When metal bands tire of the older styles that demand too much sense, they make something frenetic and use over-the-top vocals to tie it all together despite being random; that is why when metal ran out of ideas in the late 1990s it turned to metalcore. With The Impious Crusade, Impiety take this newer style and infuse it with some of the older style, producing something more deliberate than what we normally hear but within the chaotic styles of modern metal.
The result is equal parts late-1990s charging death metal, where riffs fit together in roughly circular fashion and hold together with pure momentum, and part a few experiments with borrowed items including speedy call and response between thunderous power chords and dissonant voicings, lead guitars that race through solos in an organic style reminiscent of early Vader, and Meshuggah-style sudden stop-start complex syncopation over two-note riffs.
The Impious Crusade delivers what makes Impiety great which is pure speed thrills with enough melody and textural context to remain interesting. Although it doesn’t reach the textural depth of older death metal, which can still incite some powerful moods, this MCD pounds out a gratifying high-intensity twenty minutes of ripping music that perverts modern metal into something more like the original death metal ideal.
Released on the 20th anniversary of their first EP, Impiety’s upcoming LP collects some of their rarer releases onto a single platter for perusal by slamming high-speed death metal maniacs worldwide.
Compiling the Salve the Goat…Iblis Exelsi EP (1993), Ceremonial Necrochrist Redesecration demo (1993), split EP with Surrender of Divinity (2004), and the split EP with Abhorrence (2008), Vengeance Hell Immemorial assembles some of the more sought-after releases from this band’s history.
A special gatefold vinyl pressing from Hell’s Headbangers, the compilation will be unleashed upon the world on June 28, 2013. Less than a month later, on August 8 Impiety will unleash their new mini-album The Impious Crusade as if a nod to this grand tradition of shorter works, demos and EPs.
Salve the Goat…Iblis Exelsi EP (1993)
2) Magick-Consecration Goatsodomy Ceremonial Necrochrist Redesecration demo (1992)
4) Ceremonial Necrochrist Redesecration1
6) Fallen Blasphemathory
7) The Seventh Goatspawn
8) Outroblation Split w/ Surrender of Divinity (2004)
9) DragonOath Diabolus
10) The Seventh Goatspawn
11) Imperative Coronation
12) Invicible Force (Destruction cover)
13) Blessed are the Borachos Split w/ Abhorrence (2008)
14) Storm of Abhorrence
Singaporean war/terror metal band Impiety recently announced a new mini-album, The Impious Crusades, and now reveal that the slab of screaming death will hit your mailbox on August 6th, 2013, as released by Hell’s Headbangers Records.
According to frontman Shyaithan, “Mission accomplished, and honestly really satisfied with how this record turned out! The Impious Crusade is a giant leap ahead from the last Impiety album, and to top this one is going to be severely difficult. But that is what I enjoy most, and shall continue to further challenge myself pushing wider, deeper, and even further beyond boundaries of untamed death and chaos.”
The Impious Crusades unites itself on the Impiety motto of “crush, kill destroy” and includes a cover of Sorcery’s “Lucifer’s Legions” and artwork by cult paintbrush Lord Sickness. Although the band have released no information about style, it now seems it will be coherent with their past years of blasting, racing, raging and deconstructive fast simple death metal with undertones of melody.
Although self-referential titles are generally harbingers of poor quality releases, the band seems united on this mini-album as a kind of short and quick mission statement, which could lead to a summation of past works into a single hard-hitting dose. Fans await this exciting release as the band makes the tracklist available:
1. Arrival of the Assassins
2. Commanding Death & Destroy
3. Accelerate the Annhiliation
4. The Impious Crusade
5. Lucifer’s Legions (Sorcery Cover)
On August 6, 2013, Impiety will release its latest assault upon the world of mortal beings. Titled The Impious Crusade, this mini-album (that’s an EP for you 80s fanatics) will include five new songs of what we can only assume is the characteristic ripping fullback-rushing-at-Satan rhythmic metal that has made Impiety famous.
Unfortunately, assume is all that we can do. Other than describing the music as “innovative, brilliant and totally unforgiving,” the band has given us no clues. However, Impiety rose to fame for — in a time when bands were “experimenting” by including known influences from other genres — being cuts-to-the-bone pure rhythmic high speed chaotic death metal. Unlike war metal, they kept in the complexity of old school death metal and worked in even a bit of melody without turning into the over-tuned saccharine that afflicts many metal bands today.
In short, people have loyalty to Impiety because Impiety had loyalty to metal at a time when it was unfashionable and definitely not trendy to do so. Over the years, their output has been consistently within this theme, although it has improved, and has attracted numerous tributes. With this release, however, more may be afoot because the band are suspiciously mute on the topic of style.
The Impious Crusade will be released on Hell’s Headbanger’s Records, who promise more information today on this developing story.
This album is thoroughly enjoyable energetic and simple death metal which incorporates enough hints of melody and harmony to give the songs memorability. However, on the whole it belongs to that category of bands which are guilty pleasure bands by design. They do not aim for profundity, but rather intensity. We might list Vader and Angelcorpse as well, or maybe early Grave, because they have a similar low-tech approach. There is not much that is musical about this release. It is pure rhythm, with the aforementioned musical elements tacked on to keep your interest. But as rhythm, it has the intensity of later Angelcorpse and the raging power of broad basic statements that propelled early Grave. Its songs are not as memorably constructed as those on Exterminate or Into the Grave, have more the intensity of mid-period Vader, but in a time of feeble self-pitying rock bands trying to be hipster “metal,” it’s gratifying to find something with heart. You will tap your feet to these energetic, propulsive tunes and appreciate the sheer violence out of which they are created. Unlike many recent albums which drag you along for the ride, Ravage and Conquer drops you into the middle of it and makes you fight your way out.
With an unstoppable invasion of Muslim migrants and a judicial system that refuses to prosecute their crimes, the nation’s progressive government leaders have definitively surrendered the future of Sweden into a Muslim majority. It will only be a matter of time until a revolution occurs similar to that of Iran in 1979, when the country’s republic is overthrown and replaced by an Islamic theocracy and hijabs are forced on the women of Sweden. It’s a reality that Swedes had better accept sooner than later as it has already happened to many other less willing nations within the last century.
Under Sharia law, there are harsh penalties for blasphemy, witchcraft, female indecency (exposing your body/not wearing a veil in public) and devil worship- ranging from a life in prison (with the press declaring you committed suicide) to public execution. There will be no mercy shown for those who profaned/denied the image of God whether the act occurred during or after the new rule of law was instituted. Therefore, any and all Swedish bands with such lyrical content will be quickly and efficiently strung up en masse when the new government arrives.
And if all this sounds crazy to you, just read the tale of Iranian metal band Confess and the horrors its musicians have been forced to endure. After recording the lyrically harmless In Pursuit of Dreams (of which song titles include “Did You Get My Last Massage?” and “What Doesn’t Kill You Make You Exhausted!”), the band’s vocalist Nikan Kosravi were thrown into prison, forced in solitary confinement, and denied bail for almost a month. The kid’s parents had to sell their houss and pay $30,000 for him to be released, and he faced the punishment of death by hanging for the crime of blasphemy. He eventually hired a human trafficker to smuggle him out of the country to escape a 6 year prison sentence!
FYI Those are Saudi Arabian women being hanged, for all of you hijab-wearing feminists out there
But all the while brainless beta-cuck musicians existing in a Gothenburg liberal bubble like Tomas Lindberg of At the Gates will be decrying nationalism and populism as the horrifying bogyman that threatens their world. They will cheer the eventual institution of Islamic government as “the end of a tyrannical Christian reign” and will not even notice the militants sneak up behind them until the bag is thrown over their heads. Some of their fans will cry and throw tantrums and in retaliation be beaten in the streets, but they will ultimately do nothing as their Swedish death metal heroes are hanged by the neck right before their very eyes.
If you have ever played in a Swedish death or black metal band, you’d better get the hell out of the country before the day of Sharia comes (I’m giving it less than ten years). And if you’re in a band on the below list, I am not kidding you: you are going to die!!! To the rest of the world, prepare yourself, because it is likely only a matter of time before the musicians of following bands will likely be executed in front of a liberal metal world that was too dumb and too feminine to stand up to what is happening:
Hailing from Houston, Texas, home to a few great USBM bands, Morbosidad are more likely known for the Spinal -Tap-like deaths of two of their drummers (one in an explosion in the rehearsal room and the other from falling of a building). Multiple lineup changes have plagued this band as well with the only remaining member being Tomas Stench. Due to such changes all releases differ immensely save for aesthetics and Spanish lyrics. Being released on Nuclear War Now! Productions, it is very easy to predict what this band has to offer musically (or lack thereof). (more…)
All metalheads secretly want the return of early 1990s death metal and black metal. Instead we get nostalgia bands who prey on our desires by delivering aesthetic imitation of the past, but with none of its depth, and by doing so, make a mockery of the underground as desperate metalheads embrace this stuff.
This small label sent over a few of their releases in compilation format. Fallen Temple Records releases tapes and vinyls of rather obscure acts with specific audiences and put a range of stuff together for this compilation, which shows how wide the tastes of this label and its audiences are.
Betrayer/Neolith – Split
Long-time readers may be familiar with our obsession with Polish band Betrayer, whose 1990s debut Calamity remains an excellent but mostly overlooked piece of melodic death metal with speed metal influences. Betrayer return with a single track, “Beware,” which shows more of a late Morbid Angel (Covenant era) influence, specifically in vocals and rhythms “The Lion’s Den,” as well of more of a reliance on the more aggressive mid-paced speed metal rhythms to emerge in the 1990s. The musicality that allows melody to unite disparate elements into a single experience remains and so despite initial concern over style, listeners will find this track hard-hitting and rewarding after multiple listens. The noodly solo does little for it and the Pantera-ish influences slow down the power of this song, but the quality songwriting remains as does the ability to leave the listener transported after listening. We will be fortunate if we hear more from this under-noticed but intelligent band.
Neolith on the other hand sounds like Krisiun and Impiety had a spawn but balanced it with the second album from Grave. The result emerges as charging death metal with atmospheric use of keyboards. Unlike many bands, these guys seem to understand at least the rudiments of harmony and so it fits together both rhythmically and tonally but the constant drilling rhythm and high degree of repetition without variation of the structural loop within the song makes this somewhat repetitive. A late-song break to a Slayer-style riff then leads to more keyboards mixing poorly with the guitars by creating a competition between sounds instead of supporting atmosphere, which causes clashing influences in the song and sabotages mood. Then it all repeats. This band has a great deal of talent and if they chill out and apply it without worrying what people will think about them, they’ll do great.
Behelal – Satanic Propaganda
Behelal suffer from being too adept, which leads to them deciding to adopt multiple styles into the same musical persona, with the result of achieving stylistic anonymity. Fundamentally of a blackened death approach with post-metal style chord progressions and mixed in primal black metal, industrial and other influences, this song plus an intro conveys a lot of potential but not really any specific direction. It concludes much as it began, with a sense of darkness and possible beauty never realized. Compares to Pyogenesis.
Blackwhole – Another Starless Night
The world might be happier if bands abandoned pun names, if that is what this is. The listener will first notice that and either be thrilled by it because they are a moron who delights in the trivial, or avoid it because they are disgusted by the flood of mundane morons delighted by the trivial. But assuming that the name is not a pun, consider how you would feel about an album at the pace of early Samael with some of the influences of later. The result requires the kind of mentality that doom metal fans have while listening, but incorporates some electronic influences but basically just drones. Its simple chord progressions are not unpleasant and its riffs somewhat unique, but the main problem most of us have with this is that well-composed or not, it is somewhat boring. The pace allows for little change and the plodding riffs wear us into the ground. Like early Samael, it has a certain charm as mood music since it sounds like demons practicing dirge music in the basement of an ancient house on haunted land.
Devil Lee Rot/Ajatus – Split
Devil Lee Rot is extremely predictable but catchy hard rock dressed up as some kind of Dissection-formatted heavy metal band with occasional death metal vocals. If you really adore middle-period AC/DC, this might stir your cauldron, but generally this has nostalgia appeal and is dripping in cheese without managing to be fun or entertaining. It is hard to write off this band because of their obvious musical skill, but it does not save the end result from being a warm-over of the past. Ajatus aim for the late days of the 1980s with a fast speed metal/death metal combination that uses fast riffs and death metal vocals but the riff patterns of speed metal. These riffs are predictable but use a bit of melody and songs come together well, which marks this as eternal B-level death metal that compares to Fleshcrawl and Dismember but never quite achieves those heights.
Eternal Rot – Grave Grooves
Much as you might expect, this band undertakes a fusion of morbid metal and dark grooves. The result sounds like Fleshcrawl covering Autopsy at the pace of early Sleep material, and this delivers a listening experience that is pleasant. Morbid vocals burble up from the background as bass-intense guitar tracks rumble through the front and songs fit together well. Riffs are a bit too asymmetrical and songs too much cut from the same wallpaper, but this release only has two tracks. A full length album might show more. Eternal Rot struggles against contradictory impulses to set up a groove and to use simple riffs, which creates the unfortunate result of droning power chords ad nauseam. If this band could work in more death metal style riffing it might inject some energy into this otherwise fairly plodding sound. Then again, those who like groove tend to get excited by predictability.
Hin Hale – Beyond
This band attempts early style black metal with distorted vocals but music influenced by the speed metal years, much like early Sodom or some of the many South American bands who have undertaken this style. Hin Hale keeps up the energy and throws in some good riffs but the background of this release somewhat swallows it in similarity. Finding a voice in this style proves very difficult because of so many riff patterns and song patterns known from the past, so revivalists such as this face an uphill battle. They complicate this with a named unrecognized by most and an unfortunate thin guitar production.
Malum in Se – …Of Death…of Lurid Soul
Malum in Se blends three generations of Swedish death metal into a single melodic death metal voice that avoids being as random as the post-metal and “tek-deaf” material tends to be. Unfortunately it also avoids being distinctive and so comes across as a well-articulated style in need of direction. Some excellent riffs in here show not only promise, but an ability to stagger riffs for contrast and achieve mood, but the overall energy charges too far ahead and not enough into depth, and many of these patterns seem too symmetrical to be memorable. The insistence on nearly constant vocal rhythms and frequent high speed pummeling make it hard for listeners to stay tuned in to the inevitable conclusion, which is usually able done and worth the wait. This band have made a good job of analyzing their style, but now need to find a sense of making it more of an aesthetic experience of beauty and with that, a larger purpose than the style itself.
Necromantical Screams – Deadly Frost
This band approach Funeral Doom much like old school doom in the style of Saint Vitus with heavy downstroke repetitive strumming guided by the croaking distorted vocals. On the one original song included here, much of the riff-writing approximates the speed/death metal years and while it incorporates a good amount of melody, ends up being driven by rhythmic expectation in the sense of a cadence ending on an offbeat. Many Autopsy influences color this and they result in a somewhat boring song. The second track is a slightly slowed but mostly faithful cover of the Celtic Frost song from which this band takes its name. They successfully execute it but put more emphasis in varying the vocals with each phrase to give it a new atmosphere, but this loses the austere calm and sense of dread to the original. While there is nothing to dislike here, the simple outlook approach to riffs plus slowdown generally equals a type of funeral doom best reserved for going to sleep after funerals.