These random, gimped releases are held in high regard by high-pitched “metal” critics and core pogo stickers. The Death Metal Underground staff takes it upon themselves to scorn and defile them in the name of all that is good in the metal genre.
Nu-“metal” (really rap rock) bands Korn and Slipknot were banned by an American military captain heading a command post according to a Department of Defense memo posted to Twitter by a United States Marine. Also forbidden from being played at all hours were late 90s and early 2000s butt rock bands Smashmouth, Nickelback, and Creed. The reason for the officer banning the playing of the groups’ music in totality was that they were “terrible.” Hopefully this officer has his wits about him and bans metalcore and hipster whine rock if whichever imbecile was playing rap rock moves onto other styles of “terrible” rock music.
To be fair, one must approach judgement of a legendary and veteran band such as Sodom, with care, so that their present actions are seen in light of the road they have tread. In this spirit, it is appropriate that we go over the band’s career, taking a brief look at each step of their evolution so as to get a picture of how the band came to be as we see it and hear them today on Decision Day. If we are to start from the very beginning, we have to look back to their very first demo released in 1984, Victims of Death, which stands in an area between Metallica – Kill ‘Em All and Bathory’s self-titled debut album. Sodom’s first step is closer to contemporary hardcore punk than speed metal, which affords them a certain street credibility.
Resistance fuels hatred and must be crushed beneath an iron fist.
The Oath – The Oath (2014)
“Whoa!” – Keanu Reeves. These women are actually fairly attractive! Usually metal girls are fat, under 5’4, and have saggy tits. Or they love Slipknot. I can see why Lee Dorian is dicking the hot one. This at least has riffs even if most of the songs wear out their welcome fairly quickly. There are Cathedral albums more boring than this but most of these songs feel like Motorhead if they smoked dope instead of cranked speed. Motorhead if Motorhead were boring and the songs went on two minutes too long and had random riff salad bridges. If these two would actually get naked on the cover like the real Coven and separated or refined their compositions, maybe this would be more listenable. Hold it is that riff from Bad Company? Who steals riffs from Bad Company? What kind of degenerate does that? If this is among the more listenable grrrl metal…
Agoraphobic Nosebleed – Arc (2016)
As ridiculous as their band name, Agoraphobic Nosebleed’s 2016 effort is a lazy mixture of stoner rock and deathcore. It consists of interleaved Black Sabbath-core grooves and pointless breakdowns accentuated by a menstruating screamo vocalist. By the very definition of those two genres, the reader should know this is but a string of feel-good moments with absolutely no point whatsoever.
One has to wonder if the band even knows what “agoraphobic” means, given their blatantly idiotic use in their band name. From there, we can easily tell how they would also try to use “fancy vocabs” from the metal terrain without even knowing what they are for, hence the constant groove with no beginning or ending. The meaningless breakdowns that do not necessarily make the stoner rock more bearable, but just emphasize what white trash trailer park music this is. It is an updated distorted-guitar redneck music.
Baroness – Purple (2015)
The most generic heavy metal rhythm guitar riffing possible clipped with too much compression and mixed with queer hipster rock for those who question their sexuality. I’m pretty sure the hairy girls in this band are in a polygamous relationship with the dude singing and blow roadies on the side. Kind of like how Carrie Fischer let the crew members of the original Star Wars rip the tape off her tits only with more Hepatitis C positive semen from people who tried intravenous drugs. This album sounds like my local modern rock radio station who plays Bush twice a day. Baroness is the most generic 2003 rock possible only maybe one of these girls’ brothers had Led Zeppelin and Metallica posters in her bedroom. Baroness should go back to VH1. Wait VH1 doesn’t air this crap anymore as even VH1 realized how terrible it is. VH1 is Rock of Love now.
Wolvserpent – Aporia:Kāla:Ananta (2016)
Who knows why we ever receive these sort of promos that are not remotely metal, though perhaps some suppose there is a connection because the sound and procedure may remind one of the pointlessness of post metal/rock. At the center of Wolvserpent’s music is a violin playing repetitive music while the fringes are filled with synthesizers, bass and some kind of distorted noise to fill the space. I imagine this purports to be ambient, and it evidently takes cues not only from what we know today as classic ambient but from the old, more noise-inclusive and experimental one. At some point during the 40 minutes of this release, towards the approach of its middle section, a growl-screech appears and we become the audience of a post-doom-black nothingness that lasts for about 5 minutes. After this, the music tries to pick up by adding some synths to beef up the emptiness of the lame doom metal writing that approximates what Esoteric do most of the time (waste your time with largely content-less sections while pretending to have an ambient edge). This amounts to little more than piled up noise with some consonance. This melting away proceeds for about 8 more minutes, after which we are introduced to a 4-minute hum. This hum gives then serves as background for some 3 classical string instruments playing repetitive disonant arpeggios for 3 or 4 more minutes until only they remain and the music fades out to the sound of soothing, rolling, waves. Empty and boring. Throw this away
Cult of Luna & Julie Christmas – Mariner (2016)
Enya songs with randomly inserted post-metalcore sludge bridges. Are those bongos? Is this Arise? Who thought of this? Whoever thought of this should be shot in the back of the head by their local troika, have their children post-nataly aborted, and their women deported to the camps for wives of traitors to the motherland.
Snake Tongue – Raptor’s Breath (2016)
Random stolen eighties metal riffs made into Entombedcore with gang vocals by Kurt Ballou. I think that’s a woman in the promo picture. Maybe it’s a man who is just confused that his baby dick is a big clitoris. Yeah they can get that big. Haven’t you seen Backdoor to Chyna?
Necrosic – Putrid Decimation (2016)
These girls imagine what would have happened if in 1990 Autopsy had written songs entirely out of mosh riffs broken up by hardcore and shameless lifts from Slayer’s catalog. The answer is a metal band that would have only have been fit to play pizza parlors filled with 17 year olds too busy playing arcade games to pay attention. Anthrax if Anthrax decided to cash-in on sludge instead of nu-metal in the early 90s.
Sacrilege – Behind the Realms of Madness (1985)
This is the sort of release that exemplifies that some releases were never meant to be heard, not to mention be re-released. To pretend this is some sort of hidden gem is to pander to the clueless audience’s sense of nostalgia in the most dishonest way. Sacrilege never amounted to much as their music was never much. What we hear in hear in Behind the Realms of Madness is the sort of simpleton’s generic metal any angry teenager could be writing and playing in his garage with his friends after huffing glue. Each of these songs is based entirely upon a single riff played ad nauseam while an angry woman shouts about how much she hates her father. There are random supplementary riffs here and there but they are just meant to provide some sense of dynamism to the propulsion of the main riff. The main riffs in every song are generic and almost indistinguishable, the vocals are identical (some angry British woman screaming about how she got fucked over by her dad who wouldn’t pay for her BA in Womyn’s and Sexual Identity Studies), and every single song has the same kind of poser-trudging-accross-the-mall-food-court from Hot Topic vibe about it.
Sacred Few – Beyond the Walls (1985)
Another mediocre eighties heavy metal album with an annoying vocalist that deserved to be forgotten. Manilla Road this is not; the songwriting is generic, the riffs unoriginal, and the guitar tone too thin. This was only pressed to CD to cash in on idiot hipsters dumb enough to be deluded by Vice into believing that metal needs more dumpy women. I would rather listen to every Motorhead album I don’t remember even exists than this lame woman who drinks too much Budweiser again. This is retro-metal for cuckolded submissive males who think Steve Harris is Pogrom and jerked off to the blonde women in catsuits from The Oath instead of real porn. I’m going to crack open another Coors Banquet and use this CD as a coaster. Wait is the Puerto Rican guy in the collar her slave?
Lizzies – Good Luck (2016)
Judas Priest covered by Spanish pre-op transsexuals. Listening to this album makes me want to chop my leg off so my femoral artery will bleed out in three minutes. Two tracks in and I just put on Unleashed in the East instead. Let’s all listen to that classic instead of this crap:
Those who have followed heavy metal in the news know that we seem like an odd crowd to the mainstream journalists who write about us. This sometimes takes on a weird dimension where they offer us health advice. In an otherwise excellent article about photograph Jacob Ehrbahn documenting heavy metal hair at European metal fests, WIRED magazine waxes neurotic:
The risk of injury is real. Several musicians—Slayer’s Tom Arraya, Megadeth’s Dave Mustaine, and that dude in Slipknot who does the sampling—have been injured by their headbanging, and studies have linked the practice to all manner of head and neck issues. So Ehrbahn was wise to be wary, because a Canon 1D Mark IV isn’t something you want to get whacked in the face with. For that reason, he generally avoided peering through the viewfinder and instead held the camera beneath his subject and moved in sync to avoid collisions.
The whole thing is worth reading, as most likely is Ehrbahn’s book Headbangers, which is light coffee table reading for anyone who wants to admire the lengthy locks of Euro-metal devotees in full headbang.
1. How did Funeste come into being?
Yannis: Well me and Léo met through my work. As a tattoo artist I get to know people rather quickly since we spend long hours together. We realized that we had a lot in common, especially music. Our passion toward the raw and the bleak immediately spawned an interest for us two to collaborate musically. We started Léo playing drums and me on guitar duty and started to incorporate other members as we progressed. But eventually the project died of its own. A couple of years later we were still involved in musical projects together. While I was mixing a common project Léo threw at me the idea to start a black metal project. At the time I was overloaded with family and work but, the idea stuck in my head and we gave the project a go. And thus Funeste was born. From there things started to moved rather quickly. After writing a couple of songs I already had test visuals for the mood of the project. But it was just for fun since we didn’t have plans to release anything serious. But the more we listened to the tracks and the more people gave us feedback on it, we realized that we had something special. So we decided to release the Ep as a demo since it wasn’t mixed at all. And then it exploded, people started to respond very positively to it and it hasn’t stopped since.
2. Funeste plays a style of black metal which although firmly standing on a modern conception of the genre also does a very good job at keeping a smooth continuity in the music through paying attention to the consistency of material. How conscious a decision is this? Do you think a choice in style matters a lot?
Yannis: Like you said although I enjoy the traditional aspect of any genre, I think it has to move forward. To me heavy metal has always been about being extreme and subversive. Personally I think these two things can only be quantized by the era we live in and what was done before. So yes I think our style of black metal is a more modern interpretation of the genre. That said I don’t think what we do is especially new.
As far as the consistency of the material goes, I think we don’t think to much about it. I personally hate music that is too linear and safe. Even super technical band can get boring if there’s no contrast in their music. So in terms of mood I think we’re pretty consistent but, sonically wise I like I’m not so sure. I don’t want us to be coined to a specific genre, that’s why we change things a lot from song to song. Most of this is pretty much done on intuition.
Lastly, the choice of style was important at first to give us a foundation to work on, and draw inspiration from it. But like punk, black metal is more an ideology than a specific sound. It’s music that is very emotionally driven and that wants to leave the listeners scarred In every way possible. At least that’s my interpretation of it. So based on that frame of mind, I think we thrive to use all our influences to emphasize those intentions which creates a black metal with a richer spectrum of nuances.
3. In that same vein, do you think that musical genres have inherent powers or strengths and that they can be especially useful at channeling specific messages?
Yannis: I think so. I always found Black metal very introspective in nature. Delving into the roots of the honest and darkest human emotions, this music can be vessel to all sorts of messages. To me it’s one of the few styles were a musician can expose self-hatred, awe and fear of the world, spirituality to its fullest. Although this music is most of the time executed to be a hard listening experience, i think it is a very positive outlet for the musician and the listener because the themes in black metal are very universal and in the end, it is very easy for people to relate to it.
Léo: I agree with Yannis and think it can go even further than that. Music that touches me is music that was made by someone feeling any kind of emotion, positive or negative, and transcripts these emotions through sound. Or at least this is how I make music. And link with the previous question, this is not constrained to any music genre. Some black metals songs can be transmit hope or relief, and pop songs can be depressing. Anyway, I guess this is why we like having vocals that melt into the instrumental part. Funeste is all about hearing a dark gloomy violent overall sound, and relating to melodic lines in any way that fits with your mind when you hear it. It could destroy your mood or strengthen it depending on who you are and what you
4. Would you care naming your main influences in metal?
Yannis: Oh this could be long hahaha! Well I know it’s not metal but, I grew up listening to King Crimson and Genesis and I think that at that era was the metal of their time. Intense, intricate and creative. When it comes to metal I started with the basic, Iron Maiden, Black Sabbath then in my teens got a NuMetal phase but I was always looking for darker more punishing music. At the time I was living in the suburbs of Montreal and the only place I could dig for music was Archambault, a big record store like HMV. So I would spend days there listening to anything with a cool album cover. That’s where I discovered Cradle of Filth, Dimmu Borgir, Immortal, Darkthrone. These we’re my first contacts with extreme music. Than when I moved to Montreal thing’s got better hehehe. I had more friends into extreme music, listening to death metal like Deicide and Cannibal Corpse, Macabre, Converge, Katatonia, My dying bride, Dark Tranquility. And then the internet started blooming. Oh the glory! Like most kids my age It was a revelation. And it really allowed me to find music that was tailored to my standards.
But to answer your question more specifically, the metal bands that really influenced me to carve the music I do with Funeste would be bands like Weakling, Twilight, Leviathan, Converge, Brutal truth, Cryptopsy, My dying bride, Buried at Sea, Gaza, Deathspell Omega, The body, Abandon. I also draw inspiration from any genre, weather its Massive Attack’s Mezzanine, all the discography from Songs ; Ohia, Van der Graff Generator or the classical music of Alfred Schnittke. Listening only to metal makes really narrow minded records I find.
Léo: Appart from the bands that Yannis cited as direct influence for Funeste, we both listened to many genres which (I hope) gives us some diversity when we compose. My father has a pretty big vinyl collection, and I listened to literally every kind of music that he could find. Later on I developed my own tastes and started to listen to slipknot like many people, which quickly got me interested in more extreme metal bands such as vader, amon amarth, cannibal corpse, gorgoroth, and a lot of punk-hardcore and crust bands like converge, black breath, defdump, etc. There are so many bands that make awesome music that I kind of feel bad to name only a few of them, but I love listening to any band that makes me feel some emotion. Although, music playing with darker emotions will get to me more easily.
5. What about influences outside metal? What about outside music, perhaps in literature or cinema?
Yannis: I guess I answered parts of that question in the last question. For the music we create I focus more on reality. I watch a lot of documentaries on war, poverty and other bleak subjects. Lots of true crime shows. But mostly, what inspires me the most is my own personal experience. I’ve been dealing with Generalized Anxiety disorder for a good while now. Living constantly with feelings of dread generates a lot of anger, which in the end make for good heavy metal hehehe!
Léo: Well, I like making music by myself, so I guess I’m mostly inspired by what goes on through my mind when I let it slide alongside with the music. But what you live everyday is an inspiration. If you have a bad day have a beer and you will most likely write fucking angry music. As long as it concerns me, I like watching movies a lot and taking pictures. I think I’m always writing music with a graphical environment in my mind, but I couldn’t really tell, as my composing process is mainly based on letting everything go, get in my personal bubble and plug my guitar.
6. What is your composition process? Would you care detailing it and commenting on what you believe are its strengths and weaknesses?
Yannis: We’re only two in this project and tough we live in the same city we don’t jam together. I think of us more like a two headed one man project than an actual band. The way it goes is we both compose riffs and we send them to each other, than we build unto them. And then we trim the extra fat, the stuff we don’t want or like. Then I add the bass and the lyrics and vocals. I think it’s a great way to work. We can create on our own time that way we don’t have to go through the hassle of make everyone’s schedules fit. And there’s no downside because we’re always calling each other for input and we meet for beers on a regular basis.
7. Does Funeste have a goal, a message or an intention? Does the music attempt to transmit something in particular or is music “just music”? I am not referring to music in service of an ideology, necessarily, but as music as a communicator of aspects of our condition as human beings.
Yannis: For me it’s a way relieving myself of a lot of anger and frustrations towards that I’ve been repressing for a long time. I guess my main goal is to make music that I enjoy while keeping metal relevant and as far away from the cartoonish travesty it can become. I try to write lyrics that are close to my heart. I know I should be signing about nature, satan or the fact that I wanna go back to our old Viking ways with my iPhone in one hand and my credit card in the other but , this is just not me and its not part of my heritage. I’m a city boy and always been. And the city is a very demanding and stressful place, where the well-off cohabitates with the homeless. With anxiety and depression on the rise, people losing their religion and values and replacing it with careers and selfies. This is all very bleak to me and pushes me to create music that reflects that. Also all the lyrics are written in French which was really important to me. Here in Montreal, the French Canadian underground is not very strong. Very few band writes their music in French. They’d rather write everything in English because there’s a better chance for them to ”make it” in the music business. I think we shouldn’t be ashamed of our heritage and we should promote the hell out of it, even to places that don’t speak french. If the music is good there will be ears all over the globe that want’s to listen to it.
Léo: We started Funeste with no specific goal other than make music and “evacuate” some energy through that. Also, we didn’t expect the attention we get now at all, so we don’t have specific goals related to that. But if people listen to Funeste and enjoy it in any way this we are very thankful. And we will continue making music in the same mindset.
8. Do you have a vision for the future of the band in terms of its growth?
Yannis: Create new music, grow as a musician, meet people. I’d like for us to do splits in the future as well. I still don’t know what our next release is gonna be. Another Ep? LP? who knows. One thing is for sure we’re writing new music as we speak, and it should see the light of day in the next 6 months or so. Eventually I think we’d like to get a proper line up to do live shows but this is still in discussion at the moment.
11. Is Le Triomphe du Charnier Funeste’s first release or is there anything else fans of the band should check out?
Yannis: The Ep is our first outing. Me and Léo also play in a Electro Post-Rockish band called St-Petersbourg. Our new ep that I personally mixed, is coming out this summer. Other that’s pretty much it on my side.
12. What would be the best way in which the audience can get into contact with Funeste?
Through our email: email@example.com
Facebook: https: www.facebook.com/funestemtl
Black element Production: firstname.lastname@example.org
13. Is there anything in particular you would like to let the metal world know about the band? Is there any particular reason why the audience should keep an eye on Funeste?
Yannis: Well, if you like bleak, unforgiving black metal, give us a try. There’s a good chance you’re gonna enjoy our EP. And keep in mind, the next song are gonna continue pushing our own boundaries to create music more and more punishing.
Occasionally, even the most cynical members of the DMU venture into the outside world to a realm where supergroups come together and convulse the media in marked excitement. Corrosion of Conformity members Mike Dean and Reed Mullin have put together a project entitled Teenage Time Killer, a 21-track album featuring many prominent names within the music industry.
Confirmed members via blabbermouth:
- Randy Blythe (LAMB OF GOD)
- Dave Grohl (FOO FIGHTERS)
- Corey Taylor (SLIPKNOT, STONE SOUR)
- Neil Fallon (CLUTCH)
- Jello Biafra (DEAD KENNEDYS)
- Lee Ving (FEAR)
- Tommy Victor (PRONG)
- Nick Oliveri (MONDO GENERATOR, ex-QUEENS OF THE STONE AGE, KYUSS)
- Aaron Beam (RED FANG)
- Pete Stahl (SCREAM, GOATSNAKE)
- Greg Anderson (SUNN O)))), GOATSNAKE)
- Karl Agell (ex-CORROSION OF CONFORMITY)
- Tairrie B. Murphy (MY RUIN)
- Mick Murphy (MY RUIN)
- Vic Bondi (ARTICLES OF FAITH)
- Clifford Dinsmore (BL’AST!)
- Pat Hoed (BRUJERIA)
Other guest musicians that were previously announced as taking part in the project:
- Max Cavalera (SOULFLY)
- Tony Foresta (MUNICIPAL WASTE, IRON REAGAN)
- Doyle Wolfgang Von Frankenstein (MISFITS)
- Keith Morris (BLACK FLAG)
- Phil Rind (SACRED REICH)
In a recent radio interview, Mullin stated that the project originally was conceived of as a short EP endeavor, but quickly grew to a larger album (seemingly) encompassing the earlier styles CoC has been affiliated with over its career, describing it as a mixture of “old hardcore punk, punk and metal stuff.”
Additionally, the band has revealed they have completed recording and are in the process of mixing their new album entitled Corinthians, which will be released via Candlelight. A release date has not yet been set for either record.
Corrosion of Conformity was best known for its foundational role in the 80’s scene, which along with Cryptic Slaughter and D.R.I created the genre of thrash, an organic fusion of punk and metal. Eventually, the band lost its sense of direction and started playing stoner rock for Scion AV festivals. Here’s to hoping the words about a return to the punk and metal days of the band represents an artistic change from their recent albums and is not simply a marketing ploy to intrigue older fans.
What are Sadistic Metal Reviews? When people decide that life is worth living, try to make good music. Unless they hope to make a quick buck, in which case they disguise bad music as “innovation.” We separate the good from the bad — with a machete. Come for the misery, stay for the occasional exception…
The mainstream assimilation of metal continues. This is basically coffeehouse femme-folk-rock like Jewel would have spun two decades ago when metal was still doing something relevant. Instead, it sounds like a Taylor Swift/Janis Joplin hybrid on piano while someone strums a lightly distorted guitar in the background and some bell-bottomed burnout bangs a cowbell. I can appreciate the similarity to neofolk bands, especially Hekate, or even the folk-rock tradition of the Americas. But it’s most similar to the goddamn crap they play in Starbucks or our local “alternative” (read: clean every other Tuesday) coffee shack. A girl sings about fanciful things, there’s some guitar and a lot of slightly exotic rhythm. But when you leave and drive home, you’re thankful for the silence. This has nothing to do with metal and should go back to the coffee shops.
For people who thought Korn was too musical, Roadrunner has saved the day. ANGRY MAN babbling over death metal riffs reduced 100 levels of complexity, with random vinyl scratching noises and sampling thrown in for…some reason. These riffs were lifted from a White Zombie album which lifted them from a Metallica album which borrowed them from a NWOBHM 7″ which probably borrowed them from the rantings of cavemen etched into sandstone near the local juvenile detention center. To these basic speed metal riffs, they have added abundant bounce and doubling the internal rhythm on the offbeat, which gives the illusion of complexity for about ten seconds, and they’ve wrapped them around rock melodies. Speaking of wrapped, why aren’t we calling this rap/rock? It’s obviously rap music sanitized for the people too uptight for even backpack hip-hop, thus it gets injected into rock and to disguise the obvious lameness of this combination they cover it in heavy metal stylings like melted chocolate poured over a corpse. Lyrics are moronic, riffs are moronic, album art is moronic…is anything in this band appealing to functional humans? If a vengeful god were to rain napalm on America for producing this album, it would be justified.
Art music faces one ultimate test: will people listen to it on a regular basis, in regular lives? I’m not talking about the heroin and cigarettes crowd in Williamsburg with their postmodern degrees from Brown, but normal people. Thoughtful, intelligent, realistic, well-adjusted people. Do they listen to it? Or is it something they think is neat, maybe would be good in a movie, and then politely clap and never hear it again? Gilgamesh qualifies as some of the better art music I’ve heard. It is an sonic backdrop to the famous tale, rendering in quickly played piano riffs while other instruments fill in background chording. This has more in common with industrial music and avantgarde jazz than rock, but each track creates a series of emotional sensations corresponding to its chapter of the Gilgamesh saga. It is artfully done and powerful but is too abrasive and repetitive for every day primary listening. Further, it is too arty and conceptual to find a place in the balanced life. It would make a killer soundtrack for a silent film however.
Music designed to pander to newer listeners is often excruciating. First, it must have an obvious novelty in style that usually defeats common sense. Next, it must appeal to people whose first instinct is essentially disruption and chaos. As part of this, they favor weapons like repetition and garish aesthetics. This album will not disappoint on those points. Mixing clubby techno (itself suspiciously like disco) with metalcore and crowd-positive industrial like Rammstein, Fear of Domination spit out music that is essential keyboard-led but has background guitar and bass which are entirely obliterated by the harsh, chanty and repetitive vocals. There is not a single metal riff on the album. There is also nothing new to people who have experienced even Ministry, but a form with novelty gives this some of the appeal of more austere industrial bands. Still the repetition level and degree of obvious manipulation makes it excruciating for people who have heard more than a dozen albums.
In the absence of Nu Metal, everyone is rushing to take over the territory of Limp bizkit or Korn. From bling bling tech-core band Despised Icon to recent Napalm Death to streamlined Unique Leader sounding Morbid Angel palm muting riffs, Benighted blend everything that’s hip and br00tal in the scene together as the perfect sonic weapon for the frustrated school kids. This whole album is full of preachy and overreacting jerking noise. The band’s new music video reflect all of these: attending school is bad and teachers are evil, the world is insane, so buying this album is the right way to the first step of revolution. The hilariously out of place cleared-throat howling choruses sound like any metalcore rather than death metal, they make me want to put on the Korn records instead. Nothing from Benighted’s album is remotely exciting to the ear of a longtime metal listener. The volume is louder than Grammy performer Metallica, but the music is just as bland. Benighted and their far relatives Insane Clown Posse and Fleshgod Apocalypse are definitely worth exiling from the metal world.
What is problematic about post-metal/indie-metal, and rock music itself, is nto that it’s distinctive. Rather, like a good product, it’s created by audience surveys. What do they respond to? — put that in. What got bad response? — take it out. What was neutral? — reduce it. The problem is that you need all the colors of the rainbow to paint a picture, so just because audiences prefer blue over yellow does not mean yellow should be removed. In fact, it aims to create a monotone picture where all of it is the color audiences want in their living room and none is the less favored colors. But art is a communication of a mental journey between two points. It shows us someone emerging from a state to a higher realization and then acting on that for triumph. It reveals a mixture of emotions that signal an ultimate resolution, or at least a clarification in the mind. But what we call “modern metal” — itself a clone of the late hardcore, post-hardcore, emo and indie movements of the late 1980s through middle 1990s (Jawbreaker, Rites of Spring, Fugazi) — is like rock music designed to just be that perfect wallpaper for your life. The right shade of sweater, the right ironic frames for your glasses, the purse that makes you look like a wandering boho hippie who might just happen to have a degree in art history. It’s the cult of the ego, and the ego demands only what serves it in full and denies the experience required to get there. This is because the ego wants nothing to do with the external world, and prefers that which is “human,” namely itself and those it socializes with. Fluisteraars is 2/5 old school black metal like Enslaved and Darkthrone, and the rest the newer material in a dronining long form that uses multiple riffs derived from a single theme, like Pelican. The result is very pleasant to listen to but when it is done nothing has changed in your life. You are back shopping for wallpaper, ignoring anything outside of yourself, and consequently, missing out on anything that can be called soul.
Most of people can’t tell the difference between shallow light-hearted commercial product and art, therefore the conformists can always make some metallic indie rock to troll the underground. Woods of Desolation is the black metal version of Explosions In The Sky; both of them use the highest notes of the guitar chords to outline the weary lie-down-and-die pentatonic melodies while songs build around the sweeping textures. Just like the prototype of this sub-genre Alcest, Woods of Desolation’s music is nice and sweet and flawless, it make one hard to criticize them. But the reality is, three months after the hype, those who praised it like hell initially would throw this album away for these spun sugars annoying them just as the morning wake up cell phone jingles.
Post-rock and post-metal generally mean attempts to recreate emo through expanded minimalist sound. Towers takes an approach more like Swans where they build a drone and then layer it with interesting textures. The result is rhythmically motivational, like a march, but ultimately can’t go anywhere because like the notion of “concept music” it can’t go anywhere but to its furthest extreme. Thus what we have is interesting, but not something you’d want to repeatedly listen to except in the background or as part of a movie soundtrack. It is not terrible in any part, and on the whole it is bland and inoffensive once you get past the “extreme” style. Arguably, Towers is the best example so far of how to make post-rock/emo into something that is not terrible. The problem is that listening to it feels like being driven over by Friday 5 pm NYC traffic, and so it’s unlikely that anyone will turn to this for repeated listens that bring out some positive aspect of being alive.
Background drone of distorted guitar vibratto and feedback. Foreground slow chords, standard post-metal. Melody slowly layered, then repeats. It goes on in a big loop. Any given second of it is inoffensive and seems like something cool might be happening, but then, if you listen to the whole thing, you realize its fatal flaw is that it’s boring. Nevermind that Lull and Fripp did this years ago but better. Nevermind that these bands were both wrecking balls to metal’s integrity. Just listen to the music: it’s repetitive, doesn’t development, and basically does nothing but establish a drone and a half of a mood. What would you do with it? Listen to it? No, this is music for you to explain to your friends. The point is that you know something they don’t and you can thus explain how profound it (and you) are. It’s no different than people going to rap concerts to pose at being gangsters or young girls who cry when Shakira sings about her hips. It’s just more pretentious.
Despite the ideologically-correct title (for black metal), this band shows us the true death of black metal: it has been assimilated by punk music. This sounds, with the exception of a couple black metal open strum riffs, exactly like the same droning hardcore bands were pumping out in the early 1980s. That music was the source of the stagnation that launched underground metal. I’ve listened to this thing three times and it has no negatives. There is nothing wrong with it. There’s also nothing compelling about it; it’s just more void. Technically, it all fits together. It’s just boring and expresses nothing. It is essentially hardcore punk music from the early 1980s with better drumming and production, maybe a black metal riff every seven riffs. But if you already own Discharge and Darkthrone, there’s utterly no reason to listen to this. Even if you don’t, it makes no sense to try to listen to this instead.
Oh wow. Titles in French, looks misanthropic, maybe Vlad Tepes has returned! Second coming of Loudblast, even? No, it’s emo. Riddle me this: if emo isn’t like the fat girl addicted with meth that you woke up next to in the basement and felt great shame for the next, why do people keep trying to hide it? This is the same droning yet bittersweet minor-key background noise that Jawbreaker put on their albums and before that, that emo bands kept trying to insert into punk. What is emo, after all, but the very basic tonalities of rock music translated over an upbeat groove into power chords with dissonant voicings? When you look at what can’t be used, you see what is left. In the same way that the blues scale is the classical diatonic major scale with the key-centric notes removed (and a blue note for color-note rhythm comp fudging), emo is what happens when you take all the life out of music and translate it into rules to keep an audience in suspense. It doesn’t ever go anywhere, just shifts between these same few interval progressions. And yet, there it is. And people who apparently know nothing about thinking keep buying it. This is very frilly, dressed-up, entertaining variety, but underneath all the stupid pet tricks and gaudy clothing is the same old tedium. This is the sound of a genre dying.
Crossing punk and heavy metal styles with a black metal aesthetic of constant high-intensity drumming and droning riffs, Frost Legion make black metal that often sounds like it is assembled from spare parts but tries to keep a focus on the melody and savagery of black metal. Vocals are a constant rasp that varies inflection as little as possible, over active double-bass drumming reminiscent of later Ancient Rites. Riffs are often drifting melodic constellations formed of a few chords which work through permutations of loss and re-acquisition of a root note. Often the riffs are very similar to each other which causes an unsettling loss of orientation, and frequently they bring out melodies which resemble music from the 1930s, but the effect is to create a sense of longing. One thing this band could do better is dynamics; it uses nearly constant intensity most of the time which is exhausting. While song structure is essentially riff-based, these riffs may need to correlate to something else in order to make the composition memorable. The constant melodic riffing is reminiscent of Carcariass and bands of that ilk who are deeply invested in guitar creativity and sometimes lose sight of memorable songs. This is a good start and it will be interesting to see where these guys end up after they’ve had a chance to contemplate the results of listening to this album several dozen times.
We walk among you. We are legion and yet can travel unnoticed in the midst of your cities. We are those who try too hard, and many of us ended up in black emtal. Aethereal brings many strengths but suffers from trying too hard. Coming from the wilds of the USA, the amazing thing about this demo is that it attempts to shape the melodic architectures of a European band. It seems caught between a more vicious Behexen-style assault and a traditional melodic metal attack shaped around Sacramentum, Dissection and perhaps even Sentenced. Most would argue this into the black metal camp on vocals alone, but it has aspects of many genres of metal. Technically precise and musically coherent, these longer songs more resemble the ambitious music before the Great Partition in black metal which set the classics in the past and brought a deluge of imitators to attempt to pollute the genre. The first track, “Scornful Skies,” launches from a battering assault of melodic chords resembling rainfall in sheets to a neo-Celtic style intricate lead riff, fading into a Dissection styled mood piece before evaporating into an interlude of gentle strumming without distortion and a return to a contortion of its origins. The second track, “Qliphothic Reflections,” resembles much more of the black metal of the post-initial era, with low use of dynamics and high intensity blasting with transitional melodic riffs leading us through a semi-circular structure. Both tracks show promise if developed. But again, the problem is trying too hard: looking at what all the great songs have, and trying to make your own version without knowing what connects them. If these guys trust their gut instinct and what they like to listen to rather than what they think they should be creating, they would do better. Take it from a guy who tries too hard in his biggest failures as a writer.
If any of you were to discover that your testosterone levels were too high, and your doctor advises you to take estrogen injections: before doing that, consider listening to this album – in approximately 3 minutes, you will feel immediate results. An album like this could be created only by the results of a CIA project designed to make people believe malls are desirable. (Somewhere, Bill Hicks is turning over in his grave.) For the rest of us, upon hearing this we wish that we were in that grave. This band has the uncanny ability to not only make every song sound identical, but also every riff. Then again, most people listening to this are undergoing “spiral learning” – the repetition is something they’re used to. Please don’t listen to this. If you don’t have enough respect for yourself to avoid this, just go all the way: go to Starbucks, pick up a la- oh alright, that joke is overused. This band sucks. That’s all.
I did something I never thought I’d ever do and bought the new Behemoth record today. Was never a big fan of the early stuff (out of ignorance in never really listening to them more than anything) and have associated the 2000s material with 14 year old kids transitioning from Slipknot and Korn into death metal…
Before I even heard a note of the new one I was intrigued. Reading Darksi’s interviews post-leukemia in reference to this album really got me interested in what was in store sonically and lyrically and several reviews seemed to highlight that it was a turning point. Also very stoked on Denis Forkas’ art and Metastazi’s layout (that dude: FUCK) so it seemed quite the package.
I can say without a doubt that this is already a highlight for the year, even given Behemoth’s stature as a ‘celebrity’ death metal band. The production is wholly organic; gone are the vocal effects, clicks, snaps, and pops of their usually very sterile and over-produced sound. ‘The Satanist’ sounds natural and warm, vicious, and inspired. Each track is it’s own tight little opus – every song is memorable without being just a cavalcade of “dude check out this RIFF.”
None of this goes without saying that it does have it’s weaknesses (use of OV, stupid dress-up costumes, Slash guitar solos, and a goddamned Saxophone solo [Y U DO DIS PLEASE STAHP]), but the good far outweighs the bad. For a band to be this reinvigorated and viable on their 10th(!) full length, I have to commend them.
What are Sadistic Metal Reviews? Music is art when it has something to say, entertainment when it’s distracting. Since none of us have infinite time, we pick the best and strongest music we can and mock the rest. The path to true metal is littered with sweet, sweet poseur tears and the occasional gem of non-failure, a secret delight for the wary traveler…
Promising to make a “statement” and deliver “art,” The Satanist summons borrowed Morbid Angel and Angelcorpse cliches thrown into a carnival style arrangement with such poor taste it makes late 90s Ancient seem good by comparison. A typical “song” — they cut this album up like a pizza because the riffs in each song have no relation to one another — begins with a slow build up that is awkwardly discarded to make room for a blasting section that sounds like Trey Azagthoth circa 2001 trying to intonate his 7 string while Pantera is rehearsing in the background and reggaeton horns are thrown over the top. If you can imagine a drunken outtake from a later Septic Flesh album that randomly ends after about 3 “riffs” that meander about without purpose are played for about 2 minutes each, that approximates the effect here. It’s not atmosphere, and it’s not death metal. It’s circus music. You will never fail to be distracted as the riffs dance past. And yet, they make no sense when put together. The only thing holding these songs together is that you know roughly when there’s going to be a chorus to tap those toes and listen for the melodic riff. Not even a crappy Gateways to Annihilation imitation act anymore, Behemoth now make it well known that they’re a merchandising front that’s somehow more shallow than recent Watain. Stupid music, regurgitated themes… this is the Marilyn Manson of “underground metal.” No, scratch that; he wrote actual songs. Lullabies for molested children struggling through impossibly awkward teenage years, perhaps, but actual songs. This is just gee-whiz riff practice with incoherent blasphemy and angsty mincing underneath the guitar masturbation.
Hybridizing power metal, progressive speed metal such as Anacrusis, and death metal, San Angelo’s Obscure Oracle focuses on the newer metal styles of a stream of technical riffs but unlike the newer bands, returns to the 1980s for a chorus-focus in rhythm and riff shape which holds these songs together better than most bands can manage. The detours into instrumentals often inspired by other genres are usually pretty well managed but the problem of making them a steady feature of the stylistic canon is that they must appear frequently and they must stay distinctive, so never really fit within the composition but serve as a kind of oppositional interlude. Obscure Oracle do this better than 90% of other bands and keep the focus on the song, giving us some hope for these guys despite the unfortunate modern influences.
I always wondered why this album did not go farther back in the day. It had the thunderous electric distortion, heavy vocals, hardcore-style drumming (but flattened from offbeat emphasis to cadence), and everything else. Maybe it was the amateur hour cover drawing on the original? On re-listen to this beautifully re-mastered re-issue, I realize the actual problem: where Entombed was rocky, this album is death metal and punk that never picks up on a direction and so ends up back in rock ‘n’ roll. It sounds like regression. Entombed’s songs expanded out into these soundtrack-influenced beautiful sections that gave them death and intensity. This thrashes around, then ends up on bouncy hard rock riffs. Even more, it’s almost strictly verse-chorus without allowing for melodic development between the two. Thus, it trudges. Repetition emerges. It feels like being lost in the back alleys of an unfamiliar city, and the sensation is akin to boredom. The story the record labels want you to believe is that somewhere, someone buried a lost cache of genius Swedish death metal under a carpet somewhere. The reality is that it was a relatively small group of people who figured it out and everyone else missed the boat not through lack of opportunity but lack of cognition.
Another worthless band that plays jockcore masquerading as a death metal band. Nothing about this album is morbid, sinister, or “brutal”. It’s just a bunch of stop-start mechanical rap/rock grooves sandwiched between random Cryptopsy (circa the “wearing Earth Crisis sweatpants promo pics” bad years) blasting randomness without any rhyme or reason. Do you enjoy opening storage containers with your face? Do you know how quickly you can shotgun a PBR if it’s room temperature and the game is in two hours? Put on those wife beaters, cheer for the team, and here’s some tailgate party slam death metal brocore to get the night started! If Pyrexia were tasked with rewriting Machine Head’s Burn My Eyes in a way that would appeal even more to Wu-Tang Clan fans, this EP would be the result. This “slam” garbage is Tupac with better merchandising, but since the cover art here is crappier than what they had on their debut, it seems they’re failing as being a merchandising brand used to sell “death slammer bro” lifestyle products to confused backward ball-cap fratboys as well. Another drink coaster that might as well say Aborted or Skinless on it.
It has become painfully obvious that the lucrative bandwagon of “post-black metal” has headed off the road and is now tumbling down a gentle hillside, to be followed by a sudden drop into total irrelevance. This won’t be surprising to those who recognized “post-black”, sludge, shoegaze, indie-metal, etc. as basically warmed over 1980s emo music. At this point, Alcest sounds about like the average generic indie rock band as these artists and their fan bases stop with the lies and come to terms with what they really want to hear: socially acceptable whine rock. If you ever want to know what a lobotomy feels like, give this track a listen. You will feel emotion on the surface, followed by an emptiness which is your brain recognizing the total lack of content other than a veneer of meaningful music. There will be wheedly-wheedly guitars, extensive arrangements that go nowhere, vocal posturing and lots and lots of false drama like that diabetes-inducing icing they spread on the cheap cakes at American grocery stores. Everything is on the surface however, designed to fool you like a Those who value their mortality, stay far away from this brain bleaching turd.
While it may be unfair to classify this as the first “commercial speed metal” album, it certainly was the most breathtaking example of a band choosing profit over artistry. We all know they’re out there: the vast horde of people who will buy just about anything as long as you dumb it down so it doesn’t confuse them. They like verse-chorus structures, gentle melodies, pentatonic soloing and big buoyant 4/4 verses. Metallica took one look at this audience and thought, “Well, Cliff’s dead — he’ll never know!” and so they made an album after the butt-rock that sold out in the decade before Metallica was formed. If you’re thinking Boston and REO Speedwagon with more muted E chords, you’re right! The continuation of …and Justice for All‘s proto-nu-metal stop-start riffs combined with adult contemporary crooner vocals and rock-style song structures represent a distillation of the lowest elements of metal in a form suitable for easy consumption by the masses. It’s not technically incompetent, and in fact is reasonably well-executed, if you’re expecting rock music. It misses the point of metal song construction and instead is rehashing the blues-rock and stadium country hits from the 1970s. This is the album most people think of when they hear the term “heavy metal” — and we wonder why they find it hard to respect heavy metal from that point on. Abandon all hope, ye who go down this path of listening.
Promising a “timeless” death metal album, this immediately sounds unlike anything a self-respecting fan of death metal fan would listen. Never mind the off putting metalcore vocals and modern guitar tone (plus the stupid metalcore band name and logo), under the surface this is Lamb of God with “horror” riffs thrown in random arrangements. With albums like this alongside Repugnant and Entrails, the blame could always be placed on Bloodbath for mixing Pantera mall grooves with generic third tier Entombed wannabe Stockholm death metal and creating a new lifestyle product for mainstream “headbangers” during their interim between Slipknot and the Dave Matthews Band. “Death metal” for angry truck drivers. So it’s really just Pantera with tremolo picking, and I wouldn’t wish for this rancid batch of sonic diarrhea to befall the ears of even my worst enemy.
Debut album from the band that likely coined the term ‘crust’, this ambitious work falls short of excellence due to a few unusual and unsavory choices in aesthetic and composition. First, though certain songs pick up the pace much of this album sticks to one or two tempos? a bit more variation (such as the track “Civilized”) would be welcome. Second, poorly and sometimes awkwardly inserted female vocals are placed in parts of songs where the riff should instead be emphasized. It doesn’t take much to filter them out, but it would be far better without them? they add nothing to the music and in some cases detract from it (the faster section of “Death Camp” is a prime example). Otherwise, this is an energetic and spirited work. Chunky speed metal riffing mixed with thrash and early death metal touches compliments a looseplaying drummer. There’s an unhindered exuberance to the performance which echoes the best of hardcore punk. Basically sounds like early Metallica or Exodus mixed with Amebix, Crass, and Discharge. Its flaws hinder it from truly ascending to the top, but this is still a solid album that ranks in the top 5% of the crust genre.
Apart from growling and blast beats, this is nu-mu. Rap/rock chugging thuds (djent) and “ambient” synth/sampling forays in guitar driven rhythm oriented songs (where attention is given to vocal rhythms) give this more of a Korn character than anything else. This is a produced to perfection turd of a release that was no doubt made to pacify the simple minds of neckbeards that spend too much free time on Facebook. Songs go nowhere, literally being a series of blocky rhythmic chugging sequences reiterated in different ways. It’s monotonous and stupid. The solo “metal” project of a dubstep producer, this release borrows the surface aesthetic from “brutal death metal”, but accomplishes little more than sounding like a more “extreme” Slipknot. Considering the interest in this project has more to do with its merchandising and the personality behind it all, it’s no surprise all of this “slam” vapidity functions as an embarrassing social tool for indie-rockers and hipsters: another lifestyle product that under the surface of “crazy music”, provides more of the same disposable radio rock.
How can you hate a record with this hilarious title? That’s what they’re hoping your friends will say to you. They only need to fool you for about thirty minutes, long enough to place that order and slide that card. Then the sale is made and everyone wins… at the label. The fact is that if you buy this, you’ve not only wasted money but done something stupid enough that you really should end your life! This is predictable death-grind of the mid-paced variety that specializes in linear riffs and abrupt tempo changes that lead nowhere. Song construction is circular and yet still manages to be disordered. If you already feel a massive ennui overwashing you such that you no longer care if you live or die, imagine listening to it. It’s worse.