According to Incantation‘s website, the gig in Frederick, Maryland is not a one off date as originally stated: the band is embarking on a national tour with Malevolent Creation in October. The dates are:
10/06 – Atlanta, GA – The Masquerade
10/07 – Raleigh, NC – The Maywood
10/08 – Virginia Beach, VA – Shaka’s
10/09 – Frederick, MD – Cafe 611
10/10 – Philadelphia, PA – Kunf Fu Necktie
10/12 – Brooklyn, NY – Black Bear Bar
10/13 – Clifton, NJ – Dingbatz
10/14 – Worcester, MA – The Palladium
10/15 – Rochester, NY – Montage Music Hall
10/16 – Kent, OH – The Outpost
10/18 – Indianapolis, IN – The Headquarters
10/19 – Chicago, IL – Reggies
10/20 – Kansas City, MO – The Riot Room
10/21 – Oklahoma City, OK – Thunder Alley
10/22 – Austin, TX – Empire Garage
10/23 – Fort Worth, TX – The Rail Club
10/25 – Houston, TX – BFE Rock Club
10/26 – New Orleans, LA – Sibera
Malevolent Creation has been in my listening backlog for many, many years on the strength of a few tracks from Retribution. I never got to them, because I was constantly distracted by trendier bands (brands). When I first acquired Dead Man’s Path, I theorized that since the band’s been around for nearly 30 years and retains some of its original members, this was not going to be a major stylistic departure from those past works lest long-time fans abandon them in droves. The flipside of this, as evidenced by my experience with similar types of recent releases such as Repentless, is that I expected that regardless of the final quality, I expected a streamlined version of MC’s past style.
My listening throws this into question. Malevolent Creation’s early works tended towards the ancestral end of death metal, with obvious speed/thrash metal roots poking out of an otherwise standard monophonic, dissonant approach. Dead Man’s Path recalls something of this, but as predicted, it turned out more conventionally musical, with more consonant melody and a denser production (out with Scott Burns and in with Dan Swanö). Add in a somber march of an intro, and a renewed emphasis on vocal patterns, and you have a release that has definitely streamlined itself. It doesn’t rock the boat much, and it does still pass the aesthetic litmus tests that define death metal, but the production and packaging isn’t particularly interesting to write about beyond its most basic qualities.
Unlike most of the bands that take this approach, however, Malevolent Creation does a good job of applying their musical practice to write better songs. To my understanding, they were never a particularly complex act, and most of these songs rely at least in part on obvious verses and choruses. However, good use of tempo and rhythm shifts in particular keep things from getting too skull-crushingly obvious and predictable. The band members also showcase enough compositional awareness to move integral song elements around between tracks to obfuscate the formulas a bit. I would personally have liked to hear more variation in riff styles, as some of the songs here (“Corporate Weaponry” in particular) suggest that such could be successfully incorporated while retaining the strong points of the band’s approach. That, however, is a small flaw in an otherwise very solid package.
To be fair, I was not expecting the strengths of Dead Man’s Path to be so covert, but they are the sort of elements that take some time to properly dissect and understand. However, this makes it a more valuable and perhaps integral work than most of what passes through the review queue here.
Use this handy form to order the Malevolent Creation Unreleased 1987 CD, which may not stay in print forever:
This hooks you up with Jim Nickles/Shredly Studios.
Malevolent Creation – Unreleased 1987 Album
Production: The first three tracks showcase the studio work of Jim Nickles, and make the latter three, which are awful tape-grade garage production, sound like a middling 1990s studio with moderate volume, good tone, and reasonable bass. For the most part, he’s album to separate the instruments, which avoids the kind of washout frequent in recordings of this era.
Review: Before they were a thunderous death metal band, Malevolent Creation started out as a late speed metal band in the style of Slayer’s “Aggressive Perfector” matured a few years with influences from Metallica, Massacra and Sepultura. Unlike most early death metal bands who sound like primitive chromatic punk making warrior metal, this three-song 1987 garage recording shows us a sound comparable to Artillery, Devastation and Nuclear Assault or any other second-tier bands that lacked the rock sensibilities of Metallica but borrowed their technique to mix into a Slayer/GBH fueled frenzy. Riffs are short and use rhythm more than phrase in the death metal style, and like other speed metal bands, Malevolent Creation use catchy bouncy choruses which repeat the song title multiple times. Their verse riffs are more in the Slayer school, and their choruses more the Metallica style of broad intervals permitting harmonization, which creates space for lead guitar and vocal melody. Had they continued in this direction, Malevolent Creation would be a promising power metal band today. The first track, “Sacrificial Annihilation,” is a pure speed blur that calls to mind early Nuclear Assault; “The Traitor Must Pay” follows with familiar pieces of music from Malevolent Creation’s first album, and sounds like Slayer crashing into Massacra; finally, “Confirmed Kill” borrows a Metallica chord progression and puts it to good use. It’s good to see this historical document riding again so the rest of us can explore the genesis of Malevolent Creation.
Bill Steer, the guitarist of sell-out grindcore legends turned butt rock turkey Carcass, did an interview with hipster social justice warrior rock website Vice Noisey last week where he ranked Carcass’s albums in order of his favorites. Bill Steer admitted that Necroticism: Descanting the Insalubrious was pretentious death ‘n’ roll instrumental wank and that continuing in that style would not have provided any future for the band so they started writing heavy metal for arena rock fans on Heartwork as only about three hundred people at every big show Carcass played actually liked death metal at all. Bill Steer finally dropped all pretense of Carcass’s later material being traditional heavy metal and admitted it is actually written as arena rock in order to please the most people.
Continue reading Bill Steer Admits Making Arena Rock
Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.
Crustfund social justice warrior, hypocrite, alleged groupie, liar, and Vice columnist Kim Kelly openly supported white genocide on Twitter late last month. She gave her “total support” to Drexel university associate professor George Ciccariello-Maher who publicly wished for a white genocide as a gift last Christmas on Twitter and slammed his critics as “white supremacists”. He followed up his initial lust for ethnic cleansing of his own race with another tweet stating: