NYC death metal band, Internal Bleeding, is pleased to unveil the official new video for “Fabricating Bliss. Filmed by director Kirk Farrington and adapted from a concept developed by bassist Jay Liff and vocalist Keith DeVito, the video was shot in a chaotic style to match the frenzied mind of the video’s protagonist.
Vader are touring North America this year in support of their mediocre new release, The Empire. Hopefully Vader will play a good amount of material from their better, older releases such as The Ultimate Incantation and De Profundis. Tour dates and the press release are after the jump.
The weather is absolutely perfect here in New York, with a surprisingly warm 73-degree temperature and gentle breeze coming in from the south. Knowing I won’t have many more days like this I figure its the perfect day to sit outside on my back patio, light up an excellent cigar and pair it with an equally remarkable bourbon.
I reached into my humidor and immediately went for my prized possession — a flawlessly preserved 1993 Cuban Punch Churchill. Now that it was chosen, I had to decide on which bourbon to pair it with. Not knowing the exact strength profile of the cigar, I decided it would be best to choose a middle of the road bourbon that wasn’t incredibly strong or forceful, but still had plenty of character — Woodford Reserve immediately came to mind. It has a wonderful upfront taste with a short and pronounced finish that I thought wouldn’t overpower the cigar. Once I poured myself a taster’s glass worth of the amber goodness and headed outside to begin.
In my opinion, Cuban cigars are not what they used to be. Over the past 20 years, poor soil management, deteriorating quality control and general apathy has led to a dramatic decline in quality and consistency — consequently buying a Cuban cigar today is a hit or miss affair. However, the cigar I was about to smoke was from a different time, when quality and consistency were still high and Cubans were the gold standard in taste. Since I never had this cigar before, I decided it would be best if I smoked it a bit to truly taste it before even attempting to pair it with the bourbon.
After toasting the foot of the cigar and lighting it, I let it settle for a minute or two until the head cooled down to its normal burning temperature. Once the cigar settled down, I took my first few draws. The smoke was rich, but not overpowering, with well-defined, upfront flavors of black pepper, leather and earth. Underneath those flavors lay the very distinctive metallic-like quality prevalent in most Cuban cigars.
The flavors blended together quite well and produced an incredibly balanced profile. This Punch is a very complex cigar, and the mix of flavors constantly evolves as you smoke it. At one moment, the leather is more pronounced; the next moment it would be another flavor at the forefront. The finish is light and pleasant, with lingering spice and metallic tastes in the mouth and nose. Overall, I would score this as a legendary smoke. I’ve had a few cigars that are better, but this is certainly one of the best I have ever experienced, and achieves legendary status easily.
Fortunately, my pairing instincts were correct, and the experience truly got out of hand when I introduced the Woodford Reserve. Both the cigar and the bourbon benefitted from each other, and the synergy between the two truly hit my sensory sweet spot. The bourbon blunted a bit of the metallic taste of the cigar and enhanced the smoke’s spicy character, while the cigar’s leather and earth notes played quite well with the Woodford’s caramel and spice notes. After a puff and a small sip, I would sit for at least three minutes, taking the whole experience in before even contemplating another.
This is one of the best pairings I have ever had, and the experience left me relaxed and fully satisfied. The only thing that would have made it better would be having a prime porterhouse beforehand. It’s very rare to experience a pairing such as this, and I certainly savored every minute of it. I only wonder what would have happened if I upped the bourbon game and tried the cigar with Pappy Van Winkle 20 year old. Alas, I’ll never know.
While Woodford Reserve is easy to find, getting your hands on a 1990s Punch is quite difficult, if not impossible to procure. I’m lucky that I have a very (very) rich hedge fund manager as a client and he is well stocked with classic Cubans — that’s where I got this incredible smoke. That being said, below are some cigars that are much easier to find that pair well with Woodford Reserve:
Partagas Black Label
Tatuaje Brown Label
Nica Rustica by Drew Estate
Don Pepin Garcia Blue Label
Old Henry by Holt’s
Diesel Unlimited Maduro
Chris Pervelis, best known to most of you as Internal Bleeding guitarist and composer, also writes for a number of underground metal publications.
Ara drop into a difficult niche of the metal market, trying to be a fusion between modern metal or “technical death metal” like later Gorguts and contemporary Unique Leader bands who incorporate a mix of old death metal and new deathcore styles. The result causes a necessary re-examination of the difference between death metal and modern metal.
In music, composition can take roughly three approaches which can result in nearly infinite forms. In the first approach, the main urge gratified is the need for repetition and so verse-chorus patterns provide the basis with a possible “ironic” or “bittersweet” contrasting turn-around, transition or bridge. This is the most common song format, which like common tempi and common keys is chosen for the convenience of cognition both by composer and audience. The second approach takes a different view which places form in the control of the song instead of the other way around. In structure dominant songwriting of this type, melody or phrases fit together into a narrative, and this narrative — representative of content — dictates form. The problem with this form is that it is difficult, because each piece must relate to all others, instead of a reduced external standard like merely being in the same key. The third form avoids the problems of the first two by being novelty-based and requiring very little commonality between parts of a song arrangement, and generally arose from the fusion of punk rock and progressive rock, which produced more complex punk rock that often had little relation to its parts beyond rhythm. This brings us to the present time, where the structure-based and novelty-based approaches war it out in metal.
During the 1960s, rock fragmented into multiple forms. One of these, starting with experiments by The Beatles and other big pop acts, was the progressive form in which song arrangement was dictated by the needs of a narrative to the music itself; not surprisingly, many of these works were built around literature, mythology or an intricate story arc of their own. This in turn spawned the most ambitious experiments with structure which came from the space ambient bands like Tangerine Dream who did away with drums and any of the fixed aspects of progressive rock that made their songs at least initially represent standard song form. The parents who bought this material were Baby Boomers, whose music buying years of 18-28 occurred mostly between 1964-1984, and their children — who generally hit maturity from 1984-1994 — were the Generation X musicians who created death metal and black metal, and many of them inherited their parents’ albums, which since underground metal seemed to attract a fairly intelligent crop, represented the more interesting music from the previous generation. Much of the influence of progressive rock and space ambient or cosmic music came through in this generation of metal, much like the influence of aggro-prog bands like King Crimson and Jethro Tull emerged in Black Sabbath the generation before. In addition, the instrumentals from Metallica such as “Anaesthesia (Pulling Teeth)” and “Orion” as well as the lengthy “epic” compositions of some late-1970s progressive-tinged heavy metal and guitar rock influenced the new generation. For this reason, when proto-underground metal combined heavy metal with hardcore punk, it also added the type of composition used in progressive rock, from which came the process by which Asphyx calls “riff-glueing” where riffs are mated to each other on the basis of a dialogue between the phrases used in them, discarding harmony as the sole basis of compatibility along with the late-1980s “progressive punk” idea of novelty-based composition. This gave death metal its most unique aspect: prismatic composition, or the ability for riffs to be repeated in successively different contexts, such that each new iteration reveals a new interpretation based on what came before, much as in a poem that uses the same technique with repeated lines like a villanelle. While this is often a relatively minor influence, as with Morbid Angel, it remains an influence on all death metal and the dividing line between it and the imitators.
The most significant influences on Ara look to be the post-Suffocation thread of percussive death metal culminating in Unique Leader bands like Deeds of Flesh through a more complex interpretation of late-90s bands like Internal Bleeding and Dying Fetus, the 2010s interpretation of that as hybrid indie-rock known as “technical death metal” or modern metal, and old school progressive death metal like Gorguts Obscura and Demilich Nespithe. These influence style, not necessarily content, although when bands lose direction they reverse the compositional process and have style determine content, as opposed to the better method of having content select style. Ara show an insight into both riffcraft, or the act of writing riffs themselves, and the type of transitions in song that give meaning to previous riffs by shifting context. Unfortunately, they attempt to make music within the novelty-based style which interrupts itself to provide contrast instead of relying on the inherent contrast produced by such transitional moments. Bassy vocals ride herd on a stream of relatively unrelated riffs, sometimes culminating in a moment of parallax transferrence where a new riff makes the past seem to mean something entirely different, over precision technical drums. Riff forms borrow from “technical death metal,” itself a fusion of post-hardcore and lite jazz with the degraded simplified forms of late-90s death metal, and so a great variety of technique serves as the basis of these riffs, but unfortunately often this makes the riff a function of the technique and not vice-versa. If someone were to give this band good advice, it would be to look to those transitional moments and the riffs that really define each song and make all of the other riffs lead up to and support that moment even through opposing themes, which is a better method of contrast than attempting to shock the ear with radically difference or irony to the previous riff through technique alone. They have clearly mastered technique, as flourishes and fills which show influence from Gorguts and Demilich as well as a host of other metal and non-metal influences reveal, but it is the underlying structure of a song in such a way that evokes meaning which eludes them.
Devourer of Worlds contains a good album waiting to get out, but as it stands now, it forms painful listening because of its internal disorganization and reliance on technique alone. That makes it so much like two aspects of modern society, marketing and ideology, which serve as denial of reality using the mechanism of language and image to convince people that there is a way around the obvious realities of life. One can either focus on reality and deal with its limitations and implications, or look to symbols as a form of reality and manipulate those and then claim the result is the same as one innate to reality itself. All marketing, including advertising and propaganda, and all ideology, which combines prescriptive reasoning with propaganda to make the recipient feel pleasure at the rightness of a decision instead of its likely positive results, fit within this range of form dictating content and not the other way around. If reality is content, the form we should admire is that which fits to reality; when form is content, reality becomes secondary and we retreat into a ghetto of the human mind and forget about implication for what will result. As with all art, in music when the surface becomes predominant over content, it requires the core of each song to simplify itself or become near-random, at which point the work loses any sense of being memorable or meaningful and must content itself with novelty. These songs tend toward circularity, or cycling between two or three ideas which serve as a backdrop for the main action which is expressed through technique. This quandary calls to mind the break between the third and fourth Pestilence albums: Testimony of the Ancients increased the technicality of each song, but this put more emphasis into technique of each riff and less into the riff itself, which caused the band to rely on anchored harmonic positions much as in rock and embellish those with fills, which created relatively static phrases and as a result, simplified songs. On the album that followed, Spheres, Pestilence attempted to correct this with more guitar/synth leads and riffier songs, both returning to their earliest work but still remaining stranded within the simple-core complex-surface approach that the outward-in method of using technique to compose creates.
What makes music great as opposed to passable or adequate for a few weeks’ listening is this ability to both reflect reality and give it meaning by showing a response to it that sings of its strengths and reveals purpose to its weaknesses. All songs are in actuality songs of praise for the existence which we lead, avoiding the reaction of the human being — a type of surface-level form instead of content — and looking toward the effects on our lives as they are. These can take the form of harsh criticism of that which is unrealistic, including methods of control like ideology and advertising, and can even indulge fantasy which is different from reality but reveals it through metaphor, but they rarely include the “Vote for me and all will be perfect forever!” and “This product will make you smart, sexy and successful!” that surface-level thinking promotes. Ara are caught forever between the two and are facing the mortal certainty of choice by which the individual goes down one path to the exclusion of all others, and thus defines their life as surely as death itself, and this buries their strengths among their least auspicious tendencies. While Devourer of Worlds shows vast improvement over 2013’s The Blessed Sleep, its tendencies toward what is called metalcore — which is either a hybrid of death metal and late hardcore, as I argue, or simply incompetent death metal as others have asserted — prevent it from reaching the heights possible for these songwriters.
Adam Bujny – Vocals
Jerry Hauppa – Guitars
James Becker – Bass/Vocals
Erik Stenglein – Drums
Nothing is less metal than accepting everyone and everything. Metal discriminates. Fundamentally, we recognize that most people have their head in their clouds and like craven mice prefer comforting illusions to even only moderately disturbing truths. In fact, over 90% of everything is simply disorganized garbage made by distracted mice. For this reason, we unleash our cruelty and separate the music from the squeaking with Sadistic Metal Reviews…
Arkham – “Demo 2014”
It may become necessary to invent a genre for this style because it shows up frequently. It might be called “narrative speed metal” for music that adds heavy metal and death metal into speed metal but fundamentally follows the vocal line for song development, as if narrated as background action by the lyrics. The dominant influence on Arkham seems to be Iron Maiden, whose harmonized riffing and song structures bleed through, but the band has chosen a death metal vocal and a basic speed metal verse-chorus approach with introductory riffs leading to change in the verse riff for each section of the song. Good riffs, and good sense of melody, but this band ends up being too linear in narrative and the chaotic vocals interrupt their melodic songwriting.
Bloodscribe – Prologue to the Apocalypse
Fairly standard brutal percussive death metal in the post-Internal Bleeding style that is essentially deathcore but with more internal coherence through simplicity. The problem with this genre is that, like Cannibal Corpse and the post-Suffocation clones that inspired it, it requires reducing itself to a catchy guttural vocal phrase and distracting riffs with lots of squeaks and squeals but very little put together into tremolo or complex textures. The result is that this is the musical equivalent of elevator music, just a lot more intense sonically and with far better technique. It misses (however) the mind-blowing aspects of death metal and replaces them with the toe-tapping, head-bouncing and brick-eating mental state of listening to someone force a jackhammer around a sewer line.
Gnosis – The Third-Eye Gate
This band of some local repute comes to us playing the style that some call shuffle metal. In this genre, the vocalist chants and the drums race to catch up while guitars strobe a two chord riff in the background. It has the gratifying tremolo sound of early Florida death metal but the vocal dominance inevitably makes this combination sing-song and thus the foreboding sense comes apart, replaced by the feeling that one is in a local pub, drinking a warm brew, listening to the local band whose songs are as familiar as backyard dirt at this point and while improving, never seem to get good. Interesting ideas appear on this album but never develop because they are too busy keeping the chanty choruses going for the Budweiser drinkers who are wondering if they should pass out or vomit first. If this band wanted to get good, they would lose the vocal hook and replace it with monotone until the guitars sounded good, then re-write vocals to fit the guitars.
Nameless One – Thousand Memories and Nameless Sword
Essentially Iron Maiden styled heavy metal with death metal vocals and riffs thrown in for emphasis, Nameless One achieve a reasonable fusion of the genres but cannot hide the sickly sweet pop music underlying their Iron Maiden tribute composition. It is catchy and elegant in the way Iron Maiden is, but everything wraps up too nicely and the result is a sense of listening to one of those pop bands that pop up and vanish overnight in the dance music community. All instruments are executed with aplomb and solos are highly professional, and no song drops into lower-quality riffs, suggesting these guys have good quality control. Riffs are cut from archetypes, and the fusion is a little goofy, but the real sin here is making Iron Maiden into a candy pop band and thus making it as saccharine form of the irritation of nails on a chalk board.
Winds of Genocide – Usurping the Throne of Disease
This album is hilarious. Imagine taking a standard hard rock album and trying to do it in the style of Blasphemy (yes, the Ross Bay one). Then add vocals which linger past the phrase or lead the vocals much like a pop band, and allow individual musicians to show off in the process. The result is unintentionally comedic as it sounds like Hollywood hired a bunch of Charles Bronson style tough guys to make Poison relevant again. In an attempt to hide the roots of this music, the band play fast and loud and layer it in vocals of several types, including the electronically processed chant and the barking chihuahua howl. For comedy’s sake they throw in citations to Sarcofago, Von and other ultra-basic bands, but no experienced listener will be able to get past the hard rock progressions and bouncy glam metal riffs even if played in detuned, double BOSS HM2 distortion’d power chords. Do not listen when stoned, as you might have a laugh attack.
What are Sadistic Metal Reviews? As you lie on your deathbed and look over life, you will divide everything you know into things you will miss and things you have forgotten already. Some metal is worth remembering, but the vast majority is just background noise. We hail the former and smite the latter, salting their wounds with our sardonic laughter…
Internal Bleeding – Imperium
After Suffocation got big in the mid-90s as the next big direction for death metal, lots of bands took the Cannibal Corpse hint and started imitating the easier parts of the Suffocation percussive death metal approach. Unfortunately, doing so creates music that is dumber than malformed concrete, and Internal Bleeding quickly distinguished itself as the death metal version of Pantera: brocore for bros who like to you know drink beer and punch their heads into walls. Checking in with them 19 years later, it seems little has changed. These songs are hook-laden and not fully random, but the hook relies on the most basic of rhythms and their expectation, sort of like watching a chihuahua chase its tail. The band tries to compensate for their basic and unexciting music with really active vocals and occasional melodic touches on guitar, but nothing changes the fact that these songs are based around extremely basic patterns designed to numb and erode the mind. The famous breakdowns are back and serve to break up some of the constant muted-strum chugging and ranting vocals that shadow the rhythm of the guitar riff, but even if they dropped occasional symphonic parts into this Internal Bleeding could not hide the fact that most of this music is designed to destroy brain cells or appeal to those who have already voluntarily obliterated their own minds.
Oppression – Sociopathie & Gloire
This band will be overlooked by many because the production on this album makes it hard to hear anything but bass, vocals and metals (cymbals and high-hat). However, what lies beneath the obscurity is a quality melodic punk album that verges on Oi and shows us what emo could have been in the hands of quality songwriters; you could compare this to the Descendents and the Misfits because this band write quality vocal melodies over melodically hookish riffs and rhythms, producing a sense of familiarity and yet a sense of weight like that of history or topics that pop up in every life no matter what age. Vocals alternate between a black metal-ish rasp and sung punk vocals, with the latter being more convincing. As with Misfits, the composition of these vocal melodies defines the song, combining old world melodic intensity with a casual punk sense that favors the simple and almost childlike. Touches of metal technique accentuate the harmonic space created by these rather open melodies, but generally, what you hear is punk that sounds as much like Blitz or Reagan Youth as something more recent. The result brings together the best of punk in its attempts to combine its energy with depth, and provides for a good listen, if the listener is able to hear past the abysmal production.
Steve Hackett – Genesis Revisited: Live at Royal Albert Hall
Among the 1970s progressive rock bands, Genesis is frequently mentioned but often forgotten. It seems to me that the reason is that its vocalist, not its guitar-keyboard duo, dominated the composition and thus it drifted closer to the regular-rock tinged Pink Floyd style of “light” progressive rock, without getting as populist and compact as Pink Floyd or Rush did. However, it would be a mistake to overlook the first few Genesis albums which were ambitious although steeped in a self-righteousness which seems more pretentious than the usual self-indulgent musically masturbatory egoism of progressive rock. On this live recording, Genesis guitarist Steve Hackett revisits the older Genesis material with the benefit of an extensive solo career and an entirely different band. The result makes Genesis sound more pastoral, with greater emphasis on vocals and mood in the style of later-1970s big radio rock bands, but also brings out some of the more aggressive guitar that got buried under keyboards and vocals on the originals. Vocalist Nad Sylvan manages a more soulful and less starchily self-referential voice than the original, and all accompanying musicians are excellent including a cast of highly talented players who, while not fully noticed by name in the mainstream, have demonstrated their abilities in complement to larger acts in the past. While all of this shines, the fundamental problem with Genesis remains the “oil on water” feel when it switches between something that sounds like Queen and a sort of extended figurative structured jam. While highly musical, Genesis often seems atopical and thus lost between its rock drama and its progressive underpinnings, and in many ways, having Hackett reinforce the role of guitar both reduces this gap and highlights what is left. For Genesis fans who wondered what this band might have been like with a different internal balance of power, these re-envisioned tracks will provide hours of exploration.
Wolf – Devil Seed
This album takes the speed and intensity of a speed metal album, adds in Accept-style power metal vocals, but underneath the skin is something more like a hybrid between the first albums from Motley Crue and Queensryche. The result is… well, there’s no nice way to say this, but: annoying. Highly skilled and highly repetitive, vocally demonstrative and vocally over-dramatic, catchy and infectious and yet cloying, it hammers out the earworm qualities of glam metal at the pace of speed metal with the production and sound of power metal. If this is your first album from this style, it might be interesting to own, but probably difficult to listen to on a regular basis because of the similarity of the tracks and the consistently high levels of sentiment and bounding energy. The 1980s varied moods of glam metal have been replaced with the aesthetics of techno or punk, and it just keeps going and eventually even drowns itself out. Musically, nothing here ventures outside of the camp of what has worked before and become established, although a few adept variations give greater power to the framework. As with most metal/rock hybrids, what brings it down is the need for vocals to lead which crowds out other instruments, in turn squeezing the space available for song development. While the vocals are impressive, when they become too predominant like this they lose some of their power; Halford or Dickinson (or Di’Anno) would have been more selective in the use of their full-bore intensity and emotional depth.
Vardan – Enjoy of Deep Sadness
This band combines “suicidal black metal” with the shoegaze/emo/indie variant that specialized in certain minor key chord progressions turning upward at the end of each phrase to convey a sense of misplaced “hope,” much in the way early 1990s emo-punk bands did. The result is merely a new aesthetic slapped on top of very ancient and pointless music, since the “mixed emotions” sensation has been popular in rock music since the 1960s and produces the type of emotions one might want in the background of a movie about losing your favorite race car, but apply not at all to any life with depth, where the emotions are more than mixed but intertwined in some way more than a balance of sadness/joy that seems like it came off a greeting card. This isn’t bad in execution; it’s soulless in intent. While the former is forgivable, the latter renders this music irrelevant to anyone who is here to live for the purpose of living, because to such a person confused self-pity and weepy “hope” is completely non-applicable. In the same way it is entirely possible to listen to this entire EP, nod once, and then read a book on database administration and be more thoroughly moved by its depth and emotion than anything Vardan will ever record.
Savn – Savn
Anyone else remember The Gathering? They had a female vocalist, a quite good one name Anneke something-impossible-in-Dutch, and she was not only adorable but also could sing. But that’s the distraction. The question of whether a metal band can have a female vocalist is never asked when the female vocalist goes the route of Doro or another high performer. It’s when the presence of a female vocalist changes the sound of the band that people start wanting to talk about that instead of the music. And Savn cleverly starts out with very black metal sounds, then the keyboards kick in, and then very pretty female vocals intrude. Excellent production. There’s even a harmonica, for the sake of Zuul. The whole nine yards. But if you stop hearing the distortion for a moment, you realize you’re hearing standard folk rock that has been 100% consistent from the 1960s through the present day. It fits the female vocal and range but even more, it fits the needs of people in boutique shops that sell crystals to feel vaguely empowered, slightly sad and yet charged with some kind of great Meaning that has lifted up their insignificant lives of watching television and answering phones at work to the focal point of some vast collision between human emotions that form the basis of the cosmos itself. You can imagine Jewel belting out this album, or Linda Rondstadt, or even Taylor Swift. Savn would do better to just run Doris Day vocals over old Burzum albums. I do not contest the assertion that they are talented, good players, imaginative, and that the production here is amazing. I just question what it has to convey. The answer is feeling good while you shop and pretend that the universe is not a cold empty place, and that somehow your emotions derived from pop music are totally relevant and might even determine the future. On an emotional and artistic level, this release is poisonous; on any other level, it is simply a product that doubtless will sell many crystals, possibly cube cars and haircuts too.
Provocator – Antikristus
Joining on the primitive black metal thread which bands like Von thrust to the forefront, Provocator crafts simple sawing black metal based on extremely rudimentary chord progressions that are nonetheless not pure chromatic, giving it a more accessible base of tones to expand upon. Like Acheron or Ungod, these riffs rely on building momentum and then redirecting it with quick rotational motion, but the repetition of this technique wears thin. Extensive demonic vocals crowd over the top but instead of giving this depth, simply distract from both the underlying guitar and the effect of the vocals to the point where it sounds like trying to listen to a portable radio in a busy train station. Nothing on this is terrible or misplaced, but it also provides no particularly compelling content and no reason to revive this style as a result. While it plays, the comfortingly familiar Sarcofago-style drone and chaos at the right BPM will make most black metal fans accept it without a further thought, but the real question with any release is whether you will seek it out again. In this case, nothing is offered that cannot be found elsewhere in a less repetitive form. Although this is no reason to choose an album, the blasphemous song titles and Blasphemy-style prison escape vocals add to some enjoyment but cannot compensate for the fact that this is like listening to a throttle test on a ’78 Camaro.
Death Metal Underground (DMU) is the oldest and longest-running metal site on the internet with content dating back to 1988. Its mission includes ongoing inspection of heavy metal music, its history, culture, imagery and philosophy.
Our analysis originates in two ideas: that heavy metal is a form of art and culture, and that the origins of heavy metal can be found in the late Romantic movement in art and literature whose imagery and ideals it carries to this day.
Most people want disposable entertainment that puts no burden of understanding on them. They want something they can project into and then leave without feeling a sense of loss. They want television in audio form. Heavy metal interrupts this process and reconnects distracted people with the life hiding beneath our own mental obstacles.
With over 25 years experience listening to metal, supporting local scenes, writing about metal and interacting with metalheads and bands, our staff — a diverse group representing artists, technical gurus and professional writers — strive to represent metal for what it is, not how it can be marketed.
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For review, send:
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He attended the University of Bridgeport and graduated Cum Laude in 1990 with a Bachelor of Fine Arts in graphics design. From there he held various jobs in the design field, from lowly paste up artist to creative director, and eventually opened his own firm, cgpcreative (www.cgpcreative.com) in 2010.
Chris has been active in the underground since the late 1980s, first as a fan and tape trader, then as a musician in the highly influential band INTERNAL BLEEDING, which first formed in the spring of 1991. The band has released five albums: three on Pavement Music, one on Century Media and one on Unique Leader and are currently in the process of writing their sixth album.
Internal Bleeding has been an influential force in underground music since they first applied the term “slam” to their style of music. Today, “slam” is considered a popular, albeit much despised sub genre of death metal and most bands that consider themselves “slam” trace their influence directly back to the band.
When he is not working or playing with the band, Chris enjoys spending time with his family, smoking cigars, drinking bourbon working, on his 1968 Plymouth Barracuda and writing for various publications. His primary topics of interest are politics, music, cigars, whiskey and other lifestyle topics.
Chris currently lives in Centereach NY with his wife Crista and two children, Alexander and James. You may contact him at email@example.com.
DeathMetal.org is also home to a number of exhibits from the past and present of death metal. They are:
- Zines Historical archive of death, black and speed metal zines from 1984 through 1996.
- LARM A review site run by a user named Chorazaim which had short reviews of late black metal albums.
- Dark Legions Archive the original metal site on the internet, covering releases “of note” from the classic years.
Legion of Doom – The Horned Made Flesh
LEGION OF DOOM attempt to channel later ROTTING CHRIST by becoming melodic heavy metal with ranting black metal vocals on the faster verses, but preserve their original intent and consistency over the past few albums: they compose in similar ways, but their technique and knowledge of theory has been upgraded to allow more keyboard interaction, slicker riffs, and correct approximations of some of the riff structures they must have admired in the metal that influenced them. Song structures follow patterns established on past LEGION OF DOOM albums; they are still chasing certain poetic ideas, like the complex song that culminates in a simple three-chord riff, or the slow introduction out of which builds a structural study. That being said, LEGION OF DOOM is ahead of every other oldschool Greek band because they know how to vary tempi and riff styles and are concentrating on atmosphere, which they generate in a melange of BURZUM- and EMPEROR-influenced riffs. This is far better than average for black metal of this time, but many of the old schoolers may find the “soft” aesthetic distancing.
Intestine Baalism – Ultimate Instinct
I believe form follows function but that form can have a wide range of things comfortably expressed through it. For this reason, when a band like GENERAL SURGERY or PATHOLOGIST is wholly derivative of another band’s style but also really good, it’s hard to in any way condemn them. In that sense, INTESTINE BAALISM strike me as realists who took the voice of Swedish death metal and tried to give it another life. They did, in that they’ve created a B-level SWDM offering on par with maybe INSISION or UNCANNY, borrowing liberally from UNANIMATED, CARNAGE, ENTOMBED, SACRAMENTUM and DISMEMBER to create a sound for some death metal of relatively average structure with two exceptions: most songs introduce themselves and slowly mutate their introduction riff to become the first verse riff, and many songs have melodic transitional bridges in the same way stadium heavy metal bands used to do, some featuring really brilliant guitar work. Where this CD falls down is that it tries to throw too much of the newer melodic Swedish “death metal” into the mix, and since that stuff is basically a warmed over ACCEPT/MOTLEY CRUE hybrid, you end up in hard rock territory really fast with death and speed metal riffs zinging around the room like petrified sharts.
Botch – We are the Romans
Before Botch, there was music like this, which interpreted metal riffs as a kind of carnival of opposites designed to cycle around a rock song structure. They focus on the groove that you can achieve, as avant garde jazz did, by wrapping bizarre-sounding spidery phrases around a dissonant harmony that serves as entry point to implied and indirectly stated verse and chorus. In this view, however, the metal and punk technique used by this album becomes decoration to this underlying rock music, and so while it doesn’t appear to be rock music, on the level of design/structure it is, and is correspondingly empty once you get past the fast ripped scales and emo chords unraveling into their root notes. The bounding, two-hit drumming that pervades this album underlines this basic normalcy so, like a hipster, it dresses itself up as something unique and weird but at its essence, is the same old thing given a good dose of technique. I really liked the title. Like the Candiria, Mordred, and Kong of old, however, it creates an oil-on-water separation of metal/punk from rock, and so comes apart in your hands like a boiled squishy turd. Clearly the archetype for most albums of this nature to follow, it nonetheless misses what is unique about metal and in its neurotic desperation to hide its inner humdrum normalcy, succeeds in making a mess where one did not need to be.
Father Befouled – Profano Ad Regnum
These gents try very hard to be the reincarnation of Havohej, with generous doses of early Incantation and Obituary, and come very close. Many of these riffs are note-varied or rhythm-varied interpretations of classic Havohej/Profanatica riffs, and song structures use the same simplistic, almost serial circular advance of riffs to produce a similar sense of dread. Vocals are patterned more after Incantation, and dirge material builds itself harmonically and rhythmically like early Obituary. The result is gratifying to those who want the old school sound but needs to define itself; being on the outside looking in to Paul Ledney’s vision means that we are forever getting an interpretation of an interpretation, and reality is inching away from us. After making sure we know they are trademark NYEUM (New York Esoteric Underground Metal) in the INCANTATION, REVENANT and PROFANATICA style, FATHER BEFOULED develop their own voice. On the third track, an At the Gates-ish affinity for single-note lead melodies comes in, and then on track 5 there’s a reinterpretation of Celtic Frost, and the rest of the album battles for a melodic influence that with the HAVOHEJ admixture ends up sounding like SARCOFAGO mixed with HELLHAMMER using the better technique of early INCANTATION played by a black metal band. In this style, however, Father Befouled is the best yet and what they understand that other bands do not is that songs need to be coherent wholes, where changes in riff and rhythm gesture us the listeners along to some conclusion. For that any reviewer will be vastly thankful — this disc is not random riffs — but at some point honesty compels us to tell this band to innovate its own germinal material. Clearly they have the technical and imaginative ability, and understand the “spirit” of the underground, which makes them one of the few candidates who can do this.
Darkestrah – The Great Silk Road
People are familiar with archetypes. Once they understand one of those, they can modify it. Only the best of them are able to craft a language all their own and use it to express a truth to which it is adapted. Darkestrah have mastered two arts: the art of power metal, and the art of all the trappings of a Burzum-Gorgoroth-Drudkh hybrid. They take the former and dress it up in the latter, and do it so well it takes almost halfway through the album before the veneer fades away like melting frost and the simplistic, bouncing melodies stand revealed for what they are. In a way, it reminds me of early In Battle, but more tricked out with black metal guitars and keyboards. Instrumentally very competent; artistically adrift on a sea of sewage, drinking big gulps from a cup labelled PRICELESS CHARDONNAY.
Kreator – Hordes of Chaos
What an original concept — the elites rule the earth, and so the hordes of the people will rise up and destroy them through chaos and violence and confusion — and what an original style of music to use to express it! Kreator match their signature ominous riffs, about one per song, with a vomit spew of mixed power metal, hard rock and speed metal cliches. There’s a lot of dual guitar activity in the Iron Maiden style thrown right up against later Sepultura two-chord march riffs, then some of the flamboyant lead guitar of hard rock thrown in with power metal fretwalk riffs. Does it add up to much? The first song is compelling if you listen when you’re distracted, but after that the album further lapses into genericism. The hilarious mixed metaphors cover art adds to the sense that, when one lacks forward motion, you throw everything you’ve got left into a conglomeration and duct-tape it together. For all its furious activity, this album bespeaks drained souls and energyless but resentful lives. The result for the listener is a lot of sound and fury signifying nothing.
Deathevokation – The Chalice of Ages
Every old school death metal fan would give a left testicle to like this. Killer vocals – check. Awesome title – check. Dumb band name? Skip that for now. Good guitar playing – check. Old school style, from Asphyx to Zemial, memorized? Check. What’s wrong? What’s wrong is that you cannot throw a bunch of random stuff, even in tribute to one of the greatest eras of metal, into a lattice of convenience and coincidence and expect something good to come from it. The style is roughly that of early Amorphis hybridized with later Cemetary, in that it uses melodic lead overlays on top of rushing power chord riffs and builds up to a promenade riff that trots out the inner melodicity in explicit form. It’s like later Cemetary in that cheesy hard rock, death metal, speed metal and heavy metal all take turns bleeding out from the mess, like it’s a bagfull of hostages each fighting to be heard, and the result is so random that it sounds monotone.
Amebix – Risen! promo
All the best punk bands seem to want to become metal in their more mature offerings. The most notable feature of these new Amebix tracks is that they sound like Lemmy Kilmister vocalizing over mid-paced speed metal, like Prong fused with Slayer, which aims for the theatrical impact of the bigger NWOBHM bands. Galloping muted riffs, chromatic shifts to end each bar, and short bursts of lyrics achieve this goal, aided by periodic keyboards and slower, ballad-like choruses which evolve into progressive-ish transitions. In this, Amebix are continuing the state they reached with Monolith but fulfilling it more accurately with the kind of aggression found on “Right to Rise” (off Arise!) but they’re adding more precise drumming and Slayer-styled tight control of tremolo strum to encode multiple rhythms in a phrase. Most interesting is that these effects are applied to three older songs, making them eerie as familiar sounds coalesce from a more technical and dominating assault. Look for an interesting conclusion as Amebix retrofits itself in this style for their new tour.
I Shalt Become – In the Falling Snow
When I Shalt Become first hit the scene back in 1996, he/they were almost instant celebrities because no one in the United States had yet figured out how to clone the Burzum sound and achieve that trance of dreamlike suspension of reality. ISB has mastered the technique; on their first work, “Wanderings,” ISB made half-finished sounds that took us into a vision of beauty in darkness, but had nowhere to go after that. On their second effort, nothing has changed, although technique is even more refined. It’s exactly like the first, maybe a little better, but part of what made the first charming was its unevenness into which we could read possible hope. On this CD, it’s more repetitive and that is why response has been so light.
Devastation – A Creation of Ripping Death
This is everything I hated about 1980s metal. The very block-cut basic riffs, the very obvious song direction, the vocals synchronized in rhythm to the chords of the riff, creating a cadenced shout effect like being part of a mob about to start a pogrom against smart people. Basically, it’s a lot of Slayer rhythms and ideas simplified and made catchier and a billion times more repetitive. Against all science, this recording may lower your IQ.
Krisiun – Southern Storm
More children’s music. These very simple, very obvious melodies are used to interrupt what are some pretty cool speeding riffs that go nowhere because the riffs themselves are not epic enough to give a sense of mood, and because they’re assembled in a rhythmically convenient order that gives you no sense of significance in the change between riffs and tempi. Instrumentally, this is brutal death metal not different from a faster Internal Bleeding or Malevolent Creation, with some of the chanting rhythms that made later Sepultura so obvious the band started thinking of grunge as “a breath of fresh air.” The obvious factor to these compositions is crushing, but even worse is that the band cannot confine themselves to making obvious and simple tunes, but have to try to trick it out with extensive guitar soloing and use of Meshuggah-style(tm) interruption rhythms. Kill it with fire.
Svartthron – Bearer of the Crimson Flame
I’m realizing people will claim to like just about anything because they think liking something not everyone else likes makes them cool. Either that, or they’re trying to set up random combinations of CDs so they can claim to be unique. I know intelligent people like this CD and I respect their opinion. Mine is that it is well-executed drivel, like 99% of metal. The instrumentation is great. The CD itself confuses boredom with a somber mood, and uses that as its artistic guide, producing somnolent drone or dirge material that has no animating spark or cause or worldview that makes it in any way viable, much less unique. If you’re tr00 kvlt, go buy this.
Akimbo – Jersey Shores
This album takes a covertly aggressive punk hardcore approach to a rock/post-rock hybrid, with more space given to the music where hardcore normally dominates it in washing abrasion of distorted guitar. Instead, it packs away its riffs and brings them out from the obscurity like a punch — or, staying on topic, a shark attack. Its weakness is the howling vocals which seem completely unnecessary in that they’re too constant for an album that this ambitiously hopes to use the dynamic of surge rock.
Banishment – Cleansing the Infirm
Fast brutal death metal, like later Malevolent Creation fused with Deeds of Flesh, and not bad for that. Vocalist makes the unfortunate choice to have his voice too closely follow the root notes the guitar is playing, which makes it sound like the whole band is a guitar effect. Catchy, but not particularly enlightening.
Apotheosis – Farthest From the Sun
We’ll pose a little at being epic black metal, then drop you into a Pantera riff. It’s what happens when metal loses direction; everything gets all mixed together, from Def Leppard through Graveland, and thrown into something that ends up being so generic you can listen without realizing the music is on. Skip.
Zemial – In Monumentum
Opens with one of the dumbest hard rock riffs ever, which pauses right on the bounce expectation as if it were anticipating the ears of a retard. I almost drooled. The CD continues in this direction, tossing Motorhead in with Motley Crue and Morgoth, hoping we don’t notice, but really, why would anyone listen to this when there’s AC/DC? Led Zeppelin? Even “Shout at the Devil”? It tries for evil but manages Marilyn Manson, the garage version that the hip kids like and everyone else is like whatever yo. I get the impression they’re trying to be an updated Death SS but without distinction.
Depravity – Silence of the Centuries
Finnish mid-paced melodic death metal; imagine Demigod periodically zooming into mid-period Therion and you have this interesting fusion between heavy metal and death metal. Unfortunately, a lot like Edge of Sanity, it strays too far onto the rock side of things, not understanding the geometrical language of riffs that made death metal song structures so hard to do right. It’s more like later Dio with death metal technique applied.
Unburied – Slut Decapitator
Blockhead brutal gore with a penchant for blast mania, but no real direction to these songs. Bounce, bounce, breakdown, blast, bounce, bounce, breakdown, stop. I understand the title: If you decapitate yourself with a slut, you no longer can hear this noise.
Storming Darkness – Sin-thesis
This is so much better than most of what crosses my desk I had hope despite the silly album name. It’s good. But not good enough. Repetition of melodic metal themes and a type of subtle breakdown that occurs internally to a pounding bass-snare will not do it. Nor will even the harmonically more advanced, well-played chorus passages and transitions. This really isn’t bad; unfortunately, it’s also non-distinct and directionless.
Damnation – Rebel Souls
Similar to Betrayer and Vader, this Polish death metal band fuses a number of post-1991 death metal styles into a format that is very close to Morbid Angel, but in its more “two-step” riffs, a bit more like Terrorizer. By two-step riffs I mean that there’s a phrase, and a counterphrase, and then the riff repeats until the end of a bar, when a two-chord shift turns it around; the riffing is orthogonal, unlike the geometric offsets of Morbid Angel or the even numbered structures of early Vader. Within this, there’s a lot of speeding riffs in a style eternal from Destruction through Massacra, propelled by furious battery reminiscent of Kataklysm and, at times, Deicide. Edges of Suffocation-styled palm muted blast picked death metal and double-time speed metal like later Hypocrisy intervene, but the standard is straightforward ripping death metal. Songs integrate additional riffs but remain mostly verse-chorus with transposition of early patterns into promenade riffs leading to conclusions. Like most material of this type, the constant battering becomes tiring and not exciting over repeated listens. Although this is most well-known for having members of Behemoth in the band, this album can stand on its own but is not distinctive enough for metal history to notice.
Anal Vomit – Demoniac Flagellations
Love the titles, forgot the music already. Standard grind with frenetic death metal touches, like Angelcorpse recording hurriedly in a lean-to studio outside a jail.
Urizen – Autocratopolis
Being avantgarde is easy. Combine everything that’s not popular, and make it groovy, but always do what you think is unexpected. Problem: you’ve thought two levels deep, assuming that most people think one, in a world of infinite levels. As a result, your music comes across as a childish reaction, and bears this out by being an omelette of rejected metal styles thrown together around the lowest common denominator, which is annoying pop songs given an additional level of complexity by dividing verse/chorus structure so that it recombines in a circular fashion. And we had such high hopes from the name.
Dark Fury – Fortress of Eagles
Black metal ended like WWII: after the Americans left and Central Europeans were defeated, the Eastern Europeans surged in with something that looked sort of like the functional governments that went before. In black metal, it is the same. These musicians are talented, and clearly they know their black metal, but without understanding the transcendent goal that compelled early musicians to render their vision in scratchily distorted power chords, the new bands are always outsiders looking in and then making their version. Yet like an architect who knows only how to copy facades and put them on the same boxy Soviet-era architecture, Dark Fury churn through Burzum riffs, Venomish riffs, Darkthrone trudges, and so forth, but never pull the whole thing together because there is no core to the music. It is pure aesthetics and as a result, directionless in the same way good wallpaper is: you don’t want it distracting from the action in the room.
Diabolic – Chaos in Hell/Possessed by Death
Did the completely unoriginal title clue you in? Yep, it’s a tribute to past bands that were much better by hoarding their themes, tossing them in the washing machine for recombination, and then spitting them out with the subtlety of horse rape. Metal like this causes metalheads to listen to Katy Perry.
Mirrorthrone – Gangrene
Ulver, Borknagar and Therion combine in a Summoning-themed metal band. Unfortunately, between gentle keyboard descents like the windsculpted surfaces of sand dunes, the “carnival style” post-Cradle of Filth black metal rears its ugly head as elements are thrown together in a salad of distractions from which each piece returns to a few exactly repeated themes. As a result, there’s a lot going on, like riding a merry-go-round and seeing the world outside flash by in disorienting random order, but there’s no development of theme; it’s just a more complex version of verse/chorus. I really would like to like this but it is impossible. Production and keyboard composition are excellent.
Autumn Leaves – As Night Conquers Day
Years before it became trendy, this band invented the new wave of Swedish melodic “death metal,” which of course isn’t death metal as much as, following the success of DISSECTION and UNANIMATED, melodic heavy metal with death metal vocals. You get some lovely IRON MAIDEN style dual-guitar harmony leading into a DISSECTION-esque rising melodic riff, and then drop straight into PANTERA or MESHUGGAH for a muted strum, offbeat, bouncy aggressive riff over which someone rasps like AT THE GATES. Over time, the album develops more of its melodic side, but it likes to keep that to a few variations on a theme and a contrasting chorus that uses half of the same notes. Much as the first THE ABYSS album defined a pattern for mimicking black metal, this CD defined the New Wave of Swedish Death Metal — basically melodic heavy metal with speed metal technique and death metal vocals — that aped a hybrid of SENTENCED (specifically, Amok), UNANIMATED, DISSECTION, CEMETARY and SACRAMENTUM but in cheesy, crowd-friendly heavy metal form. Better than those which followed in this style, As Night Conquers Day is both exceedingly well-executed and, because it aims for a hybrid between things popular for their unchallenging nature, a lowest common denominator assault of so many catchy things that they all equalize and you get one big unmemorable stream of noise.
Cult of Luna – Eternal Kingdom
If you apply punk rhythms to two-note power chord riffing, then add indie rock fills and metal vocals, you have Cult of Luna. This band was more inspiring when they did wash of harmonizing noise like Burzum and My Bloody Valentine, but now it’s standard saccharine dramatic indie rock which like a hipster, does a good game of raising inch-deep mystique and then vanishes around the corner, leaving a hint of promise in the air that turns to a stench of disappointment. This is a very average album dressed up as something significant and, while it executes that vision well, it leaves no lasting power or vision of life beneath the obvious, trite and controlled.
Cold Northern Vengeance – Domination and Servitude
If Maudlin of the Well had been fascinated by the black metal aesthetic, and decided to combine the quirkiness of bands like Spear of Longinus with about every metal variation of genres that have influenced metal, you would get this atmospheric and technical take on black metal. Like projects from time immemorial that have tried to throw diverse influences together and get a clear voice, it never quite gels, but that keeps its space open. There’s some nice melodies on here and songs that like most technical music, do not aim to be conclusive so much as they hope to pull together an idea from disparate origins. Like Maudlin of the Well, this is probably not for everyday listening, but will garner the appreciation of musicians. What it achieves that is most impressive is breaking the jazz-omelette barrier and making a metal-like, dark and ancient mood within so much modern musicianship.
Ecnephias – Haereticus
More vamping pseudo-Gothic keyboard-infused bouncy black metal. It has no personality at all, other than a fusion of later Cemetary with Skepticism and Dimmu Borgir, a mixture which sounds ideal but in practice cannot find common ground except on the most basic stylistic similarities. Spirit? Idea? Drive? Musically, it’s great and sometimes reminds me of later Rotting Christ. The beats are very similar and the composition staged harmonically much like the more erudite rock. But as a sum total of art, or a listening experience, it delivers nothing.
War Cry – Trilogy of Terror
Cut from much the same mould as Saint Vitus, the heavy metal musicians in War Cry make surging punk-influenced music like Venom but at a slower pace with the galloping rhythms of early speed metal like Satan and Sabbat. Interestingly, the vocalist sounds a lot like James Hetfield in both timbre and delivery. In the ways these vocals dive across large intervals and then present a sudden bittersweet melody and abrupt rhythm the band resembles Angel Witch. The usual gaggle of influences on older metal music emerge, including Iron Maiden most notably, but here it’s channeled into a style of music that hovers in the mid-paced arena but projects a somber aura like a doom band, when they’re not busy rocking out, that is. History swallows up any knowledge of where they would have taken it, but for a demo of its time, this was a solid B+.
Walpurgisnacht – Die Derwaert Gaen En Keeren Niet
Whenever metal starts a new tributary from its river of heaviness, that rivulet runs for some time and then fragments as it explores. After that, some people realize it’s a great opportunity to make a synopsis of those different directions, an opportune compromise if you will, and then norm the structure of the music back to the verse-chorus pop music of your average radio candy band for teenage brats to enjoy before life harvests them as cubicle slaves (pwnt). Some bands are smart enough to add variations like double riffs for verses, adding transitional riffs and making the bridge into a series of riffs that fit together like a telescoping umbrella before dropping you into the predictable. But it’s only a matter of time before the classic heavy metal riffs come out, along with their rock music bounce and simple-minded distraction, and in this case the transition is from Gorgoroth/Gehenna-style dark riffing to Mayhem-influenced epic pentatonics and then with a shrug straight into archetypes out of 1976 heavy metal. Of the bands out there now, this band most resembles Sammath or Fluisterwoud. Despite those additions, which end up being riff-salady, Walpurgisnacht is about blatantly sentimental melodic hooks and recurrent invocation of riffs from black metal’s history. Unlike most of its contemporaries, Walpurgisnacht has a beautiful misfortune advantage: between melodic hooks, rhythmic hooks, and pure speed/violence thrills, it’s catchy as all hell. This bestows the ultimate curse in that it both isn’t bad and isn’t inspiring at all because it too glibly speaks the language of appearance of form without altering the intelligible structure beneath.
Vomit – Rot in Hell
Jump back to 1985 or so. Stereos are blistering with Ride the Lightning and Hell Awaits. There’s no internet and metal publications are few and far between, so you get your news by dubbing a couple tracks from each of your latest finds onto cassette for your friends across the world. You spend your few bucks on postage but get more music than you could ever find in a record store or the flaky, xerox-distorted catalogs of the primitive mail-order of the time. Sound romantic? Then sign up for this hybrid of speed metal, thrash and the early death metal without death metal vocals that was Slayer. Vocal rhythms are profoundly Slayer; song structures and half the riffs are Metallica; the rest of the riffs are a meshing of the ideas behind Slayer, Sodom, Venom, Sepultura and Destruction. It’s extremely engaging music, with lots of energy and the banging of the drums, but it is like the rationalism it finds reprehensible, very fucking linear. I like it but never want to listen to it again.
Vile – Stench of the Deceased
Some albums innovate on the inside of the genre, while others take its disparate aesthetic influences and standardize them. Vile really nailed the sonic appearance of post-Cannibal Corpse death metal, complete with squeals in the Incantation style, Malevolent Creation creeping thunderous choruses, Suffocation breakdowns and windups, Immolation’s riff salad and leaps between tempi. But… this is good, but the gestalt of it is not great: in fact, as the term gestalt implies, music should give off a spirit that like an MD5 checksum gives us a single representation or shape to its direction. Here that clarity is so muddied that what we remember is a cinematic procession of riffs like a nightmare dream movie, inscrutable to those who do not know the narrative passing through the minds of these musicians. Riffs are quality but never so above the board good that they’re memorable, and their arrangements rapidly lose integrity and become a series of techniques. This is an album you will love the idea of but be unable to return to as a classic for inspiration.
Venom – Hell
I’ll give this band credit: they mixed influences, but then knew how to pick selectively the parts that work together. The first track is a Slayer rhythm with a speed metal style infectious chorus, Prong-inspired industrial noises in the background, and a Pantera-ish jaunty riff with monotone vocal deadpan. At this point in their career, Venom as musicians are slick and know the archetypes of their genre, so they pull off a very believable album to the degree that you never think to question whether this is a big band — obviously, these guys arrived long ago, and have been taking music lessons ever since. While the quality of this music is good, by aiming for the simple-minded and catchy, it sort of takes itself out of the running for contemplative profundity and in doing so, shows why Venom was a first attempt at black metal that never succeeded: it couldn’t leave the heavy metal, rock ‘n roll mentality behind. Even Sarcofago, Hellhammer, and Bathory, who I’d consider the first generation of black metal, developed themselves into art with a sense of the sublime and subtle. Venom is just like Metallica and Exodus, barging in with loud declarations where we’re supposed to assume words equal their meanings, like a reshuffling of the hippie symbolism of rock. I respect it but there’s no way in hell I’d ever reach for this CD given the other great options out there, although it’s a vast improvement on Venom’s classics, musically.
Ved Buens Ende – Coiled in Obscurity
You know what else coils in obscurity? Poop. This CD, of live and instrumental rarities by this band, showcases both what they were trying to achieve and why they were ignored by many of us. First, they’re trying to achieve what the reckless yells and blatantly ambitious singing on this CD seems to gesture at; a soul unconnected from awareness of social consequences (this is what people want when they bloviate about “freedom”). Second, the underlying Mayhem-inspired gritty but monotonous riffing shows how they hoped to achieve it, which is the same method every punk band since the dawn of time has used. Huge parts of this are blatant Burzum ripoffs with the atmosphere replaced by a sense of ashen directionless chaos. Dissonant chords howl against the grain of riffs, drums batter out something ironically confrontational, and then the track redirects itself, like the point of a pen drifting across words on a book in another language. The repetition gets old and the CD goes nowhere.
Portal – Outre
This album sounds to me like airplanes zooming over battleships. Their distortion is intensely melodic and they tend to use diminished melodies and abrupt tempo changes, drones zooming into abrupt, jazz-style recursions. In many ways, it’s a lot like what Molested tried to do, except the songs go nowhere. They thrash between different patterns that are marginally related and create a dark atmosphere, but then it doesn’t change, and so what ends up happening is that songs become monolithic and uninspiring. It’s an interesting concept, the idea of removing dynamics from the music except as a rhythm, and inserting small themes within larger patterns, but when it does not reveal any clarity to its changes, the result is like driving around in a maze with the heater on.
Rotten Sound – Exit
People were telling me this was death metal, but in reality, it’s a punk album with blastbeat drums and modified d-beat. It’s not bad but it’s not distinct enough from later Impaled Nazarene or Disfear to really care. They keep the energy going as if they’re afraid to slow down and make sense of their songs, which are two or three riffs and sometimes a tempo change. This stuff is kind of neat but one dimensional, reminiscent of Driller Killer in the way it uses very similar beats and transitions, and so sounds like one continuous linear riffing party with a variation on Swedish d-beat essentials. It’s unclear to me why anyone with access to Discharge, the Exploited and Dead Infection would choose this lesser variation.
Wolves in the Throne Room – Malevolent Grain
Having been a fan of Two Hunters for some time, this reviewer was excited to download and un-RAR the latest from Wolves in the Throne Room, one of black metal’s more successful acts. Soaring drones lace themselves over bracketing drums, and female vocals and black metal rasps guide these songs through mostly extended verse-chorus patternings, with a few discursive flights of fancy leading away and then returning. This is not an album for people who like black metal; it’s an album for people who want black metal to be what they like. Specifically, it’s a studied combination of indie rock, emo punk, crustcore and doom metal, most notably borrowing from Skepticism and Satyricon. It makes itself obvious in the protest rock style of clearly identifying what it complains about — GM crops (author’s opinion on this issue is irrelevant; this is a music review) — and makes that topic safe by construing it in the same Good and Evil game that Christianity likes to play, where moral absolutes are used to control the masses so no one has to think. There are black metal technique additions, for sure, but the spirit is mournful and poignant in that simple way that rock music makes you see a “I love her, but can’t have her, because she’s no good for me, but the sex is great” dual binary complexity to life. Unlike great art, this album never creates the chiasmus, where the opposite pairs recombine and a truth is distilled. Like Velvet Caccoon, the last great Northwest black metal phenomenon, Wolves in the Throne Room carefully study their quarry and put together a compilation of what has worked for indie rock tinged black metal for the past decade, but in doing so, they somehow lose their soul, which is borne out in the music that wanders yet not only never arrives but never decides where to go — it wallows in its opposition, like a surly priest fulminating in frustration beneath a rotting church.
The forest warmed as the late afternoon sun stroked it from above. Insects rose out of their protective hiding place in the underground and ascended thermals into the high trees where birds pursued them. Far from the solar fire too bright for humans to glance into the sky at all, a school bus surrounded by dead leaves hid under the canopy of light-absorbing leaves.
“Christ on sandwich bread,” said Dennis as he vaulted into the bus. He looked around and realized he was speaking to an empty space. Shrugging, he began preparations for the ritual. He took one of the wax-streaked dimestore candles from the ad hoc plywood shelving where the driver used to sit, and put it on an old kitchen table that was propped up in back between sofas. Lighting it, he cleared the leaves and bugs from one seat, and perched on it to enjoy the ninth cigarette of the day. As he was finishing, the emergency door at the rear of the bus batted open.
“World’s gone crazy,” said Mark Reissdorf, with his inseparable best friend Thomas Nagel in tow. They each took seats on one of the four sofas that formed the seating area at the rear of the bus. Dennis and Thomas gathered dead and fallen branches, cramming them into the fire pit as Thomas wedged a newspaper from his pocket between them. Soon a fire blazed and smoke leaked from the bus into the woods.
Finally they heard more footsteps through the leaves and Mark leaned out the door to give Sam a hand in. Sam stood taller than any of them, but also carried extra weight, the consequence of being both the bullied youngest sibling in the Bormanns household and as a result, the one his mother soothed with treats. He dug around in his insulated vest and found a plastic sandwich bag which he flung onto the table before them. “It’s from Canada,” he said. “Where’s R?”
Thomas shrugged, and Mark and Dennis made me-too motions with their eyebrows. Sam grunted, then began rooting around in the bag.
“It’s not time,” said Thomas.
“Shut up,” said Sam. He towered over Thomas, but the smaller boy held his ground. “We have to stay true to the ritual. Defenders of the Faith.”
“You’re right,” said Mark, holding the syllable for just long enough to crucify it with a short word as if punctuation: “Fag.”
They all started giggling at that point. Then the front door of the bus opened — only R used that one — and he stepped in, chilly in his sweater and jean jacket. Where the other boys had long hair, R had none whatsoever. He had in fact shaved his entire body only because he discovered that it freaked out over 85% of the people he encountered on a regular basis, where tattoos and piercings hovered in the 60s, drug use in the 50s, and casual sex in the teens. When R stepped into a room, most people recoiled in fear. He loved that.
Mark threw more wood onto the fire, which now blazed up in the fire pit and filled the bus with smoke. R took a bong and a bottle of Old Valley Road bourbon out of his backpack. Sam tossed in the bag of weed. Mark pulled out a handful of pills and a knife, and Thomas tossed in a bag with traces of cocaine. R — his real name was Ron Carpenter, but he told everyone in freshman year that his name was actually DLANOR and he was from Sumeria, so no one trusted any name he gave — pulled out a key from his pocket and unfastened the padlock on the plywood box. Inside was a portable stereo. He plugged in his off-brand MP3 player and cranked the volume to ten. No one mentioned the week they had spent burying wire to snake a line off the nearest streetlight, nearly a half-mile away, but they all swelled with pride at the ability to have their music in this remote place.
The sounds of Hellhammer filled the bus. They simply did not trust any music or — well, anything — from any more recent time. The 1980s was when it fell apart. People like to talk about what a great decade it was, but really it must have been a terrible decade, like looking out your window to see a tsunami of Ebola-infected sewage coming your way.
The ritual had begun.
“Today was unbearable,” Thomas said, taking his privilege as the physically weakest in what had become a combination support group, revolutionary meeting and occult rebellion. “Let me tell you all about it.”
His day began, he related, with going to his high school and sliding into his first class in a stupor of boredom. The teacher did not even notice, having a rubric which demanded she cover a certain amount of material per minute, and confronting late students only interrupted that. He performed the minimum, being half-awake at the time, since he had spent most of last night roaming the empty places of an adult world he did not understand or wish to enter. When his parents settled down after a few mixed drinks, and his brothers and sister were camped in front of the TV, he grabbed the packet of cigarettes they kept in the kitchen drawer and headed out. He just walked: through the parking lots, across the empty roads, trying doorhandles in buildings, down the alleys. If anyone had a problem with it, he had his flick knife and used to be a star on the track team, so it would be a fair combat at least.
“You can’t sit there,” said someone in his second-period English class. Still groggy, he asked why. “All the football players sit here.”
“Fuck off,” he said. It was his favorite retort to people, who he would like to murder with great pain and cruelty, but in his inner heart he knew what he really wanted to murder was the world. The all of it. The ugly parking lots everywhere, stupid triplicate forms, waiting in line for morons to tell you what to do, brain-dead churches and politicians and the people who followed them like sheep, and everyone else strung out on booze like his parents or heroin like his friends from the past year. They were all cowards. Thomas was a small kid and he knew that if one of the football players made an issue of it, he would be at a major disadvantage. But he always fought back, leaving them with enough wounds that they thought twice about trying again, a wisdom he learned during the early years of bullying in elementary school.
Instead, Danny the Irish-Polynesian football player came into the room, took one look at Thomas taking up the first seat in the front table, and turned to the kid who had warned Thomas and punched him in the shoulder. “Good job keeping my place for me,” he said and stormed off.
More football players came in. A couple threw books at the kid who failed to guard the place. No one else sat at the table. Thomas shrugged it off, and sat through the class. He heard whispers behind him but ignored them as the usual screwing around of idiots. Then Mr. Danforth heard a knock at the door and went into the hall to talk with the fat piggish administrator who had a form for him to sign. Thomas had just settled into the lull of the background hum in his brain when an unstoppable form hit him from behind, knocking the table forward against the wall and sending Thomas crashing into it. Right before he smashed his head against the edge, he tightened his hand around his pencil and instinctively stabbed upward. A howl came in response and more books and papers crashed to the floor as the table slammed into the teacher’s desk.
“What the hell is going on here?” said Danforth, coming back into the room with a sheaf of papers to muddle over later during a bottle of discount white wine. Two students stood covered in blood in a snarl of wrecked furniture and ruined papers.
“I, uh, fell,” said the kid who had warned Thomas, with Danny standing right behind him. But Danny had blood pouring from a wound in his armpit that looked suspiciously like a pencil.
“He stabbed me,” said Danny, pointing at Thomas. Danny eyed him warily. Thomas wanted him to attack again, so he could strike with the pencil. Again and again. Murdering his parents, his teachers and the people who designed this ugly, boring, codependent place.
“I didn’t move,” said Thomas. “You must have fallen on me. I guess you just stumbled on a pencil too.”
“Well what were you doing sitting in my seat?” Danny finally managed.
“There are no assigned seats. Get over yourself,” said Thomas.
“Thomas, why don’t you ever just go along with what people want?” asked Danforth. “Go to the office. Marsha will take you. Danny, go to the Nurse.”
The nerdy kid who had warned him scoffed. “Told you so,” he said.
“At least I’m not a suck-up to jocks because I’m a mouth-breathing nerd,” said Thomas. “You’re as dumb as they are. Just math-dumb not football-dumb.”
“Fuck you, Thomas,” said the kid.
“You go to the office too,” said Mr. Danforth.
Marsha walked ahead of them carrying the yellow slip of paper which said they were rejects. “You really know how to make a small incident a big one,” she said. “Why didn’t you just do what other people want?”
Thomas sighed. “Because other people are usually crazy. Most people wanted the new dam built that flooded the woods, most people wanted the new road that makes town loud, most people actually like that stupid class, and most people watch football and drink Coors Light. I can’t do it,” he said, and suddenly felt a little bit weak.
She turned to him and he saw her eyes, a gentle blue, had faded. “You better get to the Nurse,” she said. “I’ll tell Danforth you were bleeding. That’s true, at least.”
Lunch had been no different. Some guy in a Polo shirt wanted to take his chocolate milk, and Thomas used one of the jiu-jitsu moves he studied on the weekend and threw him. That was a problem, since behind him was a chair and behind that, a glass window. Both shattered as the unlucky dumbshit went sprawling. Thomas did not get to finish his chocolate milk. As the campus cop escorted him from the premises, he caught Marsha’s eye. It looked worried and amused. He shrugged and bowed ever so slightly, which caused laughter at her table. Most likely they were making fun of him.
He went to his job at the movie theater after that. Clean the floor, they said. He took several dozen wet floor signs, found a movie that would not be out for another hour, and swabbed the whole floor then began drying it. A woman exited the individual theater and Thomas took her arm and guided her around the wet floor. “It’s tricky,” he said.
“Is that blood all over your face?” she asked. Thomas shrugged. He noticed she did not go into the theater and the next thing he knew, the manager was tapping his arm. “Why is so much of the floor wet? We’ve had a complaint.”
“I swab it down first, then get it all at once with the bucket,” said Thomas. “That way I’m not putting dirty water back on the floor to swab the next section.”
“Why don’t you just do it–” said the manager, but Thomas finished his words. “– like everyone else. My way is more efficient. I can show you — ”
” — No, no,” said the manager absent-mindedly. He was short like Thomas and Thomas always liked him for that, and hoped he had found a beautiful short wife. This guy was better than most.
“You know what, I don’t give a shit,” said the manager. “You’re going to have to go home because we had a complaint.”
“Even if it’s a… uh… ah… not really true one?” said Thomas, searching for words.
“Yes, because if someone else complains, I look like a stupid asshole,” said the manager. “Your whole goal is to not make me look like a stupid asshole.”
“Even if it’s less efficient?”
The manager threw up his hands. “Yes… I mean, no. Do what is efficient. Just don’t cause complaints. Like, next time, use an empty theater.”
“Right,” said Thomas. On his way out, he passed Marsha. “Going to a movie?” he asked.
“Going to visit my Dad,” she said, and pointed to the door he had just left. Thomas slapped his palm over his face and when he looked up she was gone.
The only saving grace came as he exited the kitchen area behind the concession stand. “Hey, Tom, wait up,” said Mikey, who wanted to be called “Mike,” the longest-haired of the crew. “Can you swap a bud for some blow?”
“Better be the real deal,” said Thomas, feeling for a moment more grown up than his milktoast parents who never did anything dangerous like drugs, crime or violence.
“Hell yeah it is,” said Mikey. “Hey, I heard you served that Danny guy in class today…”
“Jesus, what a lot of drama,” said Mark.
“Jesus would have hated all of those people,” said Dennis. As the token Christian in the group, or so it was suspected, they tolerated him like they might a homosexual: warily. Dennis was pretty sure he was not gay but sometimes he wondered about Sam. Not like it mattered, he thought. A gay guy who was not a stupid asshole would be OK, but most gay people would be stupid assholes, because most people were stupid assholes and no one got a pass.
Sam shrugged, busy packing weed into the bowl of his custom modified EZ-rip bong. First he painstakingly separated weed from stems, the fresh herbal scent enveloping him like a memory of flowers, and reduced the weed itself to dust. He then intermixed this with blonde tobacco he got at the local tobacconist by swiping it and then buying enough lighters to cover the cost, paying for them, but leaving the lighters behind. He wouldn’t steal from Mr. Walton. The guy was OK — he actually looked up what Sam could buy at his age and applied the letter of the law. “If you ask me,” Walton had drawled, “We don’t need any of these frickin’ laws. But they don’t ask me.”
“What about you, Sam,” asked Dennis.
“Long day at the computer store,” said Sam. He had dropped out of school, then taken the GED, then gone on to work at a local computer parts store. Now he fixed computers for little old ladies and businessmen alike, and was generally appreciated for his attention to detail — forestalling future secondary complications — although it was universally noted that his manner was diffident, almost standoffish, in the way of people who distrust socialization itself.
Mark passed over a joint he rolled with some of the dirt-cheap weed he got from his cousin who grew it in the hills. It would get you high, like a 40 oz malt liquor would get you drunk, but it was such a blunting and numbing experience that it seemed to replace fun with a grinding duty to be wasted.
“Theme of the day was barriers,” Sam began after a few moments. “I fixed a computer, then all of a sudden, things were wrong.”
“Did you get that laptop set up?” asked his boss.
“Yeah,” said Sam. “Needed a memory upgrade. Got it. Want me to install the usual anti-virus and repair software?”
“Sure,” said the boss, and disappeared between the shelves. Sam got to work. This one was more interesting than usual: two layers of security, and many cryptic files named only with alphanumerics in incremental form, like 1C5AFE3C0D1F.docx, stored in a generic folder. This one looked like a mess. He set about making a system backup, then preparing to install the suite of software that shielded the machine against hacks, spoofs, viruses, subversions, and errors.
He was about halfway done when his boss reappeared. “Ah,” Sam heard over his shoulder.
“Not that one. You can’t look in there. Just package it up for delivery.”
OK, thought Sam. He slid it onto the thin metal shelves and filled out the ticket, then turned back to his other tasks. But the memory tormented him: all those files, obviously inscrutable for a reason. Why? And the high security — for what? One did not lock doors beyond which lay only the mundane. His mind spit out a plan before his ego could approve it, but then he found himself drawn to it, cursing his lizard brain for having come up with such a perfect attack.
He dashed through the next computer, filled out the form, and slid it on the shelf, dallying next to the cryptic laptop which he plugged in to the wall, linking a network cable to its port. Then he re-arranged some bags, dropped his keys, straightened up again and left before the boss could get off the phone.
Back at his workstation he quickly fixed a point of sale machine in from a subscriber, then used it to sneak along the network and send a wake-up signal to the laptop. Then he ran a program that snaked past its security and showed him the file system. He began to download the mystery files. As he was opening the first file, he heard the door chime on the front door, seventy feet away. He paused as a voice burbled at the counter.
Walking as if heading to the stash of tools near the front, he got a glimpse of the check being handed over. His mystery laptop. The guy who owned it looked boring, reserved, maybe even a little bit withdrawn, but not paranoid as he expected a spy or criminal mastermind to be. Sam had other problems however. Within a half-minute his boss would reach over to the laptop, and have to unplug it and possibly explain to the customer why. Sam stepped back into the doorway of the loading dock, where he knew no cameras were, and lit a cigarette, blowing smoke into the fire alarm.
As the boss racked up the cost and entered the credit card, an ear-splitting siren blared through the store. Sam ditched the cigarette in a nearby flower pot. As employees rushed toward the door, he walked to the counter, then dropped his wallet. Straightening up halfway, he hunched over the machine and yanked out both cables, letting them drop, then joined the others outside.
“Weird,” said the boss. “Must have been a smoke test.” As it turned out, one of the new employees had inverted a power connector and popped a capacitor, which was accepted as the source of the smoke. The customer left, happy, and Sam wandered outside to pitch out the cigarette. When he came back to his desk, the boss was waiting for him. “We have lots of these high security jobs,” he said. “Here are another four that need doing today.”
It became a longer day than Sam intended. Toward the end, as he waited for one machine to restore its operating system, he peeked into the files he found. Columns of figures, debits and credits, on a weekly basis. He shrugged, but then looked closer. There were duplicate files for each week, but the numbers were not the same, and even without much life experience Sam knew he would rather pay tax on the second set than the first.
The boss came back inside. “Listen team, we’ve had a bit of a shakeup. I need you three to take weekend shifts, and shifts during the week are getting halved.” Sam realized his only chance to keep his salary was to take weekend shifts, so he doubled up on those as he penciled himself in to the sign-up sheet. Still, it felt unfair. The stroke of a pen and his weekend was obliterated. The voice of his boss and someone at least would be out of a job, since the total hours might support two workers but not four. And he thought they had been doing well?
His eyes slid down the counter and to the open door of the office. The computer in there might have answers. Maybe even double sets of numbers. As if sensing his discontent, the boss walked over and pushed the flimsy door shut, locking it.
Indirectly, the lowered hours brought him great fortune. Arlo sold him a fat bag of Canadian weed for a good low price, since he now needed money to hit the clubs and he would not get it from his four-hour shifts. These guys are all screwed, thought Sam, as he walked into the parking lot. He nodded as he passed the boss getting into his car. “Thanks for taking those shifts,” he said.
R stoked the fire. “Those are some of the most bum-ass days I’ve heard of it,” he said. “All I had was a short day at work, then wandering around looking for drugs for you guys, and playing guitar.” He showed the calluses on the ends of his fingertips.
He worked at a place that installs solar panels. When he got really stoned, R (his mother called him Ronald, before she passed on from unspoken-of ailments) talked excitedly about solar cells. How they work by allowing photons, which are particles of light, to knock electrons free from atoms, and these then form a flow of electricity. How much energy is stored in each. But then the moment fades and R is back to his sullen, defiant self, like the rest of them both detesting the time he is in now and fearing them more obligatory adulthood to follow.
“I thought you were studying for your license?” asked Thomas.
“Not today,” said R. He shrugged and Thomas returned the gesture.
Inside the bus, the cheap portable stereo blared on, both more background noise and a focal point which like a string running through random objects, tightens and pulls them together into a story, with each piece revealing the reasons for its presence and the action implicated by its effect on the other objects in the string. As twilight settled on the world, it turned all colors to gray, as if it were revealing the actual lack of interest, sincerity and purpose to it all, Dennis thought.
The bong came around again. Thomas and Sam did a line, then dropped the dust into the bowl and inhaled it with the smoke. A glass of vodka floated from somewhere. “Good stuff,” said R. “Tastes more like rubbing alcohol than diesel. That’s how you know it’s quality.”
“About the same for me,” said Mark. “Went to school, fell asleep in all but two classes, then went to work where I stocked groceries for four hours, then I’m here.” He reached into his backpack and pulled out a bottle of cooking sherry, then added it to the table. He had scored that from a heap of expired goods.
“The best drink is a free drink,” said Dennis, eyeing the bottle. “I’ll tell you mine, but you have to promise not to laugh.”
Dennis got schooled at home. This was a condition of his parole, involving an incident with a car going too fast with alcohol, marijuana and underage women in it. He was proud of the arrest, really, and hoped to wipe it from his record at 18 and go on to, like his father, settle into a comfortable business and make an unchallenging life for himself. One night late in the evening, surrounded by the cathedral shapes of the campfire, he had wandered into a lysergic chasm and faced his inner self, and realized what he found was more like the shuffling obedience of his father than the wild maniacs he imagined he socialized with.
First chapter was photosynthesis. Dennis liked this because he found it fascinating how light could fuse together carbon and water molecules to make sugars, the building blocks of all life. The leaves in these trees came from a diet of sugar created by sunlight, rain and the carbon dioxide he and other living things exhaled. He got too into talking about that, because his mother cut him off and changed to a different subject.
His mother, embarrassed as always by her son’s failure to be a responsible citizen like his older brother Randall, made him recite the material he had memorized and then presented him with the least of life’s delights, the pre-printed test from the back of one of his history books. He had an OK grasp of the material, he thought. “Now?”
“It’s a weekly test and I won’t be able to give it tomorrow,” she said.
OK. He gave it his best shot, and felt pretty good about it, but when he came back from the kitchen where he got a soft drink, his mother was shaking her head as she ticked red marks down the page. “This isn’t good enough,” she said. He saw the grade: 61, or a D.
“Can’t you just, uh, give it a little bump?” he asked.
“No,” she said. “If I do that and you go back to school and fail, they will think I acted against the court’s instructions and I could get in trouble. You just were not good enough, Dennis. This will set you back a week before you can get back on track.”
He knew he was supposed to panic. There were a dozen weeks remaining however. “Fine,” he said. He sat there until she gave him something else to do, and when she petered out at about the same time Mrs. Taggart came by with the latest gossip from church, he slipped out the back door.
The court ordered him to stay busy, a state policy being “idle hands do the devil’s work” but not officially so, and this mandated his appearance at a job for life burnouts like himself. The Helping Hand thrift store hired people like Dennis to receive and sort donations, then sell them to well-meaning suburbanites for money that went into a hilarious anti-drug program that Dennis had suffered through, laughing and groaning in equal doses internally as choked his way through interminable days of videos and group activities.
Dennis wanted to get on register. At the register, he could listen to the radio, even if it was just alt-country, and stay away from the dirty back yard where they heaped up the stuff they could not sell before shoveling it all into the dumpsters that would get towed to the county landfill once a week. He asked Maisie, but she said his skills were not up to speed. “You need to be at least as fast as David on the keys,” she said. “You’re just not doing well enough.”
Grumbling a bit, but not too much, he spent his shift unloading stuff from the cars that stopped in the front driveway and sorting it out. He had gotten pretty good at it when Sean his supervisor flagged him down. “You’re not including children’s clothes in the instore pile? Because we can’t use those anymore, new state law.”
“I didn’t hear about that,” said Dennis.
“It’s on a circular in your box,” said Sean. “You know, in the employee area in back. Except I can tell from looking at it that you haven’t checked it for a week.” Sean was a few years older, definitely bigger and stupider, but always seemed to do things that pleased the adults, so he was super and Dennis was… well, gopher. Odd jobs man. A guy you trusted to do only really simple stuff because otherwise he would screw it up.
Dennis shrugged. “Are you sure you’re even cut out for this job?” said Sean. “I mean, asking as a friend, maybe you should be doing something else. Something where you’re able to keep up. I wouldn’t want you to, you know, feel left out.”
Left out. That summarized the sensation well: standing alone in the heap of junk, cast off from the lives of people who had matured past it or died or moved, looking for children’s clothes to cast aside and just knowing that Sean or Maisie would stare at it for ten seconds and find the one set of My First Non-Waterproof Pants or whatever and they would tell him again how he was no good at it. Dennis worked the heap until his shift was over instead, then took his final break to overlap with the passing of the hour, and left over the back fence, his box still stuffed with all the printed notices and neurotic whining these people felt they had to send to everyone even though fully half the staff could barely read.
He sneaked into the lot surrounding the school. Mark was on the roof, smoking a cigarette when he was supposed to be sweeping up the gym, a punishment for a prank involving a firecracker and a toilet several days before. Dennis waved, but Mark did not see him. Dennis as usual experiences the cold shiver of sensation that perhaps here he is not good enough either, or that they know he is either slumming it with them or they are slumming it with him, the nerdly dork who has done many things in life, none of them right. He sighed and walked until he was just about beneath the outer wall of the school.
“Dennis,” came a voice from behind him. He turned. Sean bore down on him with wide strides. “You forgot to clock out,” he said. “Maisie sent me to make sure you weren’t doing anything you’re not supposed to.”
As the lecture went on, Dennis shrugged at Mark on the roof, who by now has taken notice. Mark pitched aside the cigarette, and gestured with his hands: closer to the wall. Dennis backed up so that he and Sean were parallel to the wall, then stepped to his right until his should nearly touched the brick. Unconsciously Sean did the same. Dennis looked up to see Mark inching closer and lining up, then tossing over the water bucket he used to mop the gym. The heavy plastic bucket pitched forward as if ready to soak Sean, then straightened so that its bottom faced downward.
I should warn him, thought Dennis, but something inside him shrugged. Not good enough, Sean. The bucket hit Sean on the top of his head and although only a quarter filled with water, knocked him out cold.
“Give me five and I’ll be out of here,” Mark called on down.
As they went through the woods toward the bus, Mark rubbed his cold hands together. “Sure was good to see a friendly face. You guys are the only ones who understand just about anything. That school is so retarded it thinks it’s a genius, when really it’s a fat blob waving its flippers at the sun.”
Inside the bus there was silence. Then: “Heavy,” said Thomas. R agreed, passing over the joint.
“So,” he said. “I lied. I took my commercial license exam today, and I totally failed it. Too much smoking weed, not enough boring book. I took a walk along the river after that, looking for floaters, but as usual this town let me down.”
“Sucks, man,” said Dennis. He punched up the stereo with something new, an old recording by an obscure Finnish death metal band. The energy pulsed through the bus just as the beer, liquor, wine, dope and coke flooded their bloodstreams. But even more, they had finally forgiven each other for the failings each had exhibited that day.
Above them the roof of the bus made small metallic sounds as it gave up the heat of the day. Now that the sunlight had diminished and people could again look toward the sky, the trees emitted a cooling mist and scent of earthy wholeness created from the conversion of water, carbon dioxide and sunlight into sugars. The forest takes in the sun that would kill them if exposed directly to it for too long, the water the rest of the world cannot use, and makes them into new life with the breath of people like these lost boys and angry men in the bus.
The alcohol and drugs converted tension into relaxation, if not hallucination. But as the music gained power, it converted their rage into a love. First of metal itself, then of the world that can produce such music, and finally of truth itself — the truth they find in this music, and imagine must exist outside of it somewhere else — that reduces the lunacy and irrelevance of their days into a nuisance occupying its proper role, like that of ticks and leeches, not the most important thing ever as authority figures want it to be.
As the forest quieted and hallucinogens seeped into their brains the music seemed louder. They were travelers in a world of icy power chord riffs and gurgling roars, temporarily passing through a clearing where a 1950s schoolbus rusted under the ancient trees. Its light spread farther as the light faded from the day. R fell out of the bus first, laughing with intoxication, pulling Mark after him. Thomas leaped out next, then Sam, with Dennis almost piling on top of them.
Soon they were circling in the light cast from the opaque windows of the bush, swinging each other in circles and colliding like atoms transfering electrons, passing energy along in a new form as it escaped the ashen world where all momentum dies.
Does it seem to you that the days are shorter
And does it seem to you that the nights seem so much longer
Well it does to me, and in time you will see
That the fate of the world is burning in fire
– Deströyer 666, Genesis to Genocide
In my visions of another age, Australia is a domain of rogues and devils, swept by sands and heat, a colony of fear. Aboriginals fight, mutated animals leap and grappling hooks are thrown from jeeps that speed with metallic roar across the wasteland. Humanity decays, but Australia preserves the instinct for survival, man against desert, taking pleasure in the primitive actions of hunting, fighting, lovemaking and getting drunk on bourbon. Nocturnal winds howl through the chasms, kangaroos leap over graves and tribal chants are raised amidst campfires as skull goblets are raised.
While I have never been to the country, the impressions of Australian black and death metal do nothing but strengthen the images of brutal frontier life. The sense of the wild is different, more internalized, almost Jack London -like, compared to the European romanticized walks in civilized Teutorburger woods or pure, silent Scandinavian nature. Australians are rebels who have tasted the whip of slavery and still remember it – with hate in their blood.
Every rock fan knows AC/DC and Nick Cave, the astonishing twin pillars that represent total opposites of image and style roleplay in hard rock. Both of them influenced heavy metal around the world, but a mainstream fan would be hard pressed to name any other Australian bands of note. I’m not going to dwell on the early 80′s, but mention some events that were triggered by the resurgent death and black metal ideas of Europe and the USA.
Australia is characterized by geographical distance from the Western pop culture trends and so, death metal didn’t happen early but it was marked by a serious intensity from the beginning. As a perfect example, we can take Armoured Angel, who with their late 80′s series of demos gradually developed from a heavy and grinding version of speed metal into a technical artillery of militantly precise death metal akin to Polish innovators Vader. Hobbs’ Angel of Death, due both to their cult reputation and connections to later more visceral bands, proved definitive with their self titled album in establishing the early death metal attitude and sound of bands like Destruction and Slayer in Down Under. Hobbs’ raw, molten hot solo bends and breaks were like burning gasoline leaking from a bullet torn hole in a fighter plane. Meanwhile, Sadistik Exekution initiated their campaign of abuse against every known musical principle, which continues up to this day.
Influenced by hardcore and speed metal, these madmen from Sydney proceeded to destroy the reputability of Australian metal with their on-stage and off-stage antics, almost becoming performance art with their macabre, sarcastic terror campaign of pure noise. Already “The Magus”, recorded in 1986, suggested that this band would dare to go where others would not, the subconscious realm of damnations and mutations, yet containing the elements within an underground death metal rhythm and riff based format. Their second and best album, “We Are Death… Fukk You!” was already something else – a noisy freakshow of an album, with the catatonic, desperate screams of Rok and nearly fusion jazz-y random blasts of violence from the strings of Rev Kriss Hades and Dave Slave. Sadly, their later albums mostly devolved into using the madness as a gimmick instead of a mode to express actual items of perception.
The next generation produced more self-contained music but it also showed the blooming of the world wide death metal presence, as we are talking about the days when death metal was at its commercial heights, ’91-’93. Many bands wanted to be like their big brethren in Florida, as a shameful but popular example let’s mention Mortification, who aped the thrashy sound of early Death with some of the complex rhythms of Obituary or Suffocation, yet infiltrating the standard gore text with reborn Christian propaganda, which had a widespread presence in Australian metal at large. Meanwhile, a band like Anatomy, whose elegant use of melody as texture, akin to Swedish bands like Grave or maybe even At the Gates, remained unknown to most death metal fans. Anatomy’s constructions weren’t altogether as brilliant, but as with many Norwegian early death metal bands, it was a breeding ground for musicians and ideas that would fully develop into a wave of satanic, intense war metal. And if you read the diSEMBOWELMENT review we published some time ago, you already know that they were able to built a transcendentally blissful temple of Zen-like tranced out death metal from the simple basis of combining British style grindcore with British style doom.
The acid, sex and Satan obsessed wave of barbaric war metal, ca. 1994, was again closer to the sardonic “fighting man’s black metal” attitude of Beherit, Blasphemy and Impaled Nazarene, than Norwegian “top hat black metal”. This means that Bestial Warlust (“Vengeance War ’til Death”), Deströyer 666 (“Violence is the Prince of This World” and “Unchain the Wolves”) and Gospel of the Horns (“The Satanist’s Dream”) used Sarcofago and Destruction as templates to unleash a torrent of riffs which could have been untuned Motörhead on 45 rpm, emphasized by an artillery of ambient drumming to evoke images of blooddrenched hordes and endless streams of bombers. I remember how back in the day these bands were even widely detested in zines documenting the black metal phenomenon, but they proved crucial to bands which around the turn of the millennium clad in bullet belts and started wearing gas masks in “war metal” revival’s endless stream of clones.
All this might have you thinking that the Nordic and Romantic styles of black metal were obsolete in Australia, but this was not to be the case. Abyssic Hate (whose “Cleansing with an Ancient Race” was a perfect match for the Immortal related Det Hedenske Folk on their split album) intended to capture the harsh poetry of Burzum and Ildjarn. Later material was somewhat unsuccessful because of humanocentric (“suicidal”) terminology, despite ambient leanings in songwriting. Nazxul was the Australian counterpart to mysticist bands like Nåstrond or Osculum Infame, whose cloaked, symbolic stage presence was a source of controversy. Theatrical, esoteric and arrogant, Nazxul did not fail to clothe oblique satanism in suggestive and venomous fury, at times surprisingly cerebral – especially on the mini-album “Black Seed”. Samain‘s “Indomitus” recalled some of Enslaved‘s and Graveland‘s explorations in long songs influenced by folk and classical music, wandering through interludes and heavy, thunderous, emotional modes as if paralleling the documented trials of the ancient Indo-European tribes, whose mythological symbolism filled the lyrics.
Gradually, we can note the presence of all the international metal trends and hypes increasing in Australia, filling the continent with meaningless bands. It would be a lie to say that the random band you hear from Australia is up to anything good. But there’s some you might like to hear. Asphyxia is a young technical death metal band, influenced by Nile, Kataklysm and the rest of the champions of convoluted hyperspeed – they are bit in love with the Necrophagist digital treachery fashion but they have room to develop and the players definitely deserve applause for their instrumental excursion. Midnight Odyssey uses oceanic layers of slow melody to transform black metal to a landscape of dark clouds, using keyboards in the evocative manner familiar from Schulze and Summoning. The best of the epics on “Firmament” rediscover a youthful, hopeful beauty that hasn’t been too fashionable in the image and commodity oriented latter days of black and death metal. Nazxul, who sadly lost a vital member to a motorcycle accident, released in 2009 their possible magnum opus, the immense “Iconoclast” which has established itself as one of my top black metal choices of the year despite initial skepticism towards the more standard imagery and vocabulary employed on the surface. Suggestively classical and elegant, as Emperor and Avzhia did it, Nazxul praise the unliving and the unknown with a Bach-ian playful sonority, adding themes, keyboards and guitar leads to basically simple songs the same way an alchemist adds prime materials to his boiling tincture of salvation. It is all, and much more, than most of Funeral Mist (and their ilk) tried to achieve with their experimental norsecore.
The old horde is still going strong, of course, as I got the initial inspiration for this writeup when interviewing Deströyer 666 (now based in Netherlands and the UK) elsewhere. With their latest album “Defiance”, they continue to quote the metal history all the way back to Judas Priest and the NWOBHM and this was of course much enjoyed by this writer even though it would be false to say that they would have reinvented, or even surpassed, their old selves in any manner. The scene is still brimming with offshoots of Anatomy and Bestial Warlust, such as Ignivomous, who on “Death Transmutation” have definitely listened their Incantation and Immolation, not without streamlining them to a more generic barbaric noise approach though, and Razor of Occam, whose “Homage to Martyrs” updates the violence of Sodom and Kreator to a new generation yet again, as wolves surrounding the throne room of Absu who stumbled and diluted their ancient black thrash in favor of “progressive” stylings that mostly only pleases reviewers in Terrorizer.
I know that mortals’ ears are already bleeding, but it’s impossible to escape this topic without mentioning a few curiosities from Adelaide group of total nutcases, starting the cult old school death metal band Martire back in the early 90′s. The early demos and EP’s have been re-released multiple times. Since that, members who call themselves “The Great Righteous Destroyer” and “The Serpent Inquisitor” have continued to baffle the hapless headbangers with one after the other more indescribable and twisted songs. Stargazer‘s Lovecraftian, off-center and racing death metal is what I personally consider the flagship band, whereas Cauldron Black Ram grooves like a joint venture of Celtic Frost and Running Wild members (in concept also). Misery’s Omen paints a hyper-dramatic curtain of dreamy black metal resembling Samael and a krautrock band on an endless bad acid trip, describing “Desolate Winds of Mars”, “Antarctic Ice Chasms” and other spectacles of consciousness awaking to the immense possibilities offered by nature itself, impersonal, cold but beautiful.
Gather ’round all you fire-starters
Whirlwind reapers and comet riders
Come to our mountain hall
Come and heed the call
– Deströyer 666, The Calling
Written by Devamitra