Godflesh – A World Lit Only by Fire

godflesh-a_world_lit_only_by_fire

In the early 1990s, everybody who was anybody had a Godflesh Streetcleaner t-shirt. That album broke out of the usual problems with industrial, which is that it was generally either rhythm music without beauty or dance music without aggression, and escaped the tendency of metal to be as intense as possibly by mixing in aspects of melody from crustcore and indie rock.

Since that time, Godflesh creators have spent their time searching for Selfless II. The crisis is that they are unsure of why that album is so revered. The band began its career with the rhythmic but amelodic Godflesh EP, which became repetitive and noisy but never rose to the level of grace of the album afterward, Streetcleaner. On that album, song structures expanded and use of melody and guitar harmony gave it a power beyond what the EP had. Then came Slavestate which introduced more of a techno influence, but underneath the skin was the same looping song structures with little more than rhythm that defined the EP.

After that, Godflesh tried Pure which attempted some melody, and when they were accused of being too “rock” on that album, Selfless which went back to tuneless droning in an industrial landscape for the most part. After that, the band experimented with alternative rock (Songs of Love and Hate, later resurrected in one of the bravest experiments in popular music, Songs of Love and Hate in Dub) and lost direction until Broadrick found Jesu as an outlet for his shoegaze/indie hopes. He kept enough of the metal and crustcore (remember his role as founding member of Napalm Death, which essentially combined crustcore and DRI-style thrash to make a new art form). But with the second album, Jesu lost its independent voice and became indie/shoegaze entirely, thus dispatching legions of not just metal fans but those who seek something unique.

With A World Lit Only by Fire, Godflesh attempts to return to the musical foreground but makes two critical mistakes. First, let us assume that Godflesh like a serial killer is a duality composed of “hard” and “soft” elements, which are stylistically grindcore and indie/shoegaze respectively. Let us also assume somewhat correctly that these create another binary of extreme rhythm and heavy distortion on one hand and melodic intervals and harmony through drone on the other. The history of Godflesh shows a band bouncing back and forth between these poles. When an album gets too soft, as Jesu did starting with Conqueror, the band bounces to the other area in which it knows it can succeed and sell product. On the other hand, when an album gets too abrasively grinding, it tries to go back toward the middle where it perceives Streetcleaner as existing. Its first mistake is being unable to find a style that balances its two extremes without varying them song by song, and as part of that, in failing to pick up on how much death metal influenced its choice of song structure and radically improved Streetcleaner. (When I last checked in 1994 or so, Godflesh was outright hostile to metal — understandable given the collapse of death and black metal in that year — although a few years earlier the influence had been more accepted as fact.)

The second mistake made by this band strikes me as more crucial. People create great albums in just about any genre but they need to introduce enough complexity to be able to clearly express an experience and corresponding feelings so that the audience can identify with the work and appreciate the viewpoint it illustrates. Napalm Death for example on its early albums succeeded by using individual songs as phrases in what essentially became a longer atmospheric work, but few people listen to it on a daily basis because it is mostly novelty. Not many people hail the Godflesh EP either because despite being a stylistic outlier, it makes for poor listening unless you like droning chromatic grind. The band lacked enough to express itself. With Streetcleaner, the band not only nailed style (mistake 1 rectified) but also nailed content (mistake 2 fix) by introducing enough complexity in song structure, melody, harmony and riff shape to be able to create atmosphere and manipulate it. Everything the band has done since, with the possible exception of Love and Hate in Dub, has focused on a one-dimensional approach where style is substance. While this “the medium is the message” makes sense in an academic setting, with music, it cuts out what Godflesh do well.

At this point, the meat of this review — the part that actually focuses on the new Godflesh album A World Lit Only by Fire — should be fairly obvious: Godflesh reverts to the mistake it made on its initial EP, Pure and Selfless and makes an album that is abrasive but repetitive and fails to introduce the elements of tension that gave Streetcleaner its power. If Godflesh finds a way to make an album like Streetcleaner in any style, even disco, it will take over the world. But that did not happen here. Songs are for the most part simple loops of verse and chorus riffs that while musically competent are essentially boring and rely on rhythm — very similar to Selfless — both in driving riff and in having an offbeat conclusion to each phrase. Over that, vocals rant out a phrase or two. The second half of the album improves with “Curse Us All” which has a powerful rhythmic hook, but the band never develops any of this potential into something with enough depth to want to revisit. This reveals that Godflesh has confused error 1 (style) with error 2 (content) because style cannot magically create content; it can only fit content and thus make it easier for the artist to visualize the content he or she is creating. Thus what we get is an album that sounds like classic Godflesh, but misses out on both voice and substance of classical Godflesh. Summary: Selfless II.

While that seems unusually cruel, even for a site known for its unrelenting musical cruelty, the greatest cruelty would lie in rubber-stamping this rather droning for fan consumption with the formula that most reviewers will endorse: “It’s hard like Streetcleaner, therefore it must be Streetcleaner II, not Selfless II.” This rubber-stamping displaces the funds that fans could spend on a better album and instead redirects them into what ultimately appears to be a dying franchise here, but also, lies to the artists about what they do well. They do not know, as is evident here. What made Streetcleaner great was a fully articulated style that did not slide into Pantera-style angry-bro rhythm music nor wandered into fixie-and-Pabst self-commiserating shoegaze. It took the best from all of its influences, including death metal, and made from it a voice unique to Godflesh. They can do it again; A World Lit Only by Fire is not that album however.

https://www.youtube.com/watch?v=3PqXB-u4j04

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Godflesh Streetcleaner: triumph of industrial grindcore

godflesh-streetcleaner

Sometimes great albums happen. Multiple forces converge — influences, musicians, leaders, ideas, opportunities — and everyone involved becomes more than they are. They rise above their mortal lives and create something profound enough to live in, a musical world we want to inhabit and take up its struggles and make it turn into the full potential we see nascent within its objects.

Streetcleaner falls into this category. After a stylistically-inspiring but somewhat deconstructive first EP that never really created a direction of its own except aesthetically, the three individuals who comprise Godflesh returned with a new energy. They combined influences from their fledgling industrial grindcore, indie rock and death metal, and came up with an album resonant with layers of potential. Instead of aiming to destroy melody, they built it from the smallest elements so that it could only be seen when those overlapped and only then often by implication, creating a haunting album like an ancient mansion full of unexplored pathways and secret rooms.

Slowing down their attack, Godflesh carved time into a space through the selective introduction of sounds which then received an ecosystem of other sonic fragments with which to interact, creating an atmosphere that also had form and narrative. From indie rock they borrowed melancholic but affectionate melodies, from death metal complex song structures, and from industrial the sound that genre had always desired to express, namely a machine crushing human hope like a Charles Dickens novel. Together these influences formed a sound like Killing Joke accelerated into apocalyptic nihilism with the raw sonic experimentation of death metal.

Streetcleaner came together like an impossible dream. It borrowed from many musical traditions but the band kept both its own voice and a style specific to the album. What really distinguishes this album however is the content. Streetcleaner captures a range of human emotions in response to the disaster of human emotions that creates our modern world: individualistic selfishness leading to herd behavior empowering vast evils. In putting this into sound, Godflesh opened a dialogue with the darkest parts of our souls and the reason those souls are dark, which is that we know the possibility of light.

The band never concentrated its energy in such a way again. The following album, Pure, went back to a higher concept version of their first EP, but never managed the emotional intensity that the interwoven melodic streams of Streetcleaner brought out among the crushing noise and abrasive battle robot rhythms. They swung back the other way toward indie rock for a few more albums, but those went too far into face-value emotion and lost both intensity and honesty. Eventually the band faded out into a series of projects pursuing influences as most senior underground efforts do. However Streetcleaner remains as the apex of industrial music and the album every dark topics band wishes they could make, as well as a profound influence on the rising black metal movement and the second wave of death metal.

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Godflesh – 2013 tour dates

godflesh-tour_2013

Godflesh – 2013 TOUR DATES. with: Prurient & Nails

10/18 Philadelphia, PA @ Theatre Of Living Arts
10/19 New York City, NY – Irving Plaza
10/20 Boston, MA @ Royale
10/22 Chicago, IL @ Metro
10/24 Seattle, WA @ Neumos w/ Nails, Prurient
10/25 Portland, OR @ Hawthorne Theatre w/ Nails, Prurient
10/26 Oakland, CA @ Metro Opera House w/ Nails, Prurient
10/27 Los Angeles, CA @ Fonda Theatre w/ Nails, Prurient

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Depressor – Filth / Grace (2014)

Depressor Filth Grace

Article by Lance Viggiano.

In its best moments punk music transcends volk-rage by serving as a cracked mirror reflecting the forlorn realities that industrialization and intangible goal of perpetual progress wrought as this civilization awaited technological rapture to deliver its destiny among the stars. The reflection was always unclear because of its nature as folk music, marred by smudges and dust that lead it to misdiagnose the cause of its own woes. Depressor spiritually and musically channel this ethos while stepping into the well-worn boots of Godflesh resulting in a body of work resides between industrial, doom/death and punk music. The artists understand that heaviness is not merely a novelty or a token, but a vessel.

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Desecresy – Stoic Death (2015)

desecresy_-_stoic_death

In the world of old school death metal, few manage to revive the past and carry it forward in a unique voice. Desecresy resurrects the greatness and gives it a unique spin with atmospheric lead melodic guitar droning over death metal and doom-death riffs, and on Stoic Death they increase the variety of death metal riffs and the dynamic impact of songs in a style more like that of their first album, Arches of Entropy.

Stoic Death begins at full speed and continues to vary pace throughout in order to build intensity, applying the resonant melodies selectively like layers, enwrapping the surging power chord riffs in sheets of harmonic background that intensifies at crucial moments in each song. The doom-death influence shows its strength most in the careful pacing of each song and introduction of elements like seasons, cycling to a conclusion.

The increased variety of riff types shows a familiarity with death metal of the oldest school, but now they take on a new language, with Asphyx-style percussive riffs sliding into rolling Bolt Thrower style dirges, and then emerging with the powerful Finnish-style death metal riffs anchored in melody that specialize in crucifying beauty with cruelty. The mid-paced approach might seem to kill aggression, but it has replaced that sentiment with a deepening sense of melancholy, dread and suspension of all normalcy as the bizarre becomes sensible.

This album feels like a descent into a tunnel shrouded in darkness, where as the voyager goes deeper both in the ground and behind the layers of twists and turns, the daylight world seems more remote and unreal. The songwriting technique Desecresy has made into their trademark presents challenges in that the overall sound is similar between tracks, but here the band differentiates them with elegance and creates a complexity of texture in which the listener can gratefully lose themselves.

More Godflesh influences permeate this album as do nods to recent changes in metal toward the more atmospheric, but Desecrey channel these into its own voice, translating the insipid into the ambiguous and the comforting into a threatening lack of center. What emerges from that fertile combination is a voice perfect for this time, a great sea of doubt in which glimpses of beauty are hidden behind primal uncertainty. Like the best of metal, it makes greatness from conflict and then shows the wisdom of that atavistic outlook through precisely-architected composition.

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Black Flames of Blasphemy VI review

bflames 6
Review by “Blackcat”

A swirling miasma of ethanol greeted us upon the last Black Flames of Blasphemy, a festival held this past November in the picture perfect setting of Helsinki. The night before the scheduled Warmup event, I flew into town and made a beeline for Bar PRKL, a space named for the Finnish profanity likely exposed to most readers of this site from the comedy album released by the quirky Impaled Nazarene.

Those of us who live in less utopian societies than Finland often wonder why the idyllic nations in this area are able to produce such incredible music. “Finnish people can’t admit that they have goodness,” chuckled ApeX lead guitarist Arttu, an incredibly young thrash band who were in the process of violating the few revelers in attendance at PRKL that night. Indeed, as such documentaries as Until the Light Takes Us strove to illustrate, perfection has cast a pall on everything in much of the remaining non-disintegrating portions of the globe. It is almost as if the human condition is predisposed to strife, and that ostensibly perfect societies lead the average citizen to turn to perversion to bring balance into life – thus possibly explaining why places like Germany and Japan end up with penchants for coprophilia and bestiality.

Also present at PRKL were two members of Sammath, who descended upon Helsinki specifically for a dose of damage to tympanic membranes and liver. Hundreds of euros worth of alcohol consumed before the festival even started explains the reduced quality of the writing herein. Any complaints may be directed towards those two for rendering me quasi-unable to write let alone think. The fact that the screed was written on a tortured local keyboard and the reviewer is used to a U.S. issued one didn’t help a whit either.

We older, more cynical types were delighted to find youth as enthusiastic about all things metal as ApeX, and though 17 year olds themselves were unusual in their devotion, Helsinki was remarkable for having metal and punk culture literally everywhere one went. Taxis, restaurants, public toilets, airport shuttles and hotels all had a notably worthwhile theme of fine harder music. This trend did display its cellulitic underbelly in billboards featuring nerdwank outfit, Nightwish, hawking air-brushed, wet-dream-inducing Caucasian female thighs and an exorbitantly expensive line of bling suitable for teenagers in wealthy northern countries with too much pocket money for their age.

But I digress. Our focus should be on the festival, and that was one thing that the festival organizers seemed to have done quite well over the years. Black Flames of Blasphemy has been a fairly well attended sub-underground festival, running on and off for the last six years. The early years were vomited forth in a now rededicated cathedral in central Helsinki, and whilst the festival has moved on to less atmospheric surrounds, the organizers’ devotion to only the most rabidly necrotic bands is no small feat. Originally launched by Kold Reso Kult, the festival seems to have taken on a raison d’etre of its own over the years and drawn numerous acts known for playing a very limited number of shows such as Antaeus and Blasphemy. The scarcity of many of the acts led to a non-trite sense of novelty that led to a triangulated feeling somewhere between reverence, arrogance and pride for having been one of the few to have seen such veritable narwhals of the musical world.

This year was allegedly the last, and whilst threats of this sort are often made in the world of underground metal (only 120 copies to be made in hymen blood, and then no more ever again NO CORE, NO TRENDS, . . . until we release it in vinyl again in a few months on an even more ridiculously limited run), there seemed to be little threat that the crowd did not lend it a credence as evidenced by the flagrant hedonism on display at virtually every level of the setting. Nosturi, as the venue was called, must have some connection to vile ‘rhoidrock band HIM, as their logo appears in the lighting-rig and several other locations in the building; but detestable associations aside, the venue was actually quite accommodating.

The "HIM" logo, allegedly tattoo'ed on Steve-O

This tattoo is not completely and utterly unrelated to the HIM logo.

The staff at Nosturi were kind and courteous, putting up with the sort of reprehensible behavior that one would expect from a down syndrome five-year-old on amphetamines. Indeed, this seemed to be true for most Helsinkians, who were never seen to act heavy-handedly despite the questionable behavior of many of our associates. The drinks were of course ridiculously expensive, as are all things in Finland, (3 euro for the coatroom, 1 euro to retrieve said coat!?!?) but that did not stop the cohort from literally drinking the place into oblivion every single bloody evening.

Black Flames of Blasphemy VI should be noted to have featured the most solid lineup in the history of the festival. Indeed, more than a few have been solidly praised on this site amongst others for their solid contributions to the overall gestalt of extreme metal achievement in the prime years of the scene. Still, it was uneven. As has been reiterated time and again on this site, 99% of metal is absolute shit, and bands like Blackwinged embodied the nadir of human endeavor. The silver lining to this is that more time was made for sightseeing / mind abusing opportunities.

On then to the reviews as they were penned by this reviewer in the classic manner: via sweat, ink and beer soaked notebook clutched between pumping fists, and the contributions of the stalwart brood of iniquitous, abusive pundits who wandered in and out of the fuzzy borders of the violence ringing in his ears.

DAY 1: WARMUP – Grunt / Bizarre Uproar / Ride for Revenge / Obscure Burial / Deströyer 666

Grunt

Grunt in concert

Grunt: Said to be a side project of Clandestine Blaze / Northern Heritage sociopath, Mikko Aspa, Grunt kicked off the “Warmup” to the festival by doing quite the opposite. Monotonous, repetitive pulses punctuated by amateur feedback made me wonder why people are still drawn to artrock. Images of highly disturbing matter lent the show a more tolerable air, but pudgy white guys in bondage masks barking at random made me conscious of guarding my asshole too much to enjoy the show. Over all, Grunt in concert were a bit like listening to your fey roommate having an orgy whilst listening to Godflesh on a broken turntable next door. The playing of the belt sander on the thunder machine was an interesting flare, but with all due respect, Mr. Aspa should keep his day job.

Bizarre Uproar

Bizarre Uproar

Bizarre Uproar: Seems like Grunt just changed into their street clothes and got fatter. A Dutchman near me noted that this band gave him earAIDS. This drove us back to the bar as it wasn’t nearly so interesting as twenty well executed shots of salmiakki licorice alcohol. Cirrhosis is always preferable to aural loss. Look not for the successors to the great Throbbing Gristle here.

Ride for Revenge

Ride for Revenge

Ride For Revenge: Repetitive, sludgy, and coming off like Goatlord, but not quite as inspired, RfR still brought the focus of the show more firmly in a metal direction. The band’s stage presence was directionless, and at times reminiscent of one of those hunting dioramas at a second rate sporting goods store.

Obscure Burial: The writing in my notebook point is smeared by unknown fluids for this act. What is legible bleeds through as follows: “A triple barbed fishhook – much more focused than any other band thus far. An Australian nearby wrote this:

“We walked up to the upstairs area and there were cocks everywhere. It was gay as shit! It was like listening to Kreator in 99! Fuck that shit.”

Another picture of Ride for Revenge, if you're into that sort of thing.

Another picture of Ride for Revenge, in case you’re into that sort of thing.

This was followed by multiple images of genitalia with wings.

Deströyer 666

Deströyer 666

Deströyer 666: Maligned in some quadrants for playing in a thrashy, hook-flaying style that may have contributed to the formation of “war metal,” and in others for K.K. Warslut’s obnoxious attitude, Deströyer 666 were a true joy to behold. Filled out by an entirely new band, K.K. and the boys managed to finally shake the torpid audience out of their inertia. Tracks such as the shocking “Raped” gave the listener the same queasy pleasure that one derives from listening to the Fearless Iranians from Hell’s “Blow up the Embassy.” “I am the Wargod,” and “Black City,” were played with more chin-jutted pride and beauty than on the vinyl, whilst the ethereal “Trialed by Fire” raised the hair on necks and the spirits of the dejected. Deströyer even launched a kerosene-soaked rendition of Motörhead’s “Iron Fist,” tipping their chrome-studded hats to Phil “Philthy” Taylor’s passing earlier in the day. All in all, Deströyer 666 certainly made showing up to the festival a night early well worth it, purging our ears of much of the fluff which preceded them.

Day 2: FRIDAY 13th – Blackwinged / Vampire / Hell Militia / Xibalba / Mayhemic Truth / Midnight / Blasphemy

Blackwinged: Guest reviewer – Vlad, Russian virus and vodka enthusiast, and general psychopath: “Blackwinged? FUCK THEM ALL! Suck my fucking wrinkled dick.” It may be said that they weren’t a favorite amongst the crowd.

Vampire

Vampire

Vampire: Concho belted, pretty boy Aerosmith antics of the lead vocalist Command aside, it has to be said that Vampire were one of the big surprises of the show. With an approach akin to Kreator’s “Extreme Aggression,” Vampire managed to transcend the Italian horror-film shtick of their stage set, album art and, yes, band name to actually convey the attraction of mortification. Although I was unfamiliar with the tracks, the music whelmed in a not untasteful rock format that seared themes presumably of the undead into the conscious. Channeling Riccardo Freda in the best ways possible, Vampire delivered an entertaining show that was only slightly marred by the less-cocksure presence of the string section.

Hell Militia: 666 – no report – 666

Xiblaba

Xibalba (Editor’s note: It’s a toss-up as to whether “Sac Ibteelob Cab” or “Sign of Eastern War” is the better song. One of the more trivial debates in this world, though.)

Xibalba: Undeniably shitty drum solos and crude corpse-paint aside, Xibalba stood as one of the zeniths of the festival. These heroes of the second wave of black metal came on with a garage band sincerity that outshone the more highly polished acts throughout the rest of the evening. Thank Satan for this eager aural feast! Tracks like “Sign of Eastern War” and “Sac Ibteeloob Cab” were executed with a grim clarity that were occasionally missed on the original disc. Young new band members injected an off-kilter virility into the music that is essential for such an ambitious project.

Mayhemic Truth: Best known for changing monikers as often as John “Cougar” Mellancamp, and for many of the same shitty dishonest reasons, Morrigan were cut from the same overrated Kraut-tripe, kvlt-as-fvck cheesecloth as their vacuous countrymen Moonblood. In the 90s before MP3s made the obscure-kvlt fad obsolete, I was of the brood vainly attempting to find releases by this act . . . only to be astonished by how over-hyped they were when I finally heard them. Jeffemic Truthship did not fail to disappoint by disappointing with hackneyed black metal cliché after hackneyed black metal cliché. Stay obscure, White Stripes of kvltmetal, so that the rest of us don’t have to hear your sorry excuse for music.

Midnight: This reviewer was looking forward to some sort of decent blackened speed akin to Sodom, and was bouncing off the walls for some old school headbanging. Unfortunately, I wasn’t much impressed, so gave the job of review again to the ruthless peanut gallery around me: “nice thrash. ßit’s not, so fk off! Cheap ass trash. Fucking bollocks!!! Boring. It’s not even midnight assholes. They started at 11:45 – midnight my arse!! Midshite!!”

Blasphemy performs?

Blasphemy performs?

Blasphemy: Blasphemy’s terrifying Cro-Magnon antics delineated why the genre of black metal flourished for one brief, outstanding moment back at the fall of the Soviet Empire. The Canadian masters of knuckle-dragging avant-garde horror imprecisely dissected the audience as a claw hammer muddles and pulverizes the veiny membranes of a victim’s genitals. While the Ross Bay maniacs may never have quite reached the spacey brilliance of their Finnish protégés, Beherit, the “organized chaos” of their technique was matched that night only by the gunfire lighting up stadiums in Paris 2,000 kms away. Tracks such as “Goddess of Perversity” were executed with an intensity reminiscent of some of the more hyperactive Discharge tracks, and intros were faithfully inserted without a hint of humor. Photos attempted at short range during this show mostly consisted of purple blurs and the back of brutarian ham-hock elbows. The show also illustrated again why Blasphemy have only ever put out two real efforts (yes, I know that there are technically three, but come on – they’re basically fifteen minute punk affairs). The band made their contracted dynamo statement of grunted, jack-booted hate in a blood-clot of chains, crudely applied paint and beer-gutted belches. After forty insanely punishing minutes, the Helsinki authorities carted them off to their respective cells in solitary confinement where they belong.

Blasphemy performing, this time with a more competent photo.

Blasphemy performing, this time with a more competent photo.

DAY 3: Satanic Warmaster / Infernal War / Irkallian Oracle / Funeral Winds / Goat Semen / Varathron / Mysticum

Satanic Warmaster: Written by a drunk Finn: HAISTA VITTU VITUN HUORA KUSIPĀĀ, IME MUNAA JA KUOLE! SAATANA LLINEN SOTA HERRA NY LOPPU SAHTI. PRIEKĀ, NO LATVIHAE. LAI TEV LABA DZIVE PRIEKS TEVI SATIKT. Actually, those last couple of phrases might be in Latvian.

Infernal War: 666 – No report – 666

Ikrallian

Ikrallian Oracle. Check out the tambourine.

Irkallian Oracle: I really wanted to hate this band. They are so phenomenally over the top. A bunch of ring-wraiths holding sparkly tambourines and bells. Faces masked by silver sheets. The kind of accouterments and flashy hocus-pocus that one would expect from a second-rate Ed Wood movie. And yet, the band was enigmatic. Themes held together throughout the whole concept of a track, cycling back from start to finish to start again, alpha and omega encompassing a solid core. The mystery behind the act was far more compelling than with more gimmicky acts that have been abused on these pages. This band is what GHOST wishes it was. I will be interested to pick up the album to see whether the whole disc sounds as good as it did live.

Funeral Winds: See: Mayhemic Truth. Or just about any Xerox copy black metal.

Goat Semen: Came off as a kind of second rate bully boy Blasphemy. Sure, they have cleaner riffs from time to time, but do they convey the same core of absolute spinning disgust and pummeling loathing? Perhaps it’s just that Blasphemy are so much more familiar from having been played time and again . . . or that they developed this genre, and that anything else emulating it is just that: a plastic reproduction, no matter how faithfully copied.

More Blasphemy. This time, their crumpled setlist.

More Blasphemy. This time, their crumpled set list.

Varathron: For almost three decades these innovative masters of crawling necrotic horror have forged timeless odes to their Hellenic ancestors. Rivaled in their excellence and originality in Greece perhaps only by the great Necromantia, Varathron have been criminally overlooked by basement-dwelling pseudonymed fanboys more interested in the likes of obscure releases by Moëvöt than incredibly well developed music that perfectly emotes the Dionysian strophe and anti-strophe of ancient cultic form. Varathron took the stage with more presence than could have been imagined from some of the cheesier rock mantras that they fell prey to in the early 2000s, and launched into a barrage of tracks from across their storied career. Recent(ish) drummer Haris is an amazing addition to the band, and one that this reviewer wishes had been present on classics such as “His Majesty at the Swamp,” which suffered from drummachineitis. Guitarist Achilleas decimated the audience much like his warrior-hero namesake, along with twin slayer in savagery Sotiris and recently added bassist, Stratos. Varathron reached their climax with the amazing “Kabalistic Invocation of Solomon,” where band high priest Necroabyssius read from Dogme et Rituel de la Haute Magie, in a huge tome edition, green lights all ablaze, magnificence all ablaze. Incidentally, the entire band are really nice blokes too.

We at DMU like Varathron too. Even their new stuff has merit.

We at DMU like Varathron too. Even their new stuff has merit.

Toxicology report: Mysticum: *Journalist’s disclaimer – order of events may have played out slightly differently than reported – notes were not taken during the actual performance, but recalled from cottony memory* Twin streams of quicksilver lashed the crowd as the techno triumvirate of Cerastes, Prime Evil, and Dr. Best took to the stage. Nineteen years elapsed since this dystopian nightmare last synthesized an audience into freebased crystallized human waste. I had grave doubts about whether this band would be anything interesting live. Idols are often deflating in situ, and although their demos and first album were good, the production levels often made the backtrack sound like bubble paper being stomped on by Japanese girls in platforms. All fears were allayed as the thumping horror of “Black Magic Mushrooms” battered the audience and surreal monochromatic strobewar of lights blistered our retinas. The light show and visuals were truly unique throughout a performance interestingly heavy on tracks from the new “Planet Satan” release, including “Lucifer in the Sky with Demons,” “All Must End,” and my personal favorite, “The Ether.” On the screen, forms morphed from chemical compounds of LSD and other intoxicants, to Nazi soldiers, to skulls and swirling maelstroms of insanity. A paralyzing early intermezzo left the crowd confused and disoriented, after which “Crypt of Fear’s” ominous intro shook them into hysteria. Mysticum left no room for error: they are back to stay, and dominate. 100% pure satanic peyote!

Epilogue: Starting at a flat line

The shuttle bus at the airport is rooted to the ground. Won’t move anywhere. The heater is up way too high. I’m roasting in morkkis, a Finnish term for a kind of hideous hangover defined by creeping dread and a sense of, well, mortification. One poor soul we interviewed might best sum up the atmosphere of the entire festival. He was hobbling around on crutches. When asked what transpired, he confided that early on in the show, he and some colleagues had taken a few doses of LSD. Having come down into a troubled, drug addled sleep he was jolted awake by a fellow reveler, who had hallucinated that the police were raiding their dwelling. His immediate reaction was to jump from the upper story window down to a painful and humiliating full stop below. Morkkis. The human condition is low indeed. Yet I am buoyed by the knowledge that even if most of what moved this reporter was music penned two decades ago, it was a zenith of human achievement, and which could have only been commemorated by the bacchanalian Black Flames of Blasphemy.

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Sadistic Metal Reviews 05-27-2015

desroyCds01

Sadistic Metal Reviews function as your goto list for albums that should be recycled as material for making more copies of actually good music, if that’s even possible. These releases deserve no better than to be piled up and flattened by a machine. They’re wasting space and resources on completely useless, half-assed art.

Ethereal – Opus Aethereum (2015)

Playing a pseudo-symphonic black metal, Ethereal play a speed metal blanketed by racing, blasting drums with no creativity at all. The blanket comes in the form of the synth special “orchestral” effects which outline melodies on top of the repetitive music which never builds up to anything. The emphasis of the music is on how fast and brutal it is alone, in the spirit of the gimmicks of Godflesh Apocalypse. There are a few beautiful moments here and there in the album and this is the sort of candy some people will latch on to, but as an integral music work, it is of extremely sparse quality.

Mellevon – Solace (2015)

Somehow trying to unite ambient, pop “metal” and deathcore, Mellevon embarrass themselves with this blatant attempt at making pseudo-progressive music, the modern misconception of what progressive music is. The songs are driven by groovy rhythms in power chords, alternated by single-string tremolos that are just the backbones for chords (as opposed to being motifs), with a synth outlining the Epica/Nightwish – like melodies with a modern cliche “prog” twist.

Opium Lord – Eye Of Earth (2015)

Your typical sludge-like experience, this band’s music goes nowhere. It all relies on one rhythm, one riff and the pushing of this sole element by upholding how “heavy” it is. Representing one of the most superficial genres, Opium Lord give us 7 tracks with 10 riffs that are “ultra-heavy”. Get ready to headbang, brainless potheads.

Saturnian Mist – Chaos Magick (2015)

Saturnian Mist play a cheap brand of alternative metal that tries very hard to be tough and to insert “extreme” elements to sound tougher. The whole attitude of this band seems to be based on that all too common sentiment of posing at being a tough kid. The songs follow a pop format, and are based on chords with screamed lyrics on top of them. Major impact is in the contrast of certain sections. Endings are just abrupt, the songs do not lead from one clear point to another, but are rather just very messy.

Svärta – Sepultus (2015)

Ah, the black metal stereotype of flat-dynamics throughout a song have lead so many astray. With the idea tha black metal consists only on flat and intense sound repeated ad nauseam without any other aim than “Creatng atmosphere”, Svärta gives the world yet another bland modern black metal album. This band at least has the sense to be relatively consistent and they try to bring riffs back, or their main ideas at least. The lacking vision shows most clearly when they insert sections with no drums and clean guitar strums out of the blue with little relation to the rest of the song in order to create the cliche anti-climax that the unimaginative minds can summon as their only proposition.

Cold Cell – Lowlife (2015)

More pseudo black metal from the modern sludge crowd with post-metal tendencies. They try to “improve” on black metal by bringing in more clean picked chords, inserting more blank spaces in the music and forcing variety on songs. Not the kind of variety that is linked strongly within a song through different musical dimensions, but the kind of variety that results from not fucking knowing what to write and so being forced to insert whatever comes into your mind. This is not creativity, this is mediocrity.

Nightwish – Forms Most Beautiful (2015)

Representing the cheapest moves by the so-called symphonic metal bands, Nightwish makes songs with long, varied intros that vary from straight-up pop flares to the modern pseudo-prog groovy intros. Do not let anything here fool you, this is is just simple and low-quality pop music with catchy leads. The entire value fans of this music give it is reduced t “nice melodies”. It’s insulting that these people even want to sell themselves as metal. This is pop music, accept it once and for all and put all these candy-rock pop in the shelf next to Miley Cyrus.

Profezia – Black Misanthropic Elite – Moon Anthem (2015)

More intense, low-fi black metal that does nothing but ride a riff and repeat it until the band feels it has filled enough minutes. Combine this with slower tracks to create variety and you have more repetitive songs that try very hard at the same trope of “creating atmosphere” by virtue of their repetition. This is as tiring on its own as it is as a result of having heard this approach by countless other mediocre bands.

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Into Oblivion / Disinterred Split – Oblivion’s Oceans (2013)

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Being a split, it is necessary to judge both bands here separately and the release itself as a whole. Both bands play death metal, but while the former is provisioned with a modern war-doom arsenal, the latter seem at least partially influenced by Scandinavian old-school black/death tremolo riffing. The production itself is much more clear and powerful in Into Oblivion’s songs.

Into Oblivion play death metal in a combination of modern voices including saturated style of war metal and the heavy, doom-oriented riffing of certain sludge bands. The more impetuous of these is reminiscent of Teitanblood or Heresiarch, except it is difficult to distinguish an original personality present in Into Oblivion’s music. Individually, some sections are engaging, even mesmerizing and  beautiful (the beginning of By this Marvel Overthrown) but as a whole, the result is far from outstanding. Construction of the songs could be deemed lazy and/or cheap, advancing through alternations of saturated and doom textures by inserting riffs that are played until their momentum runs out and its balancing counterpart is inserted, and not according to a direction or necessity of expression in the music.

Disinterred also play with this alternation of fast and slow sections, except that Disinterred is better able to maintain a train of thought and expand it. The songs in this latter half seem more mature, the converging styles in it being more difficult to disentangle, a more solid product arising from a clear vision making use of its influences. One can also observe the use of saturation, but instead of a modern war metal, we have a disguised and worked Scandinavian spell at work. A strong advice for Disinterred would be to get rid of the triggered drums and do away with the cheap double-bass-drum-saturated  drum fills that sound like Godflesh Apocalypse hiding its lack of ideas. This second half of the split brings a visible shape into focus, a haunting shadow reflecting the maddened character of the music. Still, it is only a vague shadow which Disinterred have not finished summoning just yet.

At this point, Oblivion’s Oceans shows us what is mostly a soulless collection of voices. Despite this, there is some promise in the music. Personally, this writer would not place too much hope on the nature of these bands changing or growing much as the nature of proper death metal bands itself seems to be monolithic. Any attempt to change them often results in their destruction and watering down. Few manage achieving the required reincarnation, often coming to life again as a simpler life form.

 

https://youtu.be/GhUND-naAwI

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