All of Rotting Christ‘s back catalog is being reissued on vinyl by Peaceville Records starting with their second release and first studio album, Thy Mighty Contract on April 21st. Hack writer Dayal Patterson of Black Metal: Evolution of the Cult is writing liner notes along with bang co-founder Sakis Tolis. A box set of all of their releases, including the ones nobody wants, will be released later this year.
Greek black metal gods Rotting Christ have announced an extensive North American tour for this fall supporting generic war metal veterans Marduk. They’re coming out here to do some gigs! Shit will be wild man, wild! Here are the dates from Marduk’s Facebook page:
09/02/16 Ft. Lauderdale, FL Culture Room
09/03/16 Tampa, FL The Orpheum
09/04/16 Atlanta, GA The Masquerade
09/05/16 Baltimore, MD Soundstage
09/06/16 New York, NY Gramercy Theatre
09/07/16 Boston, MA Brighton Music Hall
09/08/16 Montreal, QC L’Astral
09/09/16 Toronto, ON The Opera House
09/10/16 Columbus, OH Al Rosa Villa
09/11/16 Chicago, IL Reggie’s
09/12/16 Minneapolis, MN Triple Rock
09/13/16 Kansas City, MO The Riot Room
09/14/16 Denver, CO Marquis Theatre
09/16/16 Vancouver, BC Rickshaw Theatre
09/17/16 Seattle, WA Studio Seven
09/18/16 Portland, OR Bossanova Ballroom
09/19/16 Oakland, CA Metro Opera House
09/20/16 Las Vegas, NV LVCS
09/21/16 Los Angeles, CA Regent Theater
09/22/16 Phoenix, AZ Joe’s Grotto
09/23/16 El Paso, TX Mesa Music Hall
09/24/16 Dallas, TX Gas Monkey Bar & Grill
09/25/16 Austin, TX Dirty Dog Bar
Another album that I briefly wrote about a while back is approaching its official release date. Rituals by Rotting Christ will release on February 12th, 2016, and is still available to preorder from Season of Mist in the meantime. You know how a great deal of established and older bands stick to their stylistic guns, especially now that the crisis of the 1990s is but a dim memory? Rotting Christ is amongst them; they’ve continued their traditional-black-etc fusion ways as hinted at on their earliest albums and established, at the very latest, on Triarchy of the Lost Lovers. If this album fails to be of any value, you’ll at least have Thy Mighty Contract as a fallback.
Rotting Christ’s 12th studio is in the works. Entitled Rituals, it will come out on Feburary 12th, 2016; a single has already been officially released to the internet for streaming. Given the timing, I’m not under the impression that Rotting Christ’s latest upcoming album was directly inspired by Varathron’s most recent efforts, but that’s something to ask the band’s personnel, if at all. Interestingly, the album is currently available for preorder from Season of Mist‘s online store. While I am not familiar with Rotting Christ’s later discography, I haven’t heard much complimentary about it from the DMU types. If they’re to be believed, it doesn’t really measure up to the band’s strong formative work, perhaps even coming off as a pale and overly streamlined imitation of such. Might be better for you to stick to modern Varathron if that’s the case.
Awakened in remorse
To rebuild from destruction
Recreate life’s evolution
Returning from the brutality of a Bolt Thrower show to recollect the events that defined it brings to mind the task of Ernst Junger, depicting the graphic scenes of martial violence and destruction in his soldier’s memoirs, ‘Storm of Steel’. Not merely the sounds of war and chaos, but the philosophy of death is what one has to confront on such a stage, and this sums up the depth of the Bolt Thrower experience. The great elemental gods of Britannia fired the opening salvo of the evening, unleashing a torrential downpour on the troops to be in attendance once conscripted into the dismal but still functional ULU venue, around the University College London site and home of the un-elite Utilitarian philosophy. A single flash of lightning, probably striking the Cenotaph for the war dead a few minutes away in Whitehall, would indicate that this night belonged to only one elite group, and the slowly multiplying hordes as if signalled to the venue by this storm omen, proved that the headliners were in everybody’s iron sights.
In the meantime, some fairly well-known bands would run through comparitively uninteresting sets in order to plug new albums or just an association with Bolt Thrower on this Next Offensive European tour. For the one unknown band, clearly grateful to the Coventry squadron for being able to provide opening infantry support, Ancient Ascendant took to the stage with some confidence and raged through their set infront of the minimal crowd at this time. The sound was not good and the technical setup of the venue’s sonic equipment would be a recurring issue throughout the night, usually leaving bands with an unbalanced sound. Even less impressive was Ancient Ascendant’s music, which was practically educated by the newer schools of Death Metal exclusively, sounding like a more frivolously melodic version of Bloodbath. A lot of generic rhythmic business with some predictably inserted flourishes of lead guitar lines and none of the compositional sense that at the very least ripping-off the old school Death Metal formula would have imbued the songs with by default. Even the next band, The Rotted’s only listenable song was from the older generic Gorerotted project, which is not much less moronic than The Rotted who are really damn retarded in this incarnation, with their stripped down songs consisting of one riff from a later Cryptopsy song played out as blasting Punk music. It’s also quite strange and not recommended to watch old, drugged up men performing breakdowns.
Considered by many as nothing more than a brief distraction, this was soon forgotten as the once powerful entity of Promethean Greek Black Metal took to the stage and the floor swelled with eager hordes. For someone that reveres the older fraction of their catalogue as highly as the Nordic classics, the Rotting Christ set provided both frustrating disappointment but also possibly the biggest surprise of the evening (not the appearance of Diamanda Galas). The transition from ancient Heavy Metal-inflected compositions of blackened mysticism to a boring and cheap form of fast and extreme Rock music with pseudo-cultural embellishments that would make Vangelis either laugh hysterically or summon the wrath of Mars upon Sakis and company, was made quite some time ago when the band sold out to Century Media and although the recent jump to Season of Mist has only marginally improved the quality of their music, the bulk of their songs is blockheaded rhythmic work that wouldn’t sound out of place on a System of a Down joke and disembodied keyboards typical of mainstream Black Metal bands to accompany the minute flickerings of nostalgia that is the signature Rotting Christ melodic style, the same tactic used by fellow Greeks, Septicflesh. Within this disastrous but obviously crowd-pleasing selection of tracks was something quite unexpected given the current direction of the band and their most recent live performances. Almost as though the old spirit of Necromayhem broke free from his sealed confines, the band launched mercilessly into ‘Sign of Evil Existence’, flooding the crowd with a sea of beautiful, extended phrasal work, causing an absolute frenzy and evoking the first old school invocations of the night. Not content with such a brief introduction to arguably the pinnacle of their early discography, ‘Fgmenth, Thy Gift’ continued the magic of ‘Thy Mighty Contract’ with the folky but regal opening riff surging into those magestic, ascendant patterns of guitar. The higher register key of these older songs manipulated the flatness of the sound setup brilliantly, with every note perfectly audible and a memorable contender for song of the entire show.
Benediction were next on stage, an aging group of Death Metal punks fronted by Dave Hunt of Anaal Nathrakh, Mistress and Never Mind the Buzzcocks fame, who nearly talks as much shit on stage as Barney Greenway, including an embarrassing appeasement of some girl’s sob story about a now deceased Benediction fan, thankfully met with a shout of ‘Only death is real’ from the front of the crowd. The set itself was a typically reliable collection of songs spanning most of their discography, better suiting the live environment than on CD, inducing as much violence from the crowd as their primitive, bouncy Death Metal can, like ‘Harmony Corruption’-era Napalm Death meeting ‘Tower of Spite’ by Cerebral Fix. It wasn’t much of a loss to have a guitar cut out during their stint, as the rest of the band seemed to push onwards, building up as much aggression as possible and justifying their placement on the bill, though it was huge relief to hear the end of Benediction at long last, for the lights to dim and the next offensive to commence proper.
Anticipation was immense for the legendary Grindcore/Death Metal ensemble and the battle hordes pushed forward like a scene from Braveheart, rivalling the force of a 90,000 strong audience gravitating towards the celebrity status of Metallica. Faint sounds of approaching war lingered from the amps over the field as Bolt Thrower finally took to the stage and launched straight into the sombre yet mammoth opening riff to ‘IVth Crusade’. The deliberate, sinister pacing of the double bass began to roll through and the crowd imploded into deadly chaos and aggressive force. As bodies began raining from the skies like mortar fire, crushing necks and leaving temporary indents of fallen victims, the atmosphere became thick with the smell of blood, sweat and the disturbing fragrances of shampoo. A large bulk of the set consisted of tracks from the last album but these were all delivered with enough power and rousing, anthemic vigour to blend seamlessly with the more skillful dynamics and evocative melodies of the older songs, from the brilliant rendition of ‘World Eater’ into ‘Cenotaph’ to the unforgettable lead guitars of ‘…For Victory’.
Bolt Thrower commanded the crowd, Karl Willets looked like a war-torn veteran but still yet to be tamed as the ferocity of his vocals didn’t let up for an instant. Jo-Anne Bench is undoubtedly the most menacing female presence in the entire Metal scene, and the poorly balanced sound worked well to render the songs with more bassy fury than can be heard on record. The subtle rhythmic variations of Baz’s guitars on the other hand were not as discernable, but for a seemingly undiscerning crowd, this did nothing to quell the primal violence that tore bones asunder in a ritual of combat replication. The signature riffs were also fairly muted but managed to somehow shine through like the sun between Afghan mountain peaks, and as the band returned for an encore, the perfect choice of songs scorched the stage like a vast napalm attack, with the ominous theme of ‘War’ transforming into ‘Remembrance’ as though the sorrows of Arjuna had been cast aside as he takes to the empty plains of Kurukshetra, seeing the world as it is.
Even as the band exited, the feelings of confrontation and pugilism reigned as brawls ensued and battered humans walked out to count their wounds. The show proved how bands such as Bolt Thrower who retain their integrity, remain possessed by this same eternal process of nature’s evolution and deliver like a well-trained soldier, with precision and consistency will rule for the longest time. We will remember them.
Gates of Enoch, Averse Sefira, Belphegor, Immolation and Rotting Christ
March 2, 2008
Houston, Texas 77003
Long ago, before heavy metal was even a glimmer in the eyes of King Crimson and Black Sabbath, when the land of south central Texas had nothing on its pan-flat surface but swamp and hogs, a developer’s eye gleamed and soon a city was being sold to northern suburbanites as a green, natural, sunny and pleasant place. To this day developers continue to create it, sprawling across the humid plane like pancake batter, and so the city pulses through a serpentine mesh of freeways which converge at various points, some forgotten and some celebrated.
At one of these convergences, to the northeast of downtown, an innumerable series of obstacles prevented our reviewer from hearing the Gates of Enoch set and the first four bars of Averse Sefira. Having just released their fourth album (you probably have the MP3s already) Averse Sefira from Austin showed fine form on the end of this tour of established acts. In all fairness, every band on the tour showed massively professional performance ability, so what distinguished one from the next was showmanship and songwriting. In these crucial areas a separation occurred but proved itself to be so messy that few want to untangle its inextricable threads.
Averse Sefira took to the stage with the power of those who carve a place for themselves by both fighting the status quo and not fighting the reality of what will be eternally rewarded; they mix traditionalist black metal with the aggressive machine motion of death metal in its peak years, relegating the latter to rhythm with the former insurgent within it as leadership of each song. This enables them to preserve the mystique of underground metal which is the fusion of seemingly random bits into a whole order, an occult process in itself during a time of linear causal logic. Their rhythmic composition comes straight from the halcyon days of early Deicide and Incantation, but their melodies, fusing Graveland and Enslaved and something as uniquely American as Thomas Wolfe recalled a graveyard angel, surge straight from the heart of black metal.
Advent Parallax, the newest from Averse Sefira, steps forward in technique and adjusts the previous sense of concept albums into a new lexicon, where the concept is revealed in serialized views of a prismatic, untouchable reality. They did not back down; they made it more technical, shaped the songs from less obvious shadow forms of structure; gave themselves license to play with elements that dour conventionalists might find threatening, yet kept them in the spirit of the most traditional of all underground black and death metal. Not surprisingly, the album sounds better live, because its synthesis is new and still supple, and putting it to a click track (or even the knowledge that it would be recorded) could dim some of that resonant light.
Mixing two songs each from their last three albums, Averse Sefira delivered a set with more technical verve than previous adventures. Where some shows had been chaotic and organic, and others sniper-precise, the fusion of the two is a grand adventure in pushing things out of control and then with the paranoia of a sentry snapping it back under control. This delightful duality shadowed not only the playful but militant spirit of their music, but also the fusion of ludic black metal and mechanistic mimetic death metal. The triumph came in not only holding together these raging daemonic tendencies but pouring them into form, using the crucible of the classics and an exploratory fire of the now.
A Shower of Idols (Advent Parallax)
Descension (Advent Parallax)
Nascent Ones (Battle’s Clarion)
Helix in Audience (Tetragrammatical Astygmata)
Battle’s Clarion (Battle’s Clarion)
Plagabraha (Tetragrammatical Astygmata)
After Averse Sefira, Belphegor played a super-competent set of ultra-generic black/death metal. There is no way to criticize it, like most modern travesties. No notes were missed. Rhythms were exact. The crowd loved it and bought tshirts. Yet it did not recommend itself, either. It is as one critic has said of life itself: “The problem is not in being mediocre. The problem lies in not being great, because that is all that stays the memory once the last royalty check is cashed.” Indeed — we move away from this artefact of history and the juncture of styles at this point in metal’s career, a conjunction that has mastered the aesthetics of these intrusions without knowing in any way their derivation, significance, or even that they could form a language and not a procession of forms cut from whole shadow shapes.
Immolation played the most varied set of the evening, comprising one simple song from their first album (“Those Left Behind”), several from their most recent entitled Shadows in the Light, one from the nu-metal influenced Harnessing Ruin, and a smattering from other albums, priming us for their epicenter with “Nailed to Gold” from Here in After, probably their most ambitious and engaged moments of the night. Relentlessly professional, they played both exactly and with a good deal of the microscopic re-evaluation of intention shared between individuals in a musical outfit that encloses “feeling,” giving the energies of the crowd and the band a chance for chiasmatic influence within the rhythms of what was played. Their material improves greatly with the new album. Retrospective analysis suggests this band, formed in 1986, never fully left behind the ambition to join Exodus, Nuclear Assault, Metallica, Anthrax, Megadeth and Slayer in the speed metal camp, and they have filtered through underground death metal their impulse to write surging rhythm riffs with an accelerated rock beat ever since.
The result, a trademark anticipative recursion and complementary unison offset by a shuttling opposite architectural closure, called by fans “that Immolation riff,” shows up too much in their work; some hypothesize that it began with the use of pinched harmonics to accentuate an expected rhythmic closure, which showed this band how much the dimly lit faces glow when presented with something so digestible. Since that time, Immolation have fought their impulse to write bouncy technical rock, and struggled for death metal. They come farthest on Shadows in the Light. They still could benefit from more diligent staging of their work, so that when they crash into a gratifying chorus or transition, it is rarer and so purer in context though less pure in immediate essence. Their set was as solid as any in metal, rock, jazz or blues, but with a good deal more energy. They could learn a great deal from the first Metallica album if they wish to continue this course.
Passion Kill (Shadows in the Light)
Swarm of Terror (Harnessing Ruin)
Burial Ground (Dawn of Possession)
Nailed to Gold (Here In After)
Son if Iniquity (Harnessing Ruin)
Hate’s Plague (Shadows in the Light)
Immolation (Dawn of Possession)
Lying with Demons (Shadows in the Light)
World Agony (Shadows in the Light)
Bring Them Down (Unholy Cult)
Rotting Christ showed this audience the greatest technical performance of the evening. They not only played difficult material. They played it as if it was no big deal. Their problem is that while they write beautiful choruses, and have many creative riff ideas, they like writing boring songs. A two-part stomp beat, a trudging power chord ride that shifts position upward like the “after” part of a weight-loss commercial, and in the ensuing mixture whatever beauty is created is crushed under the weight of the trudge. Beauty is what they aimed for, and what they created at rare times, mainly through an excellent knowledge of harmony and a willingness to write melodic lead rhythm picked riffs and harmonize them. One participant put it best when he said this band have become generic metal. There are black metal vocals, speed metal drums, death metal strumming, power metal choruses, and heavy metal rundown verses. It was both inspiring and the greatest disappointment one could have. Caught in the veil of humanism, which presupposes personhood to supplant nature’s judgement of skill in presenting the dynamism which drives the universe away from entropy, this band played to please an idealized, averaged, mythical crowd and as a result they had people standing in cadence during verses and becoming animated for choruses. Guys, take a risk — write something from your minds and not your hearts.
The show proved an adventure worthy of undertaking for the power of Averse Sefira and Immolation. All things considered, Averse Sefira impressed most, because their set was the least contrived with honest and goofy joy and worship of the power of their own music replacing a more serious mien. Immolation played as well and with more technicality, and also took great gleeful pleasure in their songs, but that performance proved more self-cognizant and less self-reflective, as if they were watching themselves from the audience. The musicians of Averse Sefira were less aware they were onstage and playing music, and seemed to be lost (60%) in the music they clearly enjoyed hearing and (40%) in the emotional and energetic tides of the crowd, although a scan of the audience revealed they appealed to a portion of the audience more likely to watch intently than drink, “mosh,” or chant only the choruses they knew the verses also. Even more importantly, their songs are written less from a template, and retain the chaotic inspiration that their wide-ranging lyrics bring. Yet neither Immolation nor Averse Sefira were justifiably missed, as both delivered top-notch performances upholding the distinctive DNA of underground death metal.
(Thanks to Cynical and M.S. for the setlists.)
The Meridian, Houston Texas
D.I.M., Averse Sefira, Belphegor, Immolation and Rotting Christ
February 16, 2008
7th Street Entry
Few metal bands maintain their essential character for anything beyond the ephemeral. This tour package brought together four death/black metal bands who have been cultivating their respective crafts for at least a decade each: Averse Sefira almost exactly that, Rotting Christ and Immolation twice as long, and Belphegor somewhere in between, all with varying success in this regard. This longevity reflected well in the clarity of presentation, and also brought out many contrasts among these four acts.
With a nod to Rotting Christ, whose showmanship was attention-keeping despite the banal simplicity of most of their material; and Belphegor, who are effectively blunt but textureless, this was the tale of two bands: one gathering energy and pursuing immortality, the other guaranteed it and marching onward under its burden.
The first of these, Averse Sefira, were there to pick up the pieces after the tolerance-shattering performance of the local opening act. For this reviewer, who is intensely familiar with their live performances and the evolution thereof, the chance to see them yet again was still a most welcome one. Having known in advance that the show would feature material from the just-released Advent Parallax it seemed better to remain willfully ignorant of the album as a test of its standalone abilities in this setting. The first two tracks of the set were indeed taken from it. The fatigue of frontman Sanguine as reflected in his sickness-stricken voice was not enough to quell the energy put into these songs by the band. As the sound works itself out at the beginning of the night, and the audience is fresh, the foremost efforts of the band can sometimes fall short, particularly with unfamiliar material. This is the small disadvantage of needing to display new material within the limited confines of the opening slot.
It should be stressed that even when the mix is good, as it was for most of that night, and the material familiar, Averse Sefira manages to be cryptic enough to require a revelatory moment in the thick of some tracks in order for the listener to grasp their place within the song and be moved along with it. With unfamiliar works this is obviously more difficult still, but the audience was attentive and responded well nonetheless…a testament to Averse Sefira’s commanding stage presence, something quickly becoming solidified in their legacy. The rest of their unfortunately short set was a smattering of older works that were played with conviction and precision the way a band coming into the fore would be expected to do. More importantly, they were played with confident posture of a band assuming their audience is privy to the work. It is promising for their future that they seem to be right, and that the audience seems increasingly eager and ever larger.
As a band to whom Averse Sefira owes much of their character, and with whom they share much camaraderie, Immolation is possibly the most appropriate choice for a pairing with them anywhere on the bill. Bowing to their foreign comrades on this tour and taking the penultimate slot in the line-up, they maintained status as the most well-received act, with help from their unique on-stage performance.
This mastery of the live setting brings up a crucial point about recent Immolation history. There is some sense of formula in their most recent recorded works, the seeking of trademark over creation. The falling back on “Immolation” themes seems in many cases, including in otherwise throughtful songs, a bane to their ability to match the beauty of their earliest material, something more akin to the needs of groups of captive observers than the lone listener, though they make it work very well as a result. Their manner is alternatively frenetic and menacing, and the visual accompaniment is enough to turn some otherwise absolutely flat passages into more sensible transitions when taken all together.
Particular highlights were the renditions of a few tracks long unplayed live from the first album, including “Those Left Behind.” Mixed feelings accompany the recognition that these songs were much more interesting than the tracks from their more recent output – although not without a tinge of nostalgic longing. However, Immolation has carried their craft well beyond, and with more grace, than most of their early peers who fizzled long ago. To have actually enjoyed their set through most of the night states much for their importance and lasting abilities.
If one is to average one metal show per year, this is probably the best one could have hoped for without excess travel. Unprofessionalism, regret, disappointment, and abject boredom were all conspicuously absent from the experience, even with half of the bill being of the “high-quality” but low-interest brand. What was most fortunate to witness was the juxtaposition, alluded to earlier, of a band making their mark and another leaving theirs behind. Averse Sefira, continuing into their own, has much territory to conquer and the excitement of the path it may take; Immolation, driven professionals and legends, acting every bit their equal yet voraciously displaying their prowess. That said, it is likely Averse Sefira will be making their mark again in the future, though the fate of Immolation seems less certain than it even did five years earlier. Seeing the two cross paths was a fortunate moment in time to witness.
– Written by kontinual
First Avenue/7th Street Entry
Blood must be shed to atone for the sins of these mostly horrific recordings. Every single person who thought releasing these was a great idea should attempt to give themselves a self-swirlie while under the influence. Banging their head on the porcelain toilet tank lid will knock some sense into them or crack their skulls open. Hopefully the latter.
These bands attempt to masquerade their GarageBand music fit only for arcades, pizza parlors, and high school dances as underground metal. They fail.
Solitvdo are yet another epic sounding sing-along, rootin’ tootin’, arm swingin’, marble-pilled good time with yer ole partner melancholy. Think Vikinglider Veldi with riffs about a quarter of the length, half the inspiration and none of the thoughtful placement. Riffing on Hierarkhes is mostly inspired by nu-Rotting Christ but with triumphant melodies echoing swords and sandals epics, song structures are mostly sing-along vocal driven black ‘n’ roll about the Romans, culminating in solos by someone just learning to play whose guitar god is not Jupiter Optimus Maximus but Slash from Guns ‘n’ Roses.