Hammerheart Records re-issues At the Gates Gardens of Grief

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Hammerheart Records has re-issued the classic of Swedish death metal Gardens of Grief by pioneering progressive death metal band At the Gates. The label issued the following statement:

At the Gates are one of those Swedish bands that doesn’t really need an introduction for anybody really eager enough to dig as deep as their first EP, Gardens of Grief, which was released in 1991 on Dolores Records.

Being one of the more distinct sounding bands from the whole original Swedish death metal scene, they have managed to spit out a couple of really great albums in the 90s, the pinnacle of their career being 1995’s “Slaughter of the Soul”.

What we have here lads is a chaotic mix between great song composition, one of metal’s best vocalists (in my humble opinion) screaming his shit out and pure maniacal death metal the way its supposed to be played. Right from the start of the first track you will get nothing less than a punch in your face, to the groin and to the balls. Tempo changes along with the massive output of riffs used work perfectly to create a unique atmosphere that sends you right to hell. This is one of those birth moments of a band that further defined the typical “Swedish sound” that most of us know as being a kind of mix between crunch and white noise. Every song has a very mature approach towards composition, not sounding very melodic, but dark, vicious and awestruck. This is fierce, ruthless death metal played by people who had a spark in them and wanted to play crazy music.

This EP is a very good example of how a rough start can prophesy a band’s great career with no absolute low point whatsoever and be a marker for good things to come.

For fans of: Grotesque, Dissection, Watain

Sammath to reissue debut LP on Hammerheart

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Sammath unleashed its debut album Strijd in 1999 to not much fanfare. The black metal community had essentially collapsed under a wave of Dimmu Borgir/Cradle of Filth clones, and the underground had retreated to the Full Moon Productions board to re-style punk riffs as black metal and make boring music that is forgotten at this time. Almost no one wanted to simply keep their eye on what had worked and make it return.

As our review published at the time opined, however, Strijd succeeded because it conveyed both the elegance and violence of black metal, instead of becoming a top hatted children’s show satire focusing only on what the Thomas Kinkade fans of the world think is “elegant” (in America at least, every pretentious but incompetent person must have at least one Thomas Kinkade painting, Ansel Adams print, and dreamcatcher). Sammath brought back the ancient feeling, the meditative look at a life shrouded in darkness, and the misanthropy and intolerance for stupidity and lies that made black metal so satisfying in the midst of the lie-drenched 1990s.

Hammerheart Records has been focusing more of its attention on resurrecting classics and picking out modern bands with the same power, which seems to signal that the great metalcore trend is on the wane and people are looking for the kind of power they found in traditional metal genres, again. Strijd delivers this in high-powered generous doses but also maintains its introspective side, creating the perfect melancholic warrior album for a dying world. Although a date for the vinyl re-issue has not been specified, it is something to look forward to sometime in the latter half of 2015.

Hammerheart Records to re-issue Mystifier albums

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Dutch metal label Hammerheart Records announced that it would release three releases from Brazilian band Mystifier, Wicca (1992), Göetia (1993) and The World Is So Good That Who Made It Doesn’t Live Here (1996). The first two of those releases constitute the essential works from this band and its greatest historical impact during the fertile 1989-1994 period of black metal.

All three albums will be released in deluxe vinyl and compact disc editions after an unspecified remastering treatment. The label also intends to release a live album on DVD plus compact disc or vinyl sometime in 2015. Describing the arrangement as a “long-term agreement,” the label and band seem to have hammered out a distribution deal for present and possibly future works, since Mystifier has been active again over the last decade after a long absence.

Starting their musical career just after the Norse boom in black metal in the early 1990s, Mystifier appealed to the raw and primitive side of the new genre explored by other tyrants such as Sarcofago, Blasphemy, Impaled Nazarene and Beherit. Their primal and uneven hymns created a destabilizing force even as the hip kids mustered themselves to make slick versions of the new genre. As we enter the second decade of elevator black metal, this infusion of unsystematic hatred should help even the score.

Sammath signs to Hammerheart Records for “Godless Arrogance”

sammath-godless_arroganceDutch-German blazing black metal act Sammath, who are preparing to unleash their fifth album, Godless Arrogance, have signed to worldwide metal music label Hammerheart Records for the release of that album.

“I’m getting emails and telephone calls from people all over the world,” said Sammath guitarist/composer Jan Kruitwagen on the change that catapults them from a smaller metal label to worldwide distribution on par with Relapse and Nuclear Blast. The band is leaving its label of sixteen years, Folter Records, on amicable terms. “Joerg from Folter was actualy proud as fuck that we got signed to these guys and only wishes us well. It wasn’t easy telling him after 16 years on his label, but he understands.”

According to Kruitwagen, Hammerheart sought Sammath after hearing the demo tracks from the upcoming album and knowing the band for a long time. “The new tracks will destroy! Guido from Hammerheart knows what’s good,” he said. Believed by many to be the boldest step of the band’s career, Godless Arrogance combines the elegant melodies of Sammath‘s first album, Strijd, with the aggressive ripping death metal approach of their most popular work, Dodengang.

The band doesn’t plan to change a thing about their approach, which is old school technique and composition with an eye toward defiant independence. “We have lots of work left to do. All drums are recorded without triggers and everything is recorded live. Getting this all sounding like we want takes time. We do everything ourselves, no hands but ours will finnish this CD, except Peter Neuber for the master (Necrophobic, Revenge, Severe Torture),” Kruitwagen added.

Godless Arrogance will see release in “a couple of months at least,” but will not change its approach. “We need to make sure it all sounds up to mark, without losing the intense sound it already has,” said Kruitwagen. He added that despite a changing music industry, the band remains committed to its approach. He added, “let the music speak for itself.”

The tracklist for Sammath‘s Godless Arrogance will be:

1. Shot in mass
2. Fear upon them
3. Thrive in arrogance
4. Death (hunt them down)
5. This world must burn (hammer of supremacy)
6. Through filth and the remains of man
7. Nineteen corpses hang in the mist

Havukruunu – Kelle Surut Soi (2017)

Havukruunu, despite their Burzum like cover, worship Bathory‘s Blood Fire Death and 1980s synth pop on Kelle Surut Soi. Havukruunu attempt the folk choruses, epic atmosphere, and melodic solos as Quorthon did in his successful attempt at mixing black and speed metal. Unfortunately for my ears, Havukruunu are not so successful on Kelle Surut Soi.

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Cirith Gorgor – Bi Den Dode Hant (2017)

Cirith Gorgor try to apply the technical musicianship of the best death metal to black metal as Demonaz did on Immortal‘s heavily Morbid Angel influenced last gasp, Blizzard Beasts. However Cirith Gorgor’s songwriting on Bi Den Dode Hant cannot even hope to approach the level of the Norwegian greats and best death metal bands of the early nineties; Cirith Gorgor sound more like Hate Eternal or any other generic rock band recorded by Erik Rutan‘s Klingon forehead trying to be Mayhem as black metal is cool with the kiddies now due to them reading on Facebook that Varg stabbed Euronymous in the face over twenty years ago.

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Metal Festers Eternal

Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.

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Burzum’s Top Ten Metal Influences

Varg Vikernes posted a video a few weeks ago to his ThuleanPerspective Youtube channel listing the ten metal albums most influential to Burzum. We forced a lowly, supple-assed Death Metal Underground junior staffer/catamite to type them up into a play list for our readers:

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Sadistic Metal Reviews: Why Don’t You Just Kill Yourself?

Thus spoke Matti Karki, one of the greatest voices in death metal, on the often boneheaded Indecent and Obscene.

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Tarnkappe – Winterwaker Physical Copies Out Now

Tarnkappe‘s Winterwaker, one of The Best Underground Metal Albums of 2016, was released today on CD and LP from Hammerheart Records. Winterwaker was digitally released late last year and the physical release delayed due to pressing plant backlog.

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