Massacra first three albums — Final Holocaust, Enjoy the Violence and Signs of the Decline — reissued

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Classic band Massacra remains legendary for its ripping acerbic metal that maintained a playful spirit of destruction. The band’s second LP, Enjoy the Violence, was recently featured in our list of eternal death metal albums. Now it seems that Century Media Records will be releasing the first three albums — Final Holocaust, Enjoy the Violence and Signs of the Decline — on June 2 in Europe and the following day in North America.

Guitarist Jean-Marc Tristani had this to say: “Massacra are proud to present you the official re-issues of the first three albums, Final Holocaust (1990), Enjoy the Violence (1991) and Signs Of The Decline (1992). Century Media worked hard to add extra value to these releases. The packaging is really nice and you can find lots of extra stuff in there: detailed interviews, tons of rare photos, etc! We also wanted to make as much as possible visible of Formosa’s excellent artworks, so we scanned the original LPs and came up with designs that fit to the spirit of last year’s Day Of The Massacra demo compilation. On the CDs you will find some pretty interesting bonus material, like an unreleased live show from 1990 from my personal archive, some bootleg tracks, plus a rehearsal recording that was previously published with very bad sound and disguised as live tracks with no track-listing. That rehearsal also includes a song (‘Cyclone’) that has never been re-recorded afterwards. A lot of the material we used was provided by real diehard collectors out there, so a special thanks to them for supporting this project!”

Remastered by Patrick W. Engel at Temple of Disharmony (Asphyx, Darkthrone) the re-issues of these classic Massacra works come in 180gr vinyl with a 30x30cm 4-page booklet, or on CD with bonus tracks. This allows a new generation to own professional copies of some of the classics of the death metal genre.

Final Holocaust:
Black LP: 200 copies
Transparent blue LP: 400 copies
Clear LP: 400 copies

Enjoy The Violence:
Black LP: 200 copies
Solid white LP: 400 copies
Clear LP: 400 copies

Signs Of The Decline:
Black LP: 200 copies
Red LP: 400 copies
Clear LP: 400 copies

The CDs will feature extensive 24-page booklets and the following track-listings:

Final Holocaust (re-issue+bonus):
1. Apocalyptic Warriors
2. Researchers Of Tortures
3. Sentenced For Life
4. War Of Attrition
5. Nearer To Death
6. Final Holocaust
7. Eternal Hate
8. The Day Of Massacra
9. Trained To Kill
10. Beyond The Prophecy
11. Researchers Of Tortures (Live in France 1990)
12. War Of Attrition (Live in France 1990)
13. Sentenced For Life (Live in France 1990)
14. Final Holocaust (Live in France 1990)
15. Eternal Hate (Live in France 1990)
16. The Day Of Massacra (Live in France 1990)
Total playing time: 78+ min

Enjoy The Violence (re-issue+bonus):
1. Enjoy The Violence
2. Ultimate Antichrist
3. Gods Of Hate
4. Atrocious Crimes
5. Revealing Cruelty
6. Full Of Hatred
7. Seas Of Blood
8. Near Death Experience
9. Sublime Extermination
10. Agonizing World
11. Researchers Of Tortures (Rehearsal 1991)
12. Beyond The Prophecy (Rehearsal 1991)
13. Final Holocaust (Rehearsal 1991)
14. Cyclone (Rehearsal 1991)
15. Trained To Kill (Rehearsal 1991)
Total playing time: 57+ min

Signs Of The Decline (re-issue+bonus):
1. Evidence Of Abominations
2. Defying Man’s Creation
3. Baptized In Decadence
4. Mortify Their Flesh
5. Traumatic Paralyzed Mind
6. Excruciating Commands
7. World Dies Screaming
8. Signs Of The Decline
9. Civilization In Regression
10. Full Frontal Assault
11. Gods Of Hate (Live in Germany 1991)
12. Full Of Hatred (Live in Germany 1991)
Total playing time: 47+ min

Last year’s demo compilation, Day Of The Massacra, can still be purchased as a CD and LP here: http://www.cmdistro.com/Search/massacra

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Sadistic Metal Reviews 12-06-16

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Congratulations! Your society continues to squeeze out lumpy, furry, greasy and fragrant turds into the fresh bedding. Your government is corrupt; almost everyone in business and society is a robotic zombie; your mass culture is garbage and your jobs, jails. People are miserable inside but refuse to acknowledge it for fear of seeming weak.

On top of all of that, your future is grim as you slip further into third-world levels of filth, disorder, promiscuity, corruption, disorganization, perversity, crime and rotted infrastructure. How’s that whole modern society thing — consumerism, democracy, mass media — working out for you?

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Metal Curmudgeon: Bolt Thrower’s Blitzkrieg Halts

bolt thrower - realm of chaos cover

Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.

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Massacra re-issues arrive

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Century Media’s re-issues of classic Massacra works Final Holocaust, Enjoy the Violence and Signs of the Decline have landed. Massacra began innovating its high-speed Slayer-influenced style of death metal in the late 1980s and refined it to a frenetic blur of sound and aggression.

Final Holocaust inherits an updated production without excessive compression; it brings more tone and some but not dramatic loudness to the picture, which will be perfect on both vinyl and CD without obliterating the original sound or distorting it. Greater bass presence lets this album compete with other acts from that time whose work was more physically heavy in addition to being musically heavy as Massacra has always excelled at being. In addition, five additional tracks from a 1990 live show somewhere in France and a deluxe booklet with interview, snippets of old zines, and complete song lyrics finish out the package. This live show reveals the most chaotic version of Massacra yet with heavier live guitars and more extreme vocals. The band show their unique ability to play together live with an organic flow that does not necessarily correspond to the types of rhythm one might expect from the more mechanical music to follow.

Enjoy the Violence experiences similar upgraded sound with similar attention given to the need to preserve the classic sound of these now-ancient assaults. Similarly, the lower registers have been brought out with power that complements the otherwise mids-intensive production. A lack of knob-fiddling preserves the period document while a crisper sound gives it a similar intensity to the modern styles without going overboard into compression hell. Five additional tracks follow the album from a rehearsal in 1991, showing songs from the first album at peak proficiency and maximum intensity. These tracks give a feeling for how the band joined past to future without being merely repetitive. Having them on the second album rather than the first creates a powerful contrast as the album ends.

Signs of the Decline shows Massacra adapting to the departure of Fred Death halfway through the album’s creation and simultaneously attempting to evolve in parallel with the death metal it helped create. If someone ever asks for the difference between old school death metal and “regular” death metal, point them to the break between the last album and this one. Gestures at technicality and even crazier more fireworks-laden guitars and more of a speed metal rhythmic sense, using chunky chords in geometric divisions to create an expanding recursion, alongside an impulse toward what would be called “brutality” guide this album. Many parts of it show similarities to Sepultura Arise and Incantation from about the same period. The band is simultaneously racing toward something like Morbid Angel’s Covenant, which seems to have felt some influence from this album, and a percussive polyrythmic speed/death inhabiting the spectrum from Kreator through Deicide. Two additional tracks from a live show in Germany the previous year showcase two tracks from the previous album in grinding loudness and yet fully proficient rhythmic work, but the contrast between the two styles jars the listener. The earlier material integrates more smoothly and demonstrates its own presence. The later material, more hesitant, tries to be in too many places at once without having yet made its conclusions about how each element of style should be used.

Massacra often gets cheated out of the credit it deserves because most people see that the first album was issued in 1990. However, the band had three years of demos before that time which showed an advanced vision of death metal in the old school phrasal style like Morbid Angel, Slayer, Vader, Mortuary and early Incantation. It avoided the bounciness of speed metal and instead created a rhythmic sense that propelled energy through its listeners, rather than stopping with them as it chopped its momentum into ever smaller slices with muted palm strumming. Seeing these classics ride again — especially since German Shark Records who published them the first time had terrible distribution in the USA — shows new generations how to rediscover the ancient but vital past.

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Century Media releases additional information about Massacra re-issues

massacra-final_holocaust

The albums have been skillfully remastered by Patrick W. Engel / Temple Of Disharmony (Asphyx, Desaster, Darkthrone etc), were specially mastered for vinyl and feature heavy 180gr vinyl, a 30x30cm 4-page LP booklet whereas the CD and digital format come along with additional bonus tracks and will be offered at mid-price.

“Final Holocaust” offers tracks from a previously unreleased 1990 live show, “Enjoy The Violence” also contains a rehearsal from 1991 and “Signs Of The Decline” extra live tracks, so look forward to some rare rawness as bonus treats.

The LP booklet and 24 pages CD booklet include all lyrics, detailed interviews with guitarist Jean-Marc Tristani, photos, fanzine snippets, flyers and more.

“Researchers Of Tortures” from Final Holocaust

“Enjoy The Violence” from Enjoy the Violence

“Full Frontal Assault” from Signs of the Decline

Here is an overview on the different vinyl editions and limitations:

Final Holocaust:
200 copies – black vinyl
400 copies – transparent blue vinyl
400 copies – clear vinyl

Enjoy The Violence:
200 copies – black vinyl
400 copies – solid white vinyl
400 copies – clear vinyl

Signs Of The Decline:
200 copies – black vinyl
400 copies – red vinyl
400 copies – clear vinyl

You can order them from the Century Media store.

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Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

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.
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Soymetal Dies As True Metal Rises

As predicted here, the takeover of underground metal by late hardcore tinged substitutes has failed. This music, which we might call “soymetal” because it appeals more to the emo hardcore audience than the feral and realistic traditional metal one, took over because after the underground fizzled in the hands of NWN/FMP impersonators, labels found a new audience in whiny millennial SJWs. (more…)

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Angel Witch Releases Seventies Tapes For Free

Angel Witch has release the 1970s demos that they still hold the rights and tapes to for pay as you go digital download on Bandcamp. The renowned New Wave of British Heavy Metal band did this to benefit the survivors of the recent tenement apartment tower fire in London. All of these tracks were on the now out of print Sinister History CD along with contemporary live recordings. Death Metal Underground strongly advises all fans and downloaders to not pay anything or contribute anything to this funding attempt at social justice warring and undermining western nations.

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SJW is “selling out” for the 2010s

hells_headbash

On the heels of the recent kerfuffle involving Deiphago and SJWs hyping an incident into a politically-driven media event, Hells Headbangers Records has released a statement about the incident. It reads, in part:

In regards to the Deiphago incident, rest assured that Hells Headbangers, the Agora and everyone else involved in bringing you this event are very upset and disappointed. There is NO excuse to justify Sidapa’s action – he fucked up hard. An incident report was filed and the victim declined to press charges. Although the new Deiphago LP is due to arrive soon, this incident will undoubtedly have a negative impact on its’ sale and the bands reputation has permanently been scarred. Such a shame! Further ramifications will be dealt with internally.

Although the label was just trying to do what it thought was the right thing, this statement reveals the core of SJW: it is driven by commerce and designed to signal safety. Just like big corporations spend millions to show that their cars, vacuum cleaners and toxic foods are safe, metal bands, labels and media are trying to expand their reach beyond the “scary” realm of the underground by making it “safe.” This was the same thing that selling out did in the 1980s, which was to take all those dangerous violent heavy metal bands and channel them into glam metal, which was offensive but not dangerous. There was nothing there that would sidetrack your child from going to school, getting good grades and going on to a career. Sure, he might have a bit more sex, and the bands took tons of drugs, but there were no ideas there that fundamentally challenged the bourgeois view of the world.

In the 1990s, death metal and black metal were far from safe as well. They rejected the dominant ideology of their time, committed actual crimes and more importantly, embraced political and philosophical viewpoints that are incompatible with democratic society and bourgeois existence. Forget the petit rebels of hip-hop and heavy metal, black metal bands actually scared people, and by doing so they upped the ante for what a band had to do to actually rebel. In many ways all heavy music has been stagnant since that time because no one can figure out how to be more extreme, and so they sigh and content themselves with being merely outrageous. “Selling out” meant that process where a band stops trying to have authenticity in its music and outlook on the world, and instead settles for whatever brings in a consistent audience.

In our current time, SJW is the method of selling out. If you go SJW, you will offend no one. People feel comfortable around businesses who promise that they are motivated by ideology, not profit. This also seems to guarantee that everyone will be accepted. Of course it does none of those things, being like all public relations exercises a series of cheap promises whose compliance can never be verified, but people like to be told comforting things. It calms them down and then they feel complacently optimistic when shopping at that store. This is why companies — again with shades of SJW — will fire controversial employees, hire private security, put up spikes to drive away the homeless and put up happy signs talking about diversity and how the uranium they use to flavor their food is 100% organic. Safety sells, or rather, lack of safety precludes sales.

Just like glam metal in the 1980s was preferred to hardcore punk, thrash and early death metal by parents who were afraid it was unsafe for their precious snowflakes to hear, and might lead them to a life lived in a van down by the river, precious snowflakes now want to be safe in their music. They want to be rebels… well, no they don’t. They want to appear to be rebels and at the same time, incur as little actual risk as possible. That way they can talk it up at the water cooler at work about how wild they are, and still not have to pay the price for wildness, like endangering their easy transition into the middle classes. It is not surprising that as metal has sold out in the 2010s with SJW, quality has plummeted. Who can make good music about such insincere topics?

goatcraft_censorship

Luckily a backlash has commenced. Using the tag line “Make Metal Great Again,” a small group of metal musicians have declared their intent to drive out SJWs by indirect methods, namely by demanding higher quality metal. Sell-out metal is poseur metal, which means that it is both fake and replaces real metal. Metal thrives when it replaces the fake with the real. That could in fact be metal’s mission statement. Poseur metal is fake because it is designed to signal “safety” instead of opening the can of worms of truth, realism, history, violence, disease, horror and existential doubt. Labels love poseur metal because it has high margins: cheap, without risk, and easy to clone, it returns on investment every time even if less than an out of the ballpark hit like a really great band can be. Magazines love poseur metal because they can re-type the same story every month. Web sites love it because no review is ever wrong when all the music is the same under the skin.

If you wonder why metalgate has hit such a nerve, it is that it has threatened the profit model of the entire industry. Metal ca. 2015 depends on a constant flow of mediocre poseur metal bands to make sure that all the journalists, label people, PR people, bands and studios get paid. The market has shifted from the smaller, more agile environment it was in the middle 1990s. Now metal is big business, and like Microsoft or Apple, it’s in middle age. It aims for conservative successes that do not alter the formula and will not take the risk on anything outside of the norm. Since the music is crap, the labels need some other way to sell it to people, and they came up with “safe rebellion”: it looks all leather and motorcycles, but in fact it is a PC nanny who will tell you that everything is fine so long as you keep buying SJW products and ignoring the obvious signs of impending social collapse.

There’s a lot of pushback out there against those who push against boundaries. This is to be expected, but you can tell who are the cowards in the room by the people who won’t call it what it is. It is resistance by those who are growing fat and lazy off of the easy money chain formed by mediocre metal. It is no wonder they get nasty. This is why David Ingram has a temper tantrum when other people commit the grave sin of failing to agree with him. It’s also why Viranesir, the band banned from BandCamp, found itself on the receiving end of quite a bit of vitriol:

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In theory, SJWs and the like would be above such behavior. But that is the key to understanding them: their political opinions are advertising, not something they actually believe, just like what businesses say in television commercials are things designed to make you buy the product, not truths. The advertisements lie and SJW is an advertisement. This is why SJWs are so hell-bent on controlling what others see, hear and think. It would be a corporate wet-dream to have mind control, but with SJWs, they have a type of advertising that simply takes over like a virus or plague. Is is to surprising that many SJWs have connections to racist and fascist groups? As authoritarians, they appear to have switched sides, but really what they have done is changed their justification from ideology to commerce, and are now getting paid to advertise for their new corporate masters.

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#metalgate roundup: the censorship continues

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The ongoing rebellion against censorship in the name of social justice #metalgate continued this week when metal fought back against commercial assimilation. Commercial assimilation and social justice censorship have the same root, which is a desire to make metal “safe” so it can be sold to more people. This requires metal denying its inherently apocalyptic realist nature.

In the most recent case, doofus retailer H&M got trolled when it offered a new line of clothing with fake metal band logos on it, trying to assimilate metal’s subcultural style of dress so conformist herdsters can look like weekend rebels. A member of a goofy metal band thwarted the effort by inventing bands and histories that satirized the clothing line and tied it to nationalist black metal:

Henri Sorvali of Finnish metal bands Moonsorrow and Finntroll admitted to Billboard and Noisey that he is part of Strong Scene Productions, the “art collective” that set metal blogs buzzing by creating fake histories to go along with the imaginary metal band logos attached to some pieces of H&M clothing.

Sorvali says he and a group of people whom he declined to name launched the joke because they were angry at H&M’s campaign — which includes items like a bomber jacket and pants with patches styled to look like metal logos — because it was “selling people fake, imaginary stuff from a subculture that is based on honesty and being true,” he says.

…”There is so much controversial stuff which is definitely not suitable for mass marketing, and we wanted to bring the ugly side of metal to their campaign, to show that we as metalheads are more aware of the content you are selling people that you are as sellers,” Sorvali explained during a phone call from Finland. “There are so many things wrong with commercializing metal without knowing what they are selling that we felt that somebody has to make a statement about it.”

This counter-troll showed great ingenuity and has retailer H&M backing away in denial. The truth is that society fears heavy metal on two levels: conservatives fear it is eroding social standards, despite those standards having been obliterated in the 1960s and 1990s. Liberals fear that it is introducing unwelcome realism that clashes with their spectrum of belief, all of which is based in the Enlightenment idea of individual human reason being superior to natural order, including logic itself.

We shouldn’t forget that censorship of metal bands for being outrageous was common back in the day:

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And remains common to this day, for the same reason:

Politicians caught wind of Eat The Turnbuckle’s European tour before it made its way into Glasgow earlier this week.

Audiences get to listen to their ear-spitting death metal sounds while the members of ETT attack each other with an array of weapons including fluorescent light tubes and baseball bats wrapped in barbed wire.

But despite playing show in Edinburgh, they arrived at Glasgow’s Audio venue only to be turned away over concerns that the police would halt the gig, reports the Daily Record.

While Eat the Turdbuckle seems like a joke band designed to sell records for a gimmick, the fact is that metal’s focus on extremism, or a refusal to ignore the vicious and terrifying sides of life, has made it a target since its inception. Normal people dislike anything which makes them feel as if they are not totally in control of their own lives. Lyrics and imagery of disease, war, apocalypse and evil will disrupt the happy oblivion in which the normal person exists, which was the intent behind heavy metal’s founding: Black Sabbath wanted to interrupt the “peace, love and happiness” apologism for the daily oblivion of humanity, and to inject some “heavy” realism instead. Since that time, metal has continued doing the same when it is at its best, and when it is not so great, has managed at least parodic obscenity that ruffles the feathers of conservatives and makes liberals turn into nagging victim-baiters.

This pattern plays out in more areas than heavy metal. Canadian site Best Gore was censored for its publication of images that revealed both the dark side of life and, by showing that Canada isn’t the paradise under the control of a strong benevolent guiding hand that its leaders want you to think it is, revealing government ineptitude:

Mark was charged with “corrupting morals” under section 163 (1) (a) of the criminal code, for being the first in the world to publish a report on the gruesome murder of Chinese student Jun Lin, by alleged cannibal Luka Magnotta, also known as the 1 Lunatic 1 Ice Pick video.

You can see the video below. If you have not figured out that this video might contain disturbing imagery, you have mental health problems. If you require special tags, warning signs and me to make a statement about how I don’t condone this and think it was a horrible tragedy and all the other fake altruistic boiler-plate salesmanship that political figures normally use, you’re a potato and should go somewhere else.

Update: Google has threatened to remove ads from our site because we hosted this video. If you do not believe that monopolistic corporations are as much a threat to civil liberties as government, you are not paying attention.

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What most people refuse to accept is that censorship is the norm.

People do not like feeling out of control, and they only feel in control when in denial of all the scary things they can’t control like… death, disease, war, apocalypse, evil, and everything else in heavy metal lyrics.

Consider the case of Girls and Corpses magazine, which has not only been banned several times from Facebook, but had censorship issues in other areas:

We’ve had some problems. We did a Religion Is Dead issue and Ingram, I believe, is in Tennessee. They made us bag the magazine, because we did a religion issue. They said it was because of nudity, but there has never been any nudity in the magazine. They didn’t like that we took on religion. We went after all religions and it was comedic. We had Jim Caviezel in the issue. I did an interview with him. We made fun of all religions. Have a sense of humor. The only one we really tiptoed around was Muslims. We love Muhammad. We didn’t tread there.

The editors of Girls and Corpses had this to say about the Facebook censorship:

Sorry I haven’t posed in a day corpses. I was ‘put on notice’ by Facebook after I posted a fully clothed photo of a female, that offended some loony chic who had her Bible Belt cinched too tight. This “community standards” thing at Facebook is censorship pure and simple. Mostly, the offended party is someone jealous of the freedoms that come with G&C Magazine or are simply a humorless twit. If you don’t like something at Girls and Corpses, feel free to just leave. Don’t go whining to Facebook that we have offended you with our images. If you are too sensitive and have no sense of humor why did you friend us in the first place? Girls and Corpses is an intelligence test. The smart ones get the gag and the dumb ones should just get out… preferably at high altitude.

They make an important point, which is that those who call for this censorship are fundamentally not ideological, but seeking a sense of power. They don’t understand it, or it conflicts with their vision of themselves, so they demand it be removed. Facebook, like any other business, does what it can to provide a safe environment for its customers, which means removing things that make people feel unsafe, like nudity, violence, gore, racial comments, sexual innuendo, etc. These things are not the offense that people actually have, which is fear of the bad things that happen which are associated with these ideas. They see the symbol and, like the superstitious simians that humans are, they figure if they can remove the symbol and by doing so remove the awareness in their own minds of what it stands for, they can be in control and feel “safe.” All of that is nonsense on a realist level, but it’s how most customers an voters react.

What this means for #metalgate is that we should not take SJWs seriously. They are no different than the church ladies and feminists who were complaining about Girls and Corpses or the outraged government servants who wanted the Luke Magnotta video removed. They see it as a threat to their personal power. They need a “reason” why it should be taken down, and so they fall back on using social conventions we cannot criticize, like “do it for the children” or “respect the victim’s family” or ideologies which claim to defend the pitied and helpless, like feminism, anti-racism, sexual equality and the like. We make a mistake when we think SJWs believe any of this stuff. In reality, they are using it the same way commercials use sex to sell beer or tough guy images to sell pickup trucks: they want to create a pleasant image, or at least one we cannot imagine criticizing, in our minds and then use it to sell us the product. In this case, it’s their power and importance, because without their outrage they would have nothing and merely be a group of weird-looking socially-dysfunctional mental defectives.

“EAT THE TURNBUCKLE VS NECRO BUTCHER at GWARBQ” Youtube video censored by Google, who own Youtube.

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