound to succeed, however, but it definitely helps when they have CONVICTION in their musical execution!

You (David Herrera) also write and perform for Bahimiron, a gutter-vicious Gorgoroth/Motorhead-styled black metal band. What’s the difference in your songwriting there, as opposed to when working with Imprecation?

Huge difference. Where Imprecation focuses on getting most every note played with tightness and clarity, we in Bahimiron believe in being akin to “an eyeball loose and wild”. We embrace death and the devil, and are at one with ways of alcohol abuse and loaded firearms. Heh heh I know a certain someone who does not embrace our love for whiskey and the such, maybe “misguided” in our directions (I’m looking at you, Mr. Prozac!) but none-the-less it is how we live. As the Electric Hellfire Club once proudly displayed on an album “Drugs, Death and the Devil”. It is not for everyone, but when we proclaim that we are Whiskey Fueled Black Metal it is not in a “party” attitude, rather a result of the harm that this way of life can do to one’s self or to any who get in the way!

Our national drug is alcohol. We tend to regard the use of any other drug with special horror.

– William S. Burroughs, Naked Lunch (1959)

If sound is like paint, and we use different techniques and portray different things in our paintings, what does it say when a genre sounds similar and has similar topic matter and imagery? Can the genre be said to have a philosophy or culture of its own?

I think that sounds about correct. I mean, that is how cults are born, a group of individuals who try to accomplish the same goals, missions, or end results. I think as far as true death and black metal it definitely qualifies, especially if one lives it’s message as a completely dedicated lifestyle.

Like in the late 1970s, metal feels to many people like it has lost direction and become hollow. Is a change in direction needed, and if so, will that come from within metal?

Well it depends. I like my metal true to form, and if you start mixing techno or emo punk into it then it is complete shit in my ears and I could give a fuck if that is the new “saviour” of metal. I mean, look at the nu metal scene. And by that I am not talking Korn, I am talking Killswitch Engage or Job For A Cowboy. If that is the change needed to bring metal to a different plateau, then I’ll stay in the valley with my old standbys. I still put in my “Seven Churches”, “Reign In Blood”, “De Mysteriis Dom Sathanas”, or “Fallen Angel of Doom” records KNOWING how many bands aped these styles, and it still summons the demon abyss from my speakers. Even the bands that border on plagerism of these styles score high points with me as compared to what some idiots are calling death or black metal nowadays. I’d rather hear a Blasphemy rip off than God Forbid any day!

Did you learn music theory? Did it help you or slow you down in achieving your musical goals? If not, did musical illiteracy help or hinder you?

No. I do not think that one needs music theory to create music. As a matter of fact i think when one knows TOO much about their instrument, it fails to “wow” me and the end result is total boredom. I get more out of a band who are shaping their music through pure devotion to make it work with the skills or lack of skills that they have than a band who is worried if they are playing in 4/4 time or how many diminished triads they can pull off in a measure. All the music theory I need lies in my record collection.

It has been observed that death metal and black metal use “narrative” composition, where a series of riffs form a sort of poem that tells a story about a change in states of mind. Is this reflected in your songwriting at all?

I’d like to think so. I mean, that has always been the appeal for me through a lot of metal: where are the instruments taking me? I need passageways to form lyrics to, sometimes a narrow corridor covered in blood will do, other times an ocean of blood with floating corpses does my mind good. Some people write their lyrics before music, I write my lyrics THROUGH the music. I let the Devil take my mind, and the instruments guide my pen to paper. Most lyrix i have writ were on the first stab.

Do you think a genre of unpopular “popular music” like death metal and/or black metal can be a form of art? What distinguishes art from entertainment, and if they overlap, is there a difference in goals between the two?

Absolutely. What seperates the two? Art succeeds from the within, damn the outsider’s opinion. Entertainment comes with the ideals that for it to succeed, you must please a group of people whether large or small. I think it is possible to be a bit of both, as when we write music we do it for ourselves firstly, but we do care if our message poisons the right people. I mean, if you really did not care if your music or art was embraced by anyone then why release it? Now, it does not bother me if we get negative response, if we wanted to be liked by all then we would be involved in a band hunting for a major label and become a tool for their bank accounts. That is where it ceases being art, and falls strictly into the “please the sheep” category!

Have the values of metal music changed from the early 90s? How and why?

Somewhat. Like I mentioned earlier, there are kids that really think these bands like Unearth are Death Metal. Pathetic.

Are there any skills you have learned from being a death metal band that can be applied to other areas of life?

eh, the only time it was a benefit for me was when I worked in the field of Demolition. Now I am a construction foreman, and i don’t think that really applies to the fine art of fuckin shit up!

Imprecation has just reformed after a dozen years absent, and now you’re opening for Mayhem. How does that feel? Where are you going next?

It feels great man. It feels natural that our first show back is gonna be with Mayhem and Marduk onstage. I mean, our very first show as a band was in early 1992 opening for Grave/Massacre and the very next one was opening for Entombed/Exhorder, so we are used to “breaking the ice” on a big stage. We have a real killer show planned in June with Father Befouled and Thornspawn, and we will be playing in Mexico in August and New York in December with some killer bands.

Is that live recording that made it to tape ever going to see a general release? What about a re-release of TGS?

No. It was only a small production, never meaning to be an official Imprecation release. If you got one, cool, but it stops at that cassette as far as our involvement with it. As far as Theurgia Goetia Summa, it will be re-released this summer on Die Todesrune records in Spain. The original release never gave proper credit to Phillip or myself. I mean, Phil wrote the music to at least 6 of those songs and my lyrics and vocals were on 6 of the nine tracks to no mention. Everyone who don’t know us think that Mark Beecher does all the vocals, when his vocal contribution stops after the third song. From then on it’s me, and Phil is playing the guitar on everyone of the Sigil of Baphomet and Ceremony tracks as well. So that’s gonna be re-released and also we have a killer new 7 inch that has been recorded on Negativity Records that will be entitled “Sigil of Lucifer”, to be released this summer.

We appreciate your spending so much time on these questions, and know it’s going to be important information in the underground. If you have anything else to add that we were too dumb to ask, please stick it here.

Thanks Herr Prozak for the interview. Hails and horns to ANUS.com, and to all affiliated with its writings!!

Here and NOW is our day of torment! Here and NOW is our day of Joy! Here and now is our opportunity! Choose ye this day, this hour, for no redeemer liveth. Every attempt made to organize the future must necessarily collapse. The present is our domain, and our chief duty is to take immediate possession thereof upon strict business principles. Strive therefore against them that strive against you, and war against them that war against thine. Lay hold of shield and buckler or their equivalents; stand up! Be a terrible one in thine own defense. Raise up also the clenched hand, and stop the way of them that would persecute you. Say unto thine own heart and soul: “I, even I, am my own redeemer.” Let them be hurled back into confusion and infamy, who devise thine undoing. Let them be as chaff before the cyclone, and let the Angel of Death pursue them, nay, overtake them. In a pit they have hidden a trap for thy feet; into that very destruction let them fall. Then, exultant, “sound the loud timbrel”. Rejoice! Rejoice! in thine own salvation. Then all thy bones shall say pridefully, “Who is like unto me? Have I not delivered myself by mine own brain? Have I not been to strong for mine adversaries? Have I not spoiled them that would have spoiled me?”

– Ragnar Redbeard, Might is Right (1896)

No Comments