Italian prog-death band Sadist put new album teaser online

sadist_-_hyena

Longstanding Italian death metal band Sadist, famous for incorporating Pestilence/Atheist style progressive and jazz influences into their work in the early 1990s, have returned from retirement with a new album. This one features more bouncy and spacious speed metal rhythms, such as on Voivod Dimension Hatross or Anacrusis Screams and Whispers, but stays true to their habit of interweaving different styles and narratives with metal riffing.

Bizarrely, perhaps in some transposition of Nietzschean ideas, the album and band seem to be using the visual theme of hyenas against prey animals. While this is not the goofiest thing in death metal, it seems a bit ill-advised because of the general view of hyenas, which forgets what vicious predators — on par with wolves but more energetically violent — hyenas are. See for yourself what you think of this odd campaign and the music that supports it on the album teaser.

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Acquiring the Taste : A Tour Through Progressive Rock, Part I

Since progressive rock first arose out of British and North American psychedelia, it has crossed every boundary that it could identify, which makes it like metal more a question of a spirit than a concrete set of musical or extra-musical traits. We can identify a few aspects of this spirit: a desire to make unique song forms which fit the shifting demands of their content, a passion for exploring melody and harmony, an obsession with the unconventional, and a chameleon-like ability to explore other styles and adopt them as its own.

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Meditations on the Death of Wishful Thinking

To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.

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Corporate Metal Labels Caught in a Death Spiral

Earlier this week the publishing catalog of metal mega-label Century Media has been pawned off for an undisclosed sum to Reservoir Media, a publishing boutique holding the royalty rights to songs by a variety of pop artists ranging from Drake to Lady Gaga. In investment terms, a boutique is defined as a financial firm that deals with a specific market, so picture Reservoir as a wealthy Wolf of Wall Street-like conglomerate recklessly gambling with the royalties of musicians. This is common in the modern music market, where suits are making bets on the evolving payout methods streaming services, but the surrender of Century Media’s entire catalog of albums (Death, Paradise Lost, In Flames) to a finance firm playing with house money goes to show how desperate the corporate metal labels of yesteryear have become.

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White Death – White Death (2017)

White Death turn black metal into pop rock on their self-titled album, White Death, for scenesters who want to be tough and are mad that black metal songwriting was based melodic narratives instead of hooky pop-singalongs like Gothenburg metal. White Death aim to reach out to that group of scenesters who used to shop at Hot Topic back when they were teenagers. White Death even have an edgy Finnish nationalist theme to go with their generic, non-descript Satanism! Scenesters don’t have to want to send the world back to the Dark Ages anymore, they can just drink beer for the evil and chant sing-alongs about the 5’3 Simo Häyhä shooting hundreds of frost-bitten Ivans! Wait White Death’s lyrics are not even about the Winter War, just generic mall Satanism; the Auntie Anne’s Pretzels of evil.

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Onward to Golgotha: The Deepest Death Metal

Incantation‘s debut and best work, Onward to Golgotha, remains the deepest death metal album I have ever experienced a quarter century after its release as of today. With material (“Unholy Massacre” and “Profanation”) dating back to the initial founding of Incantation by guitarist John McEntee and drummer Paul Ledney, Onward to Golgotha was a record influenced as much by Bathory and Beherit as it was Morbid Angel and Autopsy.

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Dream Theater Are Pop, Not Progressive

Dream Theater are commonly mistaken to be a “progressive” metal band. Their fans love to brag about how “progressive” the band is as it makes them feel smarter than the typical rock and mainstream Maiden and Metallica metal fans. This is the same sort of intellectual smugness that pretentious urban leftists and the communist-infiltrated ivory tower have about the working class, those who do not shout whatever their currently favored political slogans in the street are like Mao’s Red Guards, or whoever openly dislikes the latest pretentious socialist realist film awarded a trophy by the liberal media shills to promote their Marxist agenda.

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Cathedral’s Creeping Death

Death metal had been well established for years by the early 90s. The genre was rapidly becoming an arms race of technicality with many bands attempting to use studio trickery to make records far beyond their musical ability in attempt to compete with their best contemporaries, e.g. Morbid Angel. Many brought in hired shredder studio musicians like James Murphy with drum tracks copy and pasted together onto tape from drum samples and “played” live with triggers activating those same pre-recorded samples at the slightest touch. At the same time, good grindcore bands were turning into second-rate death metal ones or worse, lame “melodic hardcore” which turned hardcore punk aesthetics into slit your wrists whine pop.

Lee Dorrian, vocalist of Napalm Death on the b-side of Scum and From Enslavement to Obliteration, was disgusted by Napalm Death writing material incorporating the worst, bouncy hit people aspects of death metal in an attempt to reach a wider audience and quit the band in 1989. He soon formed Cathedral with Gaz Jennings and Mark Griffiths over a shared love of older heavy metal bands such as Black Sabbath, Candlemass, and Witchfinder General. Demos and an album on Dorrian’s old label Earache quickly followed.

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