As part of our Retro Reviews series, DMU looks into one of those classic bands that was on every Gen X death metal fan’s shelf, but probably never made it out for repeated playing after the early 1990s. Some bands just seem to fade… into the background.
German death metal band Morgoth, hot on the heels of their God is Evil EP, plan to unleash their first full-length work in 19 years, Ungod. Due to hit the streets on March 30 in Europe and April 7 in North America on Century Media Records, Ungod will contain 11 tracks of death metal in the Morgoth signature style, which blends Florida influences from Death with European melody and the type of flat-out abrasive aggression that bands like Grave and Obscurity demonstrated in their early years.
To preview the new album, Morgoth has released a track “Evil Enemy” streaming below. The band comments on the track: “The idea behind the song ‘Black Enemy’ is that this evil force rests within all of us and all we can do is trying to keep that beast under control. The ‘Black Enemy’ represents the dark and destroying part inside of us and the lyrics deal with someone who is not able to control it anymore, committing a murder in the end.”
About Ungod, the band says: “Our goal was to present some real MORGOTH-style Death Metal, which closes the gap between ‘Cursed’ and ‘Odium.'” They add: “After 18 years we can finally present a first glimpse at our new full-length album, ‘Ungod’! We started with the songwriting in January 2013 and finished the recording process by the end of December 2014. It was an awesome experience to go through the sometimes very complex and challenging process of writing and recording an album again.”
Karsten “Jagger” Jäger – Vocals
Harry Busse – Lead & Rhythm Guitars
Sebastian Swart – Rhythm Guitars
Sotirios Kelekidis – Bass
Marc Reign – Drums
MORGOTH live 2015:
Jan. 17 – Pretzschendorf / Dresden, Germany – Break The Silence Festival
Feb. 20 – Bergen, Norway – Blastfest
Mar. 26 – Hamburg, Germany – Bambi Galore *
Mar. 27 – Berlin, Germany – Cassiopeia *
Mar. 28 – Würzburg, Germany – Cafe Cairo *
Mar. 29 – Wermelskirchen, Germany – AJZ Bahndamm *
June 19 – Copenhagen, Denmark – Copenhell Festival
June 20 – Dessel, Belgium – Graspop Metal Meeting
June 21 – Clisson, France – Hellfest
June 26-28 – Protzen, Germany – Protzen Open Air
July 30-Aug. 1 – Wacken, Germany – Wacken Open Air
Aug. 13-15 – Dinkelsbühl, Germany – Summer Breeze Open Air
Morgoth defined its path in the 1990s with two EPs that combined the American and European death metal sounds, then deviated into a more contemporary sound with Cursed and ultimately Odium, at which point the band lay low for 18 years before returning with God is Evil, an EP of two songs which combine their early years with their middle-period work on Cursed, although the band consciously strives to make the aesthetic identification with the EPs stronger than anything else. That makes sense, since death metal and death metal nostalgia are both big business, with the younger audience wanting to hear the glory years come roaring to life again and the greybeards wanting to re-live some of their fond memories of what death metal meant back then.
“God is Evil” begins with the type of chord progression and accompanying constant double-bass drums that would have kicked off a classic Florida album, maybe Death Spiritual Healing, but with more of a European melodic flair. The Florida influences remained hidden to me until this release, where suddenly the influences from several big Florida bands including Deicide show in the riff rhythm and tempo changes as well as the choice of chord progression used. Death in particular specialized in these kind of storming extended riffs, but much like Death, Morgoth suffers from making the riffs too “pat” or too handily concluding on a symmetrical counterpart to their initiating phrase. The result makes this easy to nod along to. The song develops with slightly more melody in the guitar and some very Tampa downstroke triplet riffing, then fleshes out its theme expertly. This song strikes me as not only very well-done but as reflecting the kind of forward thought that a band can have when they stop worrying about how clear their influences are, and work instead on putting the song together like they would construct a building, engine or electronic gadget: each piece relating to one another with a function or design idea at the center.
“Die As Deceiver” fares slightly worse. Starting with a riff that might have come from “Pull the Plug” with a few modifications, in the same way ground effects make a Honda Civic a race car, this song launches into a series of chant-heavy choruses that require lots of downstroke barrages to create emphasize, before a melodic vocal leading the chorus in the best Destruction style. Then the song breaks into a classic-era Death style transition with more of a hard rock modality to it, then layers this with increasing drum and bass accompaniment before breaking to the original loop. This song sounds hastier or at least more hesitant in that the band clearly builds itself around a couple of tropes but is unclear how they relate outside of rhythm, which creates the impression of a play with the scenes shown in the wrong order. The use of heavy expectation in riff delivery here creates more of a pop influence on this song and makes it less likely to sustain repeated listens. The strained vocals of Mark Grewe attempt to emulate the The Haunted or later At the Gates style and do nothing for the music, because like all “modern metal” (read: lapsed metal) that style leads with vocals and relegates guitar to a sidekick role, at which point it quick becomes more like mainstream rock, which seems to have been the goal. More like the average, more audience. Morgoth shows they do not need to stay current or worry about their influences from the first song but almost seem to have lost confidence on the second and fallen back on crowd-pleaser technique which promptly swallowed up their quality songwriting.
On the whole, God is Evil shows a revitalized Morgoth making a credible attempt at restoring the power of its early years while incorporating some of the musical lessons learned with its more populist albums. My advice to this band is to trust your gut, not your spreadsheets, and focus on writing the music that comes most naturally. Cursed and Odium were the same mistake in opposite directions: trying to be current with the most underground stuff possible, and trying to catch up with the mainstream stuff (which was actually a regression from what death metal had done). These are clearly talented players who, when they let themselves, make amazing death metal that infuses European melody into the charging Florida style.
German death metal band Morgoth releases its first new studio material since 1996 with God is Evil, a 7″ and digital single with two new tracks. The band also released a teaser of the new material which samples but does not include in full the first track, “God is Evil.”
The material shows the same classic death metal riffing as the original Morgoth releases that inspired their prominence in the early 1990s underground with Cursed and Grim Reality, but adds standoffish speed metal riffs and modern metal influences on the vocals. As a result, more groove and bounce enter the fray but are done in such a way as to maximize impact and deaden any similarities to life-loving positive music.
As the teaser runs only 1:38 further conclusions are difficult at this time but many of us are watching to see how this band develops for its return at a time when many classic death metal bands are seeing widespread notice for the first time. The single dropped on August 11 in Europe and will see US release over the new few days via Century Media.
Before lapsing into embryonic death ’n’ roll on their second LP False (1992), Gorefest were among the earliest Dutch proponents of solid bread-and-butter death metal with a sense of melodic contour joining the many rhythm riffs into coherent songs which reach a point of focus in their cycles, forcing re-interpretation of its parts. The early style more or less complete on their demo recordings was brought to a fuller and more refined form on the 1991 debut album Mindloss.
Incantation are in the midst of a European tour right now with Morgoth and are coming back to the continent in July. The Finnish festival date should be special for Hessians as Depravity is opening. Incantation also have a new album coming out later this year on Relapse Records and recently released a 25th anniversary compilation. From the band’s website:
Pennsylvania deathmongers INCANTATION have just kicked off a run of European dates with Morgoth, Darkrise, Methedras and Omophagia, which will see the band demolishing venues in Europe, the UK, and Russia this April. In celebration of the band’s 25th anniversary, INCANTATION has just announced a second leg of European dates this coming summer – the death metal veterans will be laying waste to Europe for two weeks this coming July alongside Brazil’s Nervochaos. INCANTATION has also been confirmed for a number of festival appearances this summer, including Obscene Extreme Festival in the Czech Republic, MetalDays Fest in Slovenia, and the third annual Hell’s Headbash in Cleveland, OH. A complete listing of dates is included below.
***All dates with Morgoth, Darkrise, Methedras, and Omophagia***
Apr 14 Ostrava, CZ Barrak Club
Apr 15 Erfurt, DE Club From Hell
Apr 16 Rheine, DE Hypothalamus
Apr 17 Drachten, NL Iduna
Apr 18 Rotterdam, NL Baroeg
Apr 19 Chapelle-lez HT, BE Maison Du Peuple
Apr 20 London, UK Nambucca
Apr 21 Glasgow, UK Audio
Apr 22 Southampton, UK Bristol Bierkeller
Apr 23 Oberhausen, DE Helvete
Apr 24 Villa de Barrosales, PT SWR BarroselasMetalfest XIX
Apr 26 Vilnius, LT Propaganda
Apr 28 Minsk, BL Brugge
Apr 29 St. Petersburg, RU Opera Concert Hall
Apr 30 Moscow, RU Monaclub
June US Dates:
Jun 24 Columbus, OH O’Shecky’s*
Jun 25 Crest Hill, IL Bada Brew*
Jun 26 Lansing, MI Mac’s Bar*
***All Dates with Nervochaos***
Jul 14 Obscene Extreme Festival – Trutnov (CZE)
Jul 15 Neudegg Alm Abtenau – Salzburg (AUT)
Jul 16 Elyon Club – Milan (ITA)
Jul 17 Le Korigan – Luynes (FRA)
Jul 18 Tba (FRA)
Jul 19 Tba (FRA)
Jul 20 Le Klub – Paris (FRA)
Jul 21 Muziekcafe Elpee – Deinze (BEL)
Jul 22 Little Devil – Tilburg (NLD)
Jul 23 Chaos Decends Festival – Crispendorf (GER) *Incantation Only
Jul 24 Viper Room – Vienna (AUT)
Jul 25 Akc Attack – Zagreb (HRV)
Jul 26 Metal Days Festival – Tolmin (SVN)
More US Shows Announced:
Sept 2 – 4 Cleveland, OH Hell’s Headbash 3
Relapse Records and Incantation both recently announced through their various websites (including Incantation’s official page) that Incantation is rejoining Relapse’s roster. Incantation’s most recent studio albums (including 2014’s Dirges of Elysium) had been released through Listenable Records; this change of record labels coincides with the band’s upcoming album, which is currently being recorded at the band’s own studio. Incantation will also be touring Europe in April alongside Morgoth, Darkrise, and Omophagia, as well as playing the Czech “Obscene Extreme Festival”. Hopefully, the new album will not be afflicted the “tiredness” a DMU contributor saw in the band’s recent studio work.
Many of you know Frank Stöver from his days editing the classic death metal fanzine Voices from the Darkside, but many more have come to know him through his website of the same time. Having read his material for years, this writer jumped on the chance to ask him a few questions about what he does and how he keeps putting out high-quality material after all these years…
What do you look for in a metal band that makes them appealing to you? How important is imagery, packaging and production?
First and foremost it’s of course the music that I will have to enjoy, but to me that sometimes goes hand in hand with the band’s imagery or packaging as well. I often experience that bands that are really dedicated to what they’re doing come up with a better visual side as well, because they really know how they would like to present themselves. But a band with a shitty xeroxed cover and a poor looking logo can of course also be killer musically.
Since I’ve been involved in the tape-trading era myself I’m still used to poor sounding rehearsal- and live-tapes, so production definitely isn’t that important in the first place to discover great bands. Just remember the early Mantas/Death recordings… But then again killer songs could be even more killer with a fitting and crushing production of course, as long as the production really fits the band.
When you prepare to interview a band, how do you prepare? How much of this is research? How much of it is listening to their demos/albums?
Since I only interview bands that I personally really like it’s almost exclusively research. I do read a lot of reviews and other interviews, check out their discography, member changes etc. I ask questions that I personally would like to get answers for and hope that the readers find that of interest as well.
In one of your past interviews, you mention a zine as being “narrowminded” in a positive way. Is it important to be narrow-minded? Or is that a term for being open-minded and then making your mind up? Does death metal risk infiltration by imitators, poseurs, fakers, etc.?
Good question… I wouldn’t say it’s important, it’s just a matter of your personal tastes. Even though I’m musically totally open-minded, I still prefer zines that stick to certain styles exclusively. Otherwise I could also pick up one of the colored major magazines that are being sold at shops and supermarkets every month. Same with music itself. I have a lot of respect for bands that try to break boundaries by mixing new elements into established styles.
But when I’m in the mood for some brutal Death Metal, I don’t wanna hear that combined with clean vocals, a funky bass or whatever. Considering the fact that there’s constantly so much new music out, it also makes it a bit easier to select releases / bands for a zine. You gotta draw a line somewhere, otherwise you would have to feature 4251166898089090 and more releases every month.
You were manager for Kreator and Destruction back in the day. Why do you think Germany led the world in their kind of speed/death hybrid, but was less participatory in death metal as a complete genre?
Well, I just helped out Kreator a little bit with merchandise and fan club activities, I never managed them… But to answer your actual question: I can only guess. Maybe it’s because all the younger bands in Germany at the time simply looked up to the bands that had already become bigger (Destruction, Sodom, Kreator, etc.) and felt musically inspired by them. And since all of them are rooted in thrash metal, it probably resulted in a pretty healthy thrash scene. If Morgoth would’ve been one of our first extreme bands in those days maybe everything would’ve developed in a different direction, who knows…
Why do you think 1980s bands were so varied, and bands now sound more similar? Is the “market” flooded? How can metal recover from this? Or is it just harder to come up with something new, because everything has “been done”? Or is style less important, and content what drives uniqueness in bands?
I think you pretty much answered this yourself already. The number of bands simply exploded over the years, and almost everything has already been done in one way or another, so there’s not much room left anymore for fresh, unique bands that still deliver brutal music.
Back in the day everything was still fresh and new, so whenever a new band appeared on the scene, it still sounded a little different to the already more established names. I think something like that is almost impossible nowadays. I hardly find enough time to listen to all the new releases I receive every week, so I’m glad that I don’t have to write music in a band that tries to make it.
Why did you switch from print to internet-only distribution of your writings? Are you able to reach the same audience? Did you gain more readers? What are the advantages from print that you miss, and what does online do better?
That’s an easy one: lack of time and money were the main reasons not to continue on with the printed version of the zine. The advantages are obvious: you can easily update a site on a daily base if you like, while a printed zine always takes a lot of time until it’s finished and distributed. It’s easier, because you don’t have to do layouts, ship the finished magazines, deal with printing companies and the postal service and as a result you also safe a lot of money, which you usually spend on postage and printing.
The number of readers has exploded ever since we went online. Our last issue (# 10) was printed in 1,000 copies; with our website we have approximately 2,000 – 2,500 visitors each day nowadays. But of course I miss the print era. I just love the cut and paste type old school layouts… and reading stuff where ever I like is probably the biggest plus (reading in front of a monitor screen is really annoying).
Is it hard to get volunteers to work with? Is apathy a problem in the metal community?
Never really had any problems in that department at all. But maybe it’s that easy because Voices From The Darkside is already an established name that people are aware of and respect. So, whoever I work with (or have worked with in the past) is first of all a fan of the music and the zine. I guess that makes it a lot easier.
How did fanzines help shape the metal underground? Did this change from your days in Horror Infernal to when you started Voices from the Darkside in 1993? Do you think fanzines played a role in shaping what people liked, and made some bands into “favorites”? If so, was this good or bad?
Without fanzines there probably would be no underground, at least not in the way we know it. I don’t think it changed in any way. Fanzines have been around for ages and I received some of them already back when I started out in the early 80s. I personally found out about a lot of amazing bands through fanzines, flyers and tape-trading.
I suppose without this great network, I probably wouldn’t have discovered a lot of the bands this early. A good example is Metallica. I got a live show from 1982 on tape very early on, even before I got to hear their demos and that made me follow them right from the start, which was really exciting.
Should underground metal stay underground? Is this even possible?
No, I don’t think so. If a band is honest in what they do and they don’t sell out or change in order to reach a bigger audience, they deserve to get noticed by bigger crowds for sure. Of course it’s always a bitter feeling for the fans of day one to see that all of a sudden people like “their” bands, who probably don’t know anything about them, their roots or anything. But that doesn’t mean the newer fans are less dedicated. Some of them often turn into total diehards as well, they just discovered the band later.
The German scene is fascinating to me. From thousands of kilometers away, it looks as if German fans are fans first of heavy metal as a whole, not specialized into death metal, black metal, etc. Does this have some benefits? What about downsides?
Yeah, Germany is really a cool place for metal and all its sub-genres. The scene is very healthy with lots of venues, bands, magazines, etc. That’s probably also one of the reasons why big festivals such as Wacken work out so well. Metal fans are often more open-minded than one might think. They don’t have a problem with having their Terrorizer record next to a Thin Lizzy record in their collection (at least I don’t have). I don’t think that has a downside to it at all.
I wrote about how hacking was a parallel community to underground metal found similarities between the two. Do you think the metal underground had a lot in common with other undergrounds? What made it “underground,” in the first place? Was it only lack of commercial acceptance, or also of social acceptance?
I often compare the metal underground with the early punk movement (before both scenes got commercialized by the industry). This whole DIY mentality with self-organized shows, flyers, cut and paste fanzines etc. most certainly had a big influence on the origin of the metal underground. Also this “fuck off” mentality and trying to rebel against parents, employers or the mainstream is pretty similar. But all this probably makes it scenes on their own. To me being underground means that you’re different to the mainstream in certain aspects and you most certainly have that in various other sub-genres as well.
It seems to me that with the rise of the internet, we have information overload. Meaning that there are too many bands, sites, labels, radio/podcasts, etc. to possibly keep track of. Do you think that zines and some websites can be helpful in reducing this overload? Is that a positive goal? Can websites achieve the same effect that zines did?
I totally agree… and to be perfectly honest with you: I really hate this overkill! I’m sick and tired of receiving a shitload of download links for new albums every fuckin’ day. I mean, who’s supposed to listen to all this, not to mention who shall buy all the records? Today there’s probably more labels than we had bands in the 80s and each one of them releases as many records as possible. From old poor sounding rehearsal tapes, to compilations, split releases, re-releases, EPs, live albums, full lengths etc.
The industry always mentions that record sales are going down, but at the same time they are releasing more albums than ever before. Websites such as ours can indeed be helpful by being more selective in what they review and feature in general. And that leads us back to the “narrow-minded” question: if we would be less narrow-minded, Voices From The Darkside would quickly turn into a fulltime job for sure. But luckily most people still care about quality. So, no matter what it is: a record, a band, a label or even a website — if it’s of poor quality people will sooner or later search for something better. Since our website is already online for almost 15 years by now with a steady growing number of visitors, I suppose we’re doing something right.
You have mentioned in several past interviews that you do not collect rare discs, but are interested in having the complete recordings. Do you think the “collector’s mentality” was good for metal? Why do you avoid it, or is this just a practical/personal decision?
I think this “collector’s mentality” opened a lot of doors for the just mentioned release overkill. Many metal fans tend to buy their favorite records in every fuckin’ re-release format there is. If a label re-releases a record with only one single bonus track or a different packaging some diehards most certainly will spend their hard earned money on it again, no matter how often they already have it in their collection. I don’t like that, but somehow I’m infected by that as well.
If I like a band, I try to get their entire material in one way or another. But I don’t keep a record in various formats then. I replace the older version with the newer expanded edition. That’s equally stupid (if not more), but at least I don’t have to spend a shitload of many for rare first press releases, hahaha.
What are your plans for the future with Voices from the Darkside? Do you have any other projects brewing? Ever think of writing a book (of new text, not compilation of the older zines)? If people like your work, how should they stay updated on what you do?
The website already keeps me extremely busy since I take care of all the daily updates myself. Every single review and interview that ends up on the site is being formatted, proof-read etc. by yours truly. And I also compile all the news, tour dates and so on. All that takes a lot of time every single day, so no – I don’t have any other projects in the pipeline at the moment, I’m afraid. All I can offer at the moment can be found at www.voicesfromthedarkside.de. Thanks a lot Brett, for this highly interesting interview and your support! All the best!
This collection of Scandinavian metal shows these bands migrating beyond their speed/death roots into death metal and struggling to implement their most ambitious ideas. Demigod launches the split with its “Unholy Domain” demo which displays songs that later made it onto Slumber of Sullen Eyes but with more muted-strum riffing, divided syncopation in placement within tempo, and over-active drumming. Like the early works of Possessed, these twin seven-inch recordings show bands emerging from the older paradigm but not yet able to grasp the full implications of the new. Demigod does so on a structural level, where Necropsy assesses the riffing style more accurately. Together these form a historical document of much interest to those who find the separation of death metal from heavy metal as a pivotal moment in the history of the genre.
Demigod leads off the split with its “Unholy Domain” demo which shows later songs in a more downstroke, muted-strum heavy form that consequently has less fluid tempo changes and as a result, misses somewhat on the dark atmosphere which Slumber of Sullen Eyes created. However, the formation of the songs reveals itself through how these riffs interplay, with the strummed riffs occupying space so that others can take the fore, showing which themes are dominant and which are merely supporting. This reveals Demigod without the pervasive atmosphere of enigmatic doom that defined the later album, but instead shows them as a band striving to place interesting riffs into combinations which brought them together as more than the sum of their parts.
Necropsy, on the other hand, unleash what may be the best recording of the band because it lacks the self-consciousness of later releases. It does not attempt to be hard, but resembles a three-way cross between Morgoth, Powermad and Asphyx, plodding through doomy passages and picking up the rhythm with speed metal riffing before building to a classic death metal melodic confrontation between internal themes. Much of this carries the same murky atmosphere as Darkthrone Goatlord, but with more internally-reflective syncopated riffing in the style of the first Deicide album, albeit slower to fit a mid-paced approach much like early Kreator. This recording shows the creativity of this band achieving a result that is not completely formed, yet shows direction more clearly than the more artificed later versions. Together these two recordings make a compelling view into early death metal.