Bathory‘s Under the Sign of the Black Mark turned turned thirty years old last month. The album marked the start of Quorthon adding in the epic atmosphere of Manowar and Iron Maiden which would come to fruition on Blood Fire Death. Under the Sign of the Black Mark also happened to be one of the first black metal CDs I ever purchased, which I preceded to play non-stop for about a week until getting bored of it and going back to listening to Altars of Madness.
Article by David Rosales.
A trend in the modern conception of anything has been that the newer something else, the better we expect or assume it to be. Experience in reality, however, has also given rise to another perception: that the new tends to be worse and not better. Attempts at rationalizing this drive the pseudo-intellectual, pro-sheeple crowd to say that times just change, but ratios of quality do not vary. This is not only unscientific but an obvious politically correct answer that has as its premise that everyone is equal, and hence, that the resulting products of these “equal” people must also be probabilistically equal. Impermeable external influence seems to them the only changing factor, with the internal being either infinitely constant or practically negligible. This is assumed and then possible causes are haphazardly and desperately pieced together, the answer is assumed and then anything is either positive evidence or brushed aside if too problematic to incorporate into the fairy tale. Ignorance compounded with pretense and emotional insecurity always results in capricious imposition of an arbitrary and dogmatic concepts and scale of values.
As the internet dies a slow death from both information overload and undue concentration (and thus agenda enforced) in sites like Wikipedia and Metal-Archives, many metalheads are returning to zines. Zine editors choose what to focus on and tend to specialize in certain levels of quality and types of metal, so if you find one you like, it becomes a combination learning experience and shopping guide.
Noticing a void of information on Texas specifically, JH (his lawyers insist that no identifying details are used) has started the process of bringing Under the Sign of the Lone Star to print. As part of the new wave of underground metal zines, this Texas-centric zine will focus on that which the mainstream media and internet chatter alike ignore.
We were lucky enough to get a few minutes with JH as he was loading suspiciously heavy blue barrels into a panel truck outside Lubbock…
When did this idea hit you, and what was your intent? What sorts of zines do you admire?
I’ve written on-and-off for years, and about two years ago I had the idea to put my thoughts to print instead of in a digital medium. Life got in the way and since I didn’t have any real focus other than “bands I liked”, the idea fell by the wayside. Fast-forward to the tail-end of 2014 and I found myself staring at a magazine rack full of “metal” magazines with, surprise surprise, no actual metal (or at least, with the actual metal de-emphasized in favor of flavor-of-the-month trash). I found myself compelled to write again as a reaction against those publications and began writing the zine as soon as I realized the concept.
I like my zines the way I like my metal demo covers: black-and-white, fairly minimal layout/presentation, and without pulling any punches if that makes sense. Some of my favorite (and most influential) metal releases are underground demos and I feel as the final result of UtSotLS is a printed equivalent of a tape demo (not that I’m comparing it to something as good as “Evil Metal”, of course). Also I’m not a talented writer in the technical sense, but I do feel a passion for putting thoughts to pen. I see it as similar to older releases that lacked by-the-book musicianship but had a near-tangible fire in their recordings.
Zines that get my support: Codex Obscurum, Slaves (#2 has killer interviews from Lust, Amputator, and more), Trident Nation, Chips & Beer, Zombie Danz, and Serpentscope which gets an A+ for original concept. And Slayer was killer, obviously.
What is the topic of the zine, and what will it cover, and will there be enough material?
The topic of the zine is bands from Texas that people should know about. Lots of reviews (including a few live ones), some interviews, and additional content that will hopefully open a few eyes to the metal that rules in this state.
As for whether there will be enough material; that will be for the readers to decide. Personally I prefer to keep things short and to-the-point rather than drag things out longer than necessary. I’d rather read a 20-page zine with interesting content than an 80-page behemoth with maybe four good articles. I’m finalizing the layout at the moment but it will be over thirty pages which works for me.
What is the Texas scene like? What are its strengths and weaknesses?
The Texas metal scene could probably be summed up in three adjectives: loud, aggressive, and hot. Admittedly I would say that it is fairer to split each city into its own scene rather than Texas as a whole for reasons elaborated on below, but just about every city has killer bands in their own right.
Strengths: The bands. That should speak for itself, but also the abundance of shows. There’s always something going on in at least one city (although you may have to drive for a while, see below). Also a lot of awesome bands from other states or countries play here often. Destroying Texas Fest XI with Blood Storm, Nocturnus A.D., Hades Archer, and Force of Darkness is an example of one that will crush.
Weaknesses: The state itself is gigantic. It’s pretty common to find yourself driving for hours to see a show in another city that would be the distance between states up North, or even countries in Europe. Also the summers are pretty brutal. Any time you’re in a venue and the AC is busted it’s borderline unbearable. But it’s always worth it in the end. Live for metal, get heat stroke for metal.
Can you tell us a bit about yourself and how you came to get involved with metal? Are there other staff?
I’m a mid-twenties bassist who drinks black coffee and plays faster than he should. I am also a native Texan, if anyone cared. I started with Metallica at age 14 and the first “gaze into the abyss” was Slayer. Progressed through classic metal (Sabbath, Motorhead), then thrash (Sepultura, Exhorder, Hirax), then death/thrash (Voor, Slaughter (Can.)), then death (Obituary, Morbid Angel), then black (Averse Sefira, Emperor), and so on and so forth (this is a rough timeline and far from in-depth). Started consistently going to local underground shows in 2010 with a Hexlust/Birth A.D. show and haven’t stopped since, tinnitus and neckaches be damned.
No staff other than my girlfriend who drew the cover, provided some layout assistance, and took the photo of myself for the author section. UtSotLS is a personal project at the end of the day and I prefer there to be a consistent voice throughout the whole issue.
Why do you advertise as “anti-clickbait”? What does this mean in your own lexicon?
I wouldn’t necessarily call the above an advertisement since it was just a personal statement on my own Facebook page, but I do see it as a relevant approach. “Clickbait” refers to online publications that post eye-grabbing headlines or articles (often misleading) with the intention of bringing a lot of traffic to their site to make money off advertisement revenue (this doesn’t refer to the DMU obviously, haha). I write out of passion for writing and for the music that means more to me than any worldly possessions, not out of the need to fill my bank account. As a reflection of this, no band solicited a single review and there is not one advertisement in “Under the Sign of the Lone Star”: the content is there because I wanted to write about it, 100%.
The full statement “ANTI-CLICKBAIT RAG” was a tribute to Rok from Sadistik Exekution writing “ANTI-NORWAY SHIT” on his chest ages ago and I always love to cite SadEx (and Bathory, for that matter).
If someone wanted to know what bands/zines from Texas that they MUST know, who would you list?
– Older: Necrovore, Hellpreacher, Blood Spill, Divine Eve, Dolmen, Absu, Averse Sefira, Rigor Mortis, Imprecation, Obeisance, dead horse, D.R.I, Devastation
– Newer: Hod, Hexlust, Birth A.D., Blaspherian, Morbus 666, Spectral Manifest, War Master, The Blood Royale, Church of Disgust (They’re split between TX and Florida, but that’s good enough for me), Funeral Ash, Whore of Bethlehem, Maiestas, Oath of Cruelty (who have members that are now in Morbosidad who get 666% support), Nexul/Hellvetron/Nyogthaeblisz, Termination Force, Skan, Id, Cleric, and Sigil. I’m just going to stop here since I can’t possibly list everyone – read issue #1 for plenty of examples!
Feral Noise was a killer one, as is Underworld Zine which I believe is based out of Houston if I’m not mistaken.
I understand you’re involved with the Metal Enema radio show. What’s that like? Do you consider yourself a ‘metal activist’?
Metalenema is no-holds barred insanity. I’m somewhat amazed that I haven’t been driven mad over my three-year tenure on the show, but I’m sure it’s only a matter of time. In all seriousness it’s a blast and one of the key ways that I myself find out about newer music from Undertaker’s contributions to our mixes (otherwise I would probably hole up in my cave listening to nothing but the same four Celtic Frost songs over and over again). We are proud to wave the flag of extreme metal over the airwaves and hopefully enlighten listeners to the way of death/black/thrash.
In all honesty I wouldn’t use the term “activist” to describe the way I live since it makes me think of stereotypical naïve teenagers with well-meaning-but-misguided political affiliations, but I do live for this music that burns inside of my soul. I enjoy plenty of other music, but metal is what set me free. Ad Majorem Metallum Gloriam : To the Death.
Many thanks to DMU for the interview! For the interested, a preview of the zine with a few interview scans is available at the link below:
William Burroughs often wrote about the “edge,” or the liminal threshold between states. The last real edge year for underground metal was 2009 when strong contenders and new voices united to defend extreme metal against the onslaught of imitators making Potemkin village metal from hipster flair and lite-jazz fireworks but underneath it, nothing but disorganized songwriting and an absence of something to express. As the underground has come back with a vengeance, it has begun to displace the imitators because their music simply does not measure up. This has created a backlash as the hipsters defend their territory with guilt, ostentation, pretense and surface-level novelty. On the other hand, the underground has produced some strong contenders. And so we move forward through the past to the future, remembering that what is true is eternal, and trends, novelties, fads, hipsters and other transient moments pass quickly away…
Blaspherian – Demos (Compilation of Death)
Compilation of Death Records has re-issued the a classic demo and rehearsal from a band of recent vintage but oldschool origins, Blaspherian. Their thunderous death metal sounds like Incantation and Obituary covering Deicide but has a voice of its own and unique perspective. It also carries forward the old school sensibility of building intensity and contrast in a morbid mood that is not self-echoing and redundant. Songwriter Wes Weaver (Imprecation, Infernal Dominion) avoids solos and other adornments to focus on tunneling riffs that are distinctive and create interplay with others in each song to give every song a unique feel within the lexicon of symbol and emotion that death metal addresses. Like the bands that inspire it, Blaspherian aims to create an immersive atmosphere of doom and morbidity in which it can bring forth other emotions in layers, such that the “mixed emotions” feel common to much music is not something achieved at the peak of a song, but is a constant in which the emotions mixed vary like a texture, revealing new combinations under the shifting striations of darkness.
Blood Urn – …of Gory Sorcery and Death (Terrorghoul)
Death metal of the classic style fascinates this young band who write music much like the early years of death metal but with more of an emphasis on melodic bridging material, avoiding the pitfall of using melody as essentially a production technique and instead causing it to highlight songs that come alive with a ferment of conflicting riffs. Vocals use the old-school method of shadowing riffs and the salad of phrases itself fits together and creates a deepening mood. While on the heavier and slower side of death metal, this demo is varied enough to touch on all areas of the genre, assembling rich textures as a means to develop depth to the emotions in each part of the song. Unlike many newer bands, Blood Urn decided not to follow a single identifiable influence but instead sound like a study of European and American death metal rendered by someone approaching it with a fresh vision.
Cenotaph – Riding Our Black Oceans (Chaos, re-issue)
A re-issue of this album restores it to its rightful place in the death metal canon. After the immensely powerful Gloomy Reflections of Our Hidden Sorrows, the thunderous Mexican death metal band Cenotaph changed their style to an airier and more intense high-speed melodic death metal sound. Unlike contemporary “melodic death metal” this style embraced the vigor of death metal by expressing it through sequences of tones that added melody without obscuring structure and darker moods, and Cenotaph displayed its customary acumen for songwriting by keeping each track centered around an idea that came forth not only in the whole but in the shape of its riffs. In the years following Sentenced North From Here and At the Gates The Red in the Sky is Ours, many bands attempted this newer style but few made it as vicious and uncompromising as Cenotaph.
Conquering Dystopia – Conquering Dystopia
Conquering Dystopia creates instrumental mental that hybridizes death metal styles with progressive heavy metal and some of the newer progressive styles like that of At War With Self. The result often sounds a lot like Joe Satriani’s older works in that clear theme is expressed and highly repeated, but varied with other instrumental detours which strengthen it as the song progresses and all the pieces fit together more an in interrupted linear way than the geometries of pure death metal. While this is like most commercial rock indulgently emotional, the underlying music is good and the technique interesting without leaving service to what each song needs, which keeps it not only topical but interesting.
Dead Congregation – Promulgation of the Fall (Martyrdoom)
Although this band gets mentioned as the foremost in the “Incantclone” series of bands inspired by streaming columnar detuned tremolo underground metal in the style of Incantation, Demoncy and Havohej, Dead Congregation draws influence as well from the subtler structuring of older Immolation in its use of melody to underscore is otherwise a thunderous series of chromatic rhythm riffs needing a center. Although songs vary in completeness throughout the album, generally these storming high-intensity dirges fit together well and produce an encompassing atmosphere which both crushes and awes the listener. If anything, this band could let up on the classic technique and float more of their own aesthetic ideas now that they are established.
Demilich – 20th Adversary of Emptiness (Svart, re-issue)
Back when death metal was viewed by just about everyone as an incompetent genre of malcontent losers who would go nowhere and who were complaining about our new consumer+hippie paradise, a few bands emerged who saw the emerging genre not as a style but as an artistic voice with unlimited possibilities. One of these, Finland’s Demilich, created an album so circuitous and bizarre that the metal press basically dropped it and ran in fear, as did many fans. For those who discovered it however, Nespithe presented unlimited potential as to how death metal could adopt technicality and yet not be mastered by it and forced into the type of generic jazz-blues-rock theory that served to actually limit what musicians could conceive of and execute. With its twisted passages and seemingly erratic rhythms, Nespithe resembled a strange machine risen from the bowels of earth to conquer humankind. Instead, it inspired generations of fans and musicians to visualize death metal as a broader language than many wanted it to be. This re-issue pairs up older works with a handful of newer songs to make for a complete experience of this distinct voice and its concept.
Desecresy – Chasmic Transcendence (Xtreem)
Desecresy combine Swedish death metal, doom-death metal and atmospheric influences from black metal to create towerlike scenes of dark moods in collision. With Chasmic Transcendence, the band update the formula with more easily separable rhythms to riffs and use of melodic transitions to intensify the building sense of doom. It builds grinding tension and discharges it in lengthy melodic passages which expand beyond their origins into new landscapes. Add to this a tendency to use lead melodic rhythm guitars over its power chord riffs and this makes for a haunting listen that resembles a descent into the underworld. With this third album, the band shows not only its staying power but the depths of the well of its creativity in not just re-inventing older styles but finding a new combination of them and using that to express a perspective which elaborates upon the basics of the genre and gives them new elegance and power.
Enthroned – Sovereigns (Agonia)
Famed for their high-speed melodic black metal, Enthroned take the populist approach of middle-period Dimmu Borgir — before it went into its final stage as warmed-over hard rock — and craft it with greater urgency and the instrumental approach of older black metal. The result more resembles the later Bathory albums where heavy metal, proto-black metal and post-Slayer death metal influences merged to create a potent ferment. Sovereigns does not achieve the vast contrasts and epic sense of loss of earlier black metal, but upholds a battle-spirit and pushes it into song with strong melodies that do not lapse into the cloying saccharine world of “feelings” — personal observations based on personal perspective — but instead appeal to emotions, or the shared sense of importance and value to certain things which might be eternal. This album breaks up the formula slightly with slower songs as the album expands, in the style of Hypocrisy Penetralia.
Entrench – Violent Procreation (War Anthem)
Following in the steps of Merciless, who could be seen as the stylistic ancestor of this band, Entrench craft speed/death metal with melodic underpinnings and a frantic but strident voice which guides riffs much in the way Dio narrated his own songs. To the Merciless formula of adroit ripping riffs concluding in both ambiguity and alignment, Entrench adds a Kreator style of finality to both vocal and guitar phrase, making these songs less emotional but more solidly violent. While speed/death hybridization usually ends badly, here the essence is speed metal riffs played as if by a death metal band in the context of a rhythm more like that of death metal. The result is satisfyingly impact-oriented but for it to take the next step to where Merciless is, it will have to coordinate its melodies and cultivate ambiguity both for it to resolve and preserve to keep the dark sensation produced by the riff-style of death metal, minor key melodies and mentalities outside those of the herd.
Heresiarch – Wælwulf (EP, Dark Descent)
Attempting to forge a niche for itself in the Incantation/Blasphemy inspired style that has become a de facto underground currency during the past few years, Heresiarch create a muddier and more obscure version of their previous works, focusing less on tunneling riffs and more on simple two-chord riffs introducing songs that expand to greater degrees of structure with the slightest hints of melody. The band, in hoping to take war metal to the next dimension, probably consider their work to be unstudied and arising on impulse, but these songs show a clear pattern of development from the grinding to the structural and as a result, take the listeners with them on a journey of finding beauty in darkness and coherence in chaos. The violent slamming intensity remains but by lessening its consistency the band achieves a greater sense of contrast, like raising a sacred object higher above the marble floor to ensure that when it shatters the pieces are irreducible.
Kever – Eon of Cycling Death (Dark Descent)
Perhaps one of the most inspiring releases this year, Eon of Cycling Death wears its old school influences in Suffocation and Morbid Angel on its sleeve but without imitating them in pale imprint of their technique without understanding their essence. Instead this band forges on with a kind of fantasy death metal that shows them living an alternative and parallel timeline to these bands, developing the basics they innovated with a voice specific to these individuals regardless of what time they are born into. Percussive riffs give way to an ensemble of death metal styles united by rhythm and space which convincingly outline the ideas of each song and then give them depth through internal dialogue. On top of it, an abrupt and croaking vocal gives new life to a very familiar technique with its guttural but carefully sculpted sonic enunciation.
Massacra – Enjoy the Violence (Century Media, re-issue)
One of the great classics of death metal, long passed-over for more dramatic acts, gained new life with this re-issue. Massacra created their early music in the style which stretches from Slayer through Morbid Angel and emphasizes fast strumming of rapidly-colliding riffs which emphasize ambiguity and openness over the kind of certainty that works well with more percussive styles. Enjoy the Violence is like a rollercoaster between extremes where all things lead back to the same point, but the experience is changing enough that it is almost unrecognizable as the same. With the remaster, some of the weaker sound from the earlier recording is corrected and bonus tracks are added, giving new life to this under-recognized classic of the genre that was more highly influential among musicians than fans, and took on new life in the bands it influenced.
Massacra – Final Holocaust (Century Media, re-issue)
This foundational album of death metal by Massacra has been re-issued by Century Media with bonus tracks and a booklet rich in information. That provides a good introduction to this view of the death metal style, which instead of attempting to be “heavy” aimed for shock and awe with fast riffs and convoluted songs that somehow emerged into an almost peaceful calm after chaos and combat. Massacra derive their strength from the ability to write fast-fingered riffs that capture the thrill and terror of being alive into a single moment and use this to make basic clashes within life into a mythology of trying to conquer empty spaces with the will and sensibility of a warrior wandering a dystopian wasteland. While this album was forgotten in the day mostly due to its mids-heavy (in contrast to bass-heavy) production and relative availability through distribution contracts more circuitous than its riffs, it rides again in new form.
Massacra – Day of the Massacra (Century Media)
Century Media compiled several early Massacra demos into a single disc, paired it with extensive liner notes and pictures, and remastered everything for an insight into the rise of the Massacra sound while it was recognizable as what would emerge on the first two and most influential Massacra albums. These recordings show the band merging its early influences into a style and then finding its own voice within that beast, allowing it to compose distinctive and evocative songs immediately including several pre-album tracks with some duct tape still visible. While this might appeal most to Massacra maniacs, it also serves as a useful introduction to new fans who may appreciate the heavier production and more aggressive primitive approach here as a means of transitioning to the albums that follow, which focused not so much on slamming impact as a kind of sky architecture of riffery.
Nausea – Condemned to the System (Willowtip)
Straddling the line between grindcore, crust and old-fashioned hardcore — which are inches apart as it is — Nausea return with this recording of older and newer tracks alike. Carefully pared down to incorporate only necessary elements and keep energy high, Condemned to the System demonstrates the simpler style of punk composition with all of the riff power of early grindcore, including several tracks (and pieces thereof) that later made it to the first Terrorizer album, World Downfall. The listener who can forget that heritage however will discover merely a crushing, efficient and streamlined album of enjoyable but hard-hitting punkish music that will not win awards for extremity or technicality, but shows care applied to songwriting so that a listener does not feel lost in a sea of riffs or drone, but can isolate each song in the mind and appreciate its individual attack.
Nunslaughter – Angelic Dread (Hells Headbangers)
While some may be tempted to categorize Nunslaughter as dinosaurs, the fact remains that this band takes the raw ingredients of power metal, speed metal and most death metal and makes a stripped-down, hardcore-punk style ripping version of this that remains highly listenable even if not particularly distinguishable on a song-to-song basis. Like other collections of many short songs, such as Dead Infection or Carcass, Angelic Dread operates like many small insights into roughly the same idea. Somehow, what this band creates never gets old, in part because they understand their riffs as a language from the same basic source, and in part because like a thrash band their song format carefully fits the particular clash of the two riffs (with a few budget transitions, and sometimes rhythmic variations, Nunslaughter uses two riffs per song on average) and the need of presenting them in the best light. The result is compelling and enjoyable and upholds the best tradition of riffcraft and expressive violence in underground music.
Oppression – Sociopathie & Gloire (Preposterous Creations)
Merging Oi!-style punk with some enhancements from black metal, tracks are short (2-3 minute) affairs. Melodies are catchy, yet wistful lines grounded in simple guitar and bass riffs, with vocal alternating between manic shrieks and an idiosyncratic, youthful attempt at melodic singing. Using the more linear style composition of punk, as opposed to the riff-stacking song construction used by much of black metal, each song contributes a sense of motion that builds the album up over successive tracks. Production values are what one would expect for this style of music; clear enough to make out each instrument, but raw enough to preserve low-budget ethos. This is a release that is not attempting to invent a new genre, but rather one which seeks to renew genres that had collapsed under their own entropy. The strange aesthetics may be off-putting to some, but if those can be sublimated into the spirit of this album, a refreshingly honest work will open itself for enjoyment.
Personal Device – Microorganismos del Mal
First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range.
Ripper – Raising the Corpse (Underground Defenders)
Much like Merciless, Ripper know to invoke a melodic hook with a rhythmic hook and gradually bring a song into unity, at which point they hammer home the infectious chorus until the audience is ready to carve it into their own flesh. While some may point out that little new occurs here stylistically, and many of these riff forms can be traced back to Slayer or Destruction, what Ripper does well is keep this music high-intensity without falling into sameness and to streamline into an effective delivery mechanism that outgrows the confused collision of styles that was the mid to late 1980s. This approach fits within the early speed metal model that formed the basis of great hook-laden German bands like Destruction and Sodom, and this tradition continues with Ripper. Where Ripper succeeds is in removing extraneous material and cutting to the core of its music, eliminating some of the distraction and randomness that blighted later work from the German bands.
Sorcier Des Glaces – Ritual Of The End (Obscure Abhorrence)
Flowing dark melodic forest black metal band Sorcier des Glaces burst onto the scene as any appreciation for this style of Graveland and Immortal influenced black metal fully waned as the initial loss of momentum in the genre caught up with its inertia. Since that time, the band has continued its path of making naturalistic long-melody black metal with the distinctive wandering tempo and phrasal development that many of the French bands also explored. With Ritual of the End, Sorcier des Glaces present their vision in a more focused style that nonetheless preserves the inconclusive nature of their earlier music, becoming like a vision of the woods at twilight equal parts promise and ambiguity, revealing the continuous nature of life through its inability to achieve finite endpoints. When metal mistakenly went toward faster/more extreme variants of the past, it lost the majestic beauty which inspired imagination as well as aggression, and Sorcier des Glaces return it.
Varathron – Untrodden Corridors Of Hades (Agonia)
One of the original Greek black metal bands, Varathron returns with higher speed and more dominant melody in a style that approximates what Borknagar and other later black metal bands tried to do, with some nods to music since but fundamentally a sensibility closer to Rotting Christ Thy Mighty Contract. Keeping energy high with frequent changes but return to theme and focus on a melody or progression at the heart of each song, Varathron expand their repertoie and craft an album that speaks enough of a contemporary language to dominate that style with the vocabulary of the older era, invoking both a return to and a continuation of the past. While the influence of the present time makes itself known, it remains under control of the guiding forces behind this band that seek to open the imagination instead of gratify self-image, and as a result more possibility emerges here than in other contemporary works.
Witchblood – Hail to Lyderhorn (Aurora Australis)
Attempting to uphold the values of classic black metal while introducing to them some of the more recent developments in tradfolk-inspired music, Witchblood combines the catchy attack of Venom with riff technique from mid-90s black metal and adds its own voice, which consists of equal part narrative bardic style and an idiosyncratic ability to make memory-haunting tunes. The result features a range of techniques from the history of metal, including NWOBHM-inspired riffing right alongside streaming tremolo picked melodic riffs, but this band makes it work by keeping focus on an essential melody in each song paired to a vocal rhythm designed to deliver a foot-tapping chorus, as bands like Sodom or Destruction did years ago. The result takes the Venom school of metal, upgrades it with black metal, and restores it to a 1980s delivery that is both clear and dark and then infuses that with the type of ancestral identity and epic sensation of purpose that arises from folk music. Through this, Witchblood creates its own form of metal that shows clear roots in much older traditions.
Woodtemple – Forgotten Pride (Sacrilege)
Showing more of an influence from Following the Voice of Blood era Graveland, Woodtemple return with a more focused version of their flowing black metal. In the past, the music more resembled flowing hills in a landscape of vast breadth, but now greater internal contrast makes what is portrayed closer to a mountain range with ragged crags over deep valleys. The addition of floating female vocals and gentle keyboards allow the band to put more aggression into guitars and bass, keeping vocals semi-backgrounded which produces the effect of reducing the “human” feel to the music. As a result, songs come together with more focus, making this the clearest statement from Woodtemple yet made. Like most metal in this style, Forgotten Pride creates an effect of distance from the human world, isolation and a focus on the larger picture through a lens of large leaps in time, but now creates another hypnotic effect in a distancing from humanity itself. This band, while not a Graveland side project, features Graveland composer Rob Darken on bass.
Album of the Year 2014
Sammath – Godless Arrogance (Hammerheart)
Godless Arrogance features nearly constant high-intensity rhythmic riffing and finally has a production to match which emphasizes internal harmony but projects vocals and guitars to the forefront, creating an enveloping wall of sound. Drumming is violent martial battery without the happy kickbeat tendencies of overly rock-trained drummer; percussion here is more like punk, hard-driving intensity to channel the guitars, which alternate between abrupt chromatic confrontation in the Demoncy style to gentle unfolding melodies much like were found on Strijd. Bass folds into the guitar, and vocals are the high-volume bluster that reduces distorted vocals to a sound like a whisper spoken close to a microphone in high wind. The result is incessant and unrelenting but also has an inner life of melody that gives it depth and allows it to manipulate riff context like a death metal band while evoking ambient atmosphere in the best tradition of black metal. For resurrecting the black metal spirit of great beauty hidden within massive aggression and alienation, Godless Arrogance deserves to be seen as the best album of 2014.
It is a seldom-known fact that you get more of what you allow to exist. In a musical community, this means that whatever albums sell enough to attract some audience will produce imitators.
When a community is thriving, this means that good albums replace bad. When a community is dying, it means that labels pump out thousands of near-duplicates in an effort to reap profit.
The community that proves intolerant of the bad is a good step, but the community must act in the corresponding opposite, which is to celebrate the good. To hold up all that is excellent means that more of it will come, because it is rewarded.
As we pass through the 20th anniversary of the demise of death metal and black metal, which perished in a flood of imitators who pushed the quality material to the periphery, it behooves us to celebrate the excellent and use it to push aside the rest.
What follows is a partial summary of the highlights of the last five years. These are albums that should be played loudly, given to metalheads at Christmas, forced onto MP3 playlists and constantly affirmed as excellent. This is the only path to better metal.
Blaspherian – Infernal Warriors of Death
Underground metal began with Slayer, which mixed hardcore punk and heavy metal to make a new sound, inspiring in the next generation bands like Bathory, Hellhammer and Sodom who made a darker and more detuned sound. By the time the genre flowered in the late 1980s many bands integrated the Hellhammer style of bass-heavy thunderous material alongside the faster Slayer style of tremolo phrasal riffs. Picking up from that era, Blaspherian combines the thunder of Deicide and Immolation with the simplicity of early doom-death, creating songs that simultaneously use primitive parts and arrange them into more than the sum of those parts. A morbid and violent atmosphere emanates from this music as it rolls through a few basic riffs per song, setting up a Possessed-style verse chorus but then like Incantation and other old school acts, expanding on that context to create a ritual atmosphere. This mysticism of thunder and subterranean blackness pervades the resulting metallic onslaught which favors the dark, antisocial and evil side of metal. What defined the underground was this stepping away from the modes of seeing that most people use to look at society, and to instead associate itself with the bestial forces of nature and occultism that array against any form of order that has no goal but itself.
Beherit – Engram
When Beherit makes an album, the result will not only open full throttle on the ears of its listeners, but also change how we think of black metal. Its violent and simplistic early days took the deliberate primitivism of Blasphemy and Sarcofago and made from it violent amalgamation of dark moods and the unleashed human id which wants nothing more than to crush this overgrown, spoiled, decadent and indulgent world of directionless people and purposeless activity. With Drawing Down the Moon, Beherit created a standard that few bands could exceed, which was an album both inventive in its use of occult symbolism and distinct for its memorable, infectious and yet dread-intensifying riffs. After years and permutations later, Beherit returned to the fray with an album that aimed to expand the relationship between black metal and ambient music and operate as an album, moving us from one frame of mind to another through immersion in fragments of idea that add up to a whole picture. This is no trivial task! Engram begins in tribute to Venom and Bathory and ends in an entirely different style where hermetic atmospheres mingle with riffs that seem to use ancient numerology to achieve the balance between ear-addictingly hook-laden and a dark mood like atavism which creates a feral disconnection from the failed mentality of this world and transports us to another. The violence seems subdued at first but emerges in the mindset this album creates. It literally reprograms the mind, much like the thought objects that its title references. Better than most of its critics realized, Engram showed black metal a new way but that set the bar too high for most of the hack ‘n slash three riff crowd. It remains a testament to what this style can achieve even two decades from its foundation.
Sammath – Godless Arrogance
Sammath always made quality black metal that favored the duality of the original work: primitive/barbaric and yet elegant/beautiful. Shocking as it is, black metal appears designed after the dictatorships of Stalin and Hitler, which favored fancy uniforms and grand ceremony as they bombed, murdered, and subjugated their way across the world. If you can imagine a beautiful warplane with graceful curves and an inner beauty, and then visualize it destroying 10,000 enemies without mercy or even a pause for a snack, that is the sound of the new Sammath. It combines the elegant melodies and song structure of the band’s first album with the battering ram war machine approach of their middle works, resulting in an album that has the melodic elegance of early Immortal but the attack speed of Morbid Angel. Not only that, but this album shows across the board upgrades in songwriting for this Dutch band, with no extraneous material and tightly integrated arrangements.
Graveland – Thunderbolts of the Gods
Later Graveland inhabits the difficult zone between black metal, the Conan soundtrack and ambient neofolk. These albums are harder to distinguish at first listen because songs are based on the interaction and harmonization between different melodies instead of the emergence of a single guitar line melody which then defines the song. Starting with Memory and Destiny, Graveland morphed into its own genre with more in common with Summoning and Empyrium than conventional black metal. As a result, few know how to understand these albums, but it appears the best approach is to listen to them as albums and to fully intend to lose yourself in the sonic environment they create. Most descriptions of Thunderbolts of the Gods will combine “lush” with descriptions of martial power and motivation because true to its name, this is an album not just about war, but the reasons for war that mix sociology and theology in a potent brew that stimulates emotions deep within your average red-blooded metalhead. Like the earliest of Graveland releases, these describe lonely Celtic nights in the frozen Pagan mountains while waging warfare against unnamed unending enemies (like a buffet gone wrong). Not only does Graveland possess the same epic vision as before, but now the band has added epic instrumentation including layers of keyboards, synth instruments, strings and a guitar line that now organizes the other melodies instead of trying to dominate all alone. The result is like being lost in a book more than tapping your foot along to a record.
Profanatica – Profanatitas de Domonatia
Many are turned off by the somewhat amateurish album title but they should stick around for the music, which combines the best complex long-phrase tremolo riffing in the Incantation school with the acerbic and vigorously rhythmic black metal for which Havohej/Profanatica are famous. Before you can say “I vomit on God’s child!” (and you should say this daily) the album tears into its circuitous riffs that give relatively straightforward compositions an air of esoteric bafflement in addition to enjoyment of a good tune with forward momentum and acrobatic guitar work. While this album is not as raw and purely rhythmic as earlier Profanatica, it makes up for that by creating instead an air of mystery and paranoia, like walking into the court of a Satanic adversary and being told to justify oneself. Vocals retain their traditional rasp and as usual, Paul Ledney’s drum playing adds a richness of rhythm that most bands do not have. The result is pure enjoyment of the musical aspects of this band with the constant blasphemy as a garnish. Its inventive riffing and foray into death metal territory adds a depth to black metal that corresponds to the raw aggression this band has always used as the charge behind its warhead of apostatic occultism, and in this album the entirety comes together for a complex series of moods within a similar idea. If anything, this improves on older works which could be too straightforward for repeated listening, where Profanatitas de Domonatia holds up as a musical companion.
Demoncy – Enthroned is the Night
Always an outlier, Demoncy saw its greatest career height when it produced a death metal record with black metal atmosphere in Joined in Darkness. Not content to revisit past victories, Demoncy launch in a melodic direction and mix death metal and black metal influences into a smooth voice by always retaining the black metal atmosphere and refusing to get into the more abrupt stop/start mentality of death metal which loves contrast. Black metal is after all about emergence of ideas instead of discovering them at the end of labyrinth, and so Demoncy creates an album where riffs establish atmosphere and song structure provides gathering mood, creating a momentum of dark emotion which eventually dominates the entire experience. Unlike most black metal bands, Demoncy prefers to create atmosphere through steady application of layers and then selective removal, which avoids the charge into the abyss sensation but instead creates a sense of slowly sinking into the depths of human emotion. Riffs and ideas on this album borrow from the classic years of death metal, specifically the first two albums from Unleashed, but add to it the sense of an arch-predator on vigilant patrol above a wasteland of miserable, helpless souls that Joined in Darkness made so effective. Instead Demoncy lets these riffs ring out and then join simultaneously simpler and more cryptic song structures to create a sense of delight in the possibilities of darkness.
Divine Eve – Vengeful and Obstinate
Divine Eve combine death metal with the newer veins of doom metal, mixing in classic heavy metal and punk to give the genre more of a listenable approach and higher energy. What results is a command to battle that suffuses with the dread and morbidity of doom metal but joins it to a violent but almost boyish delight in the possibilities of music and life itself. As a result despite its doom inclinations and death metal styling, this album more resembles the adventurous explorations of a world falling apart that bands like The Doors embarked upon a generation ago. Guitar work prefers the boxy charging approach of punk bands or minimal acts like Cianide and Motorhead, giving these songs a bounding energy even when they slow down and removing the polish that later death metal used to obscure its dark intent. Although this is an EP and so runs shorter than an album, it gives a vision of Divine Eve joining the style and substance of their 1990s EP As the Angels Weep with the material most of the band released as Crimson Relic and some of its recent appearances. Rumor has it that Divine Eve are currently working on new material for release in the near future, which makes it more exciting that this promising release presages onslaughts which may amplify the promise it unveiled.
Blotted Science – The Animation of Entomology
Modern metal makes itself hard to like, both because it is a hybrid and thus a loss of direction, and because it is fundamentally annoying, being based in the late hardcore style of “carnival music” where the goal is to make each riff dramatically contrasting the rest, resulting in a type of randomness that appeals to lost teenagers in a lost land. Blotted Science take that approach to its logical conclusion by removing the vocals and the randomness, and preferring instead to stack together related riffs that initially do not appear to be so, causing songs to flow together like collapsing buildings where many disparate parts suddenly become a single momentum. Most reviewers will focus on technical ability, which is not lacking here, but the real triumph of this band is using adept songwriting to pull together a mess of a genre and make something better out of it. These songs, like those on Gorguts Obscura, embrace the chaos of life and impose order on it in unconventional ways, much like objects seen through a microscope do not resemble the physical whole seen without magnification. These songs speak to a delight in the power of music itself and the imagination to twist and obscure a message only to bring it out with greater impact after a roller coaster of riffing distorts reality and deranges the senses.
By now, you’ve probably heard that France’s Hellfest had been planning to team up with a porn site to provide entertainment at the show. Naturally, two sides have formed, the pro side who think either this might be cool or it should be allowed, and the con side which thinks it’s a bad idea.
I’m going to join the con side at a meta level by saying that I think we should be very careful about involving any industry with metal, including the “metal industry” (which should be an oxymoron) itself. Industry wants the opposite of music quality; it wants a tractable fan-base that will buy whatever comes out so long as it has some “new” quality, like using a trombone or a different singer.
Pornography is many things. There’s a moral argument against it from conservatives, which is that it debases the family; there’s also a moral argument against it from liberals, which is that it degrades women. Probably both are true to some degree, but it’s also true that women and men both voluntarily join up to participate both in the films and in purchasing the eventual product. Either it’s not debasing/degrading, or some people want that experience or at least don’t mind it.
But the real issue here is economic. People are already leery of Toyota’s Scion imprint sponsoring metal shows, or past sponsorship deals with alcohol companies. There’s no reason we should be less skeptical here just because porn is an “underground” industry (like the “metal industry”). It will still try to infiltrate and use you for its own ends, metal fans, because to it you represent dollar signs. Does the money go into the music, or the… ah… you know?
I used to loathe end-of-year lists. They struck me as a pointless chance to advertise what should have been obvious before. Over the years they have risen in my estimation as a way not only to mark the year, but to bring up the gold that gets lost in the chaos of everyday life. And yes, they’re also shopping lists for the metalhead in your life.
This year our list is surprising even to hardened cynics. At a time when metal is bragging up and down the Williamsburg alleys about how “innovative” and “ground-breaking” it is, that novelty turns out to be the remnants of the 1980s: emo, pop punk, shoegaze and indie. The real innovation is as always underground, because to get out of the hive mind one must first remove oneself from participation in normalcy.
Thus what you will find here is not what you will see in either (a) the big-label-financed slick magazines and web sites or (b) the majority of small zines and websites out there. That is because the genre as a whole has shifted from creation towards an idea to emulation of the past, or reaction to the past by trying to adulterate it with outside influences. Neither approach succeeds.
When a reviewer chooses an album, he should pick one that will last in your collection. Your time is limited, as is your money. Thus we look only for works that you can purchase and enjoy over the years, and can return to with a sense of wonder and discovery as new angles and nuances emerge. This standard seems high, so they call us elitists. What we really are is people who love metal and want it to be strengthened by its best, not weakened by accepting its worst.
The following albums are those that merit such a standard:
Rejecting the notion of newness in itself, Argus returns to fundamental influences from the 1980s and makes a band that sounds like a fusion between Mercyful Fate, Iron Maiden and Candlemass. Guitar riffery is designed to be inventive and interesting in its own right but is trimmed down to what fits the function of each song. As a result, these songs “sound like” the classics in more ways than one. They are thoughtful and deliberate, purposeful and driven. Classic heavy metal riffs merge with meandering leads that somehow pull it all together, under the mournful voice of a vocalist who clearly enjoys classic Candlemass both in vocal delivery and sense of melody. See full review / interview.
Autopsy are famous for their contributions to death metal which notably peaked in Mental Funeral where their chaotic tendencies got wrapped up in their sense of atmosphere and produced a dark ambling journey into the subconscious. Of their later works, The Headless Ritual gets close to such a balance although it aims for something more everyday. This is an album that wants to deliver classic death metal thrills, and it does so with moderately paced songs that balance melody and savage chromatic riffing. Chris Reifert’s drumming pirouttes and grapples through vicious tempo changes as riffs unlock a Lament Configuration that is equal parts nostalgia and invention.
What happened to real thrash, like DRI and Cryptic Slaughter? In much the same vein as hardcore punk before it, thrash was so intense that it burned out after only four years of real presence. Birth A.D. wisely choose not to “bring it back” but rather to pick up as if thrash were a party and the next day, the hung over participants awaken among the ruins. They’ve sharpened its message, which merged the anarchy of punk with the search for societal purpose of metal, and given its riffs the S.O.D. speed metal infusion without unduly modernizing them. As a result, these two-minute songs hit hard and retreat into the jungle, leaving behind their sardonic lyrics mocking society for being so stupid. When the record stops playing, there is a sense of both having received too much information to process, and a sadness that there isn’t more. See full review.
Realizing what Black Sabbath meant to fans not just as a named entity but as a phenomenon, Black Sabbath integrate the sounds of vocalist Ozzy Osbourne’s solo years into their later, more refined music, with citations to Master of Reality as well. The result is a powerful album that is more pop than their original works but, in a time when nu-metal rages on the radio, reclaims heavy metal as having a voice of its own. It also pushes controversy, affirming a presence of God in this world for good or ill at a time when most people want to get polemic one way or the other. A supporting cast of sprawling but hard-hitting songs make this a great immersive lesson and transition from regular rock to metal for new listeners. See full review.
This band shares members with Satan, who also re-entered the fray with an album of strong tunes. Like Satan, Blitzkrieg know how to simultaneously avoid “changing” for change’s sake (inevitably a lateral move to other contemporarily popular genres) and nostalgia for nostalgia’s sake, making instead an album that fits into their catalogue but doesn’t deny the older, wiser status of its members. These are mostly straightforward songs with melodic choruses and driving, riff-centric verses, plus nimble-fingered and harmonically-aggressive soloing. See full review.
People said they wanted old Burzum back. The spirit of old Burzum comes back in this ambient album. It’s a bit more hasty and less refined by fanatical attention to detail than his previous works, but it creates the same world, only zoomed forward in time. It is both a practical and imaginative album. In style, it resembles a cross between Tangerine Dream, William Orbit and the Scandinavian folk music of Grieg, Hedningarna or Wardruna. Strongly ritualized, it unfolds like a descent through mythical worlds and finds its own balance. One of the best offerings in this field. See full review / interview.
For years many of us have wanted this Dutch band to catch a break. They have written several albums of relentlessly pounding, rhythmically intense riffing that somehow doesn’t add up. First, writing the whole album at high speed means that soon it backgrounds itself; second, there was always a lack of melody or song structure to hold it together. Centurian have improved on the latter two and toned down the former to a great degree, such that this is no longer trying to be Krisiun but more like a more Angelcorpse/Fallen Christ approach to Consuming Impulse. The result showcases this band’s dexterity with riffcraft and creates an intense atmosphere of violence. See full review.
This entry album by a new band shows a lot of promise in tackling the power metal format and trying to give it the balls of death metal and funeral doom metal. This contemplative, mostly mid-paced album shows a sense of atmosphere as manipulated by riff, in the death metal sense, given a somewhat upward curve and heroic spin in the best tradition of power metal. Although it’s a new act, and still organizing itself, Cóndor shows that life remains in true metal that can be explored by revisiting its motivations. See full review / interview.
In the tradition of Vader, Mortuary and other fast phrasal death metal bands, Derogatory invoke the classic death metal form with an album of nicely interlocking riffs that reveal a basic but distinctive structure beneath each song. This album is not self-consciously “retro” so much as it is using the voice of the older style, and while it doesn’t expand stylistically, it has found a voice of its own. See full review/interview.
Combining funeral doom metal with European folk music creates for Empyrium a fertile style that is showcased here in a retrospective of the best of their career presented in a rare live setting. Expect plenty of use of silence and resonance to build up these songs, which start slowly and then become engaging before evaporating into more esoteric conclusions. While most funeral doom aims to be dark, Empyrium creates an emotional contrast like a Gothic band, with beauty arising from chaos only to be strangled by inevitability and fall again. See full review / interview.
Following up on 2012’s Lord Wind release, Polish/Italian artist Rob Darken unleashes a new work under his black metal brand Graveland. Like the band’s second career-defining Memory and Destiny, this release features Bathory Hammerheart-style guitars which mix speed metal and black metal to produce rhythmic riffing as a backdrop for keyboards and vocals, now featuring also human female vocals and violin. The result is a collision between heavy metal, neofolk and epic movie soundtracks that evokes the glory of the ancient past.
Paul Speckmann is a metal institution who has stayed with death metal from its genesis in the early 1980s through the presence. His latest, The Witchhunt, showcases the stable lineup he has used for recent releases but tones down the overall intensity to focus on songwriting. Fast riffs blend together with touches of melody and the classic Speckmann vocal patterns which resemble the struggles of daily life turned up to eleven. Where previous Master works of recent vintage tended to blend together, on this one each song is distinct. See full review / interview.
Taking a hint from Necrovore and intensifying it through technical prowess, Profanatica step back from the longer melodic riffs of Profanatitas de Domonatia and instead write short, cyclic phrases within compact rhythms in the style of the ancient Texas death metal cult. The result is like a primitive album with complexity embedded in it as melodies expand within fixed riff forms, uniting savagery and beauty in the service of blasphemy. As with all Profanatica works, this is experimental to the extreme, but Thy Kingdom Cum ranks among their most listenable releases. See full review /interview.
The Singaporean maniacs return with an album that uses more traditional melodic death metal riffing but retains its rhythmic structure based on speed metal and possibly the Hindu rituals described in its lyrics. As with most Rudra releases, RTA does not aim for the pop song idea of hitting a sweet spot and luring in your ears. It is the construction of an experience, in this case a dark descent that forges a resolve to continue through warfare and a martial stilling of the reckless personality through militant silence of the soul.
The rougher edge of NWOBHM that was a kissing cousin to speed metal emerges again in this highly musical album from Satan. Like their groundbreaking early 1980s works which presaged the debut of Metallica and birth of speed metal, Life Sentence features inventive riffs in classic song format in which melodic development in the vocals harmonizes riffs to bring songs to a conclusion. Shy of speed metal mostly because it relies on relatively fixed song format which emphasizes verse-chorus riff pairs, this album nonetheless reveals both the greatness of NWOBHM and its continuing relevance in a time of tuneless songs and random song structure. See full review / interview.
After black metal fully constituted itself in the early 1990s in Scandinavia, people looked for the next development along these lines. Some went to dark ambient, but others like Summoning and Graveland instead explored longer melodies and more drawn-out, atmospheric songs. Summoning take a medieval and Tolkien-inspired approach in contrast to the more martial outlook of other bands, and produce as a result immersive waves of melody that evoke a more organic society. With Old Mornings Dawn, these Austrian metal maniacs build on the emotion of Oath Bound but exploit it in more compact and separable songs, making one of the more intense metal statements of the year. See full review.
Following up on Von’s early career material like Satanic Blood is not easy; in fact, it’s impossible. A band would either have to re-create that minimalist style and risk irrelevance, or embark on a campaign to dress it up as something it is not. Von has opted for something else entirely which is to create a minimalistic core within a rock opera style of black metal, producing one of the more puzzling but satisfying releases in the underground metal world this year. See full review.
Combining folk music, world music, droning found noises and the type of ritualistic dark ambient that emerged from the end days of black metal, Wardruna is a black metal side project that offers a different vision of music. While earlier works seemed detached from the end listener, Runaljod – Yggdrasil embeds the listener within a wave of ceremonial sound that aims not to be forebrain listening as Western rock is, but a mentally ambient experience that overwhelms by addressing all of the senses and channeling that experience toward a realization.
Underground death metal continuation act War Master released a four-track EP, Blood Dawn, amidst personnel changes and other upheavals this year. Like the previous Pyramid of the Necropolis, Blood Dawn focuses on futuristic and yet ancient concepts, almost like Voivod taking on Robert E. Howard or Edgar Rice Burroughs. From this vast concept come songs that both grind their way to nihilism and implement the death metal method of matching riffs into an internal dialogue from which a conclusion emerges, creating a pocket of mystery which is filled with wonder and violence.
Album of the year:
There is no completely fair way to pick an album of the year from a list with this many strong contenders, but Imprecation win this one on both substance and situation. For substance, this is a solid album that combines a black metal sense of ritualistic song development with the death metal tendency to make abstract riffs into an organic whole. For situation, Satanae Tenebris Infinita sees a band that started in 1991 and is famous for releasing its discography of demos in 1995 finally reach a stage where it can release a full-length album independent of any past influences. In addition, Satanae Tenebris Infinita hits hard and does not relent. Each element serves a purpose toward creating a transition in moods, like a perpetual parallax as continents shift. If death metal was waiting for a direction forward, Imprecation have opened that gate to a new occult science and art of subversive metal. See full review / interview.
The following were considered, and then not so much considered:
- Morbosidad – Muerte De Cristo En Golgota. This is like Krisiun or Impiety rendered in the style of Mystifier, or like any of the war metal bands that imitated Blasphemy but with a dose of downtuned Sarcofago. It’s not bad, but aside from high intensity rhythm, it doesn’t have much to offer. Thus think of it as Satanic death techno performed on muddy guitars.
- Fates Warning – Darkness in a Different Light. Bands: don’t try to roll with the trends. You were good at something else for a reason. This album has strong smary indie rock influences on its vocals and the result is embarrassing to be caught listening to. Riffs are reasonable, but don’t particularly develop, and emphasize space and consistency more than something with a personality.
- Grave Upheaval – Untitled. Not bad; mostly rumbling noises, very true to form. Unfortunately, also doesn’t go anywhere. It’s an atmosphere piece of one dimension.
- Warlord – The Holy Empire. Some sort of rock-metal hybrid from back in the day, this form of power metal uses mostly lead riffing anchored by static open chording. The dominant instrument is the voice, more like Rush or Asia than most metal. It’s pleasant but lullabye and too close to rock music.
- Hell – Curse and Chapter. Do you know how far I would have run to get away from this back in the 1980s? It’s NWOBHM/early power metal without much melodic movement in the riff, so there’s a lot of chugging and shifting but not much actual motion. Nor will you have much actual motion as you listen to this… in fact, you might find yourself immobile and snoring.
- Battlecross – War of Will. This is traditional metal affected by metalcore aesthetics. The vocals follow the surge pattern of later hardcore, and the melodic riffs use rhythmic “chasing” to accelerate patterns older than Chuck Berry. The result is so distracting the band can’t compose a song, but instead write a riff pair and then leap into a blast beat to transition.
- Enforcer – Death by Fire. Here we have another band from Scandinavia creating highly musically-literate, catchy and otherwise perfect music. The problems are twofold: (1) it is a clone of 1970s styles that are liked for their innocent pop cheeze (2) while it is emotive, and aesthetically appealing, it is also empty.
- Queensryche – Queensryche. Since the band went legal on each other, there’s now two Queensryches… this one sounds like Coldplay. The same posi-pop vibe and expansive chorus feel drives this work, and it has a similar outlook on the world, which is a sort of pathological compulsion to make things beautiful instead of finding beauty where it is rare. Unsettling.
- Leprous – Coal. If this Queen-slash-bad-indie band gets anywhere in metal, it’s time to bury the genre under warm ruminant feces. Power metal mixed with dramatic English pop. The result is bracingly twee with metal riffs batting about in the background.
- Iggy and the Stooges – Ready to Die. Almost all reviews of this album will waffle, because it is good, but it’s not distinctive. It all kind of flows together, as if the band paid more attention to the aesthetics of sounding like themselves than whatever’s driving them. But how do you “be punk” when you have a paid up retirement plan and health insurance?
- Abyssal – Novit Enim Dominus Qui Sunt Eius. This was the hip thing for a few weeks, but shows you that you cannot revive a genre by imitating it through outward form. These songs use all the right pieces, but in a random order, and thus create no mood except nostalgia. And I piss on nostalgia’s grave.
- Tyrant’s Blood – Into the Kingdom of Graves. Great title, has a Blasphemy ex-member, can’t go wrong… right? There’s a lot to like about this, but it doesn’t hold together. It embraces the “hotel buffet” style of offering many different riff types in a single song that ends up distorting any coherence. Storming Perdition Temple-style fast metal explodes into melodic mid-paced riffs and then ends up chugging deathgrind, lost and adrift on the seas of making a point.
- Cultes des Ghoules – Henbane. It’s ludicrous that so many in the underground were fooled by this comical album. It’s a lot of bad heavy metal riffs interrupted by “avantgarde” noise, samples, etc. — the usual cliches — so that you don’t notice it’s bog-standard. This is hipster incarnate.
- Acerus – The Unreachable Salvation. Galloping uptempo yet mid-paced heavy metal with a lot of Iron Maiden and Mercyful Fate. Not bad, but not particularly expansive to anything more than that aesthetic role.
- Aosoth – IV: Arrow in Heart. This album, like Immolation, got credit because people expected it should. Its strong point is listenable songs with some technicality; its weakness is that they express nothing strong. It is Participation with an A+ for method and a B- for content.
- Sodom – Epitome of Torture. This rather sentimental, somewhat modern-metal influenced take on a speed metal album is very catchy and represents Sodom’s most professional work, but also loses the unique perspective this band offered on the world around it. This is more like the heavy metal albums of their youths, heavy on emotion which makes their repetitive, chorus-heavy approach almost too saccharine.
- Grave Miasma – Odori Sepulcorum. I have wallpaper. It’s named “It’s 1991 again and you can rediscover things you believed in once again.” It sounds like a mishmash of 1990s era death metal and yet, because it’s wallpaper, it never comes to a point. It just creates an atmosphere.
- Týr – Valkyrja. Power metal of the newer stype seems to me it has a mystery ingredient, and that is devotional music. This sounds like church music, with sweeping choruses and whole-note cadences, and it has an admitted power, but it also loses much of what makes metal powerful: it’s not protest music, nor is it music that tries to cover ugliness with beauty, but music that finds beauty in what is considered ugly.
- Onslaught – VI. Eager to effect a return to the music business, Onslaught speed up their punk/metal hybrid but adopt the vocal styles and constant driving mechanical rhythm of modern metal. The result is unrelenting but also disconnected and monolithic. The catchy choruses don’t help and seem almost to mock the rest of the music, which sounds like a pilotless threshing machine gone amok in a pumpkin patch…
- Death Angel – The Dream Calls for Blood. In the 1980s, speed metal bands had a certain annoying rhythm where they tried to be as obnoxiously bouncy as possible while ranting as intensely as possible. With modern metal much of the internal rhythmic interplay has been eliminated, resulting in something that sounds like chanting Stalinist propaganda with guitars strobing in the background.
- Bölzer – Aura. Like Oranssi Pazuzu, Bölzer experiment in disorganized slowed black/death/heavy metal with mixed-in weirdo alternative rock. Weirdo alternative rock has existed since early rock bands made a name for themselves by being odd. The problem is that it doesn’t connect to form an impression, only a sense of instrumentalism.
- Coffins – The Fleshland. Doom-death with some quality riffing, Coffins nonetheless manage to inevitably get lost in each of their songs and fill the void with noodly pentatonic leads, distracted tributaries of non-essential riffs, and “atmospheric” repetition.
- Metal Church – Generation Nothing. This shrill metal band has always struck me as more in the heavy metal camp than speed metal camp, and here it’s borne out. The riffs don’t have form like speed metal riffs do but are mostly static based on rhythmic repetition. Focus is on the voice, which wails. Not bad but annoying and kind of empty. Also, older guys trying to bond with the new generation is awkward when done this way.
- Malthusian – MMXIII. Like many sonic experiments, this band relies on style to shape content because style is the substance of the experiment. The idea here is to combine the Incantation-clone death metal that is trendy with melodic progressive touches, including some sneakster modern metal influences. The result loses what could have been and fails to transition to what it wants to be.
- Stratovarius – Nemesis. When did this band get so bad? The first track sounds like a rip of Heart’s “On My Own,” and the rest of the album proceeds in this fashion: combine classic metal riff archetype with classic 1980s vocal melody, add some flourishes and hope it’s good enough. I liked it better when this band was more speed metally and less pop.
Most of us who emerged into the classic death metal milieu are familiar with Morpheus Descends‘s classic album Ritual of Infinity and its striking cover art that remains controversial to this day. The illustrator who created that polarizing work has launched an online presence and is designing metal art of similar caliber.
Morpheus Descends rose after the early years of American death metal but before the solidification of the style, and created a grandfather template for both New York death metal and heavy percussive death metal in general. Their most notable influences were on bands like Suffocation and Incantation, who took the blueprint that Morpheus Descends created and pushed it to new heights of complexity and technicality.
Brad Moore, who designed the iconic cover, was able to give us a few moments of his time to describe his art, life and time with Morpheus Descends. For those curious about the band, our interview with Morpheus Descends is a good place to start, or peruse our brief explanation of the band and its context.
How did you get started in art?
Like many who decide to become full-time artists, I began in grade school as the guy who could draw really well. I specialized in dinosaurs, hot rods and sci-fi. My classmates always got me to draw for them. It was my Junior High art teacher who first made me aware, that since I spent all day drawing anyway, why not make it my career and be paid for it? My brain did a back flip, as I did not know such a thing was possible, having been brought up in a very small country town. I credit my High School art teacher, Barbara Allen, who is now a top portrait painter, and two professors in college, Herbert Fink, and Ed Rollman Shay. They REALLY showed me the path! Eternal gratitude flows forth.
How did you get started in metal? Were you a metalhead? Did you “study” any heavy metal art?
Although my career began as a horror style comic book artist (I worked for comics publishers like Fathom Press, Boneyard Press, Graphomania, London Night Studios, etc) I was always a metalhead! When bands would tour, they often bought and read comics on the road. It wasn’t long at all before I got mail, asking me to draw or paint t-shirt designs, logos, cassette, and CD covers. Soon after, ‘zines came, asking for gory covers, inside illustrations, and dark comic strips. I was doing 3-5 fliers a week back then for metal shows. I didn’t really study any “metal” artists, as I have broad tastes, and enjoy a ton of different stuff. I’ve been to Richard Corben’s house, and viewed the original painting he did for Meat Loaf’s Bat out of Hell. I did an art exhibit with H.R. Giger in Switzerland and saw his sketches for what became covers for Celtic Frost and Emerson, Lake, and Palmer. But I’ve always had my own approach; no one has ever said that my art resembles the work of anybody else.
What other influences exist on your art, like other artists, morbid dreams, etc?
Dreams, DEFINITELY!!! I’m also very into the films of European directors, and the famed Polish Poster movement. I’m an ardent Surrealist.
How did you end up doing the Morpheus Descends cover? Are you a Morpheus Descends fan?
I was, and still am, a major Morpheus Descends fan! When I first got and heard their cassette “Corpse Under Glass,” I was hooked, feeling that they were the heaviest I had ever heard at that time. The band, as luck would bequeath, turned out to be horror comics readers who knew of my work. Ken, their bassist, wrote me, and we discussed the possibilities for the art that became the cover of Ritual of Infinity. In the original sketch, the “wizard” character had his hands raised, and an infinity symbol carved into his bleeding chest. I think his eyes might have been bleeding, as well, and in one hand, he held a bloody, ancient scroll. After another phone discussion, the “Carven-Diety” had its hand positions changed, and the “wizard” was now in the pose we all have grown used to: that of sawing the head off an androgynous cadaver. An ad for Ritual of Infinity featuring the debut of the cover art in b/w was published as the back cover of gore/horror comic book Cadaver, issue # 1, by Fathom Press, in ’92’-93. Funny thing: the record company’s name (J.L. America) is misspelled.
Yes, the issue of the cover has stirred as much hate, as it has admiration, and I think that’s the best thing you can hope for. The colors I chose WERE very strikingly different for what was happening with other illustrators at that time. (Or, for any time, really.) The painting was a combination of oil paint and Rotring dyes, and it strode counter to the monochromatic approach that most others were doing. When I look even now at a box full of CDs at a merch table, I am struck by how many generic looking, grey and black compositions I see. Most are great looking on their own, but a table full of them are monotonous, and do disservice to the music and bands. I knew Morpheus Descends weren’t going to be on MTV, any time soon, so their CD cover, love it or loathe it, had to nail you across the room.
You’ve just gone online. Are you offering other services to metal musicians? What other directions do you hope to take your art in?
I just finished designing the T-shirts and poster for the Stoner Hands of Doom fest, as well as the T-shirt for Argus’ upcoming European tour (I did all three of their album covers); I’m working on two new CD covers, for two new bands, The Swill, and Foghound; I will have art featured in the winter issue of Churn magazine (Issue # 11); I am designing and building the special effects props for an upcoming film named “Platypossum”; and I am masterminding a civic project that I have dubbed “Mobile Murals.” Watch for the cover I did for Ed (ex-Monster Magnet) Mundell’s next solo LP; it’s one of the greatest I’ve ever done. Check out my page at bradmooreartwizard.com, or hit me up on Facebook @ Brad Moore’s Illustration Station.
Most people place the birth of black and death metal somewhere between Venom’s first album Welcome to Hell (1981) and Bathory’s third full-length Under the Sign of the Black Mark (1987). The exact moment of divergence from ancestors depends on the speaker’s level of metal puritanism and their favorite albums are from that era, and can sometimes seem a trivial dichotomy. Moot though it may be, my pick for the first discernible piece of death/black metal music is also, more importantly, the moment at which metal realizes it can be more than just warmed-over rock music.
Tom Warrior and co will forever be canonised in the metal pantheon for the early Hellhammer and Celtic Frost releases, which collectively shaped the sound of metal in a way that is only really matched by Slayer (who were probably influenced by Hellhammer in their change of sound between Show no Mercy and Haunting the Chapel). The first couple of Hellhammer demos however were only really third rate crust punk/Venom rip off played by three young guys who didn’t really know what they were doing. With the third demo and the introduction of Martin Ain to the writing team though, Hellhammer began introducing ideas that weren’t immediately noticed or appreciated by the rest of the world, prompting the band to less than twelve months later reconstitute itself as Celtic Frost and spend most of the next three decades trying to bury the Hellhammer name and the material associated with it.
Many of the tracks on Satanic Rites are in much the same vein as the first two demos, although better played and with greater surety about the morbid chromatic rock riffs. However, with “Buried and Forgotten,” and to a slightly lesser extent “Triumph of Death,” there is a real ‘eureka’ moment. Verse-chorus-verse, single groove writing gives way to longer structures that piece together like musical jigsaw puzzles, reminiscent of the best moments of Black Sabbath made more twisted and involving. The grimmer, more elemental, less blues-rocky riffs of Hellhammer also hint at emergent melodic shapes, whose detail unfurls piecemeal over the course of the track.
“Buried and Forgotten” for a little over two and half minutes builds one riff atop another towards an emotional plateau, each one referencing some element (however small) of the one that preceded it. The rest of the track then recombines and repeats all the material amassed over the course of the opening part, changing the order of and implied relationship between riffs. All except one slightly dodgy contrasting riff towards the end (which stands out by a mile), is built out of the same basic pool of ideas, and so each can be moved about and fit back together again as they are and create a neat, logical song structure.
This streamlined song-writing mentality also filters down quite brilliantly into the track “Messiah,” which is probably the most well-known, heavily covered Hellhammer song, and a borderline genius exercise in metal song-writing fundamentalism. Effectively the entire song is crafted out of one interval (the space between two notes, denoting their relationship to each other): a minor 2nd (or semitone), the smallest interval in regular Western music. Everything from the ponderous two-note verse riff, to the creeping chorus motif of four descending consecutive semitones, to the brief bridge section made up of the same rumbling low E that drives the verse and a major 7th above that (which, deceptively, is just an inversion of a minor 2nd, and so basically the same note relationship as nearly everything that has come before it in the song).
All of a sudden the focus shifted from form (and the resulting dramatic arc it creates) as something that comes from solely juxtaposing contrasting elements, to something that can grow out of only a tiny number of ideas, and through clever variation and development can became something much more journey-like. This makes this music unlike rock, jazz and more recent false-metal, and more like a Beethoven symphony or a Bach fugue. Needless to say, I’m not suggesting for a moment that Hellhammer is equal to the work of Bach. What I am saying however is that both classical music and the more inspired moments of this demo proceed from a similar sort of underlying sense of elegance in developing things methodically out of smaller details into bigger, consistent ideas.
The version of “Triumph of Death” on this demo is inferior to the one on Apocalyptic Raids (which has, surely, one of the greatest metal vocal performances anywhere, ever) and as far as Celtic Frost/Hellhamer goes my favourite work is probably To Mega Therion. Still, it’s hard to understate just how important this demo and the ideas it set in motion are to all of the metal that has followed it. Underground metal not only became scarier, heavier and less po-faced after Hellhammer, but from this demo (and the Celtic Frost/Hellhammer works that followed it) metal inherited a paradigm that enabled the construction of more complex, distinctive songs and would come to define underground metal.
Much as I love the title From Beyond, I think an altogether scarier title would be “From Within.” The things that really get you are the ones you can’t see because they’re behind your eyes. Metal got blindsided by one of these in the last decade.
What happened was that black metal ran out of ideas, and death metal ran out of energy, in about 1995 or 1998 depending on who you talk to. What came after that was metalcore and nu-metal, which are so close in compositional style — both very much closer to rock than metal — that we group them together as nu-core.
The response of metal was unfortunate. Ignoring the advice of sage elders, the metal fans who remained circled the wagons and insisted on ideological purity. No, not of the kind that excludes stuff incompatible with metal, like rock and rap. But literally, a hell-bent desire to repeat the past nearly exactly as it happened.
It’s like tourism. Charlemagne fought here, so you stand here and take a picture. Leonardo da Vinci sketched here, so you eat pizza here and Instagram it to your colleagues back home. Metal tourism involves pretending you’re Darkthone and it’s 1991 for the first time and you’re being a massive innovator by coming up with a new sound.
Except you’re not. It’s 1999 or 2013 and you’re in a bedroom with garage band, making another recombinant album for another recombinant audience. They’ll praise it to the skies for two weeks, then drift on to something else because basically it’s generic, and then popularity becomes a game of making people like your stuff by being their internet buddies.
This kind of toxic environment gave the Full Moon Productions bulletin board such a bad name the label basically quit. FMPers could be counted on to buy lots of records, but that’s like 1000 per pressing, and since they’re so elite and rare, spend a lot of money on them. Other than that, it was favoritism, infighting, backstabbing, and other pointless activity.
Now, in the unlikeliest of places, Nuclear War Now! productions forum has come to face the same problem — and it’s dawning on metalheads that this isn’t limited to a specific place or time, but is a universal human failing like hipsterism:
From the Devil’s Tomb was pretty good imo, but of course the tryhards will disagree. These fags change taste like underwear. Just look at the recent Wrathprayer thread. Now it is “overrated”, but a year ago these same poseurs were worshipping it like it’s the best thing ever since sex. – Candlemass
The vitriol picked up speed:
I’ve come to understand this board is full of kvltist wanna-be’s who are in fact a bunch of hipsters trying to follow trends to appear “elite”, though only a fractional minority truly “gets it”. Thoth
This post isn’t designed to mock the NWN board, or even the FMP board, or the people involved. They’re important because they’ve been perceptive enough to notice something that’s gone wrong with the metal community: it went within, and in doing so, lost its sense of what made it great. Now it’s the emotional equivalent of burnt-out old men, either repeating the past or cynically making derivative crap because they can sell it.
Our future lies beyond these barriers.