5 Slam Records that Won’t Insult Your Intelligence

Sometimes in between quests for the perfect transcendent meal, you wind up in the drive-thru.  There’s nothing wrong with that- not every action in life has to be one of self-discovery or grandiose vision- sometimes you just want to destroy yourself as a brief respite from analytical or introspective journeys, which actually provides a contrast that truly showcases the merit in the pursuit of depth but also gives an objective worth to consumables that are designed with much less substance in mind.  There is a place for what is now known as “slam” in the death metal pantheon, and as with any subgenre of course the progenitors are the best examples of it, as prior to its neanderthalic fall from grace it started as marriage of the percussive elements of Suffocation with the over-the-top imagery of gore-focused grind bands while limiting the use of humanistic elements like melody and cyclical structure.  This is a more than valid metal style as it does actually transcend a known formula through divorcing it from song archetypes and instead celebrates an ignorance that is mirrored perfectly in masochistic savagery. Given that is is more rhythmically focused than previous death metal styles is it natural that it would meet its downfall by travelling down an insultingly urban path that betrays the savagery it had once wielded, but it is still worth revisiting a few choice releases to analyze what may unfortunately be the last true movement in a dying genre at the turn of the century.

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Leftists Condone Islamic Fundamentalism

Swedish socialists recently announced that returning ISIS fighters who are Swedish citizens will be given housing grants. Yes, terrorists are being financially rewarded by a Western government for being terrorists rather than removing them as a threat cheaply and permanently for their reprehensible treasonous behavior. The cycle of behavior that results in violent social leeches and sexual predators creating “No-go” zones for women and Jews continues.

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Arab States Lie About Funding Islamic Fundamentalism

Saudi Arabia and the other too consanguineously bred Gulf monarchies are denying the fact that they support Islamic extremism in western states against accusations by the domestic German intelligence agency according to recent news reports. The Saudis are denying that they even support the Salafist ideology despite “Salafism” simply being an appeasing, more hen-pecked liberal term for Wahhabism, the fundamentalist Sunni movement founded in the 18th century that is the ideological bedrock of the Saudi monarchy.

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British Nationalist Group Proscribed Yet Islamists Associate Freely

The government of the United Kingdom classified the British nationalist group National Action as a terrorist organization due to its members tendencies toward neo-Nazism, anti-semitism, and support for the murderers of MP Jo Cox. The British government chooses to silence a group that wishes for:

“Death to traitors, freedom for Britain!”

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As in #metalgate, Islam finds metal has wrong opinions

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People do not want to admit that there is a war on for control of what you think. Some of this is what we consider innocuous, like the constant advertising on the roadsides, internet and in print. Other forms are more insidious, like people in your social group trying to bias you against people they do not like, or governments attempting to make certain ideas seem off-limits.

We know that in modern Western civilization, government both uses and allows Social Justice Warriors (SJWs) to enforce its strict taboos on un-democratic — the new term for “un-American” — thought. But other societies have not followed this same path and instead are limiting what people can say by excluding certain forms of music view religious decree. In particular, Malaysia has declared black metal and death metal off limits for its citizens:

All Muslims know pork, booze and premarital canoodling violates Islamic teachings. But in Malaysia, home to a rising tide of fundamentalist Islam, senior clerics are warning against more insidious dangers to the faith.

Such as death metal. And puppies. And Valentine’s Day.

“Black Metal” — Malaysian authorities have been fretting the influence of death metal since the 1990s. According to an official ruling against “Black Metal,” it’s powerful enough to force a Muslim to forsake his faith.

This approach is at least more honest than instead of banning a genre sending SJWs in to flood it with poor quality imitations of itself in the indie rock style, then taking over with a legion of *core fans who look like tattooed greebos who just stepped out of mental health treatment for low self-esteem. Speaking of which, recent research at Stanford suggests that people find “equality” a compelling goal in inverse proportion to how attractive and intelligent they feel. When you have low self-esteem, you make equality your life’s quest, and this explains why SJWs are moths drawn to that flame, in addition to their fundamentally hipster insincerity which has them using a political viewpoint to demand their own inclusion.

As we saw in #gamergate, #metalgate SJWs are not exactly competent. In fact, the only reason they talk about equality so much is that they could not advance themselves based on competence alone. This differentiates the SJW incursion from moral panics such as the Parents Music Resource Center (PMRC) in the 1980s in USA, or the type of fatwa issued in Malaysia, which seems to be a decree of general behavioral guidelines rather than an attempt to promote the fatwa-issuer based on how cool, hip and Pabst-swilling skinny-jeans wearing socially acceptable his opinions are. But the end result of both is the same: metal does not bow to their imaginary rules, and so they want metal destroyed.

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Interview with techno-slam-deathcore band Cuff

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The metal scene is not a static thing. It goes on, and you either participate or accept it as is. For this reason, many of us are looking into newer styles of metal.

Cuff combine Cryptopsy-inspired deathcore with slam and a Voivod-inspired technological fascination. Comprised of only two guys, Bob Shaw (vocals) and Zach Smith (all instruments), this band has bashed out an incredible number of albums.

Zach Smith took the time between beard agriculture and research of tortures to answer our questions:

You’re a two-person band with one person doing all vocals and the other doing all instrumentals. How does that work out? Do you collaborate on the songwriting or contribute roles as you can?

Mostly the songs are written by me, with input from Bob as to where or how the song structures should be. I think it works well the way we do things, at least it’s worked for the last 8 years We both write the lyrics , so it’s pretty equal what we do as a band.

As a Canadian band, you have a rich history to live up to… including both Cryptopsy, for your general musicality, and Voivod or Dead Brain Cells perhaps for the sci-fi lyrics. What made you choose to go in this direction?

It was an obvious choice to us to go with the sci-fi stuff, it felt like it matched the music and tone of the band perfectly.

The French metal scene is amazing, we made a trip out to Montreal last year and were met with open arms by some of the coolest fans/bands on the planet.

As for our influences I think we borrow more from American brutal death metal than anything Canadian, but Cryptopsy is an obvious candidate for an influence.

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Inevitably your album will be compared with West Coast technical gore-grind but other influences seem to be there. I hear Cannibal Corpse, and notice at least one of y’all wearing a Dying Fetus tshirt. Can you tell us what your other influences were?

My influences vary between styles of music, anything from Zeppelin to the Beatles and back to Devourment. It’s a whole mish-mash of interesting things indeed! Bob’s influences include of course Dying Fetus along with Wormed and Jenovavirus.

Transient Suffering Through the Ergosphere is your third album. What were the other two like? Is there a continuing storyline between them? If so, what part does this third album tell?

Well actually it’s our 8th full length and 24th release in total!

The album is a continuation from our last album from Gore House Productions called Forced Human Sacrifice to the New Gods of Earth. We have plans for a third album in the storyline somewhere down the road but try and keep that between us!

With only two men in the band, it doesn’t seem like you would have the advantage of being able to jam on this material. How do you compose? Are mathematical formulas, laser pointers and graph paper involved?

Lots of riffs and demos in the recording process, and we rehearse with our drum machine named Montgomery a few times a month. We’ve played live with a lot of bands as well over the years. Almost played with the legendary Anal Cunt but Seth had to kick the bucket right before the show was drawing near!

How do you describe the music you make?

Our music, to me, is organized chaos. It has a real dark vibe to it that stands out among other little things like sound design and song structure. We’re heavily influenced by Jenovavirus, Dying Fetus and Devourment mostly for their ‘slam’ elements.

Can you tell us about recording this album? Was it a challenge, where did you do it, and did you achieve the sound you wanted? Were there any production hacks necessary to make that come about?

We recorded it in a little building down the street from our houses with a good friend of ours Ken Coul.

The studio is called Black Cloud Recording Studio and we did get the sound we were looking for and more. It’s our best sounding album to date with the most crushing slams and fastest grinds we’ve written. No frilly production was used other than amp presets and some reverb. It’s all natural!

What’s next for Cuff?

An EP, a new full length, new merch and definitely a tour are sometime in the near future. We really need to get out there to our friends across the world (and also to please our label GHP! Haha).

All in all, we’re keeping busy and that’s what matters.

You can check us out on Facebook and our Bigcartel sites.

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Analysis of Suffocation’s “Catatonia”

By the time “Despise The Sun” was released, Suffocation were on top of the Death metal world and had at this point already influenced the rising slam and brutal Death metal styles that would inundate and signal the downfall of the whole genre as the technicality and the percussive nature of the music would be the focal point rather than the incredible songwriting present. This short EP would prove to be the band’s final charge as they would soon break up only to reform a few years later but without Doug Cerrito, the band drifted off into mediocrity and tired attempts at pleasing the deathcore crowd. Catatonia was initially on the Human Waste EP and showed a band that was composing music far beyond the maturity of the individual band members. In the same way as heroes Morbid Angel, Suffocation took songs from the initial recorded output and expanded on it for later works. Both versions of the song are nearly identical and vary only in performance and production.

Introduction and initial motif

A drum intro quickly introduces a simple descending chromatic riff that focuses on pounding the root note on the first beat of every bar as the fast-picked notes rush towards the root note. The drums crash around until finding stability as Frank Mullen’s harsh guttural roar enters and the riff soon leaves for another minimalist power chord sequence that eschews the root note to create an almost atonal melody that resolves first on a minor third then on a major third and quickly finds the root note before evolving into a stream of single notes. These single notes move the composition to a twisted sense of stability as they utilize a consonant leap in octaves but moving through the diminished fifth to form a chromatic ascent. The melody relies on two octave chords but through the added use of dissonant notes it avoids complacency in familiar territory and seeks to explore the possibilities that are now open. In typical Suffocation fashion the melody is moved up a major third as it progresses before ending on the composition’s main motif. The main motif starts with a flow of simple palm muted power chords half a tone higher than the root note which Morbid Angel popularized so that the static progression still creates tension by refusing to return to a place of comfort and stubbornly maintaining its place. This motif is then followed by the ending of the previous section but moved down a whole tone. This returns the composition to stability and allows the band to play with all those previously introduced. A second ending to the riff appears and is almost chromatic but resides within Suffocation’s vicious sense of melody.

Force fed immobilization
Man made liquid controlling my limbs
I want to die, no reason for living
Dealing with complications life brings
A corpse with no thoughts
No feelings or perceptions of life
The pleasures of death I foresee
Nightmares and day mares combining
To torture my being – This torture inhibits my life

Here the lyrics present a victim that has been held in total captivity with no control over his body as he forced to remain in a state of artificial nothingness. The narrator has nothing binding him to life as his psyche is destroyed, and he seeks to attain death as he is burdened by this form of torture. The harsh rhythms combined with the oppressing sense of melody evoke flawlessly how the narrator has been beaten down mercilessly into nothing. The previous single note melody appears in its entirety and this time allows us to delve further into the narrator’s mind.

The world is a graveyard of fools left to cope
With the torment and regret of man now deceased
Ghouls are released to destroy the race
Which we call human beings

Development(1:30)

Humanity has sealed its fate with its actions and there is nothing left to do nor to mourn as mankind is about to be destroyed. The C# root note is suddenly established in this section that appears suddenly with a riff comprised of a speed metal gallop that uses various tremolo melodies as a tail. The whole passage uses no chromatic tones or anything deviating from the natural minor scale allowing a new set of motifs to take dominance in the composition as the previous slow parts had achieved their maximum potential. The first part of the melody consists of a three-note progression played in staccato while dispersed by the endless charge of the low string and uses the major third which has always been an undervalued foundation upon which Suffocation rely on. The major third is the base for Suffocation’s twisted sense of melody and disappeared from the band when Doug Cerrito left and the motifs became much less interesting. The tremolo picked sections of this riff are descending minor thirds arpeggios hinting towards the narrator’s sadness.

Existence is torn from my soul
Perdition is what is believed to be seen
Suffering from the inside
Nefarious is the way
You choose to be – Left with no will to live
My intestinal wall begins to cave in
Trapped as they say
I begin to rot here as I lay

Let us note Frank Mullen’s maturity when comparing this vocal section on both versions on the song. In the Human Waste version, the voice is not yet fully developed and he struggles to maintain a consistent tone and output whereas on the “Despise the Sun” his gruff deep throaty aesthetic is pushed to the extreme and the fast hip hop cadence does not deter the consistency in both volume and tone. A truly remarkable development from an already great singer. Those who would emulate his deep vocals forgot to add the power that conveys the hatred he expresses and sought to reproduce the low tones through pig squeals and inhaled vocals and would sound like a parody of Mullen’s trademark growl. The protagonist is detached from reality as his body can no longer withstand the pain and accepts the end as there is no will to fight. There is no anger conveyed, just misery with no hope of redemption as the narrator awaits his death.
A tremolo picked section appears as the tension continues to increase. The melody is long and very similar to what the Norwegian bands were doing as it is extensively in the minor scale but uses adjacent tones between the more consonant ones to increase anticipation for a resolution. A slight break of half a second shifts the root note again down a whole tone as another speed metal rhythm similar to the last one is introduced. This time we are treated to two different tails as one is a fast almost chromatic power chord assault and the other is a chromatic ascent of two major thirds showing how much mileage and variation Suffocation can create through one simple technique and a strong understanding of composition. The narrator continues his attack in this passage as Mullen emphasizes the stronger beats in the phrase adding more power to the overall part.

Time to take a look
At what has begun to pass before me
Die a slow death
It now begins to take its toll

The narrator has finally closed the chapter on how humanity and himself ended in this situation and now seeks to look towards what is going
to happen in the present. Though the pain of his torture is starting to break his will.

Climax (2:26)

The initial motif as “Catatonia” is growled enters again, and though it may be the exact same riff  used in the beginning, the context is completely different as this is a passing passage that like a catapult transfers all the energy from the built-up tension to an incredibly satisfying climax that engages in all out combat as the song reaches a level that the great majority of metal bands can only imagine. The melody as excellent as it is, is nothing that hasn’t been heard at this stage of Death metal’s maturity but the context and the little rhythmic embellishments are what allows this melody to unleash more than its own potential. The first power chord which works in triggering the rest of the phrase like a set of falling dominoes, is played slightly after the beat causing the listener to lower their guard before being taken by surprise. On the other side the phrase finishes slightly early making the listener crave more. Both tools utilized during the climax make this simple melody incredibly powerful. The melody is caveman like in how it consists of a stream of alternating minor and major thirds two note arpeggios in rapid succession as they then move up and down a fourth. The legato playing which to the uninitiated means smooth and in the case of the case with minimal input from the picking hand allows the notes to be expressed cleanly without the attack of the string modifying the nature of the tone.

Scared as I lay here dead
From this infectious disease
I want to rise from here
To recover what is mine

Now in a complete twist of fate our hero through a combination of fear and the primal urgency decides to deny his fate and to what he has previously expected to happen. Though his body is destroyed and is no longer living there is an unfathomable will to atone the errors of the past and is the essence of what Suffocation conveys. Through hardships and unrelenting trials of this cold heartless world we have created, the human will is the only thing that can redeem of us and not through reason or calculated thought but by the most basic of instincts can we achieve joy in life.

Conclusion (3:02)

A solo erupts as the band turns to a more consonant melody consisting of a variation of minor third, diminished fifth, major third and ending away from the root note progression that the band had now cemented into the listener’s mind. Cryptopsy would base their classic works on the concept of a solo played on top of a consonant tremolo picked melody. The solo sees Hobbs go through a variety of techniques while confining himself in the realm of previously established motifs not to express horror but a rebirth of life or an ascendance to a higher state that signifies the protagonist’s change after the previous outburst and is optimistic of what they final outcome may be. A new riff emerges that is rebellious and defiant while summarizing succinctly the relationship between the chromaticism of the piece and the motifs taken from natural minor scale. A chromatic base that uses the chromatic ending from a previous motif while combining that with the final motif the band introduces here which is just an elemental minor scale ascent that stabilizes the insanity shown here from a musical perspective.

Abdicate your position in life
Now that you lie deceased
Rising from the tomb you own
To take what is rightfully yours

The lyrics urge the listener to give up on past glories and failures and to take control of one’s current situation and all that stops them from reaching their full potential and from that point to retrieve and regain all that belongs to them and what they deserve. Through showing a bleak world that is empty and nihilistic rather than one full of evil, Suffocation perfectly demonstrate their understanding of the real evils of our world and not through mundane examples but through a febrile imagination that is at the very heart of their music. Soon after previous climax returns in full force again showing that the battle is not won once but by attrition and that the will can only be tested by time. As the vocals end and this grandiose composition ends on the climax but with this time chromatic power chords and the right hand in full action as the band conveys one last time that other evils await our hero through the ominous effect created by the frustration of not having a resolution during a short chromatic sequence.

Suffocation create an entirely unique universe within a small set of rules that allows them to find new unexplored paths through those rules where as a lack of these rules may have tempted Suffocation to try the simpler paths that have already been treaded on. The redemption trope has been used endlessly and superficially throughout the existence of pop culture but can any musical artist claim coming this close to create such a horrifying world that truly evokes our own existence and then to find redemption and victory when there is none to be found. For that Suffocation stand on top of the Death metal pantheon with a few other select musicians and  the band represents the ultimate objective in metal. Triumph in the face of this existence that is brought upon us.

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Sadistic Metal Reviews: Flavor of the Week Metal Pt 2: Death Metal

Last month we ran the first  of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…
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