Playing in the style of NWOBHM bands with harsh vocals (aka “melodeath”), Dark Tranquility have carved a name for themselves on the mainstream fringes of metal among the sensitive fans that look for a mixture of melody, polished production and a semblance of aggressiveness.
Dark Tranquility is coming back this year and have released a first video for their new single, “The Science of Noise”.
Early death metal barely made it out of the shadow of speed metal before. We call it speed metal, not thrash, because it was a direct extension of NWOBHM using some punk technique, not an outright punk hybrid like thrash. Speed metal represents one of the most varied sub-genres in metal, running the gamut from percussive (Exodus) through traditional (Metallica) and all the way to adventurous stuff like Voivod, Anacrusis, Coroner and Sacrifice. It is in that latter category that The Science of Horror begins.
This demo re-issue will be — for now — limited to 100 copies pressed to vinyl that incorporate two demos, The Science of Horror (1988) and Nocturnus (1987). These show both a band looking for a balance between the early death/speed hybrids and its future as a technical death metal band, and the personal vision that Mike Browning has been refining since this time through the present day with his current band, After Death. This vision unites the progressive with morbid rock and extremity, aiming for a theatrical presentation as much as musical obscurity, and never afraid — unlike too many prog bands — to use a primitive riff where it is effective. Like many progressive-inspired bands, there is a high degree of internal variation in these demos, Nocturnus and After Death, used like an ancient storyteller might use an extensive vocabulary. The theatrical nature of this approach means that the songs on these demos, which are mostly duplicative, take an atmospheric approach to a genre in transition that was otherwise more inclined toward all-ahead aggression. But like Anacrusis, Voivod and Coroner, Nocturnus adapted its songs to use both death metal technique and speed metal but creating a sense of rhythm of its own that emphasized frequent transitions and complex patterns without drifting into other known genres.
Several of the song segments used here show similarity to what appeared on Morbid Angel’s early work, notably its 1986 Abominations of Desolation, and feature the same flexible rhythm that nonetheless approximates the chorus rhythm without doing so in trope, leaving plenty of space for instruments to work independently. Like speed metal, much of this material aims for discrete chords in repetitive patterns, but especially on the second demo, use of tremolo to create smooth transitions gives this material a new aura of mystery and suspension of belief. As a document of early death metal, The Science of Horror both emphasizes the creative possibilities of metal at the time and reminds us how weirdness was once more front and center and how it did the genre well. On another level, this music provides pleasurable listening at the nexus not only of two genres but also several compositional styles, and the change from the first to later demo shows the incorporation of keys in the way that would later define Nocturnus and be expanded to become a fundamental part of the technique as a way of creating spacious, atmospheric death metal. With any luck, this pressing of the demos will see CD release later this year, as despite being the same tracks twice this recording serves well for casual listening as well as historical examination of death metal.
Tracklist The Science of Horror Demo 2 (1988)
1. Before Christ – After Death
2. Standing in Blood
4. Undead Journey Nocturnus Demo 1 (1987)
6. B.C. – A.D.
7. The Entity
8. Unholy Fury
Mike Browning: Drums, Vocals
Mike Davis: Guitars
Louis Panzer: Keyboards
Jeff Estes: Bass
Gino Marino: Guitars
Mike Browning: Drums, Vocals
Richard Bateman: Bass
Vincent Crowley: Guitars
Gino Marino: Guitars
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.
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.
Article by Raimund Weiner. Ffans und die Untermenschen may recognize me from the comments under such alter egos as Brainer Rascalslut und Strainer Weidensbutt; yes, the veil has come off, liebe Untermenschen.
Autarcie could be easily dismissed for being assembled from the elements we expect from narcissistic yet generic post-black metal or “modern metal.” Instead, it presents to us a transition between black metal and either assimilation or a new form which is organic and local, and yet while the band does more with the elements of modern metal than that genre, its failure to conquer the modern mindset within precludes it from achieving the ancient sensibility and sensation of black metal, leaving it as identifiably “post-metal” in spirit but second-wave black metal in form.
Article contributed to Death Metal Underground by Richard Sullivan.
Western civilization is currently gripped in a culture war unlike any that preceded this one. You may ask what makes it so different than the others, considering the West witnessed a similar one of its kind back in the late 1950s with the emergence of the New Left. Arguably, there’s never been a real difference in the left’s rhetoric. For as long as anyone cares to remember, white, heterosexual, “cisgender” men, who maintain the “capitalistic, racialized, cisnormative patriarchy” have always been at the center of their ideological attacks. The only thing that has changed has been their ability to have said rhetoric heard beyond the confines of university lecture halls. It was rare to encounter an enlightened™ human™ bombarding you with vitriol and threats of violence – because you failed to recognize the intersectionality between race™, gender™, and sexuality™ – outside a gender studies class. Of course, these things still occur, but with greater frequency, and to the point where a flash mob of overweight, hipster beta males twerking in tutus in a school’s atrium is viewed as them just “expressing themselves”, but, more boldly, as an act of defiance against conventional norms of masculinity.
Your elected leaders and tax dollars go toward a nanny state that wants to tell you what you cannot do simply because other people are screwing up in many ways, and if the politicians pick the easy problems instead of the hard ones, they can get re-elected because they made an appearance of doing something while doing nothing that they can actually fail at. (more…)