Louder Noise recently interviewed Biff Byford, the long working frontman of the famous NWOBHM band Saxon, about his opinions on how heavy metal music has changed since his band’s commercial peak in the early-mid 1980s. Some of his insights are fairly obvious (the return of vinyl, fashion trends have changed, new genres); although others are more interesting – for instance, he mentions that Saxon experimented with early digital recording methods even earlier in their career. Building off the previous interview we linked featuring Steve Wilson, you could begin to make a case that many professional, successful metal musicians are particularly interested in keeping abreast of aesthetic trends in the genre. You’d need more evidence to back that up properly, but the local corollary that applies is that the composition process need not change as much with time.No Comments
A footnote in an article we ran last week sparked a lot of controversy among our very passionate friends who lurk the DMU comment sections. No, it wasn’t that we correctly identified SJW journalists as the nail in the coffin of metal as we know it; instead it was an observation of the last death of heavy metal:
In the early 1970s, heavy metal was an exciting new musical and cultural movement. So much so, that it surpassed even rock music (thought to be revolutionary just a few years before). But towards the end of the decade came a near-lethal blow: punk rock. Faster, louder, more abrasive and aggressive, punk had risen the bar and metal couldn’t compete. From 1977-1983, metal was almost completely obliterated. Many had declared the movement dead – a fleeting flavor of the week experiment that did not stand the test of time.
Many took issue with this: “metal wasn’t dead!” they cried. “Albums were released, things happened!” “You’re erasing history Brock, your articles ruined this site and my life!”
The intrigue and utter distraction of this phrase sparked the need to further elaborate: Did metal actually die, during this time period, or did I somehow just miss a few years of quality metal development?7 Comments
While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.
Another related issue that arose during “research” concerns the historical development of European power metal. As have been noted in previous articles on this site relating to the history of metal music, artistic “movements” or periods of development tend last about five years speaking in generalized terms. This phenomenon can be observed in European power metal as well. After having studied Euro-power metal as a composite phenomenon, a rough sketch outlining the developmental trajectory of said music began to take form:
1984-1989: The first wave of European power metal.
1990-1995: Intermediate period.
1996-2001: The second wave of European power metal.
While not a perfect model, this rough periodic division will be used as a framework for discussion in the articles to follow. The relatively lengthy timespan that has passed since the putatively defined second wave of European power metal will be left out for the moment, primarily (and regrettably) because there hasn’t really occurred much of a development in power metal since the early 2000s. If anyone sits on information that invalidates the above statement, feel free to chip in – this writer would be very pleased to be proven wrong on this front.
Accordingly, the second part of this article series will be mainly devoted to the development and characteristics of the first wave of European power metal and the intermediate period that followed in its wake. Instead of approaching the subject in thoroughly generalized manner, a ???-track compilation will be used as source material to make observations about the historical development and specific traits of first wave Euro-styled power metal. Please not that this collection of tracks is by no means intended as a “best of”-compilation but should rather be viewed of as a springboard for further discussion.13 Comments
Tags: Adramelch, death metal compilation, Europeon power metal, Final Prophecy, helloween, history of metal, Introduction to Power Metal, judas priest, Mephisto, metal academia, power metal, Running Wild, Scanner, Thunder Way
(Join DMU Legend Johan Pettersson for what may be the most expansive analysis of power metal ever presented in the first of a 3 part series. Listen to the accompanying suggested listening here)
Of all the subgenres and styles that fall within the metal spectrum (hence excluding unmitigated relapses into rock such as death’n’roll, stoner, nu- and indie metal), power metal most definitely counts as the one that has received the highest amount of scorn and ridicule from critics, fans and outsiders alike. (more…)16 Comments
Tags: accept, Angel Witch, black sabbath, blind guardian, britain, Dio, Europe, German rock, Heavy Metal, hellhammer, helloween, Introduction to Power Metal, iron maiden, jag panzer, judas priest, kreator, mercyful fate, metal history, metallica, NWOBHM, Omen, power metal, Queen, queensrÿche, rainbow, Ronny James Dio, Running Wild, Satan, Savage Grace, slayer, traditional heavy metal, United States, Uriah Heap, US Power Metal, USPM, Yngwie Malmsteen
We all know the score in entertainment: 90% of the people are full-tilt Left-leaning, and the remaining 10% have to hide their views until they are too big and too old to fear repercussions. A Swedish folk-rock duo named Lilou & John have launched a website, Belzebubbles, to feature Right-leaning bands who have been censored or ignored by the entertainment establishment.59 Comments
Longstanding US speed metal/death metal band Deceased has completed work on its upcoming two-disc album of covers, Cadaver Traditions, which will be coming out on Hells Headbangers Records this summer.
Cadaver Traditions will include 53 tracks in total, with two of those being brand-new recently written Deceased songs which had previously been released on vinyl. Judging from the wide range of influences on this disc, it will not only be fun for Deceased fans but for metal historians looking for the roots of early death metal.
53 tracks in all 2 cd set… look for it this summer on hells headbagers ‘cadaver traditions’. cover song mania and the 2 newest deceased songs finally on cd. up til now it was only vinyl.
- Black Metal (Venom Cover)
- Deathrider (Anthrax Cover)
- Corporate Death Burger (MDC Cover)
- Dis-Organ-Ized (Impetigo Cover)
- Right Brigade (Bad Brains Cover)
- VoiVod (VoiVod Cover)
- Doomed By The Living Dead (Mercyful Fate Cover)
- California Uber Alles (Dead Kennedys Cover)
- Wrathchild (Iron Maiden Cover)
- Here To Stay (Sheer Terror Cover)
- Headhunter (Krokus Cover)
- SATO (Ozzy Osbourne Cover)
- Do Or Die (Znöwhite Cover)
- Violent World (45 Grave Cover)
- World Peace (Cro-Mags Cover)
- Eliminator (Agnostic Front Cover)
- Die By The Sword (Slayer Cover)
- Witching Metal (Sodom Cover)
- Social Security (Excel Cover)
- Violence And Force (Exciter Cover)
- The KKK Took My Baby Away (Ramones Cover)
- No Compromise (Xentrix cover)
- Chemical Warfare (Slayer Cover)
- Bodies (Sex Pistols Cover)
- Not To Touch The Earth (The Doors Cover)
- Reaganomics (D.R.I. Cover)
- Torn apart by werewolves (Deceased )
- Mad Man (D.R.I. Cover)
- Fire In The Sky (Saxon Cover)
- 2 Minutes To Midnight (Iron Maiden Cover)
- Die Hard (Venom Cover)
- V.A. Rocks Your Liver (Verbal Abuse Cover)
- Blower (Voivod Cover)
- Wiped Out (Raven Cover)
- Stay Clean (Motörhead Cover)
- Tormentor (Kreator Cover)
- Nuns Have No Fun (Mercyful Fate Cover)
- Agents Of Steel (Agent Steel Cover)
- State Oppression (Raw Power Cover)
- Bombs Of Death (Hirax Cover)
- New Age Of Total Warfare (Warfare Cover)
- Metal Church (Metal Church Cover)
- Subliminal (Suicidal Tendencies cover)
- Zombie Attack (Tankard Cover)
- You Stupid Jerk (Angry Samoans Cover)
- I’m Not Jesus (Ramones Cover)
- Nothing (Plasmatics Cover)
- Iron Heads (Running Wild Cover)
- Stand Up And Shout (Dio Cover)
- False Profit (English Dogs Cover)
- Ultra Violent (N.O.T.A. Cover)
- The Ballad of Harry Warden (My Bloody Valentine soundtrack cover)
- Luck of the corpse (Deceased)
Sadistic Metal Reviews started sometime in the early 00s in tribute to the reviews of fanzines from earlier eras, in which a single sentence correctly categorized a band as the type of useless filler it was and dispatched it to the cut-out sale bins of history.
The grim fact is that as in nature, in heavy metal there are a few winners, and everyone else fails. This isn’t because they are fated to do so, but because they made the wrong choices. Usually, they have no actual artistic motivation, and so are imitating other successful acts for chicks, beer, prestige, an excuse for being stoned in the basement for a decade, whatever.
A band may have spent years learning its instruments, rehearsed for months, hired a good studio, taken all the right notes and had all the right parts, but something didn’t add up. This band had nothing to say, and so no one should listen.
The guiding principle of Sadistic Metal Reviews is that no amount of surface aesthetic can cover up a lack of conviction, content and motivation within. No one can paint-by-numbers imitate, or its cousin the recombining of known styles, and hope to get anything but a polite nod and “It’s OK, I guess, if you like that kind of thing.”
With this edition, SMR takes on the retro phenomenon. Every seven years like clockwork the great factory of wannabes runs out of “new” (usually basic math, like adding two genres together and getting a mystery) ideas and decides that ripping off the past is the safest path to fame and riches.
Hence these imitators are on the altar of sacrifice, awaiting our Sadistic Metal Writers for today’s edition of SMR, which tackles possibly the worst form of retro ever… the wannabe be 1991 Swedish death metal retro.
Our writers, from left to right: Daniel Rodriguez, Cory van der Pol, Max Bloodworth and Jon Wild.
Despite being disguised in every “Swedish death metal” cliche known to man, Repugnant appears to be a retro-thrash band that re-purposes early Entombed lyrics for ironic comic book appeal. This vapid gimmickry with a glossy coat betrays the similarity between this band and Ghost, with whom it shares personnel. Why not try the same shallow stunt, but dress it up as old Entombed for extra clueless metal tourist nu-fan dollars?
This album of Carnage riffs played backward between stolen Nihilist d-beats feels like a flowchart experiment in paint-by-numbers Swedish death metal cliches, with added groove so that even lobotomy patients can tap their feet to it. Entrails lay claim to the early Swe-death scene, but even a blatant clone band can be aim for higher than almost passable. If you take away the buzz-saw distortion, these are just old Saxon tunes sped up with more howling.
Why do bands constantly recreate Slaughter of the Soul? Perhaps because it’s so easy to do. Evocation make forgettable muzak by giving laundry detergent commercial jingles the mid-90s Swe-death post-Deliverance-style rape treatment. This pop muzak sounds every bit as bittersweet as a sad Blink 182 song but in disguise as mid 90s Scandinavian metal to allow Century Media to market it to metalcore kids on Youtube. More “another day at the office” unremarkable mellow-deaf who are given more legitimacy than the other bands for being around in the early 90s. It’s still butt rock with polka drumming and laryngitis vocals.
What most people got out of Swedish death metal was a certain guitar tone and vocal delivery. Complex riff arrangements, time signatures, melodies? Over their heads. So why burden the little dears with something they can’t understand? Instead, take the same music that bad Exodus clones were making in 1987 and dress it up in a “Sexy Swedish Slut Death Metal” Halloween costume. The only people who fall asleep when listening are the smart ones, and we should probably shoot them anyway.
Classic death metal is hard. What’s easy? Metalcore, which is any variation of metal where you use hardcore songwriting with metal riffs. Don’t worry about making the riffs make sense, just have the song go from one ludicrous riff to the next as if they were connected. Then have a mosh part. Hail of Bullets is aggressive like old school death metal turned up to ten, but disorganized so you hear mostly noise.
Remember all those Swedish bands who were almost up there with Entombed, but then dropped out? They dropped out because “not good enough” doesn’t mean you missed good by a hair, but a mile. Kaamos is reconstituted from also-rans in the Swedish scene and it sounds like it. These two chord riffs have zero personality mainly because their creators are obsessed with sounding Swedish. If this band were honest, Samba music would come out of the speakers instead.
What happens if you dress up Def Leppard in Swedish buzz-saw distortion and death metal tempo? I don’t know, because this isn’t as good as Def Leppard. It is however candy heavy metal with every third riff an AOR melodic transition but put into typical Swe-deth(tm) packaging, including Sunlight Studios (Boss Heavy Metal pedal dimed) production, wacky energetic drumming, and barfing pit bull vocals. But once you look below the surface, it’s a power ballad.
Bloodbath is just a bunch of jaded guys from whine rock bands (Katatonia and Opeth) making a parody out of death metal by throwing backwards Dismember riffs into a blender alongside Pantera groove metal riffs. For credibility they add the tremolo riff from Morbid Angel’s “Dawn of the Angry” to be a sufficiently quirky lifestyle product for people who ironically wear Entombed trucker hats and talk wistfully of the early 1990s, when they were four.
This all-star band with Scott Carlsson (Repulsion) and Nicke Andersson (Entombed) applies the Clandestine model of pairing up horror movie motifs on guitar with d-beats. Using a rhythmic approach that alternates between Repulsion’s high-intensity riding blast and a Motorhead-derived groove, this band is competent but formulaic. It escapes the rancor derived at its genre-mates for being what seems like something closer to an honest effort.
Morbus Chron suffers from flowchart death metal syndrome: play d-beat punk played on down-tuned guitars like the old school bands, toss in a stolen Sabbath riffs to remind people of the obligatory Autopsy influence, then maybe inject a zany Demilich/Cadaver “wacky sounding” riff to come off as “outside the box” and “original.” It feels like Entombed met up with a focus group who accidentally purchased a bunch of Oxycontin and tried to replicate Autopsy’s Acts of the Unspeakable.6 Comments
An eruption has occurred within death metal over the past years where bands have been attracted to the linear phrasal riffing of old Incantation, Demoncy and Havohej and have hybridized it with the ripping war metal of Angelcorpse, Conqueror and Perdition Temple, producing a sound like the roar of battle from within a cavern.
Leading this charge is New Zealand’s Heresiarch, whose Hammer of Intransigence introduced a stunned world to this new assault two years ago. Currently, the band prepares to release its Waelwulf EP and embark on a new series of combative adventures to further saturate the world in its violence.
With this in mind, we pitched NH of Heresiarch a few questions about the band, its direction, and the volatile ferment of motivic forces that provide a warlike impetus that is able to avoid destroying itself. His answers, which demonstrate the raw visceral approach of both this style and its existential attitude, follow.
What made you choose to make the style of metal that you did?
It was the sound that resonated most with me and reflected what I wanted to present effectively.
Why was your US tour recently canceled?
Line-up issues have plagued the progress and possibilities of Heresiarch since the beginning and this was no exception.
The main priority currently is completing the album writing and then preparation for recording, touring will be re-addressed when it’s pertinent to.
You say that Heresiarch is “esoteric leaning.” What does that mean?
Heresiarch takes influence from several esoteric paths, the most noticeable being from Indo-European branches; the upcoming Waelwulf EP is heavily influenced by Anglo-Saxon and Germanic literature, warfare, symbolism and worldviews with my own interpretations.
How do you compose?
Central to Heresiarch are visions of war, death and victory, on a grand apocalyptic scale with the aim to reflect the dread, violence and atmosphere attributed to such themes.
There is minimal melodic motivation behind any of the writing and writing generally consists of bludgeoning the guitar to the aforementioned themes, from there the songs and riffs are refined and eventually materializes the atmosphere I aim to convey. If the song or the riffs do not reflect this they are discarded.
Do you write on guitar, bass or vocals?
Composition is primarily done with guitar but always with an idea of how everything else should go with it; drums, bass and both guitars are written close together to compliment and reinforce each other.
Vocals and lyrics are generally the last thing to come since the content is already decided on within the writing process.
Will you be recording more material as Heresiarch?
The Waelwulf EP has been recorded, I am yet to finish the vocals but it should be done in its entirety by the end of October.
I have been working on a full length which will be released by Dark Descent records; around 25 minutes of the album is written to date. The theme, composition and the general layout have been completed and it will be the most “complete” release from us.
In your view, what are the bands today to watch in the underground, meaning the people who produce interesting music (who cares if it’s “commercially successful”)?
Besides the obvious ones there is IMPETUOUS RITUAL and GRAVE UPHEAVAL (some of our closest allies) from Australia.
SABBATIC GOAT, SINISTROUS DIABOLUS, VASSAFOR are all worth listening to from New Zealand. VESICANT is a new band I am drumming in; there will be recordings of that in the next year. Also TREPANATION are a relatively new band taking an interesting direction with what I’ve heard of their new material and BLOOD OF THE MOON from NZ now have a lineup again.
Also check out PAROXSIHZEM and ADVERSARIAL from Canada, IMPOSER from Italy and GENOCIDE SHRINES from Sri Lanka.
Will you tell us which musical works were your biggest influences in creating Heresiarch?
CONQUEROR – War Cult Supremacy is the most essential album of this style in my opinion.
Besides that: Realm of Chaos by BOLT THROWER, Fallen Angel of Doom by BLASPHEMY as well as some classical such as Lizst, Wagner and Holst.
Your newest track, “Endethraest,” sounds familiar but I can’t place it. It’s highly rhythmic and military, like a real war being prepared. What influenced this?
The initial influence for the track originally stemmed from Gustav Holst’s “Mars Bringer of War.” It’s a good indication of the new direction Heresiarch is heading, with less regard for speed like on Hammer of Intransigence and a focus towards creating a dark, martial atmosphere.
Rumor has it that Heresiarch uses some members from Diocletian and Witchrist as session musicians. These bands are apparently part of a ‘Doom Cult’ which is trying to brand itself as a certain type of metal. Are you part of that movement, or heading in a different direction?
Heresiarch has no members of Diocletian or Witchrist present in the current line-up and we never have been a member of Doom Cult.
What’s next for Heresiarch?
The aforementioned album is intended to be released by Dark Descent Records in 2014. All further intentions will be announced when suitable.
You say the band is based around war, death and victory. Why do you choose these topics? What do you hope to express? Do you intend to create change in the world?
There is no “hope” to express anything, the music does the talking and is the expression itself.
Do you think war metal carries with it a big of a stigma in that so many bands are seen as humorless and self-important?
Do you think most people accept war as necessary, or think of it as an evil to be purged? Why or why not?
I don’t care what most people think or believe in.
Extreme ends always attract extreme people, usually regardless of goal, doctrine or outcome.
It looks like the old school metal has lost out to the metalcore/indie-metal types. Is there any hope of rolling back the clock and getting to the days of better music? How important is it when the majority takes over a genre or a country and turns it into the same old stuff?
It’s not important. The “majority” as you say will always manifest their interests in trivial activities, beliefs and art in one way or another.
I guess the next logical question is, if you have no notion or desire for changing the world, what is your purpose in creating the music of Heresiarch?
I lost interest in all facets of politics and society a long time ago and from a logical perspective, a Black/Death Metal band is the least likely candidate to rally the masses towards changing the world.
In some respects that attitude is militarized in Heresiarch as an expression of contempt and disgust for all morality, faith and social structures which is a valid view for one to hold in today’s world… Essentially Heresiarch exists because it needs to and when that need ceases, so will the band.
If you could change the world, in what direction would you take it?
It’d look like the gatefold of Hammer of Intransigence.1 Comment
Back in the early days of death metal, it was fun to spin some contrast on the radio. Start out with the phrasal bands like Morbid Angel and Slayer, work up to something percussion like Deicide or Suffocation, then drop into the doom-death. Somewhere in there, Obituary, Asphyx, Incantation, and Morpheus Descends all got displayed.
The latter was a puzzler since it was grim, primitive and primal, yet thoughtful and very distant from the normal everyday lives most people aspired to. It was truly music to keep the listener outside the arc of society’s concerns, guilt and manipulations, and for many of us it was deliverance. It blended into the other death metal as if it belonged there, a distinct voice that yet upheld a shared spirit.
Morpheus Descends was thus for many of us a go-to band when we wanted the old school underground sound. Music from beyond this world, it chanted dark praises of outsider viewpoints on reality while crushing our heads with intensely grinding, explosive riffs. It is with great pleasure that after many years, I am finally able to interview Rob Yench/Xul of this massive underground cult…
Morpheus Descends appeared early in the death metal movement. What were you influences, and how did you conceive of the then-new musical style you were creating?
Before forming Morpheus, we were all in local area bands, Ken and I did a Voivod / DBC styled band called “Volitle Zylog”, Sam, Steve and Craig were all in a band called “Infectious Waste.” During the summer of 1990 we played an outdoor show together with a few other area bands. At the show we were talking to each other about the bands we were all interested in, as it turned out our tastes were very similar. When Ken and I heard “Infectious Waste” do a Pestilence cover we talked with the three of them right after the show and we decided to start a death metal band. A month later the five of us had all quit the bands we were in and formed “Morpheus.” Our first practice was on October 31st, 1990. Our style was based on what we listened to at the time, late 80s & early 90s bands like Death, Morbid Angel, Pestilence, Obituary, Napalm Death and our earlier influences like Black Sabbath, Voivod, Kreator and Celtic Frost. Once we became a band and played shows we started to meet other bands who shared the same goals, also playing many shows with our peers shaped the style known as New York Death Metal.
Were you among the creators of this genre? What do you think your contributions were?
All the previous mentions plus so many more helped create the genre but I will limit my scope to the bands that grew out of the scene that we were part of; Suffocation, Immolation, Mortician, Incantation, Ripping Corpse, Prime Evil, Human Remains, Nokturnel, Gorephobia, Deceased and Apparition (Sorrow). I don’t really measure what our contributions were to the genre except to say that I think the best reflection of what we have done as a band in Death Metal scene is all the people who still come up to us or still contact us online to tell us how much the band’s music means to them. We played a lot of shows in many states and even Mexico from 1990 – 1997, so I think we reached a lot of people in a time when Death Metal was “electric”.
I noticed that Suffocation seemed to have quite a bit of influence from Morpheus (Descends), with Terrance Hobbs wearing a Morpheus t-shirt on Effigy of the Forgotten and using one riff that seems similar to one of the riffs on Ritual of Infinity. Do you think you influenced Suffocation? Who else do you think you influenced?
Both bands were very good friends in the early 90s; we played our first show with them in Buffalo NY. After that it seemed like every weekend for a while, they either drove to our hometown to hangout or we drove to Long Island to hang with them. We would share ideas and jam with each other and show one another riffs and songs we had been working on. I think we are about as much an influence to Suffocation and much as Suffocation was and influence to us. The same things could be said for a lot of the other death metal bands from NY around that time too.
They’re talking about a “big five” of death metal bands doing a tour. Why do you think Morpheus Descends isn’t out there? What makes a death metal band popular more than others?
First and foremost I think the more popular DM bands of our era were signed to bigger labels (EARACHE, ROADRUNNER, NUCLEAR BLAST, METAL BLADE). We worked with a much smaller, less successful record label (JL AMERICA). With more promotion, bigger distribution and record company help; they also landed US and European tours. We did do some touring but not to the extent that a lot of those bands got to do. So they were much more accessible to fans in a time before the internet was so popular. We did EVERYTHING ourselves, touring, merchandise and even pressing. Outside of JL releasing the CD it was all 100% DYI.
Can you tell us the story behind your name change from Morpheus to Morpheus Descends? What happened to the other Morpheus?
JL had RED for distribution; they got a call that from RED that they wouldn’t be able to distribute the Morpheus CD because they already had a band of that name in their catalog. This band was some “gay” techno band, we did try to fight it but JL basically told us change the name or it will not be released. We had always planned to write a song called “Morpheus Descends”, so after some discussions we made the name change and never looked back.
You signed with JL America for your first album, which ended up being a rough path. What happened there? How would you do it differently if you had to “do it over”?
Well since NO other labels had any serious interest in us, it was a good choice. We got our music out to a lot of people that we would have never reached doing it ourselves. It may not have been exactly the record deal we were looking for but at least people saw the CD at stores and bought it. This is part of the reason for our notoriety today; you could buy the CD in most big record store chains at the time. Also it was distributed overseas as well. As far as doing it differently, it would have taken a better record label to have stepped and worked with us, which didn’t happen so there is no regrets when it comes to our history.
One of the things that stuck with me from Ritual of Infinity was the formal language you used for the titles. “Proclaimed Creator,” “Enthralled to Serve,” and “Ritual of Infinity” set a standard which other bands especially in New York aspired to. Where did you get the idea to write song titles this way?
Many of the songs you mention, we came up with the song title first; then we would talk about the concept of the lyrics; then Sam would write the lyrics around those ideas. I think that is why the titles sound so “formal”, we wanted the names of the songs to provoke interest in wanting to hear the songs. We stayed away from the simple titles of blood and gore and concentrated on making the titles and lyrics more interesting to the listener.
Is “Accelerated Decrepitude” a reference to Blade Runner? Were there other non-musical works that influenced you greatly? What about non-metal bands?
No, Blade Runner was not really an influence for this song. Progeria, the rare genetic condition that produces rapid aging in children was really the thought when we wrote the song as well as the artwork we used for the demo of the same name. Our take on it was that at birth the infant was already a century old, ancient and decrepit. I do not really think any non-metal bands are an influence to us, but we did listen to a lot of Wesley Willis when we traveled.
After Ritual of Infinity, Morpheus Descends came out with two very powerful EPs, Chronicles of the Shadowed Ones and The Horror of the Truth. Each of those had its own character. How do you see the band as changing during that time?
Yes, each MCD has a distinct sound and each time it was a reflection of the lineup at the moment and direction we would move in. We wanted to distance ourselves from a lot of the saturation of death metal bands of the mid 90’s, many were all using the same template as successful bands but really lacking their own identities. Chronicles of the Shadowed Ones was the first time we had time in the studio and did not have to rush ourselves; we developed a lot of ideas and had a real good time creating the music. It was also a transition time in the band; Sam and I became the main song writers and that is why you hear such a difference in the music. This music became much darker and doom laden than our previous endeavors.
When it came time to record Horror of the Truth more changes occurred; we had parted ways with Jeff our vocalist as well as our second guitar player Brian. Tom Stevens had recently joined the band as the replacement to Brian Johnson and then filled the vocal spot as well. So now the band had a different configuration and we went to Cleveland to record with our longtime friend Brian Seklua. The songs on that MCD were much faster and contain furious guitar solos; this was in contrast to the style of Chronicles of the Shadowed Ones. This would be the last recording we would do together as a band and I think the release didn’t get the exposure that it deserved. This was all shortly before the band disbanded, I would have liked to have seen where we could have gone with that lineup and sound.
Do you have any current plans for resurrection, touring, recording, etc? I see you’re set up for Martyrdoom Fest. Who’s in the lineup, and what expectations/hopes do you have?
We are taking things slow, things feel real good in rehearsals and it is sounding like Morpheus Descends should sound. This is very important to us to deliver what the band should sound like and to do justice to the legacy the band has become to Death Metal fans around the world. The lineup is the 4 of the original members from the MORPEHUS 1990 inception lineup. Sam Inzera, Rob Yench, Craig Campbell and Ken Faggio, Steve Hanson was not able to be a part of the reunion. Steve lives in Florida and when we started talking about making this happen we called him to see if he would like to be a part of this “return.” As much as he would have liked to do this, the distance is the real hurdle to work around; Steve did give this his “unholy blessing” and wished us the best!
After Martyrdoom, we are planning to work on some new songs for possible 2014 EP release. We have already exchange riff ideas and it sounds very Morpheus Descends!! Also there is a possibility in 2014 for more shows too but nothing confirmed as of yet.
What do you think of the state of death metal now? Is it fair to divide death metal into “old school death metal” and “modern death metal,” which is the term people use for the new style which has hardcore breakdowns, prog-math-metal riffs, and lots of sweeps?
There is a distinct difference between the two types of Death Metal you speak of; I myself am not really a fan of the “modern” death metal sound. I prefer what I grew up with and what feels comfortable to me. This is not meant to be a “dis” on this style but it is just not for me.
In your view, what are the bands who really shaped death metal into what it was, and what does death metal stand for? Does it have something to communicate, or is it just slightly weird music?
Cannibal Corpse, Morbid Angel, Death, Entombed, Carcass and Obituary would be some of the best known pioneers of the genre. As far as any deep meaning the music, I think each person has their own interpretation of what this means to each of them. For me it has been a way of life, family, work and Metal !!
Do you have any plans to re-release your older material?
There are plans in the works for some really cool stuff, but I will bite my tongue for now until things are more solid than at the moment. We want everything we do to be of quality and something that would be fitting in any MD fans collection!!
Members of Morpheus Descends have gone on to form a number of projects, including Mausoleum. How do these differ from Morpheus Descends, and do they reflect things you learned from the Morpheus Descends experience?
I play in four bands; Morpheus Descends, Mausoleum, Engorge and Typhus, Sam has Morpheus Descends, Mortician and Funerus. Ken does Morpheus Descends, Rooms of Ruin and Cabal 34. We have also done session work and played in a few other bands too but you see we are very immersed in Metal!! The bands we do are all different than Morpheus Descends, but what has been learned by me is to work with people and let each person express themselves and have input in all aspects of the process. Morpheus Descends was the “boot camp” for knowing how things work and what doesn’t.
How were the songs on Ritual of Infinity composed? They’re like mazes of riffs. Did you start with a riff, or an idea, or a story, or an image? How did you compose these mind-twisting tunes?
This was a time in the band when everyone was throwing riffs out there, we just kept sewing the riffs together and making things work and it ended developing into a style where we rarely returned to a riff once it was played in the song. When I listen back sometimes, I hear some riffs and I think “wow we could have done more with this riff!!” All in all though this is what helped made us unique.
What do you listen to currently?
OK here is what is in my playlist as I am doing this interview Repuked, Anatomia, Scaremaker, Iron Maiden, Saxon, Motorhead, Manowar, new Mausoleum songs, Deceased, Sadistic Intent, Slayer, Nekrofilth and Midnight !!
Thanks, Rob, and good luck in the future with all of your bands!
The metal/hard rock tyrants in Den of Sin unleash their demo Raid Your Soul With Cutthroat Rock N Roll via online stream in a style of old school metal that owes the most to NWOBHM and American hard rock, but also incorporates punk and speed metal riffs.
Composed of members from other bands, Den of Sin claims to be influenced by Motorhead, The Runaways, Girl School, Saxon, Krokus, Acid, Venom, Warlock, and AC/DC, and it shows in the sound. Rushing energetic verse riffs run into swiftly falling choruses underneath the energetic vocals of LiLi Le Bullet.
The band is rounded out by Chris G. Mezzadurus (Goreaphobia) on guitar and Jim Roe (Incantation) on drums, with Robin Mazen taking on bass duties. All members are remaining active in their respective bands but continuing Den of Sin as a side project.
Raid Your Soul With Cutthroat Rock N Roll aims for the days when metal and hard rock were less serious, more about having a good time, and also gave people a sense of musical aptitude without the pretense. Merging punk rhythms, metal riffs and hard rock attitude, Den of Sin invokes those older times in a new age.
For more information, watch this band on Facebook.3 Comments