Sinister – The Post-Apocalyptic Servant

sinister-the_post-apocalyptic_servant

Dutch death metallers Sinister return in 2014 with The Post-Apocalyptic Servant. Sinister is a band most notable for the classic death metal offering Cross the Styx which wielded basic yet effective death metal. The quality of their releases waned since that time and after their ’98 effort Aggressive Measures, the flame became an ember (as is the common fate of early death metal bands).

Twenty one years after their debut, Sinister progresses their decline with this album. The riffs — while intense and biting — lack context, making the songs bland and disingenuous. This is an album of “moments”: no song on this album is good in its entirety, but certain details stand out. This isn’t the musical journey that death metal is supposed to convey; this is an exhibit of a handful of decent riffs spread out over the course of an underwhelming ten track album. Even their cover of “Fall From Grace” is lackluster and forced. It’s also an album that gets progressively worse as it plays through, like a runner sinking in quicksand.

The production is just as unsatisfying as the album itself. Completely synthetic and somewhat reminiscent of modern tech-death bands with the only trace of atmosphere emanating from the leitmotif at the beginning and end of the album. Everything else sounds like it was put together in a factory with some spare parts laying around. The result is an album that does not hold up. Memorable riffs without structures that could give them the life they need create a vicious, but not captivating, attempt at a comeback.

http://www.youtube.com/watch?v=ewU82oH8iyY

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Sinister plans release of The Post-Apocalyptic Servant in May 2014

sinister-the_post_apocalyptic_servant

Thunderous Dutch death metal assailants Sinister return with a new album entitled The Post-Apocalyptic Servant which is slated for release in May 2014. The album will be released on Massacre Records and includes covers of songs by Morbid Angel, Agent Steel and Paradise Lost.

Sinister have released a sample track, “The Burden of Mayhem” in advance of the album’s entry into the market. The band made its name in the early death metal years with Cross the Styx which combined the percussive and fast tremolo sounds with an underpinning of melody, creating a mood between the aggressive darkness of American death metal and the melancholic emptiness of its European cousins.

Although it was legendary for Cross the Styx, Sinister probably peaked with 1996’s Hate, which combined the best riffology of percussive death metal (Suffocation, Pyrexia) with the type of unsettling melodies previously only found in black metal. The Post-Apocalyptic Servant (which is hopefully about Satan as the cover hints) will contain the following tracks:

  1. The Science Of Prophecy
  2. The Macabre God
  3. The Sculpture Of Insanity
  4. The End Of All That Conquers
  5. The Masquerade Of An Angel
  6. The Dome Of Pleasure
  7. The Post-Apocalyptic Servant
  8. The Art Of Skin Decoration
  9. The Saviour
  10. The Burden Of Mayhem
  11. Fall From Grace (Morbid Angel)
  12. Deadly Inner Sense (Paradise Lost)
  13. Unstoppable Force (Agent Steel)
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Marketing versus descriptive writing

We always talk about how here on ANUS, we try to describe the music as it is, not assess it in some “social” way (that easily lends itself to selling the music to dummies). People doubt us. So here’s a brief comparison:

Marketing

Q: What’s the title of the new Slayer album?

A: World Painted Blood.

Q: What’s it sound like?

A: What on Earth do you think?

Nine studio albums, thousands of live shows and nearly three decades into a career that’s made them one of the biggest and most important metal bands in the world, the members of Slayer know exactly what kind of music they make—brutal but beautiful, punishing yet precise. A fresh Slayer record is a thing of terror but also one of trust: You can depend on what you’re getting—even if you’re unprepared for it.

As guitarist Jeff Hanneman says with a sly little chuckle, “At this point I think a Slayer album pretty much speaks for itself.”

And yet there are some interesting things you should be made aware of regarding World Painted Blood, the highly anticipated follow-up to 2006’s Christ Illusion, which debuted inside the Top 5 of Billboard’s album chart, a career best for Slayer. Let’s start with the fact that its fury, believe it or not, was born out of fun.

“The interaction between all of us on this record was really something special,” says Hanneman of his work with the band’s three other founding members: singer-bassist Tom Araya, guitarist Kerry King and drummer Dave Lombardo. “Rather than trying to get something done,” Hanneman continues, “it felt like we were just having a good time. We were discussing things, giving things a go. The prevailing attitude was, ‘Let’s try it!’ It wasn’t even work, really—it was play.”

For the first time ever, Slayer entered the studio—in this case, The Pass, in Los Angeles—without an entire album’s worth of material already written and rehearsed. They’d booked a preliminary chunk of studio time in October 2008 to see how they liked working with producer Greg Fidelman, who’d been recommended to the band by their longtime pal Rick Rubin after the two worked together on Metallica’s Death Magnetic. “While we were in there recording the couple of songs we had, things were just really clicking with Greg,” says Araya. “So we thought, ‘Why don’t we try to write the rest of the record in the studio?’ We weren’t sure what was gonna happen; we just kind of did it, and the music kept on coming.”

Not only did it keep on coming—first during that initial session, then in a second period of work stretching from January to March 2009—but it came in a way it hadn’t before, driven by a new degree of collaboration. For Slayer’s last several albums, Hanneman would write his songs, King would write his, then the two guitarists would bring their separate material into the studio, where the band would put it to tape. “This time,” says King, “everyone was talking about what we were doing. Everyone had a say and was involved—like, ‘Maybe we should go faster here or stop there or whatever.’ It was cool.”

Hanneman is succinct when asked how or why this cooperative spirit took root. “I have no fucking idea,” he admits. “The chemistry was just good.” The guitarist does note that Slayer “weren’t rushed, and that makes a lot of difference with the music. I don’t like being rushed, and on this record we had plenty of time.”

You can hear the effects of that creative freedom throughout World Painted Blood, which Lombardo says fits in with such classic Slayer slabs as Reign in Blood and Seasons in the Abyss. “The rhythm riffs on this one make the hairs on the back of my neck stand up,” says the drummer, who describes his determination to make his parts sound human and natural, rather than like the product of a machine. “It does it for me the same way those older records did.” King agrees: “I think it has kind of a retro vibe to it,” he says. “It sounds like the stuff we wrote in the ’80s.”

Did this renewed enthusiasm brighten Slayer’s worldview? Not exactly. “We have a tendency to follow a theme, and I think on this record the theme is more apocalyptic than usual,” says Araya, pointing to songs like the title track, a meditation on what the year 2012 has in store for humanity, and “Public Display of Dismemberment,” which King says is about whether or not certain “vulgar but effective” law-enforcement measures might work as well in America as they have elsewhere. “That’s kind of the running concept here,” Araya adds, “but aside from that it’s the usual Slayer topics of death, murder and serial killers.”

Usual, perhaps, but far from ordinary, World Painted Blood is one of Slayer’s most impressive efforts yet—a vicious, uncompromising look at what’s broken in our society and how frighteningly powerless we are to fix it. King says World is “more well-rounded than the last couple of albums.” Lombardo calls it “a speed metal record with emotion.” Anyone with ears will think it’s an accomplishment of a major kind. – Amazon.com Slayer Store

Notice what’s missing: they don’t talk about the music. They talk about the people, how many albums the band sells, how vicious it is, the topic of the lyrics (which is not necessarily the same as the topic of the song), and how shocking it is. In essence, what other people will talk about when they talk about it. Real information? Minimal. Now of course, this piece comes to us from Slayer’s reps via Amazon.com, and is not exceptional in any way. In fact, Slayer resisted doing this shit for decades. Now they’ve got a big label behind them demanding they do it because everyone else does it, and it’s effective, which means that if Slayer doesn’t do it, it’s like fighting with one hand tied behind their backs.

Here’s another:

In junior high, there were three albums whose covers scared the shit out of me, and which I consequently kept in a desk drawer out of immediate view: Reign in Blood, Blessed Are the Sick, and Arise. While the former two remain all-time favorites, at the time, Arise hit the spot best. All three albums are primers on blazing speed coupled with powerful atmosphere, but Arise possessed a stronger melodic quality that never came off as cheesy or compromised. Andreas Kisser’s solos are oases of respite from the Cavalera brothers’ unrelenting, dystopian riffage. As a son of the ’80s and a disciple of films like Brazil, Robocop, and Blade Runner, I really appreciate the post-apocalyptic imagery in Cavalera’s lyrics, an aspect that he’d continue to hone on Chaos A.D.

Speaking of that album, I got shit in an earlier post about saying Chaos A.D. is the album where Sepultura “become men”. I still think that’s true, but paradoxically, I must qualify that Arise presently edges it out as my favorite Sepultura album. Ultimately, it’s a less fully-realized sonic world: the production is flat (what the fuck is wrong with those drums?!), the guitar tones are not layered in any meaningful way, and are almost fatiguingly mid-rangey. While Arise represents Sepultura at their apex as a speed/thrash/death band, Chaos A.D. is them being the band they were always meant to be. You can hear it in the confidence of the songwriting, and you have to hand it to a band when they reach that point in their lifetime; so many don’t.

So why does Arise edge it out? To paraphrase my friend Anson, MY GOD, those riffs. From “Arise” to “Infected Voice”, there’s not a dud in the bunch. It’s also worth noting how deftly they did the speed thing, especially considering they pretty much forsook the blastbeat after this record. It’s the end of an era in Sepultura’s evolution, and they closed it with all guns blazing. Arise still takes me back to a time and place, and that album cover, for all the fear it instilled in me, remains a favorite. Like the riffs, it reminds me of what I love about my favorite superhero comic books: metal, like comics, sometimes functions on more is more. – Invisible Oranges

These are all marketing, because their point is to convince you how cool something is, and not give you a sense of its broader relevance. The individual and the social sphere are the same thing in varying degrees; if something panders to your lower functions, it will do the same for others and thus be popular. Reviews that talk about how popular something is, how influential it is, or how “unique” it is are not commenting on the music — they’re talking about the scene, the fans, the market — and as such as tangential.

Descriptive

Oh look, someone talking about the music.

Pandemic Genocide doesn’t stray too far away from the established Vader/Behemoth territory, although perhaps slightly simplified in execution and with a hint of Immolation mixed in, as well. This is not exactly a problem, in my opinion, as that is prime real estate to explore, and there are 666 metric tons of great, memorable riffs here. To carve out a more unique identity, PG occasionally slows down and gets a little atmospheric, which maybe works the best in the excellent “Arcana Mortem.” These guys also have no problem with faster tempos, as is evidenced in the amazing title track, and really all over the place, with surgical precision. – Metal Curse

Here we have a description of the aesthetics of the music that’s succinct and complete. We know what we need to know about the style. Some assessment of how well it pulls that off, and how the riffs are written and how the song structures work, and most importantly, what sort of artistic content (narrative of moods, progression of ideas) is enclosed, …well, that would be nice. But it’s not going to happen in a one-paragraph review, which is the smart format to do if you’re going to write 5000 reviews like that writer has. He covers every area of metal in a way few can.

And another:

One could have sworn Verhern and fellow label mates Kargvint are the very same band; both sound and musical approach of these otherwise twin bands is almost identical, and even though they do not share any band member between them (Kargvint being a one-man show), Verhern’s self-titled album is so much like Kargvint’s excellent Seelenwerks Fortgang (reviewed on Diabolical Conquest not long ago), it’s uncanny. Verhern, unlike Kargvint, is comprised of three members; the usual classic metal ensemble of a couple of guitars, bass, vocals, a drum set as well as some distant keyboards, buried so deep in the mix, they are ghost-like, hovering above the music occasionally, adding to it an eerie flair, not unlike Burzum’s key work on Filosofem’s opening track Dunkelheit. Again, as was the case with Kargvint’s album, dismissing Verhern’s debut is almost a natural response upon listening to it for the first time; shallow, hollow and derivative, uninspired at best and primitive at the very worst were the first impressions registered by this reviewer who was ready to tear this album apart a second before he actually listened to this musical work carefully, with unbiased ears and clear mind. This is good music in the sense it emanates emotions in abundance; from the heartfelt vocals to the sensual, despairing riffs, the whole creates a thick, relentless atmosphere of pain and sorrow, and a sense of transcendence. The metal of Verhern is fleeting and intuitive, not your usual gut-wrenching heaviness and sonic violence; on the contrary, here the music walks the more humble, insinuative paths, always distant and estranged, touching-not-touching, creating waves of black ambiance and generating almost erotic beauty. – Diabolical Conquest

While this reviewer is almost certainly overpraising this album, he’s making an honest and clear attempt to talk about what’s inside of it. The style is well-known enough that he dismisses it with a sentence or two, then launches into a description of what the music attempts to evoke. For example, Pantera likes to evoke righteous rage and a desire to hump fenceposts. Slayer used to evoke a mythic sense of occult warfare. Opeth evokes a desire to become pacifistic, navel-gazing, sensitive and on bottom during violent gang anal rape scenes. The review contrasts the techniques used in the music to what it attempts to evoke; the only weakness is, perhaps, that the description of emotions is too inclusive and thus vague.

You can see how some people are out there being “successful” by hyping stuff; they’re also not elitists, they’re egalitarians, for the most part. In their view, albums are not good or bad, but “different” and perhaps niche-bound. Other people are more hellbent on describing the music and so, by the natural process forced on them by the writing they do, they’re finding out which music stands above the rest by not being “unique” in some random combination, but by having something interesting to express and expressing it well.

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Godflesh – Post Self (2018)

If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.

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Underground Record Labels in the Year 2159

It is the year 2159. All the world’s capitols have been obliterated- save South America and Africa (the only continents free of nuclear weapons)- and humanity is no longer able to reproduce due to the over-manufacturing of sex-bots.  There had been three nuclear wars already, first of which involved USA and North Korea and the most recent involving Britain and Iran.  EMP’s and cyber-hacks had taken out the grid long ago, leaving only a strand of humanity left whose bodies could physically adapt to life without WI-FI.  Most of the main bands in the US which were based out of major cities perished as urban conditioning caused them to starve with no wherewithal to survive in the wild.  All that was left were rag tag bunches of malnourished but darkly inspired bands of street trash scavengers who roamed the land with metal detectors seeking alkaline batteries to power their equipment (though these were also needed to power their sex-bots).  Guitarists went back to using hand cranked Pignose amps, with vintage EV megaphones held in front to further amplify the vocals and guitars.
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A Playlist: Horror

horror

Article by David Rosales

The eighties, as any other decade, had its own particular flavor, and popular culture had turned to fantasy and horror as a sort of addictive drug. The most grueling slasher films with fake yet more tangible appearances than the digitized reproductions directed at desensitized audiences that we have today. It may be guessed that a lot of this was an outlet for repressed feelings of hopelessness towards the end of the Cold War, in the midst of death squad strikes and political assassinations throughout the world by the very pseudo protectors of liberty.

The menace of a nuclear holocaust made the idea of a post-apocalyptic scenario not so much the stuff of dreams but a possible (and plausible) future not more than a few decades ahead. There was terror in the air, as desperation and fear had already become the habit of a whole generation raised in the shadow of the fairy tales of the great wars and disarmed through the enhancing of shadows on the wall as their very protectors backstabbed them.

The kids born of this former failed generation of proper workmen and citizens grew to distrust all the bullshit thrown at them. Growing up in this era of tension and constant threats outside a bubble of hypocrisy and bigotry made young men of a more realist mentality long for the collapse of the system of lies built by the ‘mature and responsible’. This is the world that gave us death metal as Slayer’s lessons were ran through hardcore punk and then grindcore.

Cromags

1. Cro-Mags – Age of Quarrel (1986)

Expressing the most bare-bones discontent with society with a sincerity that only the punk spirit can deliver, Cro-Mags adopt metal riff phrasing techniques to give further elaboration to paint pictures of collapse and humanity’s demise that are more grim and nihilistic than the lyrics themselves.

repulsion-horrified

2. Repulsion – Horrified (1989)

While Age of Quarrel is the image of a decadent civilization malfunctioning its way to its own zombification, Repulsion shows us the explosion and its aftermath. The first is fear of impending doom, this latter is terror, desperation and psychotic breakdown in the face of monstrous reality.

carnage

3. Carnage – Dark Recollections (1990)

Beneath the blatant visions of disaster and discomfort, the reveling in what is seen as an unavoidable outcome, or perhaps an already present state, is laughed at with the humor of a cancerous patient that knows no clean escape from his own impossible situation. It takes death metal to come out as the triumphant anti-hero, shotgun in hand, ready to do away with the weakness of modern man.

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Corpse Machine – Depths of the Abyss

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Perhaps you hoped that Venom would put out a technical album without losing the energy of its primitive side. Corpse Machine aims for that gap with a heavy metal album dressed up as death/black metal, using mostly old school heavy metal riffs but concluding its songs in the soaring melodic motions which made black metal a favorite of its audience. Like Fester, Dissection and other heavy metal/black metal hybrids, the result has relatively predictable song structures and high doses of repetition but creates emotional tension through melody and makes songs into little worlds where the listener can cycle through a brief contrast in emotions.

While the stylistic aspects of this album will drive away the purist black metal fan, the underlying melodic composition is good: both compelling rhythmically and harmonically, it creates layered spaces of emotion with simple riffing formed in pairs. When Corpse Machine turn up the intensity the result is more energy behind the music but not a fundamental change in mood. The result seems crushed by its decision to straddle two different worlds, as this would make an amazing heavy metal album but ranks as confused for black metal. In many ways, it represents what Venom should have become if it had chosen to stay current with metal technique, and might fit alongside bands like Gehenna and Dodheimsgard which have a similar approach.

For Corpse Machine to rise to the next level, it makes sense for them to clarify this confusion in style and add more internal tension to give the satisfying moments of this release more power and thus to enhance their atmosphere. Depths of the Abyss shows an aptitude for engaging songs but does not rise to the black metal level of intensity despite having a similar approach to melody. Like other experiments in heavy/black like Dissection and Immortal At the Heart of Winter, it has an almost sentimental tint that amplifies its autumnal and post-apocalyptic sensations, but unlike those the darker parts of its composition cannot quite separate themselves from technique. Still there is great promise here that may develop on future works.

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Interview: Nidhogg

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History reveals little about Nidhogg, the musician known for his contributions to Ildjarn, Sort Vokter and Ildjarn–Nidhogg. These projects, while initially rejected by an increasingly faddish black metal “scene,” quickly gained fans for their use of elegant short melodies within ambient songs of abrasive noise fused with aggressive Oi rhythms and black metal riffs.

Using short songs structured around the transitions of song inspired by lyrics, Nidhogg creates albums that immerse the listener in a dark world of excitement: like the primeval forest come alive, this music pulses with the poetry of life in the wild. It embraces the world as a living organism in the pre-Christian tradition and brings out the fierce natural instinct for survival and power as well as the ambiguous lack of safety inherent to the frontier. Expansive and transcendent, like all good black metal from the Norse tradition, it transports the listener away from a failed functionalist time into a mindset of possibility and exuberant cosmic exploration.

Much of black metal would benefit from seeing into the mind of this primal artist concerning his contributions to the aforementioned nature-metal projects and his own artistic endeavors. Read on for the thoughts of one of the last embodiments of a genuine black metal mentality…

How did you first meet Ildjarn, the person?

Me and Ildjarn met when starting secondary scool at Bø Gymnas, Telemark in 1988. We had the same interest in metal and started hanging out together and experimenting musically in different directions in the basement at Akkerhaugen where we recorded “Norse” and “Svartfråd“.

Can you describe the formation of the musical project, Ildjarn, and how you became involved?

Ildjarn is his own project, and he started recording under that moniker in the early 90’s. Me and Ildjarn had played together in different constellations, and Ildjarn also played with Samoth and Ihsahn in Thou Shalt Suffer. After doing all sorts of stuff, even some noise/experimental, me and Ildjarn focused on the Black Metal sound, as it was where our hearts lay. I found some old lyric sheets which indicates that we initially called ourselves Nivlheim, but at the time of “Norse” we had landed on Ildjarn — Nidhogg, because Ildjarn had already started using the Ildjarn-name.

Nature is a big part of my life, and I’m not comfy living in the city. I’m lucky enough, now, to live right by the forest, surrounded by small lakes and mountains. Nature evokes most of all awe and calmness.

We recorded Norse in two sessions in 1993 which is discernible on the differences on my vocals between the a and the b-side. Samoth liked it and decided to release it on Nocturnal Art Productions. Ildjarn continued releasing his own records, and me and him then sporadically made music together, culminating with “Hardangervidda“.

What sort of guiding influence did you have on Ildjarn, and how was this different from your role in Ildjarn–Nidhogg?

I didn’t have any guiding influence on Ildjarn. He is very much his own man. But we had the same love for the proto-scandinavian black metal sound, shaped by athory and picked up by Mayhem with Dead, and so on.

Ildjarn — Nidhogg was a 50/50 collaboration, and we always had clear idea of where we wanted to go, both with the metal and the ambient stuff. The demos I uploaded were my concepts, like the Ildjarn stuff was his, so they were planned to be released as Nidhogg-demos.

Regarding vocal duties, what were your contributions in this area to Ildjarn–Nidhogg?

I did the vocals on all Ildjarn-Nidhogg recordings and also on Sort Vokter except for on “Hatefulle Tanker…” where I, Ildjarn and Harald all sang, and “Bak to Lysende Øyne” where both me and Ildjarn sang, but he did the prime vocals. The last song also appears on Svartfråd and I did the vocals on that version.

You previously mentioned that you were the collaborator with Ildjarn for the visual elements of various projects. What album covers did you create and is the impetus and process of creating them distinct from the musical process?

We did the layouts for many of Ildjarn’s albums on a computer I had access to. I mainly did the layout and was only artistically involved in the creation of Ildjarn transforming into a boar on the Strength and Anger-cover, Nob of NOB Art, did most of that, though. Nob was a friend of ours from Notoddden, and is the artist featured on albums such as Nocturnal Visions, “Minnesjord – The Dark Soil” and “93.” He also did the graphics for Forest Poetry along with another outstanding artist by the name of Javier Guerra who did the frontcover and at least two other illustrations Ildjarn used.

I’d also like to mention a fourth person who were also a close friend in Notodden at that time, who wrote the poem that was used for lyrics on “Eksistensens Jeger.” KK, as I’ll call him is now an established and published artist and writer. In Notodden me, Ildjarn, Nob and KK used to hang around, as three of us attended Telemark Lærehøgskole (teachers college) there. The pictures on the Sort Vokter-cover were taken in the forest behind the school, an area that stretches several miles. It was a place where especially me and Nob had many excursions, often in drug-induced states. I’m not exaggerating if I say I had some semi-paranormal experiences in that forest. This was also a feeling we tried to transfer to the cover.

What attracted you to metal in the first place?

Like all over Norway in the 80s, we were some kids in school who started listening to metal, copying tapes and borrowing music from each other. The energy and aggression was the appeal, of course. It was a rapid progression via Twisted Sister, Accept, AC/DC and such, to Metallica, Megadeth and Motörhead and then on to the more aggressive thrash as Slayer, Death Angel, Dark angel and Sabbat.

How did you first become entwined with the “black metal scene”? What was that time like, and what do you think of current “black metal” bands? What is missing from the present crop?

I was never involved in the scene, other than through Ildjarn and knowing members of Emperor. I met Ihsahn and Samoth, or Vegard and Thomas, first at a regional music talent show. They were playing as Xerasia and I was doing vocals with a band I sang in before me and Ildjarn did anything together. Later, we met in the basement at Akkerhaugen youth club, were Vegard and Thomas did all their initial projects. Besides some early exploits me and Ildjarn did together, we started started jamming as a hardcore/grindcore band with Thomas and Thorbjørn Akkerhaugen. Then when the Emperor concept was developed I was really blown away hearing them rehearse in the basement. It was clear they were on the verge of something. This was before all the ruckus started happening in the media.

When I got a tape copy of Vivaldi’s “The Four Seasons,” I played it repeatedly, and it’s amazing how it is really such a spot on musical interpretation of the progress through the year. Hardangervidda reflects a progression of time as well, from morning to night. The second half of “Sunrise” is very much inspired by Grieg’s “Morning mood.”

I think there are plenty of good acts around today, although one has to sift through more music now than before. I guess as with most genres that establish themselves, there are going to be waves and declines, but great stuff still gets released and will be released. The major challenge I guess, is to make something original in a genre that has been very much explored already. I think there are plenty of bands still around worthy of a listen, but now it’s of course a global thing, so one can just as easily find good bands anywhere else besides Norway, which is also stimulating to the genre.

What was the genesis of Sort Vokter? Were you involved from the beginning?

Sort Vokter was a spur of the moment idea and an opportunity between me and Ildjarn and two guys I knew from Notodden. Me and Harald (Heiinghund) ended up living in the same dorm and jammed some together on synth. He was a natural musician as was also Kyrre (Tvigygre). Sort Vokter was a concept we thought up in my flat, and as far as I can remember, we were all four there at that particular time.

The concept was doing very necro forest metal, or Folkloric Necro Metal, as we called the album. Kyrre worked as a studio technician in Grenland (Not Greenland ; )), and his boss granted him the studio for a weekend when we could do what we wanted. Sort Vokter was more a recorded jam session, than anything else, and most of the songs were composed/played through once and then recorded. Second or third takes would have greatly improved the album, but we were on a very tight time schedule. So “ignoring technical details” as the cover states, was more out of necessity than anything else.

Why has there been only one Sort Vokter album?

It was never meant to be anything more. We had known each other for some years before, and we stayed friends and connected until we one by one relocated from Notodden, but there was never any intention of making any sort of follow up to that one album.

You additionally worked on a synth album with Ildjarn, which was dedicated to the glory of Norwegian nature. What was the process of composing and recording this album? What does your experience of nature evoke?

Hardangervidda is a celebration of a particular mountain region in Norway, yes, where me and Ildjarn have been many times, both separately and together, since childhood. It’s vast and relatively flat, and trekking across it takes several days. The album was written in my flat in Notodden and recorded and mastered a couple of hundred meters down the same street, with help from Tore Hansen. Because it’s very layered it was never considered to record it live in studio. I had put away all the money I earned during one of those summers and bought a Roland XP-80 synth which also functioned as a 16-track midi recorder. Me and Ildjarn started working on the album in sessions, gradually tweaking the songs, doing both composition and production together. Some songs are my original ideas, some are his. There was a very clear idea from the onset of where the album was going to go, and it was really just a matter of doing all the work. The XP-80 was very easy, but time consuming to work with, as we didn’t hook it up to a computer. When we had finished the album we sent demo-CDs out to a couple of record companies. Origo sound actually said they’d consider it if we made alterations, which was of course out of the question. Ildjarn ended up releasing it on his Norse League Productions some time later.

Nature is a big part of my life, and I’m not comfy living in the city. I’m lucky enough, now, to live right by the forest, surrounded by small lakes and mountains. Nature evokes most of all awe and calmness. There’s nothing like the view after you’ve trekked up a mountain.

Last fall, Ildjarn released a split album with Hate Forest, entitled Those Once Mighty Fallen. You’ve recently been active on youtube and have released the demo recording which that recording was based from. What’s your reaction to this situation? Will you be releasing any more recordings in the future?

Well, like I’ve also stated, I was just surprised to realize it. It didn’t dawn on me until I actually checked with some old tapes laying in my basement, but how Osmose came to mislabel them, I don’t know. I think the songs may have been copied onto the same tape as some of Ildjarn’s stuff, years ago.

No, I don’t have any plans to release anything else, although I have lots of riffs and ideas laying around. I might pick up music again, since I still have the old synth, but hat will be when I’m less busy. I started on a concept-album in Notodden about the time of Hardangervidda, under the name Shadow Hungry Onto God (S.H.O.G.). This project was purely classical music, and is what I would start up with again, if anything.

Do you have any recordings of your own, separate from Ildjarn-Nidhogg, that you will release in the future?

I only have two proper recordings, one of which I don’t know where is at at the moment, from the S.H.O.G. project. The other is an edit of the B-side from a 7 inch I intended to release on my own, self-financed. The A-side was already finished, but I lost it due to an equipment failure. Since this meant that I lost weeks of work, I didn’t pick up on it again, after I relocated out of Telemark. I’ll upload the edited B-side on my YouTube-channel when I get the time. It’s quite psychedelic and nothing like anything me and Ildjarn did, except for the rhythms which are quite punkish.

Most striking within your music is the level of refined aggression sublimated through strong melodies. In our interview with Ildjarn, he told us that grindcore/industrial band Godflesh was a major influence on you. In particular, the album Streetcleaner seems to embody a similar spirit to your work. What is it about that band that resonates with you? What other bands provide the same state?

In terms of any direct influence Industrial Metal had on me, it would have to be on an industrial band me, Ildjarn and Thomas played as briefly, using the basements Oberheim drum machine for rhythms. The name was Fast Breeder. We recorded some rehearsals but never released any first demo.

Yeah, Godflesh is pure genius, in my opinion, and I actually got to speak with them when they played in Kristiansand. I liked Godflesh from the moment I heard them, Justins grinding guitar and use of feedback is perhaps the foremost appeal with Godflesh for me, but of course the whole soundscape. I highly recommend the double CD reissue of Streetcleaner and the release of old Fall of Because recordings.

I was also very much into Pitch Shifter until they changed their style, and their debut “Industrial” is amazing. SWANS is, of course, a band that one has to mention, and their “Cop” is a favourite of mine. Saw Throats “INDE$TROY” is also a classic. And the industrial/crustmonster Sonic Violence of course.

At the time I was listening much to these bands, I was also listening to the Young Gods, Foetus, Minister of Noise, Skinny Puppy, KONG, Front 242 and In Slaughter Natives. G.G.F.H. is one of my all time favourites.

What influence does classical music have on you? Are there any specific composers who inspired you?

I grew up in the 70s, which was a time when classical music was still always played on national broadcasting TV and radio. When I got a tape copy of Vivaldi’s “The Four Seasons,” I played it repeatedly, and it’s amazing how it is really such a spot on musical interpretation of the progress through the year. Hardangervidda reflects a progression of time as well, from morning to night. The second half of “Sunrise” is very much inspired by Grieg’s “Morning mood.”

For the S.H.O.G. project I’d say music that would evoke the same feeling as I was after with that, would be Peteris Vasks, Arvo Pärt, Randall Meyers and Berlioz. Just talking about the inspiration now, of course, these are untouchable composers working with symphonic orchestras. I was using dark synths underlaying the classical instruments.

Another composer that may not be very known or revered in metal-circles that had a huge impact on me is Michael Nyman. Being a member and also running film-clubs in Bø and Notodden, the movies by Peter Greenaway caught my interest in particular. Michael Nyman wrote the music to four consecutive films (and more later on), and these four film/music collaborations are often referred to together. “The Draughtmans Contract”, “ZOO”, “Drowning by Numbers” and the epic “The Cook, the Thief, the Wife and her Lover.” Greenaway also made “The Belly of an Architect” with Wim Mertens doing the music equally good, and in somewhat the same fashion.

But everything is corrupt, obviously, and I suppose the more you learn about the world, the more disheartened one gets at society. I have great faith in nature and animals though, as nature have adapted catastrophes unimaginable to us.

On that note, I’d like to mention my friend of Yayla of Türkey. If you want to check out his works here is his homepage: http://www.merdumgiriz.org/ and YouTube: https://www.youtube.com/user/merdumgirizworks

What do you think the purpose of art is? When you make music, do you have a conscious intention or goal driving you beyond the finalization of a piece?

I can’t speak for anyone else but myself, but for me it’s just an urge to express oneself through music. I started singing with a thrash band in ’87 and was hooked.

Looking back, there was always a clear intention with the music, and never any doubt as to what elements to include or exclude in the various concepts. I went in many different directions, by myself and with Ildjarn, although the metal and ambient stuff was the only released (except for a drone/folk demo I did). For instance, me and Ildjarn started working on a project we called “Myristic” which never came to fruition. The direction was very different from the metal stuff from Ildjarn — Nidhogg, but was nevertheless fully formed as a musical concept. At least for me, a composition or album is more like a road waiting to be discovered and mapped, rather than something one has to toil to invent. Once you start with an idea, everything rolls by itself, and reveals itself as you progress.

A drone/folk demo sounds fascinating. What was it entitled and when was it recorded? Can we expect this to ever surface again?

Well, I’d rather not reveal the title of it since it’s a totally unrelated project with Ildjarn session on bass. I recorded that one demo, which was also just meant to be a one off in 1994. It was a 9-track post-apocalyptic vision with references to Alfred Hitchcock’s “The Birds,” where scavenging birds were now the rulers and terrorizers of man.

I don’t think I’ll upload it as it was a totally unrelated thing.

What role did THC play in Sort-Vokter’s music? What value do you find in altered states of consciousness?

Yeah, we put that on the cover as a spoof. Ildjarn didn’t smoke, of course, like he has already stated, but I guess music and drugs were the common interests of the rest of us. It added a certain feel to the whole weekend, so to say. How much it influenced the creative side to the music, I don’t know, but it certainly makes ideas pop up easier.

Altered States of consciousness has been a lifelong interest of mine, and I currently live in place where the surrounding fields are littered with magic mushrooms in the autumn. I find psychedelics can reveal a lot, and can also possibly be a door opener to unseen realms.

I have a great regard for Terence McKenna and Rick Strassmans works, and there are also many other previous pioneers which could be mentioned. In England there were some very early nitrous-philosophers. Ken Keasy said: “I believe that with the advent of acid, we discovered a new way to think, and it has to do with piecing together new thoughts in your mind. Why is it that people think it’s so evil? What is it about it that scares people so deeply, even the guy that invented it, what is it? Because they’re afraid that there’s more to reality than they have ever confronted. That there are doors that they’re afraid to go in, and they don’t want us to go in there either, because if we go in we might learn something that they don’t know. And that makes us a little out of their control.”

Do you find anything valuable in human society? What about individual humans?

While I don’t share Ildjarn’s nihilism (for lack of a better word, Ildjarnism, perhaps) I share some of his misanthropic attitude towards humanity. It’s obvious that we are, most of us at least, dependent on each other for food, lodgings and so on, so, on a practical level, saying fuck you to society and introducing full anarchy would feel pretty uncomfortable for most of us in the end. Some structure is required if we don’t want to go back to the stoneage. But everything is corrupt, obviously, and I suppose the more you learn about the world, the more disheartened one gets at society. I have great faith in nature and animals though, as nature have adapted catastrophes unimaginable to us.

On a personal level I do find value in other people, although I don’t consider many people close friends. One good friend outweighs ten bad ones tenfold, as have been said. And family will unlikely ever fail you.

Your first love in metal was thrash. How did you discover this genre, and what did you like about it? Were you able to carry over any of its ideals to black metal?

After listening briefly to the more commercially established metal for some time, I became a Metallica die-hard fan when I discovered Master of Puppets at about the time it came out. I’m from a rural area, and Metallica wasn’t heard here until Master. Ride the Lightning and Kill ’em All were gems I discovered subsequently. Before I left for the States, I had bought Reign in Blood, The Ultra-violence and Darkness Descends, and Slayer just ruled. Stll I was a Metallica-head. I lived in the States when Justice came out, and although it’s a great album, I, like so many others, started to smell something fishy. At the same time I bought Bathory’s Under the sign of the Black Mark which was one of a kind back then and still is my favourite black metal album. Back then I guess the only prerequistite was that the music was hard or edgy and I also listened to punk and such. Ildjarn introduced me to all types of music, like The Exploited, Napalm Death (love “Evolved as One”), Misfits and many others. Thrash and black are very different, for example in vocal style. It takes a lot more to be a good thrash-singer. I did the vocals on Ildjarn – Nidhogg, and the standard “witch-scream” of nordic black metal suited my voice and not least, my capabilities. So I can’t really say we took anything from thrash to the music we made, other than sheer energy, of course.

How much of an influence have other genres, such as classical music or punk music, had on your listening and your work?

Classical music has been an inspiration, although not consciously. There are some pieces on Hardangervidda, for instance “Night” (Ildjarn’s composition), which are more or less classical compositions and not ambient. Punk has been a more direct influence, which many people have also commented on. The drum machine I used back then were pretty basic, but there’s definitely a lot of “Ompa” (European term, perhaps) going on in the rythms. Combined with Ildjarn’s distored strings and my voice, our music displayed a certain punk-attitude. In norwegian Black Metal circles this was not necessarily a good thing, especially since the scene at that time had become very dogmatic, hence the term TRUE Norwegian Black Metal.

What are your favorite classical subgenres and composers?

As for classical subgenres, I’m not familiar with the terms on that. I’ve listened a lot to Arvo Pärt, Michael Nyman, Wim Mertens, and Ennio Morricone, as well as the old masters. I also like Peteris Vasks a lot. I listen to all kinds of music, though, and after Vidar bought Juno Reactor’s Transimssions, I got into Goa Trance. I’ve been a convert for many years, and I warmly recommend the afforementioned album and Hallucinogen’s Twisted. I guess I have to blame it on the drugs : P

Still love metal, though, and I also very much like bands who carry out their own unique mission, like Foetus and G.G.F.H.

Where did the concept of “forest metal” come from? Do you identify strongly with the forest? Why?

Norway is sparesly populated, and as you can guess, pretty cold. Nature is all around us. We also have a strong tradition of folklore in Norway, and tales of such creatures as “huldra,” “de underjordiske,” “tusser,” “troll” and others are deeply ingrained in Norwegian culture. I would suggest you do a Google image search on “Theodor Kittelsen”, and you will no doubt get an impression of what I mean, and you’ll also see where many black metal covers came from. Being non-satanic, this cultural tradition of the supernatural and the old Norse culture were the inspiration behind the themes and attitude in my approach to black metal.

I feel a strong pull towards the forest, and one of my favorite things to do is venture into native forests, and observe the natural cycle of decomposition and new life springing forth. The atmosphere in such a place can often have a feel verging on the supernatural, especially as night sets in.

How much do you think forest-worship is integral to black metal as a whole? You mentioned the proto-Scandinavian sound of black metal as seen in Bathory; was there forest-worship or something like it there?

Forest-worship was primarily important to the imagery of black metal bands in Norway, and the esthetics of an old forest is totally fitting the genre. An example would be the cover of Djevel’s “Besatt av Maane og Natt.” Of course, venturing into a forest in corpse-paint to take promotional pictures and such, I guess it was inevitable that the feeling of a dark forest would also influence the feel of the music. As for Bathory, no, I don’t think Quorthon was to prone to such, at least not on his black metal albums. Later, perhaps a little bit, I’ve seen some bloody good pictures of him and his musicians in battle gear in an overgrown forest, but that’s about it, as far as I know. I guess Darkthrone were the first to incorporate forest aesthetics fully into their concept. Also lyrically.

Based on the sound of some of these demos, I sense a kinship with some Oi punk music especially in the percussion. Was this an influence, or coincidence?

Yeah, I touched on that a little before. It was no intentional thing, but I liked rythms that made me want to move, quite different from most black metal. When pacing the drum machine to Ildjarn strings, I guess you could say we tried to make it “swing,” so to speak. I think Norse accomplishes this best, and is the one of the two EPs I’m most happy with. Ildjarn liked Svartfråd better.

Do you think black metal has a spirit, or a set of values to it? Where do you think these came from? Are there any historical antecedents?

It’s hard for me to make any valid statements about this. The music itself carries a spirit, yes, but where ideology fits into the music, is an answer best put to someone else. What united all Norwegian black metal, Norse metal or Viking metal bands was a hate for Christianity. As has been realized as years have passed, this has to do with the opression of the people the church has been guilty of for the last thousand years here in Norway, more than with any wish to carry out “Satan’s cause on earth.” We still have a state church in Norway, and I think about 76 % of norwegians are members. When I grew up “Christianity” was part of the curriculum at school, and the church still has a great hold on the population through the rituals of baptizing, confirmation, marriage and burial. So the genres in question held the same basic attitude towards christianity. It was forced upon us, and now we expressed the discontent through music.

Have you noticed any similarities between black metal and its values or imagery and that of Romantic literature, art or music (from the 17-18th centuries)?

There may well be similarities there, but it’s not something I have the knowledge to comment on. There is of course a strong element of classical and progressive composition from the more symphonic bands in the black metal genre.

I don’t know if I’ve ever listened to individual songs, just put the whole thing on like a classic symphony and let it rip. I don’t know how to ask, but I wonder how you achieved this effect of albums as a whole.

I can only speak for what me and Ildjarn did together. He had a different vision for his Ildjarn solo-project than I had for mine. At the time we released Norse, we had already played both hardcore/grindcore, industrial, drone/folk and noise/expertimental. Mostly just jamming and sometimes recording an obscure demo or performing at local talent shows. Thomas Haugen also played with us in two of these bands, as well as on the last demo I uploaded, as the demo states. So already when we recorded Norse we had known each other for about five years and there wasn’t anything uncertain about where we wanted to go with that recording. As the flyer also stated: “Raw and primitive Norse metal.” Thankfully Thomas liked it and put it out as his second single on Nocturnal Art Productions.

What united all Norwegian black metal, Norse metal or Viking metal bands was a hate for Christianity.

I don’t know if you are familiar with the old rehersal studio where we recorded “Norse” (an old bank vault, no less)? This is where Emperor went through its various stages and also where Ildjarn recorded his albums, using one mic. for the whole drumset. His metal-albums and “Norse” and “Svartfråd” where recorded there. It was basically like this: If you showed interest in using the vault for rehersals or demos, you were pretty much given keys, and you could lock yourself in and out as you pleased. An article in norwegian about the place is here: http://www.akkerhaugen.no/Heavy%20Metal.htm

Hardangervidda was a totally different vision, and at the time I was attending the teachers college in Notodden, where music was one of my majors. Hardangervidda was guided totally by nature (and the instructions for the synth ; )), and there was never any doubt or disagreement about where we wanted to with that album either. The nature is overwhelming there and it has a lasting impression of most people who visit the place. Ildjarn, Nob and I went there for a pilgrimage in the closing stages of the making of the album, ventured for some hours into the area, enjoyed the sunset and slept there in nothing but sleeping bags. There’s always a lot of commotion when album covers are changed, but I really think the artwork on the vinyl edition does it more service than the original would. The pictures on both editions are by me and Ildjarn and he’s also been up there again shooting pictures for another edition. As far as I know, this edition is intended to be in colour, I guess that makes some people cringe. I’ve seen the pictures, though, and they look great. I don’t have any details about that release as of yet.

Also, are you aware of the ressurection of “Helvete” (where Euronymous ran his business)? “Neseblod records” (Nosebleed Records) have recently moved in there and a museum of Black Metal is now emerging. I’m sure you’ll find the pictures on the web-site interesting. Check it out, here’s the link: http://www.neseblodrecords.com/

I can inform you that I’m currently in contact with a small record label for the possible release of the Nidhogg demo and a future extended version of “TrollTripp”. I recording the B-side of the demo now (bass and vocals) and then we’ll turn it the right way around and hear if it’s usable. It sounds good so far.
Here’s a link to the label. Like the sound of the WROTH-demo, btw. http://intotheshunnedhouse.wordpress.com/

We were also able to get some words in with Apelseth, one of the members of Sort Vokter who participated in recording Folkloric Necro Metal. While his answers are brief, they reveal his mindset about the recording and the nature of the band.

How did you get involved with the musicians who became Sort Vokter? Did you share any interests? Were you into metal, or black metal?

Metal and some black metal

I am told you are responsible for “Tårers Sang.” Did you compose this alone? What helped you come up with the unique blend of emotions on this piece?

“Tårers Sang”; melody and guitar on “Fra Kilden til Tjernet”; sound-engineering on the whole album.

The melody came to me one full moon night, I was in the forrest. Inspired by the shades and special light that is in the forrest at those times.

What kind of atmosphere do you think this band produced? Does it correspond to any real-world events, places, or emotional blends?

It is a soundscape based on the different landscapes and emotions in the norwegian nature

Thanks to all members of Sort Vokter and Nidhogg himself for making this interview possible.

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Death metal horror film Deathgasm solicits funding

deathgasm_(film)-300x450A New Zealand director is campaigning to get his death metal themed horror film funded through a crowdsourced campaign. The film, named Deathgasm, will concern the adventures of social outcasts who discover music that can summon evil.

Written and to be directed by Jason Lei Howden, Deathgasm is designed as a throwback to the early 1980s budget splatter films and the Heavy Metal horror genre. The director promises that Deathgasm will have a soundtrack that “will be the bane of noise control officers the world over.”

The plot revolves around evil, antisocial behavior, Slayer lyrics and black magic, but ultimately turns on a plot point related to music itself. Deathgasm will thus be a themed film with death metal as an integral part of that outlook.

We got a few questions back from director Jason Lei Howden to give our readers more of a feel of where the film is going.

What’s your history with horror movies, and heavy metal?

I’ve been obsessed with horror since I was a kid, and was naturally attracted to the imagery and dark storytelling of Heavy Metal.

When I was really young, I remember seeing Motley Crue and Iron Maiden cassettes and thinking the contents must be the most insanely satanic shit. Which in hindsight seems absurd.

I quickly progressed towards Thrash and Death, those amazing years in the early 90’s, Slayer, Cannibal Corpse, Obituary, Deicide. Such a great time for Metal.

What are the connections between Deathgasm and heavy metal? What about death metal specifically?

The characters are teenage outcasts. Death Metal is their only form of release. They won’t be wearing Disturbed t-shirts or anything like that; these kids are pure death fans. They are social rejects but find strength in the music. I want to stress that we aren’t out to parody or make fun of Metal, it’s more of a salute to the genre.

I want heaps of references to the classic bands in there, but if we could get some up and coming Death Metal bands on the soundtrack it would be awesome.

There are some amazing Heavy Metal horror films, and Trick Or Treat is a big influence. But it’s a dormant genre and it’s about time to combine brutal sounds and gore again. Death Metal in particular has imagery with is extremely horror when you think of the album covers and lyrics.

There are also occult and satanic themes, they start to dabble in black music and get in over their heads.

In saying that, I want to clarify that you won’t need to be a Metal fan to enjoy Deathgasm, just like Metalocalypse appeals to a huge audience. Anyone who has felt like an outsider will relate to our characters, and fans of Evil Dead, Bad Taste or the Troma films will love the Deathgasm.

Do you think there’s a horror movie culture? What about a heavy metal, or death metal, culture?

New Zealand is so small it’s hard for me to gauge, but Metal culture seems to be far smaller than it used to be. Because there are so many sub-sub genres now, it’s more fragmented. Maybe Metal is better off being underground, whenever it gets too mainstream it de-fangs it a bit.

Horror seems to be still huge, seeing shows like “The Walking Dead” and “American Horror Story” on mainstream TV and getting Emmys is surreal.

Can you tell us about your history with film and horror film?

I went to film school and since then have finished a couple of fantasy/post-apocalyptic short films. It’s really hard to get horror funded here, our industry is based around small coming-of-age dramas.

But even if I don’t get funding, I’m adamant I’ll do a horror next. I work as a visual effects (VFX) artist, working up to 80 hours a week. I need to get outside and throw blood and guts around. We are really lucky to have the Make My Horror Movie Competition; it’s a great opportunity.

You’re launching a funding drive for Deathgasm right now. How close are you to what you need? When you get there, what happens?

The winners get $200,000. The project with the most Facebook “likes” gets into the top five. Right now we don’t have many votes compared to some other projects, but we only submitted recently. We would need a couple of thousand more Facebook “likes” to crack in to that threshold.

There is no sign up or spam, if people go to the page and just click the Facebook “like”, then maybe share it with friends it gets the project visibility and lets the judges know there is a market for a brutal Heavy Metal Horror film.

If we don’t win we may develop the idea more and do a Kickstarter campaign. I want it to be a community thing, with an awesome soundtrack and heaps of Death Metal in-jokes and references.

And gory as hell! The Evil Dead remake was shot in NZ and was pretty gory, but we can take it up a notch or two from that. We have some talented friends and contacts in the practical effects industry here, I don’t want to give too much away but we have some awesome death set-pieces planned. We want to keep it practical; VFX gore just doesn’t look right.

If all goes well-ish, meaning according to plan and accounting for life’s little glitches, when will we be able to see this movie? And where (theatres, Netflix)?

Dark Sky films is a partner, they distribute some great horror, recently Frankenstein’s Army and Hatchet 3. So a lot of people are going to see it. I’m unsure about a theatrical release, netflix would be pretty probable. Would be looking at a late 2014/early 2015 release I would say.

For more information, and to support Jason Howden in his quest to make Deathgasm a reality, please visit the funding page and show support for this project.

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