Voivod – Negatron (1996)

voivod_-_negatron

In the mid-1990s, it became clear that death metal and black metal had run through their formative and matured material and were now in decline, so bands experimented with developing older styles of metal using the new techniques. Voivod dropped Negatron into this period with a fusion of Ministry, old Voivod and Master of Puppets-era Metallica accented by alternative rock vocals. The result came about a decade before the audience was ready.

Continuity from classic Voivod remains present throughout in not the odd riffs, angular melodies, inverted guitar chords and challenging tempo changes but also the overall sensibility, which creates a sense of unease and infinite possibility at the same time as is appropriate for the sci-fi theme of the band. That impulse translates into Ministry-styled industrial-influenced percussion and the complex phrase-based but rhythmically-centered riffing of mid-period Metallica, creating a smooth fusion that can hold its own against mainstream heavyweights like Pantera, who dominated speed metal at the time. Instead of focusing on easy grooves however, Voivod center their music around disruption and order emerging from chaos, giving these alternative-rock style choruses built around the vocal a space to expand and a strong musical bedrock on which to develop. Vocalist/bassist Eric Forrest gives a strained vocal cord performance which adds to the urgency of the material, and creates a sinister suspension of what we normally think of as reality.

The creative riffs of classic Voivod are here, but bent and twisted around complex rhythms and given more standard power chords to anchor them around an increasingly irresistible rhythm. Like most of mid-90s metal, Negatron anticipates the underground being re-absorbed into the larger world of metal, and does so with distorted vocals and death metal strumming techniques mixed in with the progressive speed metal touches from earlier bands. What propels this album forward is its ability to bring out an underlying narrative and reveal a hidden side to the previous explanation for how its pieces fit together, causing — like good death metal, or even Carbonized which it periodically resembles — a sensation of discovery for the listener. Its task was Herculean because the type of listener who likes mainstream power metal will probably find this inscrutable, and underground listeners balked at the Nirvana-plus-Amebix vocal stylings. Their loss, because this album provides solid speed metal with the best integration of progressive and industrial influences yet seen.

Sadistic Metal Reviews 10-18-09

God is love, they tell me, and that universal brotherhood is the way to peace and happiness. But I’d rather have answers than peace, and I’d rather have really intense peaks of experience than absence from conflict. This is most true in music: absence of hatred, war, chaos, loss, tragedy, sodomy and demons means boredom and lots of twee “mixed emotions” poignant ironic dweeb-rock that some scenester in plaid and chains is going to lord over me like the hidden magics of Merlin. Attention hipsters: your music isn’t special. In fact, you’re only pretending it’s special because it’s not and you want a reason to feel really cool and to try to make me feel like the dweeb. But then again, I’m not the one wearing an ironic ensemble designed to tell the world I’m not a sheep. Because telling the world you’re not a sheep is not only transparent, it’s also one good way to get trolled by a large corporation. We’re here to dodge the sheep/anti-sheep dichotomy and just look for interesting music. Welcome again to Sadistic Metal Reviews.

Iron Age – The Sleeping Eye

Many things have two masters, but this band has two souls. The first sounds a lot like Manilla Road, with more of the aggression of later Destruction and the progressive vibe of Atrophy, with the nu-hardcore vocals of later At the Gates. The second is early alt/indie progressive speed and doom metal that sounds like a cross between Sabbat (UK) and St. Vitus, or any of the doomy hard-rock influenced bands like Sacrilege (“Turn Back Trilobite”). Lead guitar is the real standout, with solos that seem to wander around the obvious but chart a path right for the major theme and then spell it out offhandedly, as if unveiling a card trick, without losing the musician’s sense of spirit and audience that keeps them from being gimmick. Riffs are more of the European style, with one or two chords offset against a rhythm played in fairly inconsequential chords or open strings. From this the band modulates into its second soul, one in which a good Sabbathian doom riff must play out evenly against a changing backdrop of tempo, which through its permutations selects variations and complements to that theme. Compared to underground metal, this sounds sparse and somewhat like a Model T, with tempos and architectures of an earlier time. However, it’s quite good and puts both most doom metal bands and most speed metal bands from the post-1994 era to shame.

Evoken – Antithesis of Light

From the epic doom category inhabited by Skepticism and Disembowelment, Evoken make dark long slow heavy metal with melodic underpinnings and plenty of slow chords and arpeggios. They create as a result a mood of lightness and suspension of belief in the midst of a glacial motion, grinding forward into minor key melodies. On the whole, it is lighter and more conventional heavy metal than Skepticism, which is its closest stylistic cousin. The music is good but not particularly compelling.

Wardruna – Runaljod – Gap Var Ginnunga

Remember how hippies used to gather at any kind of “cultural” event to play music, and how, just like with the Grateful Dead, it was impossible to tell the difference between songs? Wardruna updates the hippie model by using traditional Norse instruments and chants in what are basically organic dub pieces. Organized around a beat, they grow through layers of vocals, jawharp, and other instruments, but layers come and go in a cyclic pattern which means that at some point the dub fades toward the horizon. It’s a neat experiment but not very listenable, mainly because in order to keep content bland, it does not let these songs breathe or grow.

Hopewell – Good Good Desperation

Technically, I s’pose, this is post-rock. Really it’s just a very cool updated hippie jam from the 1970s. Think MC5 in collision with the Grateful Dead as if executed by Motorhead and you get the general idea. Advantages are that it’s instrumentally dense rock music that’s still easy to listen to; downside is that it’s still stranded in rock ‘n roll land where everything must bounce and be dramatic. This sort of kills the overall dynamic. Parts of this are a David Bowie love fest, and other parts are reminiscent of a dark rock version of Sisters of Mercy. But on the whole, the bouncy ironic party atmosphere — like Talking Heads colliding with Faith No More — swallows up everything else, reducing it to a predictable cycle.

Caspian – Tertia

Post-rock with few vocal additions that works at building a mood through ambient repetition, using layers sparsely and mostly working a noisy but gentle mantle of sound, this CD is one of my recent favorites — for background use. It’s not too dissimilar to the forest style of black metal where you have droning riffs build up, then a solo that sounds designed for traditional instruments, and a slow fading away. It’s also very close to guitar ambient like Robert Fripp, but with active drums in the background and frequent use of punk/black metal/shoegaze hybrid riffs. It’s soft like a fountain in a garden, sweet like that well-intentioned nerd who tried to take your sister to a date at the Natural History museum, but also, kind of boring on repeated listening.

Meshuggah – Contradictions Collapse

With all the attention given to retro speed metal, it’s important to mention the best releases from Meshuggah. Clearly this band always intended to work jazzy technique into Metallica-style speed metal with Prong influences, meaning a more flexible sense of rhythm and harmony, in addition to a death metal-descended vigorous riff salad that often re-uses riffs at different tempos or broken into puzzle pieces and reassembled in different order and scalar direction. Solos are the kind of diminished scale, oblique harmony noodling that made jazz fusion fun for the first few years. There’s a bit of bombastic bounce in the Exhorder/Pantera style of howling verses and riot shout choruses, which makes this album sound dated. I can also pick up Destruction and Nuclear Assault influences. Hetfield influenced these vocals. This is by far the best thing this band have done because it shows them at their most honest making music they’d like to hear and judging by the subtlety of it relative to their later works, this was the last time they were freed from a cynical vision of their audience as wankers who love anything that sounds “technical” as it builds up their own egos. Other than the style being abrasively 1980s I’d listen to this, which I cannot say for anything else this band did save None, their EP before they got fully cynical and dollar sign oriented.

Heaven and Hell – The Devil You Know

This album represents a huge improvement on other Sabbath-related efforts over the last decade. Borrowing a page from the AC/DC book, it focuses on simple rhythms and movie soundtrack “epic” riffs mixed in with the heavy metal standards. Lyrics manage to capture a sense of the vaguely sinister and ironic, and vocalist Ronnie James Dio delivers them with even-handed clarity and force. The magical sense of songs developing into some protean animal unknown to their origins is not here, but the full dose of classic heavy metal feel with the relentless energy of contemporary AOR makes up for it. Instrumentalism is reined back; Iommi’s solos are fragmentary and cut from whole cloth, and bass follows guitar, which sticks to middle-of-the-road power chord riffs, but the result is not bad. It’s easy to listen to and enjoy with half a brain, and for that has some pleasant melodies and rhythms, all while keeping an almost trademark heavy metal sense of obsession with the dark, conspiratorial, occult, and inverted symbols. If you can imagine Mob Rules hybridized with Blow Up Your Video with a touch of Motorhead at the fringes, you can see why this album has more appeal than the hidebound retro attempts of other classic bands.

Lugubrum – Winterstones

We all try to like this. It’s Burzum-technique applied to a doom metal band. So it trudges, then picks us up with a little melody, then goes back into the deep harmony. Again and again. Without making any really clear points, or showing us an adventure not of our own projection. So after awhile, hey look what’s on TV — you know, they’re showing those commercials again with the annoying chick with the hipster hair. I was doing something, and there’s some kind of music on in the background, but it seems really generic. What the heck? Oh, Lugubrum. Not a bad effort but nothing I want to hear again. This artist needs to take some risks and show us what’s in his/her/its soul.

Christ Inversion – Obey the Will of Hell

The musicians behind this demo studied their black metal well, but never quite figured out how the composition of the music differs from regular old heavy metal and punk. There’s too much emphasis on verse/chorus structures in the punk style, and leaning on harmonic “sweet spots” with trudging repetition the way heavy metal makes choruses, ending up with something that sounds very much not like black metal. Songs are pretty basic and relatively musical but not memorable. Vocals are pitch-shifted and irritating, and riffs show a ton of BEHERIT influence but none of the grace. I guess it’s OK. I also guess I don’t care since I can find 400,000 demos that meet this description.

Land of Kush – Against the Day

After a lengthy 1970s ambient noise track from which you can smell the idealism and psilocybin lifting like a cloud of morning fog, this band detours into spacious ambient rock with chanted murmur vocals over insistent beats with serial changes and extensive instrumental soloing. This is enjoyable to listen to but it’s hard to imagine putting on except as background reality tuning, which it does well: dropping us into the hopeful deconstruction of the 1970s with the savvy layering of our contemporaries. It’s like Morcheeba without the affected digital disco urban funk.

General Surgery – Corpus in Extremis

It’s unlikely the broom will ever evolve beyond what it is now and has been for a thousand years. For certain needs, the response doesn’t need to change. General Surgery have tried to escape being a Carcass tribute band by shifting their vocals to later Carcass style and trying the modern death metal thing, which basically means death metal that writes its songs like metalcore and tries to distract/annoy like nu-metal does. There’s a lot of tribute to the old school in various riffs, but just as much tribute to sped up heavy metal and modern metal. It reminds me of the recent Seance and fails for the same reasons: too busy, too ambivalent about its own style and lacking any kind of refinement of message to an insightful, profound, gradually-revealing passage through experience transferred.

Eyes of Ligeia – What the Moon Brings

In that interesting intersection of indie rock and doom metal, Eyes of Ligeia is a veteran I remember first appearing in the middle 1990s — and to their credit, they’re making the same style of music but have improved it in every way over the years. Not many bands are able to define what they want and then instead of getting wide-eyed with trying to make their style fit an audience, divert their energies toward making their content and form mate each other more ideally. Eyes of Ligeia drone quitely under rasping black metal vocals, using either carefully picked open chord riffs or power chord earthmover doom riffs, but using both in complementary pairs with background keyboards that provide a deepening sense of mood. Reminiscent of ritual music, this repeating loop of sound produces a hanging atmosphere like overtones to a chord slowed down to the milisecond scale. For many of us, appreciation of this band is natural even if we find the sub-genre — doom metal — to be too repetitive for our tastes.

The Chariot – Wars and Rumors of Wars

Thrash bands broke into two groups, the punk-style and the metal-style, although both were mixes of metal and punk.Same way with metalcore: ranty, new style hardcore defines the sound of this metalcore band. The “core” in hardcore comes from the love of abrupt riff changes and random riff combinations, with really enigmatic choruses, and here it’s put to good use so that we hear loud angry ranting that changes abruptly like a car wreck, then there’s a recognizable pseudo-emo chorus. Do we need another band like this?

Drudkh – Microcosmos

Boring candy. That’s what you need to know. Every part of this CD sounds sweet, but it’s also boring as hell because like music they play in grocery stores, there’s no change in mood. There is no journey in these songs. They turn on; there’s a mood; they throw in all sorts of stuff to obscure the fact that it’s static and dimensionless; then it ends. Sum total change in outlook: nothing. It’s Britney Spears, like Aura Noir without the aggression. Notice how heavy metal shredder guitar coexists with Burzum derivations, Graveland folkish parts, and the occasional prog metal riff. And then a cheesy heavy metal solo that meanders. What does it mean? It’s the anti-meaning, which is to say there’s no direction other than self-reference. That’s why it’s boring. It’s candy because these are like pop songs very pendulum-like in their transition between recognized forms of non-threatening order. The prog parts remind me of Kong, the black metal parts of Abyssic Hate and Ved Buens Ende crossed.

Brutal Truth – Evolution Through Revolution

Like Sounds of the Animal Kingdom, this album shows Brutal Truth with more refined technique but a lack of gestalt that decreases the status of this album as something pushing a genre forward. Instead, it’s waving the flag but does so without finding an angle of its own on the genre, so it ends up being standard grindcore played with Brutal Truth technique by arguably the most proficient musicians in the genre. There are moments of sheer brilliance in riffology, and the cynical nature of these songs more resembles early DRI than the boiled tasteless political partisanship of recent grindcore, but nothing is going to really floor you despite having many powerful aspects.

Teitanblood – Seven Chalices

After everyone in the underground was done praising this new work as a resurrection of the spirit of the 1980s, there was a brief lapse in the hype as people re-thought their extravagant praise. Now it’s time for some reviewer to come along and haul out two names: Deathspell Omega, and Blasphemy. This CD doesn’t sound anything like Deathspell Omega, but it uses the same tactic of working its aesthetic like a Hollywood fashion designer. Lush layered voices, monastic chants, interludes and lots of guitar noise during songs make this “sound like” (to our conscious minds) it has depth, richness, different experience. But like Deathspell Omega, once you strip away all that art director frippery, you find a pretty ordinary CD. In Deathspell Omega’s case, it’s a long-melody fetish derived from early Ancient. In Teitanblood’s case, it’s a desire to use Bathory’s ideas, especially vocal ideas, in a form of death metal that emphasizes doomy passages alternating with a slamming interruption of cadence. The result is laborious. Get ready to let your monkey brain get distracted by the aesthetic while very unexceptional music bleats on by like a stream

Tragedy – Nerve Damage

People kept hearing me listen to Transilvanian Hunger and they’d say, “No way dude, you need to check out Tragedy, they started this style.” I have come to the conclusion that they never heard Discharge, GBH or Sarcofago; however, they’re partially correct. Tragedy is a very metal-oriented take on what it would sound like if Disfear covered a whole bunch of Blink 182, Offspring, Ramones and Sex Pistols songs. These are melodic bouncy punk that eschews the UK82 stylings for rock-style pocket drumming and Motorhead vocals with emo chord progressions melded into standard punk. Harmonically, it’s rock music on a series of power chord shapes. Structurally, it’s sugar pop with a big dose of AC/DC and old punk. For this type of music, it’s great and extremely catchy and fun listening, but it’s going to bore anyone who got into Transilvanian Hunger or Tangerine Dream (its inspiration) and grasped how much a non-linear atmosphere expands the enjoyment of music.

TheSyre – Exist!

This CD has absolutely nothing to do with black metal and death metal. I would style it instead as a hybrid between later Metallica, Amebix and Strapping Young Lad. Most of it is speed metal riffs that ride a bouncy rhythmic pocket, then deviate into harmonically oblique fretruns borrowed from the classic days of metal and rock but informed with an odd, rock-opera sensibility that gives each one place in an evolving narrative. As a reviewer, I have avoided this band for years because for the most part I avoid speed metal, and this is very speed metal in a style like a crossing of …And Justice for All with Kill ‘Em All: hard-edged muted-strum riffs rebounding from a bold heartbeat rhythm. The odd uses of harmony are SYL-ish, but the Motorhead-cum-Exploited vocals are pure Amebix as is the expanded but theatrical song structure to this thirty-two minute piece. If this recording has an undiscovered strength, it is its ability to make refreshing and new some classic riff patterns and put them into complex songs; if it has a weakness, it’s that like Amebix, it divides up its epics with aesthetic elements like sound samples and rhythmic pauses, and so doesn’t achieve the degree of musical integration it might like.

Orthrus – Tyrants of Deception

Imagine if Helstar, Forbidden and Coroner had a big orgy and decided to spawn an offspring with death metal vocals and speed but the German-inspired speed metal of the late 1980s. Within that context, this CD plays it right down the middle: nothing new, but well-executed, if not ambitious enough to make you reach for it again.

Pest – Rest In Morbid Darkness

This is the most schizophrenic band heard recently. It thinks it’s black metal, but really it’s head cheese made of ground up Slayer riffs with big thick chunks of heavy metal, speed metal and underground remnants. It’s good if you listen to each riff, but not really distinctive, and after a few tracks it becomes clear there’s no direction other than upholding an already well-known form.

Nagelfar – Hunengrab Im Herbst

Melodic black metal. They nailed the technique, but then wrapped it around very linear songs. They avoid carnival music, but don’t make it beyond one dimension of mood. Semi-comical vocals also make this dismal, as do recycled riff styles from speed metal.

Necromantia – The Sound of Lucifer Storming Heaven

This immensely creative music uses black metal vocals but is basically Judas Priest styled heavy metal with a dose of Queen or maybe Vangelis to give it an epic character. It is admirable for its variation and mastery of the rock/heavy metal form, but might not appeal to underground listeners.

Solis Aeterna – Sol Triumphalis

If you can imagine Lord Wind with simpler instrumentation and longer phases of repetition, you can visualize the style of this entry project, although it has a worldview all its own. What makes this enjoyable is that it attacks with the bombast of a movie soundtrack, but then dissipates until it resembles a background drone. The objective seems to be a mental tuning of the listener toward moods in which one can appreciate the eternal. Like Burzum’s Baldr’s Dod, Solis Aeterna applies entry-level synthesizer sequencing skills to layers of background rhythm and slow-changing tones, over which lead keyboards riff in rough time with the tribal drums. This project will improve in clarity as time goes on, but it might be best for simply unfocusing the mind as if listening to rain at midnight.

Incest – Misogyny

This Texas band produced one demo and then vanished. They attempted to make avantgarde death metal in a style like Timeghoul and Goatlord colliding with Nuclear Death in the wings. Vocals are from the “stand back ten feet and howl at the mike” variety, and drums are surging bashing in the punk style, but guitars make spidery lead riffs wend their way between the punchier power-chorded material. There are many attempts to mix melodic riffing with more putrescent, organic rhythms, and a desire to make song structures that interrupt the cycling of riff and chorus with a series of breaks to interludes which make good use of the aforementioned melodic proggishness. This is more interesting than all but a few things we get sent yearly, but it never really manages to take wing because it comes across more as a theatre of the violent and maladjusted than something we’d want to listen to, and the lack of melodic development reduces each song to a circularity of the inconsistent. Still, I wish they’d developed this further as there’s potential here.

Crematory – Wrath from the Unknown

People have always talked about how important this band is, but it — sounding like Obscurity, Lobotomy, Suffer or Grave — resembles some of the more battering and simplistic Swedish death metal, meaning that this is almost purely rhythm riffing with little melodic or harmonic organization, and as a result, songs are unified around the synchronicity between a slower rhythm and a series of faster ones. Like the heavy American bands, Crematory favor trudging and pounding patterns with lots of walk-up and breakdown action in the middle, battering us about with the change in tempo and rhythm but in a desperate bid to be nihilistic reducing music to the threshold of simplicity. While it is not bad for that style, it is also completely uninspiring in light of the better options out there.

Actors and Actresses – Arrows

This is indie rock shaped into shoegaze with the pace of a modern jazz band, like an early version of REM playing through the haze of Ride while covering the slower songs from Sting or a postmodern Dizzy Gillespie. The major asset here, besides musicians who can do coffeehouse sparse without coming across as dead air merchants, is the purring Morrisonian vocal track, which guides us all like a hypnotic trailblazer through this forest of pop sounds reformed. It is calming, however.

Mutiilation – Sorrow Galaxies

Someone decided to make the Hollywood version of a Mutiilation album. Instead of those long, deepending moods, we’ve now got carnival music, that like carnivals tries to distract you with something new and unrelated every second. It’s like walking between the stalls at a state fair: here’s a roundabout riff, then the bumper cars, then a droning Drudkh-style black metal riff, then the fortune teller, then a Burzumy moment — and a break for cotton candy — then back to the circular passage through songs. These are very sing-song, pleasant and not dark at all. It’s questionable why you’d listen to them since you can get the same thing from Dimmu Borgir with better production and keyboards.

Gorefest – Rise to Ruin

Let me up out of this one, O narrator. No matter what people claim is “new” in metal, it always sucks and involves simpler, catchier rhythms and more rock ‘n roll touches. This CD is no exception. It’s chock full of two chord riffs that feature a lot of repetition and sudden reversal in a rhythmic hook, and then a sort of extended jam session in the middle. Like all bad metal, everything is calibrated to the ranting, riot shout pace of the vocalist, which might “work” for Sepultura’s Chaos A.D. but here just dumbs down a great band. It’s death metal if you mix it with Led Zeppelin and a crowd chanting for free bread. While no part is horrible, the sensation of listening to all of it is dizzying numbness of the forebrain.

Voivod – Infini

No one wants to give this thing a bad review because it’s like kicking Piggy, Voivod’s dead guitarist, when he’s down. However, it’s painful to listen to this thing. It sounds like Motorhead, updated through Prong, covering the Doors. Lots of really dramatic vocals, rhythmic riffs like boots scudding across a waxed floor, jaunty choruses, and occasional flashes of the lush dense chording that once defined Voivod. Percussive structure is equal parts plain and dramatic. Anytime you find yourself zoned out on the fairly unexciting riffs and the Nirvana-ish whiny vocals, there’s a constant pounding drum to remind you that you’re listening to music and you-are-glad-you-paid-for-it. Piggy was brilliant; some of the work on this is almost to that level; however, Voivod was heading downward since Negatron and this album continues the fall.

Dawnbringer – Sacrament

While this band is compared to At the Gates, a better comparison would be to Children of Bodom hybridized with Aurora Borealis. Chord progressions are very indie rock and technique comes from decades of melodic metal, while vocals sound like Motorhead, but the whole package would be more at home in the pop genre than metal. Simple-hearted melodies are in themselves good for their three-note span, but melodic development gets either so gratifying it’s impossible to appreciate, or is so predictable the other shoe dropped before the first. Nothing in particular to dislike here, but no reason to hunt it down.

Sick – Satanism Sickness Solitude

Very basic black/death metal written as if it were punk music, with simple loops of verse and chorus riffs, Sick incorporate some cyber elements like samples and vocoder but are essentially really basic metal not much changed from the early days of Metallica. While they do better than average at being this type of band, nothing really memorable stands out here, not just stylistically but compositionally — we’ve heard these combinations of notes and rhythms before, and no amount of “industrial” touches or even 400 lb transvetite divas could save us from the ordinariness of this offering.

Cryptic – Once Holy Realm

This is death metal made to sound like black metal, and it has a lot more common with a faster rippling less percussive version of standard Tampa metal than any esoteric origins. Melodic riffing fits into this framework, as does as a blackmetal rhythm, but song structures are closer to death metal riff salad and notes seem to be picked from very evident progressions. Like most reviews, this one concludes with “you won’t miss anything.”

Textures – Drawing Circles

Abstract song titles, cool conceptual name, obviously a lot of power thrown into production — oh hai, it’s post-Cynic “post-metal” metalcore that is like a cross between Jawbreaker and Spyro Gyra. And I really wanted to like this. The hackneyed punk riffs meet the hackneyed metal riffs and then explode into jazz-fusion cliches with angry Phil Anselmo(tm) vocals ranting over the whole mess. It would be impossible to give less of a shit. Where do the metalheads who like progressive/technical music go? This stuff has little in common with metal; it’s basically punk rock in that later quasi-emo style (Jawbreaker) with a lot of Pantera and nu-metal mixed in with the technical influences. That isn’t a direction, and you need to have a direction to articulate anything worthy enough of technicality.

Amorphis – Tuonela

This album is painful because it’s so well-executed, but so soulless and comical. It’s basic rock music that slightly reminds me of VNV Nation because Amorphis use picking of high notes in the background to highlight bassier foreground riffs, like if U2’s The Edge started taking on the sequenced keyboard trills VNV use in the background of their songs. There is something in the Scandinavian mentality that has them living in a paradise of social order, and longing for the grittier, weirder world of rock. Here it manifests itself in a stadium heavy metal version of the same kind of odd, introspective indie rock found on Quorthon’s “album.” They can’t quite leave metal behind, or underground metal at least, but want to make this really edgy (no pun intended) indie rock. On a musical level, it’s not particularly exceptional but is well-composed and can stand shoulder-to-shoulder with the big bands for mastering the art of songwriting that makes a crowd get together and enjoy the music. Lots of bluesy solos, and odd honky-tonk keyboards overlay this busy, bombastic somewhat sentimental music. I can’t stand it but when I take my car in for an oil change, I’d prefer to hear this over the radio heavy metal in the newer, jump-metal style. But compared to classic Amorphis, on the level of expressing something artistic that is not caught up in the desires and confusions of the individuals and sees a transcendent picture of reality… this is a train wreck.

Magnum Carnage – More Unreal Than a Box of Precious Metal and Radioactive Ore

It’s hard not to like this audaciously homebrew release. If you can imagine an American version of Carcariass, meaning fast chaotic melodic heavy metal with death and black metal stylings, that’s what you’d have here. It’s more American — like a hybrid between North and South American types — in that it throws everything it can into each song and likes really abrupt breaks between genre influences. Sometimes it sounds like the Doors, sometimes it’s Judas Priest (“Painkiller” era), sometimes Led Zeppelin and then equally as frequently, a hybrid between Fallen Christ, Angel Corpse and Dissection. Mostly it’s a showcase for extremely interesting solos, fast riffs and some deft harmonic changes that give the listener the sense of a pit dropping out beneath the music and then a new pseudopod of sound rising from within it.

Gifts from Enola – From Fathoms

Let’s make one thing clear: one variant of post-rock is “techno played on guitars.” That means a layered style of composition, where themes are introduced and overlap to make patterns of their combination, and their coming and going has emotional significance. It’s an effective method. However, it’s also one that’s prone to formula since with the riff-length available to popular music, it means very simple three note fragments and literal-key soloing, which over time runs out of tricks. Gifts From Enola start with a swingin’ rhythm, and slowly add stuff in the mix so you can watch the colors change much as you would when cooking with a dough mixer. Watch the cinnamon red mix into the beige! See what happens as the egg dulls the ochre! It’s not bad but it aims for an atmosphere, and achieves degrees of lessening or intensifying, but beyond that, it is limited: the goal was not dynamic change but dynamic change serving the goal of a relatively static, semi-ritualistic emotional conditioning. It’s not terrible at all but like much music that tries to replace structure with creative repetition, rapidly becomes static. The surface creativity of this album is amazing as they blend sounds from pure noise to post-punk/emo guitar work to a dozen popular music genres including the world’s first disco grindcore, but underneath it is basically the same stuff we’ve been choking down since 1931. What’s nice about it: no vocals.

The Syre – Resistance

By casting aside any sense of genre allegiance, this French Canadian powerhouse have made their best album to date: equal parts indie, bluegrass, punk, oi, Motorhead-style metal and Devin Townsend or Probot style experimental material, this CD like a minstrel show adopts the guise of its influences to act out a theatrical journey through the different modes of human thought. Dominating by its rapidly changing aesthetic, this album is a concept piece that’s every bit as foot-tapping as Amesoeurs but has the raw aggression and bouncy determination of bands like Revenge or the aforementioned Motorhead. Clearly a lot of thought went into this. Its music does not aim to be groundbreaking, but like a concept album or modern folk, tries to unite theatre and music with idea and create an almost Jungian symbolism of the same. For those looking for an alternative to the now-hackneyed black metal, this is a deliverance in a form where one wouldn’t think to look.

Sadistic Metal Reviews 8-16-09

Scientists have found that we learn more from our successes than our failures because of the way individual brain cells respond in real time. Like natural selection, this is a process where the winner takes all: when the idiots have run out of steam or exterminated themselves, the smart take over and breed like mad. Metal is exactly the same way. Across the world, tens of thousands of bands launch their albums at one giant egg which is the mass consciousness of metal fans, and a few make it in and become golden classics that people will talk about for decades. It’s not random; it’s about music quality. In the following reviews, we search for the 0.1% of quality in the metal world and mock the 99.9% of directionless gloop that people will talk about this week and next, and then forget.

Medusa – En Raga Sul

You know, post-metal is horsepuckey just like post-punk was. You’re making the same music with a little more dexterity and some slicker exterior. But you can’t escape the fact that your approach is the same. This circularity of doom by ignorance of abstract afflicts Medusa. These guys — normally from indie bands — can clearly play their instruments, but they understand metal on the same level as my parents. “Oh, I get it, be as loud and interruptive as possible, and random if you can.” No way, dueds. Random is an indie hipster thing. Order rising from chaos in a majestic fountain of context-expanding revelation is a metal thing. Like post-rock, post-punk, etc. this is a disappointed because they threw everything but the kitchen sink into the compositional mix, and came out with one giant average that screeches, howls, whines and cajoles like a methed-out whore. This CD will experience the wrath of Lord Bic, my lighter (and the object into which I have projected the spirit of my dead warrior ancestors).

Zebulon Pike – Intransience

This lengthy EP brings three songs in a fusion between King Crimson of the Red era and the mellower, rolling doom metal of bands like Cathedral. Thankfully, there are no vocals, which makes this quite exciting; sadly, it’s still entrenched in the “prog rock” category and does not make a metal voice out of its influences. However, it one-ups bands like Cynic or Maudlin of the Well by escaping the pop song ghetto and going for the gusto with these lengthy, prog-worshipping songs that are not so much intricately structured as they are intricate structures applied cumulatively in repetitive layers, causing a sensation of ascending a spiral staircase that changes geometric dimension at every floor. All instrumentation is straight out of 1970s King Crimson, with occasional bounding punk or doom-death metal riffs, but by the nature of keeping open harmony so it can write melodies through the chord lines in a complex fashion, there’s a lot of clanging open chords and chords formed around the upper notes of the scale, giving it a clangy old school vibe. Fans of Pelican might appreciate this fusion between indie retro aesthetic and the impetus toward topographic space savant rock epics, but if this band really wants to move forward they should forget their influences long enough to fuse a new language out of the shared heritage of rock, prog and metal that fuels this exploratory band.

Havok – Being and Nothingness

Despite the cool song titles and album concept, this is tedious metalcore: a mix of prog metal, speed metal, avantgarde punk and indie rock that uses death metal technique sometimes. Lots of heavily repetitive strumming, “groove” occurring in the midst of rhythmic chaos, and sudden breaks to “unexpected” acoustic or proggy parts in the same self-considered profundity that Opeth and Meshuggah use. Maybe you’ll like it if you like those. But then it would be an imitation of an imitation.

Woodtemple – Voices of Pagan Mountains

I am told by reliable sources that other CDs from this band are not as good. However, this one stays on my B-list of metal and will eventually be purchased. In the 2000s, buying something you’ve had kicking around on mp3 forever is a sure sign it’s destined for repeated listening. In style, this disc is like Graveland Following the Voice of Blood re-done in the style of Thousand Swords, but as if informed by early Ancient, say, Trolltaar. Longer riff-melodies and repetition interrupted by a kind of prismatic re-use and re-contexting of past riffs makes this an engrossing, labyrinthine listen. There’s some hilarious intrusions from later Bathory (Hammerheart), including experimentation with percussive riffing, but on the whole, this is a great disc and one of my favorites from post-entropy (1994) black metal, even if in style it’s a total tribute to the past.

Amesoeurs – Amesoeurs

Proving again that they’re low self-esteem losers, the vocal black metal community tripped over its own feet rushing to praise this release. I understand why; it’s easily listened to, pleasing to the air, and maintains an atmosphere that is pleasant. However, it’s shoegaze and not black metal, and deviates entirely from the moods which produce the epic experience of black metal. For sure, there are moments of storming guitar riff over blasting drums. But musically, it has little in common with black metal, and does a lot of dressing up My Bloody Valentine-style pop as something more extreme, kind of like a brainier version of Marilyn Manson. The problem with the pop approach is that it’s two-stroke: you get two emotions, mix them, and leave people with that wistful sense that something important happened and they missed it. That will not scratch the black metal itch because it’s very karmic,

Worship – Dooom

I really wanted to like this. But playing a heavy metal band this slowly crushes the ability to make riffs that are distinctive, so you end up with chord progressions you’ve heard before in a rhythm too slow to recognize; when that gets arduous, the band pause like waiting for an audience to clap along, and then resume again. And so it goes, for minutes upon minutes. It isn’t bad but it’s not necessary, and it will always gall me to have CDs sitting around that aren’t as good as the other stuff I have, but are “newer” so must be really important. It’s not. Stoner doom is the latest trend and while we all like a trend because it seems like the hand of the world has reached down to offer us an easy solution, usually this means that people adapt whatever they have to the new trend with predictable results. These songs are generic stoner doom of the heavy variety; seek Skepticism instead!

Havohej – Kembatinan Premaster

Paul Ledney makes brilliant albums every other album. You can tell from his history that he has an active mind and explores new methods of making music. Some are communicative, and so make us understand the dark mental journeys he’s taking, and others convey emptiness in a way that not only is un-informative, but also is not much fun to listen to. After all, good art is half Schopenhauer and half “Harry Potter”: it should have the profundity to twist our minds to see a greater context to our lives, but it should also be entertaining and show us our everyday struggles in a new context where we can more easily grasp what we’d rather be doing in similar situations. This latest from Havohej, like Man and Jinn before it, is an experiment in ritual rhythm music using noise instead of guitars and bass. His technique appears to be using ultrasonic noise and sublimated harmony in the drone to create additional rhythms through separation sounds (as used when tuning an instrument). The result is “interesting” academically, but horrible for listening. The sense of adventure is dead. It’s more like a mathematical proof by an interior decorator. Skip this and pick up the excellent Profanatica Profanatitas de Domonatia instead.

Greenfly – Hidden Pleasures of a Nonexistent Reality

This CD is just bad. The choice of notes is predictable; the choice of rhythms is blockheaded; the instrumentation is so competent it’s thoroughly uncreative. It’s so strikingly obvious in construction it’s hard to imagine it as something other than guitar practice that got accidentally recorded. The metalcore vocals don’t help either, nor do the recycled and completely cut-from-form speed metal riffs. If I didn’t know better, I’d say this was a parody of death metal. It’s like an angry caveman howling while he beats rocks with his club. I think the worst part is that this band seem to think they’re clever, or pure in some ironic way, for having distilled the genre into this blurting, bumbling, pounding disaster.

Hammemit – Spires Over the Burial Womb

Over the last dozen years, I have become more cynical about noise and ambient music. The reason is that there’s so much of it, yet 90% drops into the category of “goes nowhere, does nothing.” Hammemit straddles the line: a good deal of thought went into these compositions which create a ritual atmosphere of contemplation. The problem is that they do so under the conscious level, and do not form any distinct thought, only a vague impression of something sacred happening. I like that, but it’s not going to motivate people to listen to any piece of music (same problem modern and postmodern “classical” has). These collections of moans, natural phenomena noises, occasional piano and guitar, and found sounds are compelling in that they do not whack you over the head like modern material does, but they also shy away from approaching the clarity of ancient works. My suggestion to this artist is to vary the sound palette between tracks, and to aim at making the concrete form out of nothingness, as that way the mind will retain what’s afoot here.

Ihsahn – Angl

I’m going to say what others are afraid to say: this album is shit. Equal parts Cynic and Meshuggah, it shows nothing of the creativity of Ihsahm during his Emperor days; actually, it’s just a collection of well-done cliches. It’s like Nordic metal is the peak of ability in making songs, but if you feed the same crap into it, you just get a better version of that crap. I think instead we need something, like — just to pull a name out of the hat — Emperor where they made something entirely different, and as a result, were inspired to make better quality music. Repeating the past is painful. This recombines and repeats the past. I had to run across the room to hide my Emperor CDs from this dripping turd.

Demigod – Shadow Mechanics

This refreshing album eschews the pure death metal outlook for a hybrid of death metal and later Voivod-style progressive metal, using complex rhythms and multiple offsets place emphasis of protean phrases; there’s also the usual expanded chord voicings and quirky tempo changes, and while song structures are basically complex verse/chorus in the Rush model, there are enough deviations — usually about two per song — to give atmosphere and create anticipation. Smooth vocals and catchy rhythms give a nod to populism, but it’s unlikely the band thought they were authoring a best seller. It’s more likely that, like Obliveon on Nemesis or Voivod on Negatron, they were simply hoping for a more accessible canvas onto which to splash their brighter ideas, in the camouflage of being an entertainment/leisure product.

Grave – Into the Grave

After enjoying this album during the early days of Death Metal, I set it aside for about a dozen years. I don’t know why I set it aside. I know why I picked it up: I was curious to see what degree nostalgia played in my enjoyment of music, and why I seem to pathologically forget to mention this band or even think about it. Now I know: this is an album with passion, rhythmic intensity, and utterly boring selection of chords in very similar riffs and very, very similar song constructions. Musically, it’s like Asphyx played a lot faster with Slayer-esque drumming, and almost no deviation from a half-whole interval progression. They do a good job of thematic presentation, but every riff is astoundingly self-evident and without much tonal contrast. True, it’s heavy as hell, but like a bulldozer pushing rocks: after a while the dynamic is dead and you have background noise.

Corpus Christii – The Fire God

The Fire God should consume this CD. It’s entirely coherent, but aims so low that fitting together verse and chorus riffs with a bevvy of hovering keyboard trills should be easy. And it is, and that’s kind of the problem: there’s nothing here you could not find somewhere else in a more articulate form. In addition to being basically bland black metal, this CD also incorporates a lot of heavy metal elements blah blah you know the story by now. Throw in too many ingredients, and the recipe turns to mush. So does this CD. It needs a fire god to give it real passion, but for that that, it will have to pick a direction and try to find songs that can express conclusions of its own voice. Right now, it sounds like a clever recombination of things known from other sources and since I own those, well, why would I listen to this?

Demigod – Let Chaos Prevail

Most people confuse external form with content, because they assume form mirrors function. It does, but the function must come first; if there’s no clear function, we end up with an aggregate of misplaced ideas. That’s what has happened here. Demigod have tried to update their death metal sound with the “modern death metal” (read: deathcore, which is deathy metalcore) style, complete with sweeps and jazzy chugging rhythms, and the result is that they’ve adulterated their music — even while producing at the top of their musical knowledge and technical ability. In this, they are very similar to Cadaver, who did the same thing with Necrosis. The bouncy, jaunty, distraction-oriented nature of rock music and metalcore does not mix with the subtle building of atmosphere out of seemingly unrelated attributes of a stream of riffs; instead, on this CD, Demigod sound like a riff/chorus band who periodically jam on alternate riffs before going back to the safe and repetitive. Clearly they are talented, a lot like Behemoth and better than Meshuggah, but this is written in such a blockhead way that the dumbing-down traps all hopeful bits and intelligent riffs in the amber of a soon-to-be-obsolete style called metalcore.

Death Courier – Necrorgasm

What happens to innovators when the music they produce is not all that exceptional? Like Venom, this Greek band helped establish the aesthetic of death metal. Their music is not bad; it’s just boring. Moderately technical, it shows a nice grasp of basic harmony, and is probably about 50% rock music and 50% death metal. There are plenty of heavy metal riffs. There’s a clear influence on early Darkthrone, especially Goatlord, in some of the bidirectional chord progressions used in riffs. Some might point out similarities to Varathron His Majesty at the Swamp as well and not be inaccurate. But listening to this for a modern death metal listener is kind of painful.

Criterion – The Dominant

I really wanted to like this, but the riffs are too… obvious. Not much other than straightforward riffing like cutting bread, at least harmonically. Rhythmically, there’s more space, but with two glitches: their voice is derived entirely from Deicide “Once Upon the Cross” meets later Morbid Angel, and the organization of these riffs goes nowhere. Songs cycle, then end. Thud. The spirit and intent seems good behind this CD but the result is battering repetition.

Code – Resplendent Grotesque

This is really bad. It’s dramatic gothic rock pretending to be black metal, sort of a fusion between the Dimmu Borgir softer parts and Mardukish harder parts. But at the end of the day, it’s the same ranting style of vocals without much organization, recycled riffs, and lots of noise to hide where there’s no real idea. This is to be avoided if you have musical knowledge or just like quality music.

Angantyr – Haevn

I keep trying to like this band and getting halfway there. It’s very pretty; it’s very repetitive; somewhere in the middle, its direction ends up getting simplified and to my ears, not really deviating from its starting point. However, if you want to swing your willowy limbs to something pleasant and droningly melodic, this will fit the bill. Fit the bill. Fit the bill. Fit the bill.

Diaboli – Mesmerized by Darkness

Resembling Impaled Nazarene’s Ugra-Karma most in its approach, this is pneumatically-driven high speed quasi-melodic black metal with a relentless attack. Like the most extreme hardcore band you can imagine, Diaboli roar into song with verse/chorus riffing interrupted by some transitional “budget riffs” of rhythmic variations on a couple of chords. As a result, like most hardcore, it wears thin after some time. However, there are some great riffs on here and the intensity stays high. This would probably not make a great go-to album, since it lacks the kind of mystic atmosphere Forest Poetry or the aforementioned Ugra-Karma created, but it’s a good rainy day fallback.

End – III

Someone made the perfect generic black metal album: it’s rugged and rough black metal written as if it were “symphonic” metal and the keyboards got accidentally left off. Heavy metal riffs, black metal drums and vocals, sounding a lot like a cross between Absu and later Immortal if you then crossbred that with something really bouncy like Nifelheim. Even if you’re not an orthodox blackmetaller, you can see how this lack of direction leads to a very confused band who basically jam on some really basic stuff and then try to differentiate it however they can. It’s not badly done but there’s no reason to listen to it. Imagine the best SUV ever made, if you hate SUVs.

Behemoth – Evangelion

No matter what anyone says, this is deathcore or metalcore: it’s not put together like death metal. The idea behind death metal is that a string of riffs makes sense in an expanding context. This is totally cyclic, a bit of verse/chorus dressed up with some transitions, and instead of emphasizing a through-composed outlook, it directs itself toward — just like rock ‘n roll — a rhythmic chorus pattern with open chords behind it. The “carnival music” aspect of pasting together disparate riffs and layering them in keyboards to distract us is gone; these are basic heavy metal riffs done “extreme” with high BPM and lots of distortion. Vocals are masked in some odd way that makes them sound like a crowd of laryngitis sufferers demanding their change at a Burger King. It’s fair to mention that Behemoth know their basic music theory and so this holds together well as music; it’s more harmonically coherent and thus easy to listen to than most death metal. However, it conveys mostly a repetition of battering rhythm, put into the minor-key Gothic theatricism that is a kissing cousin to Marilyn Manson, which makes it more suited to the punk/rock crowd who enjoy metalcore because it’s basically rock music with prog-metal riffs.

Detournement – Screaming Response

For a minute, I was thrown back into 1994 when the fresh-voiced, power-pop-infused posi-pop-punk started hitting the shelves. Like all those bands, these guys try really hard to show both how purist punk they are, and how not punk they are, by cutting a ballad like “No Estan Solos” full of soulful appeal but ultimately pretty repetitive. The rest is surging political punk that tries to keep the outrage high but, as in the 1990s, sounded simply like the children of a post-industrial wasteland howling protests at leaders themselves in the grip of forces they cannot control. Both of these tendencies make the pandering and amateurishness come out, but other than that, there’s nothing wrong with this high-energy modern hardcore EP.

Havohej – Man and Jinn

The difference between the indefinable presence of discernible structure, natural forces and emergent properties, and the world as we experience it of visual appearance and seemingly absolute cause/effect linkages that yet are not universal, afflicts this EP both in its triumph and its failure. Its triumph is that by using sampled sounds of nuclear explosions and other droning material sounds, Paul Ledney creates a recording that sounds like avantgarde black metal without blatantly slipping into avantgarde territory. In doing so, he tweaks our noses for accepting the “air conditioner with a drumbeat” style that black metal has become; unfortunately, the failure of this CD is that it does not provide a better artistic and listening experience, only a demonstration of form. Sometimes, I wish Ledney would devote his considerable talents to writing analysis about metal instead of trying to show us sonic evidence for what only a few can perceive anyway.