A new lyric video for King Giant’s “Trail Of Thorns,” culled from the band’s rapidly approachingBlack Ocean Waves album, has been made publicly available.
Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as Mastodon – Leviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).
Deathcore band My Hollow will release debut full-length On Borrowed Time on July 31.
1. ON BORROWED TIME
2. AS SEAMS SEEP RED
3. COLD DARK DAYS
4. HISTORY OF VIOLENCE
5. LIFE IN THE SHADOWS (INTERLUDE)
6. KING WITH NO CASTLES
7. WADE THROUGH THE THORNS
8. WE CROSS THE SUN
9. BLOOD SEEDS
The band has already released the official video for the title track and has made it available on Youtube.
For those who wanted more of Following the Voice of Blood, Woodtemple approximates this style in longer songs that allow a range of emotion to create a backstory to the dominant mood of darkness and ambiguity. Often these take the form of folksinger style acoustic (or at least sans distortion) strumming of simple melodies which reflect often pastoral moods, before contrast with abrupt tempo change to the darker black metal tremolo or churning slow strum in the style inspired by Mayhem/Thorns but taken to a darker place. While these two tracks sound like they could have come off the Graveland album, the emotional outlook for Woodtemple is both more naturalistic and more varied.
Vocals follow an entirely open pattern that comments at half-speed to the pace of the riff, with guitars enfolding internal texture through strumming speed and variation among strings creating an empty and lonely sound, allowing songs to background drums to a faster pace without making the guitars pick up speed, although creating a background of urgency. Often dual guitar tracks create a clear voice of simple strumming over a brooding, distorted sound, building up a tension of instability and threat within the sound. Songs tend to move in a cyclic pattern through multiple riffs that return to a chorus riff and vocal pattern through the contrast created by other pairs of riffs warring it out to establish a mood to contrast the dominant theme.
Hidden in Eternal Shadow creates the experiment black metal should have embarked on earlier in creating the intense dark atmosphere for which the genre is known, and then manipulating it like a mural, taking it to different places as a means of creating context and showing the origin of the melancholic morbidity. This follows up on the experiments of the Graveland/Lord Wind early years which attempted to find a folk voice in black metal that was not merely surfacing, as in the “Viking metal” (power metal with Norse lead guitar melodies and styling) of the time, and does so successfully by creating a new form of ambience which both drones and builds upon itself to the point of expression of melody. For this reason, Hidden in Eternal Shadow shows not just Woodtemple at its strongest but black metal evolving to pick up the promise it birthed and nurture it further toward the creation of what might be a new genre.
From the cluster of San Antonio bands who have provided a steady stream of necrotic underground metal since the mid-1980s comes a new project, a Celtic Frost cover band named Morbid Tales, which plays live on Friday, October 11 in San Antonio.
Composed of Bjorn Haga (Necrovore, LaSanche, Hod, Thornspawn) on guitars, Art Espinoza (Deguello) and Rob Garcia on drums, Morbid Tales revives the roaring glory days of Celtic Frost as it re-invented metal to be a more primal and psychic assault.
Internet radio access is usually available on a global scale. With a little webcasting know-how someone can connect their computer to a server and stream a full-fledged internet radio station. I would imagine that marketing the station to build an audience might be more difficult than devising the station itself. I stumbled upon Duke Hagin’s show Southern Decay on Stench Radio. It was great to see that his program consisted mostly of underground metal and classical music which reached thousands of people. Duke agreed to an interview after I was interested to see how his program came to be.
Howdy Duke Hagin! Thank you for taking the time to have the Death Metal Underground inquire about your exploits. What inspired you to get into internet radio?
Just to put this into perspective, as of this interview I am 24. Around the time I was 10 or 11, Limp Bizkit and Korn became a huge part of my life. I often recognize these shitty “nu-metal” bands as my gateway to a taste in finer music, despite being well aware of bands like Metallica and Slayer. I was in marching band in high school and I was largely a loner, but I did have a small group of friends I would float around to and expose new music to. Some people might be surprised to find out, considering the type of music I play on my show, that Rammstein is amongst my favorite bands. I exposed friends to Rammstein, Korpiklaani, and other bands and in turn I was exposed to bands like Darkthrone, Mayhem, Venom, Immolation, Dimmu Borgir…the list goes on and on. During these times my friends and I would hang out on various IRC channels and stream music for each other. This is what largely got me interested in broadcasting to the masses. I enjoy exposing people to things they’ve probably never heard before. Obviously my preferences in music, Rammstein and Korpiklaani aside, have drastically changed and I hope that my work is allowing people to enjoy something new to them.
Stench Radio is owned by Stig Stench. How did you get into contact with him? Was it easy to convince him to let you have your own show?
How I met Stig has nothing to do with music. When I was a senior in high school, I was very much (and still am) involved in professional wrestling. Stig was a manager for a group of various wrestlers and I would volunteer for a locally based wrestling promotion. When I found out Stig was a fan of black metal, we hit it off. He eventually persuaded me to get involved in the actual show and became a mentor of sorts to me. We lost touch for a while after I graduated high school and moved on to college but we got back in touch a bit after Stench Radio was launched over three years ago. One month I’d ask for a 30 minute show and it wouldn’t happen. The next month I’d ask for a one hour show and it would never come to fruition. Honestly, I begged for almost three years to have a show and he was gracious enough to give me a three hour time slot. I consider Stig a great friend and although we may not agree on a lot of things philosophically, he is very near and dear to me.
Your show Southern Decay on Stench Radio is different than most of the other programs on there. Why did you decide to bring extreme metal to a punk oriented radio station?
Stench Radio has a large audience. I mean no disrespect to the other DJs by saying this, but you can only hear so much Black Flag and Sham 69 and no on-air personality before you get tired of it. If I wanted to listen to robots play music, I’d put on Spotify or something. Stench Radio has attitude and that’s why I wanted Stench Radio to have a show that is complete chaos. I do my best to be personable and have fun with it. When I first started the show, I was incredibly nervous. Over time I think I’ve found my style and the audience has been more and more responsive each week. I hope to continue to learn from my listeners and learn more about myself as this experience presses on.
Most of the shows on Stench Radio reach thousands of listeners in over 40 countries. Was there marketing involved to help build the audience? Has your show been well-received?
Stig has connections everywhere. The man has built an underground empire from nothing and what’s great about it is that it is a tight nit community with a very loyal fan base. Marketing has mostly been through promoting shows locally in Austin, TX and via social networking. The network is completely listener supported and nobody is making a dime off of this. As far as my show being well-received, there was some initial backlash from the guys who want to hear nothing but punk 24/7 but I’ve grown on a lot of people I hope that trend continues. It’s been getting more and more exciting to do a show each week, especially when I get to conduct interviews. My interviews so far have not been great on my side but that is something I am definitely working to improve on.
Being that you’re based in Texas and sometimes feature Texan bands on your program, do you feel that it’s a duty to support your local scene through your program?
I regularly play tracks by Hod, Plutonian Shore, The Black Moriah, Id, and Morgengrau. I hope to keep that list growing. I wouldn’t say it is my duty to support these bands. It is an obligation. They pour everything they have to make the scene in Texas what it is and I refuse to be a leech. I want these bands to succeed and I want Texas to be a hotbed for metal. As far as I’m concerned, there is no reason this state can’t have something on the level of Maryland Deathfest. Rites of Darkness (bullshit aside) and Sacrifice of the Nazarene Child were magnificent fests but there needs to be a stronger foundation. There are a few smaller fests that mainly feature local acts that pop up here and there but there needs to be something stronger. This needs to reach out further. I mean no disrespect to any promoter in this state, but I feel that by exposing these bands to a large audience I can help break ground on something big. I don’t know what that something big is quite yet, but I hope that one day, in some city in Texas, we can shut down a street or park or fairground and bathe in the glory of what these bands do with thousands of other people. “Big things have small beginnings.”
You also feature Classical Music on your program. Why?
There is a very simple answer to this question. You must pay tribute to your kings. Without the old, there is no new.
What are your favorite bands?
I’ve already embarrassed myself and declared myself false by admitting that I like Rammstein and Korpiklaani, so I hope to salvage some “cred” with this answer.
I love Midnight. I open every show with a Midnight track and I close with Saint Vitus’ “Blessed Night”. I’ve also recently gained a great deal of respect for Revenge, especially after seeing them at Maryland Deathfest this year. Antaeus and Aosoth are great. Marduk is up there along with Wodensthrone, Embrace of Thorns, Pseudogod, Immolation, Katharsis, Desolate Shrine, Adversarial, Nosvrolok, Profanatica, Beherit………….
Since your show is still fairly new, do you have any special plans for it in the future? Theme based shows?
I have interviews coming up with Humut Tabal and Plutonian Shore. As far as themed based shows go, the only one I’ve done so far was the show that aired on April 20th, for obvious reasons. I played a lot of classic rock, doom, sludge, and “stoner” metal that day. This Saturday (6/1/13) I am doing a live show from Chaos in Tejas. The Chaos in Tejas show will largely feature bands playing that festival such as Absu, Manilla Road, Satan’s Satyrs, Speedwolf, and much more.
Thank you for your time. Please share any last words and resources for our readers to check out.
My show airs on Stench Radio from 3PM to 6PM CST every Saturday. Again, Stench Radio is completely listener supported. Donations are appreciated to cover server and equipment costs. I am in the process of having a series of patches made as well so keep an eye out for those. You can reach me personally on Facebook as well. Keep your hammers high and support your local scene, no matter where you are.
From last night in San Antonio, Texas. LaSanche is the brainchild of Bjorn Haga (Ex-Necrovore, Thornspawn, Hod).
I like to believe that every death metal fan has seen a Dan Seagrave cover at one time or another. The man has painted the covers of some of the most influential death metal albums out there – we’re talking Morbid Angel, Suffocation, Entombed, Pestilence, Dismember, Gorguts and Carnage among others. Some of those covers have undeniably somewhat added to the spirit of death metal mythology.
Seagrave is a self-taught Brit, initially inspired by the rural and urban surroundings of his native Ravenshead (near Nottingham). That the young artist’s paintings would fit the imagery of death metal music makes sense when considering how his early influences included John Martin, a Romantic painter keen on apocalyptic and chthonic scenery, and M. C. Escher, a graphic artist interested in labyrinthine visual paradoxes. Top it off with some Vincent van Gogh, Leonardo da Vinci and early sci-fi films, like Alien, and the road to metal doesn’t seem entirely unlikely. Seagrave is nevertheless (and hardly surprising) more into architecture than other visual arts:
I like to see the layers of history in buildings, things like old signs or hand painted fading billboards – that kind of thing, and a little bit of seedy urban decay.
The typical Seagrave painting these days often seems to delve in a sea of thorns or a mess of jagged bark that’s come alive in some decrepit, chaotic universe. Some of his works are, by contrast, highly symmetrical pieces (think The Ultimate Incantation or Like an Ever-flowing Stream). In all his works, however, there’s a penetrating attention to detail. You can spend an awful lot of time discovering all the elements of the cover of, say, Effigy of the Forgotten.
Seagrave’s early paintings used gouache paint, which, while rather dull, is more tolerant of the meticulous. Whereas these early works are reminiscent of morbid still lifes, his more recent paintings – mostly painted with acrylics – experiment more with gnarly shapes, twisted movements and vertiginous perspectives.
Seagrave painted a lot of cover art from 1988 to 1994, more or less until the advent of computer graphics (and the death of a lot of underground metal). He prefers to work instinctively and hardly uses any reference material. He is, as he expresses it, “trying to convey”. Seagrave’s legacy should indeed remind us that real paintings pertain more to the authenticity of metal culture than any Photoshop production:
I did around 40 covers, computer graphics were cheaper alternatives, but I think paintings are far more interesting to look at. And people realize that computer art is as different to painting as photography, it’s simply another medium which is why things are beginning to level off again.
This July 2, Autopsy returns with their sixth studio album of horror and gore inspired death metal, The Headless Ritual.
Featuring the returning quartet of Chris Reifert, Eric Cutler, Danny Coralles, and Joe Trevisano, The Headless Ritual explores the all-out sonic assault of and varied tempos that made Autopsy famous as a death metal band with variation. The album was recorded and mixed April 2013 at Fantasy Studios, San Francisco, Calif. with Adam Munoz, and features cover artwork by renowned artist Joe Petagno (Motörhead, Pink Floyd, Led Zeppelin) and will be released on Peaceville Records.
Drummer/vocalist Chris Reifert said, “Expect nothing less than the monstrous brutality that Autopsy has been known to offer. Laurels will not be rested upon, trends will not be followed and mercy will not be shown. Mark your calendars for June and pick out a coffin to lie down and die in. Darkness and death await…”
Autopsy formed in 1987 in the San Francisco Bay Area and released four albums on Peaceville Records, beginning with Severed Survival (1989) and peaking with Mental Funeral (1992), which many acknowledge as their best work. After disbanding in 1995, Autopsy returned in 2010 with the EP The Tomb Within, followed by the release of the band’s fifth studio album Macabre Eternal the following year.
1. Slaughter at Beast House
2. Mangled Far Below
3. She is a Funeral
4. Coffin Crawlers
5. When Hammer Meets Bone
6. Thorns and Ashes
7. Arch Cadaver
8. Flesh Turns to Dust
9. Running From the Goathead
10. The Headless Ritual
San Antonio’s Hod are no strangers to the metal scene. Seemingly playing live every weekend in Texas, they’ve amassed a strong underground following since their inception in 2007.
I received an exclusive listen to three of the songs that will be on their sophomore album Book of the Worm. Fans of their first album Serpent will be appropriately pleased with this stronger display, which is a natural progression from their earlier material. The most noticeable difference is that the drums are played faster than their earlier recordings. The riffs flow like they did on Serpent, but with more dynamics.
Carl “Lord Necron” Snyder shed some light on the band’s progressions throughout its existence:
In 2007, Hod released its debut demo, Cry and Piss Yourself, which led to Ibex Moon Records releasing your debut album Serpent in 2009. How would you say your music has progressed since Serpent?
The band has jelled together more. I believe the writing flows better. The band has a better and vision and identity of where it is going. Also we have a quite a few lineup of changes which has left me as the sole riff writer of the band up till now. So our next album Book of the Worm was placed on my shoulders to finish up and do all the guitar tracking. The good news is Blackwolf our new guitarist is bringing some devastating riffs to the table for new material.
You’ve been involved in the Texas Metal scene since it began, involving yourself numerous bands. How would you compare the early days to the Texas scene today?
The 80s and early 90s had much better turnouts for shows. Local shows were way more attended than nowadays. But I think now it easier for your music to reach more people with the internet. So more people are listening, but less are attending. MP3 culture is a double edge sword. So much is available but people do not get absorbed into albums like they used to. Kids download entire discographies of bands, and fly through the albums. How can you really grasp an album that fast. We used to buy maybe three albums tops over a two week period and just listen to those records over and over. But I admit quality control was better back then too. How are you going to say getting Seven Churches, Bonded By Blood, and Hell Awaits at the record shop compares to getting 25 albums on MP3 by some obscure bands that you are never going to listen to again.
HOD is known as one of the most hardworking bands in Texas, playing live every weekend it seems. This appears to be a 180 since your Thornspawn days. Has playing live often strengthened the band?
Of course playing live strengthens the band. Your band can only improve by taking the stage. Real bands play live. Real men take to the stage. This nonsense of just releasing music and never performing live is boring and a waste of time. The true power of metal is to hear in its organic form live. You cannot beat that feeling. Keep your bedroom bands in the bedroom, and stop trying to compete with real bands. I hate it and it needs to be put to a death.
The Texas scene is looking forward to your next album, Book of the Worm, can you shed some light on it for our readers? Lyrical themes, progression in sound, etc.
We all know what to expect from Hod. Death and Darkness. More Lovecraftian themes and influences in the lyrics for sure. It will be better produced for sure. The guitar tone is crushing! The tempo is faster. It’s like Serpent x 100. Beer’s vocal performance is just deranged and his delivery has really improved.
Will all of the songs featured on the “Uncreated” demo be on your full-length? Is there label lined up already, or is this demo to get a new one?
Yes they will. That is why the demo is being printed up super-limited. The demo is to showcase the material for the album. We are not sure what label we will go with. We are in no rush just to get it out. We will make sure when we sign with a label it is what we want. Also, we wanted the people that had been loyal to Hod to hear some of the new stuff.
What have been Hod’s most successful/memorable shows?
The tour with Marduk was quite an experience. They set the bar high every night and it opens your eyes to what you have to do to make an impression in the metal scene. Canadian Metal fans rule. Of course Houston scene is awesome. Austin is strong too. Mesa Arizona was killer when we toured with Monstrosity. Sorry for no specifics. It kinda all runs together at this point.
What advice would your give to the younger metal bands that are emerging in Texas?
Just practice hard and be ready to lay it all on the stage. Don’t get up there unsure of yourself. Don’t waste your time and more importantly the audiences’ time. Be prepared. Because most likely it will not go smooth. Record a kickass demo too! Don’t worry about freaking getting signed right off the bat.
You live and breathe the old school, what are your all-time favorite albums?
To name a few…..