Grindcore/alternative-rock/deathmetal/progressive rock band Supuration released a track “Reveries of a Bloated Cadaver” from their upcoming re-envisioning of earlier material, Reveries. The band has taken its style of technical death metal and unconventional progressive rock and used it to re-imagine these older tracks in newer form, but has done so without losing the distinctive energy of the earlier material.No Comments
French progressive/indie/death metal band Supuration has posted a new video, “Ephemeral Paradise,” from its upcoming album Reveries…. This showcases the firm blend between alternative rock of the indie variety, death metal and grind, and progressive notions of concept albums and harmony that has propelled this band since its inception, and its peak with 1993’s The Cube.1 Comment
Back in the early 1990s, Supuration grew from a gore-oriented grindcore band into a death metal band, and then infused the mix with brainy indie/alternative rock of a progressive nature, carrying forward all three influences in varying degrees of balance.
Two decades later, the band plans to release Reveries of a Bloated Cadaver, a modern recording and high-value re-envisioning of the earlier songs with more technical playing, better production and improved cover art. To tease the fans, Supuration released a video for “Suffocate Through Asphyxia” that shows the direction this album will take.
Interestingly, the band preserve the underground metal focus of this material and take it in the proficient but still intensely violent and alienated direction that bands like Autopsy and Entombed embarked upon toward the mid-1990s. Improved playing and more adept tempo changes distinguish the original material of these songs, which appears somewhat reorganized to present itself more distinctively, and place it into a fully modern death metal sound.
It will be interesting to see what they do with other tracks that had more of a grindcore or alternative rock orientation back in the day. Supuration was the original alternative rock/metal crossover, but was ignored by the media because it retained its metal-ness instead of making metal-flavored Fugazi clones like the recent spate of media darlings. Maybe the band will reclaim its position in history with this upcoming release.6 Comments
French progressive rock/death metal hybrid Supuration have released the cover for their upcoming album, Reveries…. Created by famed underground metal artist Dan Seagrave, the cover image displays classic death metal symbology in its gnarled and organic textures in a mythological setting.
Reveries… will see release via Listenable Records on May 29, 2015. Mastered by Dawn Swano (Edge of Sanity), the album “is a re_recording of old songs written during the 90s” according to the band. Perhaps the combination of their newer more aggressive technique, classic death metal imagery and their inventive songwriting will forge a new classic.1 Comment
During the early 1990s, death metal was subject to criticism because people feared it. They would claim that the bands couldn’t play, or didn’t know their scales, or were otherwise incompetent.
One of the first bands to thwart this vision was France’s Supuration, a former grindcore/death metal band who gradually modified their style as they grew more proficient with their instruments. The result was a mixture of rock, pop, death metal and progressive music.
The Cube, Supuration‘s most famous work, introduced sci-fi concept album planning into the fertile mix of metal and progressive rock. Over the last 20 years, the fame of this legendary album has only increased as more people discover it and are able to understand it, now that an intervening two decades of progressive metal have made it easier.
This year, Supuration launched Cube 3, their follow-up to the original album and a means of uniting the storyline of intervening albums. We were fortunate to get to talk to Ludovic Loez, guitarist with this groundbreaking band.
You started out as a death metal or grindcore band, and then made the change to a progressive/rock/metal style; what spurred this change? Did your interests change, or did the newer style fit your interests?
After the recording of The Cube album and Still in the Sphere MCD, we decided to change our style. We didn’t want to record another The Cube in the same vein; we tried to create a more experimental music, with no limits for us. We like SUPURATION a lot but we thought that a second album in the same veins would not be cool for us, that’s why we created S.U.P.
How important do you think style is in the creation of music? Can someone make the same album in any style, or does the style fit the music? How does this relate to individual songs — does song structure need to fit the song, or is there a way to say the meaning of any song in any song structure?
I think the structure is quite important for a song; we are trying to be original, we all love death metal style in the band, but we also like new wave music and VOIVOD for example. If you listen to our three SUPURATION albums, you’ll find the same structures: each album is linked to each other; for the S.U.P albums, each album is a story, but the structures of these albums are different even if it’s the same way of writing songs for both bands.
You’ve obviously spent a lot of time listening to metal and studying its riff forms, but there’s other elements in there in addition to your own “home grown” outlook and style. You’re probably tired of people asking this, but what are your influences??
As I told you we are into new wave of the 80’s, real gothic music like THE SISTERS OF MERCY, VOIVOD, old PESTILENCE, DEPECHE MODE and sometimes electro music coming from Germany. We are also into original soundtrack, music scores…
Do you think the death metal style easily transitions to progressive rock? What do you see as the similarities between the two? Is progressive rock — most people don’t know that Tony Iommi was briefly in Jethro Tull, or that King Crimson’s first album was an influence on Sabbath — a part of metal, encoded into its DNA?
I think you’re right, in each style of music you can hear a “small” part of metal especially nowadays with the evolution of music in general…The way to the progressive rock is natural I think, except for brutal death bands like SUFFOCATION or CANNIBAL CORPSE and so on, it’s certain that they won’t turn into progressive [music]. It’s a choice, everyone have the choice especially in music.
A compilation of your early works, Back From the Crematory, was released in 2011 and seemed to spur some interest in the early years of the band. What first attracted you to grindcore and death metal?
CARCASS, NAPALM DEATH, OLD. We were quite young at that time and we were into grind core and death metal, when xtreemmusic asked us to put out our first work with ETSICROXE and early SUPURATION, we were really excited. Imagine your old demos and rotten live on a cd more than 20 years after…amazing and exciting…
You split the band into two entities, “Supuration” which was more metal, and “S.U.P.” which was more future pop/rock/progressive. Why did you make the split? Were you able to keep the two separate? How much did they converge, or become similar?
They’re sometimes similar, the voice for example. We created another the band because after the “success” we had with The Cube, we didn’t want to record a “Cube II” the year after. We wanted to create something new with music. The two bands are two different entities, but same members and same songwriter, so both are sometimes similar and different at the same time.
Have you seen interest in Supuration renewing itself recently? Why do you think this is?
I think it’s great!! With the new record company it’s quite easier. We had had a small renewal with the prequel of The Cube called Incubation in 2003. We have good reviews — I think the result is quite correct, that’s a good thing for us…
I have known relatively few albums that attract the kind of devotion that The Cube has. What do you think makes that album stand out, and what do you like about it most?
Its story, its concept, its futurist cover; this album realized in 1993 had a big success in general I can’t explain why…but it’s cool….
You’ve just released Cube 3, which alludes to the original The Cube. Do you think it’s a continuation of what was done on The Cube, a re-envisioning, or an entirely new direction using parts of the same storyline?
Cube3 is dealing with the end of the story [from] The Cube. Between these albums we recorded Incubation which is a prequel to The Cube, I mean the story before. If you want to hear the whole story you have to listen to Incubation first the reasons of the suicide of the young girl, then The Cube with the journey of the tormented soul throughout strange places and Cube3 which deals with the reincarnation of the soul of The Cube album.
Most of your albums seem to be conceptual, or united around a story or idea. Can you tell us about the storylines in your albums? Was there a consistent story idea through all of your works?
I would say, in most of our stories in our albums, the relation between the mother and is child is reccurent. You’ve got this relation in the whole story of The Cube, in “Anomaly” (S.U.P, science fiction dealing futurist machines that kills babies linked to a overpopulation in the future), “Room Seven” (S.U.P, story dealing with an autistic child and his mother), “Chronophobia” (S.U.P, twins separated at birth, mother killed in a carcrash), “Angelus” (S.U.P, quite different, dealing with the lost of faith in god and extraterrestrial life after death), “Imago” (S.U.P, also different, dealing with a futurist drug that makes a self regeneration after a serious disease or cancer, but quite dangerous if you take it twice) and “Hegemony” (S.U.P, dealing with a neovocyt, a new vegetal/human being who is trying to run away with the head of his mother throughout a searing desert somewhere in time on another planet).
Nothing sounds like Supuration — nothing! However, if I had to pick the closest, I’d point toward the first albums from Obliveon and Dead Brain Cells (DBC), and maybe mention some of the middle period Voivod material (Dimension Hatross). Do you find these bands similar? Is it odd, or perfectly rational, that they would have a similar sound to you? Does the fact that all of you are from French-speaking areas have anything to do with it?
I only know VOIVOD, I do not know DBC or OBLIVEON, I’m sorry. I don’t think we are similar, maybe we have the same way of seeing things, the same way of creating the music. You must be right — I trust you when you say that but…I don’t know if the French-speaking have anything to do with it…maybe….I don’t know maybe a similar culture somewhere…
Do you think metal’s riff style, which uses moveable chords like power chords and as a result ends up with longer phrases more like classical melodies or complex riff from prog rock, determines how you compose metal songs? Do you think this makes metal more or less like regular rock? Was it hard for you to integrate the two styles in your music?
You know, when you are used to playing in a way, it seems to be normal for you to play that way. I mean during these years metal music has changed a lot, except for some great metal bands that are staying in their metal style since the very beginning and that’s great too… There’s so many different styles in metal music, it’s quite difficult to answer this question, as far as we are concerned, we are writing songs normally, we’re trying to be original and not to disappoint our fans who are very important for us.
Some of your “S.U.P.” material, especially Room Seven, seemed to converge on a progressive alternative rock style that others were trying to achieve at the time. The use of non-standard chords, dissonance and off-time constructions in alternative rock appeared for example on Dweezil Zappa’s “Shampoo Horn” and even made it into punk with powerviolence and post-hardcore. What do you think influenced bands to move progressive in the late 1990s? What were they seeking to express, or change in the world? Did you see this as a confirmation of your direction (if you were aware of it)?
We’re not aware of it, sorry….I guess they tried to change some things in the world of music, I suppose…Every decade a new style is created in metal or death metal, it’s a kind of circle you know. We’re not into this kind of philosophy; we are trying to do our best for people who like our stuff and for our fans. I only know Dweezil Zappa because I was told that he was a very good guitarist, that’s it….
What’s coming up next for Supuration? Will you tour and/or continue releasing music? “Cube 3” seems a bit of a progression from your older material; what’s your next metamorphosis?
We’ll play some shows for Cube3, not real tour, I mean festivals, concerts, during one or two years and meanwhile I’ll star to write the new S.U.P album, we’ll see…. Thanks for the interview
No one doubts the importance of style, but at the end of the day, style is not what makes one album great and others mundane. Like a technique used in painting, style is essential to convey particular meaning, but its inclusion alone doesn’t make the painting great. Only the skill of the artist and the composition of the painting can do that.
Supuration emerged years before the current alternative metal and progressive metal trends, mixing 1980s dark pop and indie with a strong progressive undercurrent in the style of Rush or Jethro Tull. Their legendary album, The Cube, divided metal listeners because while it had many aspects of off-mainstream rock, it sported death metal vocals and metal riffs. However, it also made them many fans who liked their adventurous use of music and very personal, evocative songwriting.
Cube 3 hits the target set by this first album by not imitating the style of the past but instead developing changes to that style naturally and focusing instead on songwriting. This allows Supuration to gratify older fans but not force themselves into acting out the past as remembered from a far off-distance. The style is mostly similar to The Cube, being alternative/indie-rock harmonies mixed in with metal riffs and progressive chord progressions, melodic leads and oddball song structures.
What makes this album work is that each song unites two concepts: first, a pop style hook; second, a theatrical staging of the conflict between two or more tendencies. These songs pull themselves apart between bassy heavy metal riffs, bittersweet vocal melodies, and intricately picked melodic guitar that expands the context of the music and shows a broader context.
These songs are full of musical oddities picked to stimulate, amuse and delight, but what fundamentally drives this band is its songwriting which has a strong connection to the idea of metal. The result is a metal hybrid that keeps the intensity of metal while creating a technical achievement that also has the emotional appeal of negative pop.3 Comments
Supuration‘s material ranges from early death-grind, recently released on a demos compilation Ultimate Sessions 1992-1993, to this kind of rock-metal fusion that keeps the metal at the forefront and while it is experimental, never forgets to actually write a song.
Unlike most of the rock-metal hybrids now, it is not so much jazz-based as rooted in the oddball progressive and folk rock of the 1970s and the alternative rock of the late 1980s, giving it a richness against which it can play its rougher metal elements.
Following up on Supuration‘s greatest success, 1993’s The Cube, this album promises to restore this band to the spotlight at a time when most “progressive metal” bands can noodle all day long but never write a coherent song.
Here’s the released teaser track, “Consummate,” from the forthcoming Cube 3:3 Comments
Yes, the mighty french legend SUPURATION (aka SUP) are back from the crematory in form of a retrospective collection CD which includes all the earliest and most brutal stuff of the band from ’89 /’90 when they were in their most Death Metal shape right before they started to experiment with clean vocals and more varied sounds.
“Back from the Crematory” is the generic title of this cult release which is planned for an imminent release on September 16th. The CD includes the awesome band’s debut self-financed mini CD “Sultry Obsession” (’90), their only demo “Official Rehearsal” (’90) as well as the impossible-to-find demo of the band’s very 1st studio recording “Haunted” under their previous monicker ETSICROXE as well as a 9-song live show, both from ’89.
This masterpiece comes with remastered sound and packed in a total old-fashioned layout in contrat to their latter weird & sophisticated designs. Includes killer 12-pages booklet featuring an exclusive retro-interview, liner notes, cover and tons of old photos & flyers. This definitely a must-have release not only for every SUPURATION fan, but for every lover of the good old Death Metal from late 80’s and early 90’s!!No Comments
Brand new (09/2011) compilation CD from the very early days of Supuration including the full “Sultry obsession” MCD tracks (1990), the first ever Supuration demo tape tracks (“Official rehearsal” – 1990), the very first studio demo of Etsicroxe (Supuration’s former name), “Haunted”, dating back from 1989, as well as a nine song live set dating back from that same era.
- Order here (€12.00)
Not a digipak… awesome.No Comments
Why do most people lead lives of quiet desperation, obeying all that they must do, and then choose boring and pointless music on top of it? Nonsense music flatters the ego and requires nothing of the listener. No person of any quality lives that way, so it’s time to force people upward and not outward, with the sweet tears of poseurs, hipsters, scenesters and tryhards occasioned by these Sadistic Metal Reviews…
Moonblood – Blut and Krieg
When black metal died in 1994, it did so by losing sight of its direction. In art, direction takes the form of something which can be communicated only through metaphor, an idea in formation. In part, black metal had given its ideas to the world and was sitting back to watch them spread, but in another sense, the message — a copy of a copy of a copy at that point — simply got lost as bands imitated the form without the substance of those that inspired them. The Moonblood review exists in the last sentence, since this album represents all that is odious in music: an imitation of the surface configuration and emotional tropes of a genre not only while not understanding what the genre and its founders valued, but without even trying to make coherence out of the noise. Most people like this for the vocals which are like a hybrid between Varathron and old Mayhem, and maybe they enjoy the winding minor key riffs, but the fact remains that these songs go nowhere. They set up a sensation, loop through it, and then end with a convenient exit like a hipster suddenly realizing the people at his party not only do not eat quinoa exclusively, but cannot pronounce “artisanal.” Lack of direction is fortunate for Moonblood since these songs wander when attempting to extend themselves because they have no center and no purpose. It is not surprising that shoegaze took over from this weakened form of black metal because this is directionless atmosphere that apes the past but approaches none of its value or even ability to communicate. In comparison, this is incoherent posing.
Vital Remains – Horrors of Hell
If you see this in a sale or cut-out rack, you will perhaps feel it unjust. But compilations of demos tend to show a learning process, which means they start with the early attempts the band would rather forget (which is why bands tend to put boring covers on demo comps) and slowly work their way up to the ability level and hence material that you are accustomed to hearing. The demo that most are buying this for is “Reduced to Ashes” from 1989 which is the foundation of Vital Remains as a death metal band. This six-song offering shows the nascent death metal genre still emerging from a hybrid of speed metal (Metallica), thrash (DRI) and varied standout influences like Slayer, Sodom and early grindcore. In particular, large parts of this demo sound like they were heavily influenced by Repulsion, from riff style to the tendency to bring songs to a quick peak and then break away to a recapitulation that restates the main theme in coming and going perspectives. Vocals sound like the grim rant of Repulsion with all of its rhythmic power inherited from thrash, rather than the chant of speed metal or the full death metal growl. Riffs could fit on a Possessed or Dark Angel album, generally avoiding the muted down-strum of speed metal but not fully into constant tremolo of death metal, choosing some of the recursive open strumming of heavy metal. Rhythmically however this band does not fit into death metal. As in the first Possessed album, the drummer stays within the speed metal idea of aiming for concrete resolution at the end of each phrase, instead of recognizing that post-Discharge drums follow the guitar and thus must keep a continuous phrase. Although the band clearly knew more music than many of their contemporaries, it’s a stretch to call this “death metal.”
Bloodhunter – Bloodhunter
Imagine the melodic style of At the Gates Slaughter of the Soul that did not attempt to hide its roots in heavy metal and some speed metal, instead of death metal. Bloodhunter has the same strident emo death vocals that At the Gates and The Haunted put to good use, but the underlying music comes from the melodic heavy metal camp with some of the technique of speed metal filtered through power metal. This means for the most part that songs follow the intro-verse-chorus format but that the band will double riffs with a melodic guitar attack and break songs for lengthy solos or other classic heav metal tropes. As a result, this album flows easily and abandons much of the pretense of profundity that flows from the more metalcore offerings, preferring instead to be heavy metal with a few observations of life and a triumphant attitude. Nothing here will surprise the experienced heavy metal listener but most will appreciate its competent musicality and ear for songs that are enjoyable to listen to as well as hard-hitting within the range that this style can achieve. Riff diversity is high, spanning a wide range of tempi and styles including NWOBHM, all updated with the newer approach to rhythm that emphasizes constant forward motion in the speed metal style. Where this band falls down is in trying to distinguish itself with whispered vocals and (excruciating cliche of cliches) a sampled intro from a Tarantino movie. Bloodhunter does best when it sticks to its strengths. This album will not be varied enough internally for death metal fans but should delight power metal and classic heavy metal appreciators.
Sargeist – Satanic Black Devotion
Experienced reviewers wince at tryhard titles like “Satanic Black Devotion” because they indicate advertising, not a coherent statement from the band. Satanic Black Devotion might as well be a can of pureed, processed, sugar and salt added, preservative enhanced black metalTM. Imitating the style of later Gorgoroth and droning melodic black metal like Ancient or Marduk but with the chaotic approach of the first Krieg album, Sargeist is long on vocals and short on song construction. They hit on a few good riffs here and there and deliver those like Christmas presents, then repeat them ad nauseam. Most riffs show a tendency to cycle between symmetrical extremes and so fall into the same boring tropes as later hardcore did. Plenty of sawing guitar adorns this album as do riff patterns from past black metal albums but these are arranged in pleasant repeating rings that do not develop in any particular direction, leading to the listener’s brain grasping a bunch of droning minimalist guitar with an occasional melodic hook. Songs express nothing other than participation, and the inclusion of local band B- riffs alongside more developed ones leads the reviewer to wonder if the band has cribbed its best moments. Several patterns are note-removed from essential parts of Gorgoroth songs, but without the strong buildup, the Christmas riff drops in as a sudden variation and not a culmination or enhancement. This album does better than most because the band keeps the energy high and is smart enough to use the same song structure again and again to present its few powerful riffs, but the result of this randomness is more of what black metal wanted to escape, not create.
Watain – Lawless Darkness
Pretense is the fundamental state of humankind. As apes with linguistic brains, we rage against our impotence and insignificance and come up with poses: “I am important because I am good, smart, rich, sexy, hip, unique, different, wise, etc.” For some, the pretense is more or less accurate. These we call arrogant instead of pretentious. For others, in fact for over 99.98% of humanity, the pretense is merely self-important vaingloriousness backed up by nothing other than some hipster friends, a few possessions, or maybe a claim to fame like having punched out a local celebrity. Watain launched themselves with Rabid Death’s Curse, a pop black metal album in the style of The Other Side from The Abyss which won fans for its simple direct melodic songs. Several albums later, it becomes clear these guys do better giving interviews on metal theory (where they exceed almost all others) than writing music. Lawless Darkness resembles the kids show at the circus where as soon as one act fades another takes its place in relatively random order with the goal being to distract the audience so they eat up more of that popcorn and cotton candy. The album opens with dramatic violin, but then drops into disorganized metal music where riffs are joined through energetic flourishes of drum and Pantera-style bounce riffs. These songs make “sense” in that they follow a basic rhythm but most of what is written here is closer to the technical speed/death riffing of Behemoth than black metal, and none of it serves to build an atmosphere other than constant distraction. It is in fact comically random and empty of message. Presumably the ringmaster coems out and doffs his top hat and juggles live frogs somewhere in here to keep our attention but the music utterly fails to do so.
The Cult of Light – The Cult of Light
Crafted in the style of Meshuggah rather than the metalcore it partially inspired, The Cult of Light creates rhythmic speed metal — similar to Prong, Exodus, Pantera and various proto-prog bands like Anacrusis and Supuration — which installs a jazzy bounce into the speed metal cadence. This approach creates problems in that it makes it difficult to pace together multiple riffs in the speed metal style because the rhythms either conflict or resemble each other too much to distinguish the riffs. On this album, the band chooses instead to have only two major riffs per song but numerous transitions/intros and budget riffs to distract, as if installing turnarounds at each segment of the song before restoring the normal loop order. Vocals are the post-At the Gates rant which aims to complete before the beat and then hold an open-throat growl like a ringing note. Underneath this album lies a heavy metal work pointed toward the art-rock sensibilities that graced the far edge of off-mainstream rock in the 1990s, which means that despite the monotonic growl vocals the aim here is ultimately to set up a dense harmonic space which serves as the hook of the song and provides a space for contrast by other instruments. Unlike most heavy metal bands, The Cult of Light prefer keyboards and what can only be described as aggro-mood-jazz leads which use repeated patterns to serve in more of a lead rhythm guitar role than pure lead. The band builds its songs in layers in order to create spaces for effect, then introduces dramatic changes led by vocals, resulting in a sense of a radio play unfolding before our ears. While this style seems overdone, even on this composition where the need to keep the rigorous bounce and “different” riff styles contorts song structures in several cases, the underlying gentle arty heavy metal is worth appreciating. At the moment of that realization however one begins to wonder why bother with the adornments of style at all, since there is a shortage of arty heavy metal and an audience waiting for it.
Necros Christos – Nine Graves
Southern fried, bluesy rock/metal hybrid with swinging beats and hookish choruses, the new Down album — oh wait, this is Necros Christos. How did this make it into the underground black metal pile? It has deathy vocals but everything else is a slightly sped up version of Pantera but with more dimestore Satanic cult chanting vocals. Some of the chants come straight out of NWOBHM and many of the melodic riffs resemble those from the technical metal period that lumped itself on top of speed metal, calling to mind Anacrusis or DBC. Songs hold up well but basically express nothing but a vague gesture toward a certain type of experience while drinking beer and feeling sleazy somewhere lost in the modern morass. This could easily be a Ratt side project. Musically competent, it nonetheless expresses no greater mood than confusion and a certain type of teenage grimness which could be summarized as “my French fries are cold, and I suffer for it.” The chanting vocals add a certain unreality to the whole thing but evoke more of a sense of Marilyn Manson trying to rile up the apathetic, bored and directionless than the summoning of evil forces. When the band does force radical change in song dynamics or structure it seems more of a transition to a different seat in the same room than a change in how life or the song is viewed. Doubtless reviewers praise this as a fusion of stoner doom and black metal, but what really emerges here is a careful camouflaging of the same old stuff as the latest evil thing, and the real victims here are those who had to listen to this without getting it for free. Ignore trends, focus on structure and meaning in music. Learn from what Necros Christos has failed to apprehend.
Yob – Clearing the Path to Ascend
Someone made Trouble Psalm 9 for idiots, wrapping it up in the 1960s stylings that shows our commercial overlords that we, too, follow the one true path to the light. Because stupidity loves pretense, it contains Cynic-style statements about opening your mind and being a hip groovy 23 skiddoo cat… hasn’t anyone realized this crap is ancient? Other than the periodic death vocals and louder production, this stuff comes to us right from the hippie era. Musically it is not terrible but not terribly interesting either, since it essentially repeats tropes in circularity until ready for a linear withdrawal to equilibrium. The whining vocalist sounds like he is trying too hard to be pacifistic and profound under his patchouli and denim and the riffs fit more in line with jam bands of the 19670s than a heavy metal band. Yob count on the listener being lulled to sleep by the pace and the hypnotically boring vocals so that the person listening forgets what has happened and every riff is new like it fell right out of the sky and exploded. Instead riffs just kind of plod along, barely related to each other, in what might be filler songs on a Bruce Springsteen album if they sped them up and got rid of the posturing. This really has nothing to do with metal but it tries hard to fit in like a bear lost in the coatcheck room. Its pacing and wailing call to mind the albums from Confessor more than the Trouble works, but aesthetically it resembles the early heavy metal doom metal bands like Trouble, Pentagram, and Candlemass but made safe by turning them into warmed-over TV dinner hippie rock. Not surprisingly the music industry gave this a big thumbs up in a nod to the Baby Boomers.23 Comments