Hammerheart Records is repressing Nile’s In the Beginning demo collection on vinyl LP for every OCD collector who needs to own every single mediocre death metal band’s demo on vinyl.11 Comments
Nile’s latest begins topical, with a blastfest themed after the recent years of strife in the Middle East. This is going to date the album some years from now, but from a commercial stance it’s still an excellent idea, certain to create buzz and boost the band’s reputation. They take a pot shot at a common enemy, and continue their legacy of Egyptian mythological themes in standard, professionally produced “brutal” death metal. All in a day’s work for the deathpop industry.
Surprisingly, I am not rehashing my thoughts on Infernus from a few days back like I expected I would when I first began researching this recording. On What Should Not Be Unearthed, Nile contributes to the corpus of accessible mainstream death metal in a broadly similar fashion to their Rutanian brethren, but in a fashion I find far less obnoxiously flat. It seems that Nile’s members have a better grasp of pop songwriting (and importantly, how to incorporate the instrumentation and technique of death metal into such formulas) that could potentially earn them enormous amounts of money if they were to sell their service as songwriters.
Nile’s Egyptologist trappings are one of their big gimmicks and therefore makes necessary discussion whenever they are brought up. The ideas certainly permeate the lyrics, but rarely go beyond that, with the notable exception of the occasional short filmic “Egyptian”/Middle Eastern interludes. There is nothing I can say for or against their authenticity, but few if any of the musical ideas they present in these asides make their way into the metal side of the songwriting. The constant usage of various musical scales and modes, though, might appear to be missing link for listeners not used to the general chromaticism and/or tonal experimentation of your average death metal band. The idea occasionally turns into a Billboard-style pop hook (see the intro to “Evil To Cast Out Evil” for an obvious example), though, and that’s probably good enough for Nuclear Blast.
Dwelling too much on Nile’s gimmick, though, is like only eating the plastic topper off an extremely sugary wedding cake. What Should Not Be Unearthed hasn’t got much in the way of coherent song structures or direction, and that’s why you’ll probably forget about it after a few spins. Judging from the content here, the band members understand on a basic level that they need to vary their parameters throughout a song in order to not come across as a vague buzzing sound. When they try to go beyond basic pop formulas, though, they collapse into stereotypical alternating blasting sections and breakdowns and occasionally make me giggle by, for instance, pitch bending a guitar harmonic chord at the beginning of the title track. It’s nominally better than no variation, but it’s going to take a lot more thought and organizational work than what’s on display here to write intelligent tracks.
Ambition is nothing without preparation, though, and Nile remains strongest (and commercially strongest) as musicians and songwriters when they stick to their basic deathpop. In that regard, What Should Not Be Unearthed is a partial success, and the rest probably… should not be unearthed.5 Comments
Florida’s Last Sacrament are one of the rare contemporary bands that successfully captures the essence of old school death metal while developing a voice of their own in the process. While initial full length Enantiodromia has a few juvenile kinks to work out — the members are shockingly young — the record as a whole is a striking, confident foray through classic metal.21 Comments
The success of endeavors that carry with them the implication of development or transformation, such as the evolution of an artistic genre (without any relation to the ‘progress’ of dialectical materialism), requires the constant testing of strength, the crossing of one’s boundaries. Contrary to the beliefs of the simple minded, this does not mean that the act of crossing those lines is in itself enough for a fully-formed conclusion to be presented, although there is indeed great value in violation itself. But one could argue that the great weapons of the mind, enacted, come as a result of a full digestion and re-application of invaluable experience and information that comes from the crude testing of strength, directed towards the intuited limits of the yet unexplored.
The blast beat has had a very unlikely journey through its relatively young lifespan in music. Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion. This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity. Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music. Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.
For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit. And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.
Antichrist are yet another group of millennials who want to LARP 1987 thirty years later. Sinful Birth is their second campaign in the eighties and of course Antichrist come armored with denim, leather, spandex and high tops of haste +2. Antichrist are of course of great appeal to the funderground as they ape records everyone loved as teenagers, they have riffs beer metallers have heard a thousand times before and can recognize whilst blacked out, and the vocalist isn’t aggravatingly annoying.8 Comments
Extremity is a term that has lost its meaning in the metal scene long ago, to the point where the most “extreme” acts are now by way of popular opinion mostly consisting of the knuckledragging mutants that churn out indistinguishable slam records with interchangeable logos and covers.24 Comments
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