Instrumental metal duo Tempel unveils new song Carvings in the Door

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Following their stunning debut album On The Steps of the Temple, the Arizona-based instrumental duo Tempel take their sound to the next level on their forthcoming sophomore effort “The Moon Lit Our Path”, due June 16 in North America, June 15 in the UK/EU and June 19 in Germany.

Recorded at guitarist Ryan Wenzel’s Phoenix-area Arrowhead Studio, “The Moon Lit Our Path” — which features intricate artwork by Lucas Ruggieri (Kylesa, Dragged Into Sunlight), as seen above — features five colossal tracks that mix progressive, black, death and post-metal into one mammoth sonic cocktail.

Today, Tempel is pleased to reveal the album’s opening track, the eight-minute composition Carvings in the Door. The song is now available as an “instant grat” download with digital pre-orders of the new album on iTunes and Bandcamp. Fans can also stream the track in its entirety on PureGrainAudio or directly below via YouTube.

Instrumental metal: an idea whose time has come

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When Burzum released Hvis Lyset Tar Oss in 1994, underground metal was forever split. This album featured longer songs where concept was closely intertwined with song structure, and riff shape defined by mood. It both made undone past paradigms and raised the bar.

After that point, black metal and death metal deflated. The initial rise of ideas created in reaction to outrage at a dying civilization was gone, and nothing else propelled the genre forward, so it fell into self-imitation based on outward traits. Further, few bands could handle the raised bar, so it was “explained away” in social circles and the music tended toward the more primitive, not less.

Thus is the problem with raising the bar. Once you have done it, people either rise to the challenge and forge ahead in the new language, or have to hide the fact that they’re here for the gravy train which means they want to make the same dumbass music they would make in rock, pop, punk or blues, but use some distortion and call it “black metal.” That leads to high margins: the product is cheap to make because it’s a well-known type, but it has a higher markup due to novelty.

However, unless you’re deaf, you’ve noticed that the output of underground metal has seriously flagged in quality since the mid-1990s. Not so in quantity, of course, where we have more bands than ever before who have better production, are better instrumentalists, and generally more savvy at the music industry. Unfortunately the music they produce is not as good as what a few lonely intelligent outcasts did in the early 1990s.

This leads us back to a question of metal’s growth. Do we keep up with the raised bar? Style is not substance, but the two are related. Without enough substance, style never evolves; without the right style, substance often gets lost. Artists tend to visualize the two at the same time as part of the same articulation of an idea that they are communicating through mood, or the sensation of perceiving something and wanting to engage with it. In theory, metal could continue with what it has, using the same styles but writing new music, and many bands have succeeded in that. But keeping up with the raised bar has some advantages.

First, instrumental metal would be difficult and this would draw a line between metal and the pop, rock, blues and rap and place us closer to ambient and classical in the respect scale. Take for example this quote from educator Liam Malloy:

“In the past, heavy metal has not been taken seriously and is seen as lacking academic credibility when compared with other genres such as jazz and classical music. But that’s just a cultural construction.”

Second, this change would get rid of the vocal problem in metal. We know what death/black metal vocals are, but the shock has worn off as they’ve been appropriated by other genres. They are not extreme anymore, and overused by those who like them because a plausible imitation is easy to pull off. On the other hand, shouting vocals (Pantera) are annoying, most male singing sounds like drunk guys brawling, and the high pitched “operatic” vocals divide an audience. No vocals, no worries.

Third, this would make it easier to tell real metal bands from the weekenders. Real bands can put together long pieces that make sense, where the weekends just want the appearance thereof. Contrast real progressive rock like Yes to the somewhat paltry substitute in Opeth. Opeth have nailed the aesthetic, but not the underlying musical depth or density. When you hear the two together, it’s clear they are from different genres.

Fourth, instrumental metal would enable greater riffiness in metal. Already there’s a storm of protest when “riff salad” songs emerge, even if the riff makes sense. Much of death metal was an end run around using constant verse-chorus vocals, thus liberating guitars to create more interplay between riffs. Without vocals to keep bringing the song back to repetition, riffs could have greater leeway and repetition would exist not out of standard song form, but to emphasize parts of the song that need repeating for the sake of atmosphere.

Many people out there want metal to go instrumental. While it loses the masculine and terrifying aspect of the vocals, it encourages a competition among metal bands to not only preserve that but make it more extreme among their instrumentals. And if anything, that’s closer to the spirit of metal itself.

Cóndor – Sangreal (2016)

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Condor again present a wholesale blending of death metal, classical guitar, folk, and progressive rock influences into epic heavy metal songs rather than pretending instrumental masturbation is intelligent like Dream Theater or that alternative rock with power chord chugging and a couple angular or dissonant riffs is metal like Bolzer. On Sangreal attempt to convey the romanticism behind the Arthurian legend, particularly the grail cycle concerning Percival or Galahad restoring fruit and flower to the desolate Waste Land rendered infertile by the sins of the maimed and emasculated Fisher King.

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Sadistic Metal Reviews: 10-23-2016

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Humans and metal bands are self-replenishing resources. There are always more to burn!

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Mail Call: Infamous and Kshatriya

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Metalheads love going to the post office. This is established fact; we are either sending off dubs or trades, or going there to receive a package full of music. Like most anti-social types, we do not trust centralized authorities like iTunes or major labels, so mostly our music comes in physical form. We like it that way.

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Sadistic Metal Reviews 9/24/2016

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Some sorry schmuck has to shovel it into a hole and set it on fire.

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Serpent Ascending’s Aṇaṅku Out September 16th

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Serpent Ascending announced that their debut album Aṇaṅku is going to be released by I, Voidhanger Records on September 16th. Serpent Ascending is the solo-project of Desecresy vocalist Jarno Nurmi and previously released two extremely promising demos, Serrpent Ascending and The Mournful Pilgrimage, that were compiled with one new track in The Enigma Unsettled anthology CD. From the label’s press release:

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Nigromante – Profundidades (2016)

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Article by David Rosales.

Receding light and surrounding darkness encroaching, a stench of death and the beginning of lamentations beyond the veil of mortality; this is the picture presented to us by Nigromante. These images cannot come from elsewhere but the deepest wellspring of human sorrow immortalized through its own seal of power, a searing symbol that brands pain and agony unto souls — that they may be thus imprisoned and chained.

“Usar un sigilo sin saber…. ¡Se maldicen a ellos mismos!”
— A. Valentina
(trans.: “To use a seal without knowing… They curse themselves!”)

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Morbid Angel – Altars of Madness Full Dynamic Range Edition

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Morbid Angel recorded what was supposed to be their debut album in 1986. Compositionally excellent and novel, Abominations of Desolation was a Manhattan project of death metal as a truly musically distinct sub-genre. However, band leader Trey Azagthoth and then producer Dave Vincent were unhappy with the recording. Azagthoth quickly fired drummer/vocalist Browning and bassist John Ortega, and shelved the album, which Ortega later released as a bootleg. Vincent and Azagthoth had a point though: Browning’s drumming was shaky and he sounded like a wimp. His drumming lacked power, never making use of blast beats while his vocals could have come out of a whiny fourteen-year-old.

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