Gorgut‘s debut Considered Dead turned twenty five this year. Gorguts shockingly were once an excellent death metal band. Considered Dead combined a rhythm riffing style reminiscent of Death but arranged those riffs into almost neoclassical compositions which unfolded over the course of each track, surprising with sudden shifts of utmost aggression into cathartic sonic violence.
Article by Daniel Maarat
Gorguts have previewed (https://www.youtube.com/watch?v=RDyn5lkVNlo) their upcoming EP to be released on Season of Mist. “Wandering Times” is the first track of Pleiades’ Dust sole, thirty three minute long composition. Listeners can expect Luc Lemay’s LP length EP to continue in the technical life muzak style of Coloured Sands: Random dissonant verses clashing with jazz fusion interspersed with ambient interludes incongruent as a whole to all but music theory majors. The commissioned cover and lyrical theme of the Islamic Golden Age suggests this release will persist in trying to irrumate headbangers with vaguely oriental spiritualism. Lemay seems to be appealing more to coffee shop guitarists wanting salvation from their poor life choices.
Werner Herzog made a documentary (Wheel of Time) about fifteen years ago on the same sand mandalas as Coloured Sands. Here are his views on yoga to spare you from Lemay’s orientalism:
Post-metal, a dirty word in knowing circles, can and should be applied to Gorguts‘ classic Obscura. Post-metal is an offshoot of post-modernism, a school of thought that attempts to reject overarching structural meaning and belief in greater narratives. To the post-modern mind, existence and experience consist of pluralities, splintered into fiercely individualistic cells prone to subjective rule, and inimical to any attempt at establishing a universal system of knowledge. Under this philosophy, adherence to a common-law guidebook serving as a framework for value judgments would amount to giving tacit approval to an authoritarian scheme of things.
The post-modern mind rebels against the idea of linear progress and containing edges. Instead it chooses to break free of tradition and to chase the open-ended horizon, giving wing to its often reactionary attitudes; in fact, it can be said that post-modernism, as an approach to inspecting knowledge and the various forms it finds expression in, exists only to uproot convention. It seems to lack a defining purpose of its own, mired as it is in its perpetual obsession to bring down pre-existing ideological superstructures.
However, in the absence of a time-honoured, governing set of principles, can ambiguity be far away? Can a severing with tradition with no motive other than just the severing and that alone ever have an impact beyond the momentary fascination that novelty engenders? A need to improve on boxed-in ideas is natural but is doing so by gleefully discarding much of what goes into the making of the original idea any improvement at all?
The original idea, as metal goes, is as much structural as it is ideological. There are a few qualities that are common to how all true metal should be constructed.
- Melodic contiguity: All forms of metal, even the harshest strains, are inherently and recognizably melodic in nature. This means that the individual phrases that make up a metal song obey cohesiveness, as tenuous as it may seem at times. Though individual phrases are often in different keys, it is paramount that they share the same musical space.
- Movement towards a discernible and logical conclusion: This is the will to motion previously outlined in these pages. Metal’s roots in traditional story-telling with a beginning, a middle, and an end, are not to be forgotten in eager exchange of a need to experiment. There has to be a gradual ascent, or a plummet as it were, towards an ultimate punctuation. Though various approaches can be used towards achieving this, playing for time in false hope of creating mood, while using ideas containing little intrinsic worth, is anathema to metal.
- Rhythm section to assume a strong yet only supporting role: Metal is a predominantly lead-melody oriented form of music. Bass and drums are integral to creating a fuller sound but should only be viewed as swells on an ocean on top of which riffs and songs float. Often, swells rise and raise their load with them, but this hierarchy in relations is crucial and is to be preserved.
- Atmosphere created not through textural embellishments and quirks but as a by product of composition: All claim to that shady word “atmosphere” should come from immanent qualities in the way the music is written. Metal does not need overt experimentation with harmonics or tone if these asides are incapable of holding together on isolated inspection.
- Awareness that all forms of groove play to a far baser inclination in the mind’s analytical apparatus. They can be enjoyed on a case-by-case basis but are not something to be eagerly sought out or encouraged in metal.
- A keen comprehension of repetition as device: Repetition is to be used as steadily outward-growing eddies that take a song to a different place, yes, but one that maintains a tangible relation to the place left behind. Individual components within the repeating phrase should have some emotional consonance and not serve as mere padding.
- Conscious realization that metal is in fact composed music and not free jazz.
How does Obscura, universally regarded as Gorguts‘ creative zenith, fare in context with these? On an individual song basis and on an album-wide scale, Obscura flouts more than a few of these observations. Obscura‘s sound is a swirling melange of dissonant tones under cyclic orientation, created on a wildly giddy bedrock of percussion. Conventional melody is used not as the driving force behind the songs heard on this album, but as ballast to the band’s almost painful need to expand the template of extreme metal prevalent till then. Guitarists coax unnatural sounds out of their instruments, resembling those made by scurrying creatures of the night, and mold them into a form of strange melody not without appeal, but on honest reflection little more than an outlier gimmick.
While not all associations with the band’s previous classic Erosion Of Sanity have been severed, Obscura greatly favours repetition of its themes, themes that at times fail to register as true motifs, often to the point of tedium. Where the band’s younger work had irrepressible momentum on its side, they now seem stuck in a rut of their own making with no clear vision of how to extract themselves from it. Songs regularly lapse into the kind of navel-gazing that is so aggravating in modern technical bands, in hindsight obviously influenced by this album. The most obvious example of this would be ‘Clouded‘, an idea that would be deemed insufficient even for the most basic of interludes but here stretched beyond all limits of endurance.
It would be disingenuous to suggest that Obscura detonates the core of music entirely, contrary to epithets of “chaotic” and “cacophonous” regularly appended to its descriptions. There is a kind of twisted logic to these songs but it is so far removed from what has gone before in the metal canon that it barely, if at all, qualifies as metal. Perhaps the album’s greatest failing as a purportedly metal album is in the lack of a human aspect. One would have to project really hard to glean any kind of meaningful emotion from these songs, uniformly monochromatic, mechanized, and without hope, or rage, as they are. In its abundant jagged outcroppings and in its constant search for the next unorthodox detour, Obscura
What essence, then, does Obscura have to relate?
Century Media Records has recently re-issued the death metal classics Obscura and From Wisdom to Hate by Canadian band Gorguts. The 2015 editions of these records were created in close cooperation with guitarist and songwriter Luc Lemay, who describes the history and context of these releases in accompanying liner notes. The re-issues are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002).
GORGUTS Obscura (Re-Issue 2015)
- Gatefold black 2LP
- Gatefold mint 2LP – limited to 200 copies (only available via CMDistro.com / Europe only – sold out in the US)
- Gatefold lilac 2LP – limited to 200 copies (only available via CMDistro.com / US webshop only)
- Gatefold transparent blue 2LP – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)
- Standard Jewelcase CD (offered at mid-price)
GORGUTS From Wisdom To Hate (Re-Issue 2015)
- Black LP+CD
- Silver LP+CD – limited to 200 copies (only available via CMDistro.com / European & US webshop)
- Transparent red LP+CD – limited to 200 copies (only available via CMDistro.com / US webshop only)
- Clear vinyl LP+CD – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)
Death metal band turned prog-core act Gorguts has re-issued the latter two albums from its classic period, Gorguts and From Wisdom to Hate, on industry powerhouse Century Media Records. The re-issues — on jewelcase CD, 2LP and limited edition 2LP — will be available in pre-order starting March 9, 2015.
Says guitarist/composer Luc Lemay: “I’m proud to announce that our 1998 record Obscura and 2001’s From Wisdom To Hate will finally be re-released! …For this re-issue, I decided to include liner notes that tell the story behind each record. How we got together as musicians, what was the composition process that made this sound possible and that made us grow as artists…I decided to change the logo because, with a step back, I realized that I never really like the original one on Obscura and I wanted to give the record a fresh look. I kept the same logo for From Wisdom To Hate, because it was created for this record…Thanks again to all our fans for their unconditional support through all those years.”
The re-issues see official release on April 6, 2015 in Europe and April 7, 2015 in North America. Both are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002). While Gorguts has deviated into progressive-themed *core territory with their latest, Colored Sands, this band helped forge the sound of technical death metal back when that term simply referred to death metal which required technical ability to play. While Obscura has often been imitated in style, those who have tried to imitate it have generally done so on the basis of style alone and missed the sublime composition within which made this album a classic independent of style.
Colored Sands, which sees release today, attempts to recapture the magic of Obscura and From Wisdom to Hate. On the surface, one would see these as a collection of techniques: off-time riffs, odd chord voicings, “deep” lyrics and an affinity for classical music.
Unfortunately, that’s all Gorguts took from their back catalog.
As said above, this reviews damns this CD with the faint praise of “not bad.” It’s much better than the rest of the tek-deth genre, but that’s sort of like saying that chainsaw dismemberment is better than Evola. The real problem with Colored Sands is that it’s transparent.
You can imagine a group of guys sitting in a room thinking, “How do we make a death metal album edgy?” For starters, they throw in the list of techniques I mentioned. But then they use very similar rhythms, song structures, riff types and even sequence of chord voicings.
We could call this “the Opeth effect”: for an instant audience, make music that sounds difficult but in fact is moron-simple and predictable, because it allows people to pose at being elite. It’s in full effect here, as bad as on the second Cynic album. It’s progressive music for pop fans.
Most of us had higher expectations because Gorguts traditionally held themselves to a higher standard. But what’s here is 50% traditional death metal and 50% tech-deth dressed up as prog, and it’s boring. The best part is the brief classical piece in the style of the Russians, which is both populist and not all that exciting in the convention of that style.
The re-formed Gorguts today released the first substantial sample we have from their new album, Colored Sands, which will be available on September 3 in the United States and August 30 in the rest of the world via Season of Mist. The default medium will be the CD digipak but Colored Sands will also be available on vinyl LP, including black vinyl, yellow in red vinyl (limited to 150 copies), and clear vinyl (limited to 350 copies).
The big question for Hessians is whether Colored Sands will sound like nu-core, either frenetic Gothenburg-styling finger wiggling or breakdown-heavy antsy post-hardcore noise like the tek-deth noodlers. The answer is surprisingly that this band is in a three-way tie between slowed-down droning alternative metal like Gojira, technical death metal of the old school, and the new school of jazz-influenced indie-style progressive metal. Unfortunately, it’s not very exciting because as you can imagine, the focus is on form, and not content.
For example, “Forgotten Arrows” tries to hard to be about something but the music doesn’t match. It’s cut from multiple skeins of metal and alternative/indie rock cloth, but the song never gets a voice of its own. All of it is well-executed, and it avoided the irritating aspects of nu-core, which is commendable. However, it never really gains a spirit, like older Gorguts did.
That being said, this is only one track, and it’s a lot better than expected for the title (which may reflect a Vedic influence) and the addition of people like Colin Marston, who while he was a friendly and articulate fellow when I met him, is forever damned in metal for releasing the droning black metal imitation flavoring turd Krallice. The new guitarist and drummer seem to keep up admirably with grand old metal man Luc Lemay and his adroit fingers.
- Le toit du monde
- An Ocean of Wisdom
- Forgotten Arrows
- Colored Sands
- The Battle of Chamdo
- Enemies of Compassion
- Ember’s Voice
- Reduced to Silence
Gorguts 2013 U.S. Tour Dates:
- 09/05 – Springfield, Va. @ Empire
- 09/06 – Raleigh, N.C. @ Hopscotch Festival
- 09/07 – Wilimington, Dela. @ Mojo 13
- 09/08 – Worcester, Mass. @ Palladium
The might Gorguts, who added atmosphere to thunderous Florida-style death metal before deviating into labyrithine riff progressive death metal on Obscura and From Wisdom to Hate, and then fading into obscurity with only one resurrecting as modern metalcore band Negativa, plan to return on September 3 with a new album entitled Colored Sands and a tour to follow.
If you don’t hear the heavy metal world pounding on the door to demand to hear it, here is why: the name is obviously of the type that is used by modern metal bands, including metalcore and “progressive metal” that is mostly indie with some progressive and very little metal, and thus, it’s unlikely that we’re going to get Considered Dead II, or even Obscura II. In fact, what it sounds like we are going to get is another modern metal album that, because it has abandoned what it is to be metal in spirit and composition, is a diverse collage of bits in the modern style, which means a giant indecisive waffle that leaves you feeling empty after consumption.
As the staff optimist here at DeathMetal.org, I am hoping otherwise, and putting my trust in Luc Lemay and team’s solid record in the past. However, the team is entirely different now, except for Lemay. Kevin Hufnagel (Dysrhythmia) is on rhythm guitars, Colin Marston (Behold… The Arctopus, Dysrhythmia) on bass and John Longstreth (Origin, Angelcorpse) on drums. This also makes metalheads uneasy, because no matter how much they “love true metal,” Marston and Hufnagel are from a hipster metalcore band.
Still, we preserve optimism. The hope is that Gorguts will make something interesting. That excludes technical metalcore. I would rather they released a rockabilly record that join the stupid and horrible trend of mixing Fugazi, frenetic 1970s jazz fusion, and a few metal riffs and calling it “innovation” when by definition it’s a recycling of past ideas. Time will tell, and we can only hope that Gorguts rise above the pack yet again and bring us a vision of something profound instead of something compliant.
From Gorguts: “This is still all the news we have. Patience.”
Reactivated Quebec, Canada-based technical death metal band GORGUTS recently entered the studio to begin pre-production on their new album for a tentative late 2011 release via an as-yet-undetermined record label. The group’s current lineup features genre heavyweights John Longstreth (drums; DIM MAK, ORIGIN, THE RED CHORD, SKINLESS, POSSESSION, ANGELCORPSE), Colin Marston (bass; DYSRHYTHMIA, BEHOLD… THE ARCTOPUS, BYLA, KRALLICE, INDRICOTHERE) and Kevin Hufnagel (guitar; DYSRHYTHMIA, WHILE HEAVEN WEPT, BYLA, EUCLID STREET, THE FIFTH SEASON, GREY DIVISION BLUE) alongside guitarist/vocalist Luc Lemay.
“Just a few words to let you know where we are with the songwriting of the new album. We got together at the end of January to finish up the last songs to complete the album. Colin and Kevin have contributed to the album with a song each. Amazingly well composed, their songs suit the GORGUTS aesthetic wonderfully.
“The album will have a total of nine songs, including one instrumental piece for string orchestra composed by me. [It] is going to be over one hour long. It still very brutal but darkly, ambient and progressive as well.
“The album main concept is going to be a musical journey that will talk about the wonders of Tibet as well as the dramatic fate they’ve been going through for over 50 years now. – BlabberMouth
This band still has no idea why people liked them in the first place.
Obscura was death metal with a progressive flair without leaving death metal behind.
The newer stuff tries too hard to be current; there are too many “modern metal” influences.
What made Gorguts great was never the style, but the content, which expressed a beauty in darkness.
This new stuff expresses a desire to free-form jam as trapped in a post-hardcore style. It is far from bad, but it is also a work about itself. Old Gorguts was a work about life.
Throw in the towel and just make an all-out progressive rock album. There’s no need to hold on to metal after it has run out on you.