History is full of paradoxes. Twentieth century Germany provides one of the major mysteries of the modern era: Why haven’t the Germans produced more high-quality black metal?
The country has been a heavy metal-stronghold since Neolithic times with a significantly high metalhead-per-capita rate. Furthermore, Germany has spawned more metal bands than any other country in Europe with abundant native labels, zines and distros supporting them. Yet, when it comes to black metal, there’s not much to write home about. Continue reading Ungod: The German War Machine That Flies Under Metalhead Radar
German death metal band Morgoth, hot on the heels of their God is Evil EP, plan to unleash their first full-length work in 19 years, Ungod. Due to hit the streets on March 30 in Europe and April 7 in North America on Century Media Records, Ungod will contain 11 tracks of death metal in the Morgoth signature style, which blends Florida influences from Death with European melody and the type of flat-out abrasive aggression that bands like Grave and Obscurity demonstrated in their early years.
To preview the new album, Morgoth has released a track “Evil Enemy” streaming below. The band comments on the track: “The idea behind the song ‘Black Enemy’ is that this evil force rests within all of us and all we can do is trying to keep that beast under control. The ‘Black Enemy’ represents the dark and destroying part inside of us and the lyrics deal with someone who is not able to control it anymore, committing a murder in the end.”
About Ungod, the band says: “Our goal was to present some real MORGOTH-style Death Metal, which closes the gap between ‘Cursed’ and ‘Odium.'” They add: “After 18 years we can finally present a first glimpse at our new full-length album, ‘Ungod’! We started with the songwriting in January 2013 and finished the recording process by the end of December 2014. It was an awesome experience to go through the sometimes very complex and challenging process of writing and recording an album again.”
Karsten “Jagger” Jäger – Vocals
Harry Busse – Lead & Rhythm Guitars
Sebastian Swart – Rhythm Guitars
Sotirios Kelekidis – Bass
Marc Reign – Drums
MORGOTH live 2015:
Jan. 17 – Pretzschendorf / Dresden, Germany – Break The Silence Festival
Feb. 20 – Bergen, Norway – Blastfest
Mar. 26 – Hamburg, Germany – Bambi Galore *
Mar. 27 – Berlin, Germany – Cassiopeia *
Mar. 28 – Würzburg, Germany – Cafe Cairo *
Mar. 29 – Wermelskirchen, Germany – AJZ Bahndamm *
June 19 – Copenhagen, Denmark – Copenhell Festival
June 20 – Dessel, Belgium – Graspop Metal Meeting
June 21 – Clisson, France – Hellfest
June 26-28 – Protzen, Germany – Protzen Open Air
July 30-Aug. 1 – Wacken, Germany – Wacken Open Air
Aug. 13-15 – Dinkelsbühl, Germany – Summer Breeze Open Air
Deathcore relies on trope to the point where the style becomes almost all convention with little variation within. Joining other styles like rap and techno, it reduces itself to minor deviations from a norm and so the difference between bands, albums and songs becomes less important than currency.
Decimation attempt to restore deathcore with many of the stylistic methods of later percussive death metal, specifically Suffocation Pierced From Within, and are remarkably successful in doing so but because of their extensive reliance on deathcore passages may not make the threshold for many death metal listeners. When looking through history, we see deathcore arising from the Cannibal Corpse axis where vocals lead the music and guitars exist to blat out rhythmically hook-centric riffs in coordination with drums but in support of vocal rhythms.
Decimation upgrade this to giving the guitars more leeway at the ends of phrases and between verses, where the band use phrasal riffing and open strumming to generate interest. They even write in melodic lead riffing over high-speed strumming in the way Suffocation would, which infuses these songs with a new energy but will probably offend deathcore purists. If you can imagine a hip-hop troupe who broke every other phrase to play full-on bebop, the effect is similar here in that it makes return to the deathcore that much more jarring but puts into play enough for the ears to listen to that the deathcore parts become more like rhythm comping to build up for the sweetness. Deathcore fans will note that the characteristic lack of variation in technique and approach to rhythm is consistent on the deathcore passages.
Where Decimation excels is in assembling songs around an idea despite surrounding it with a riff salad. These songs sound more composed than your average deathcore song in that they have a center and changing layout to reflect what that is, but less “composed” in that unlike classic deathcore they do not attempt to create a rhythm groove and ride it, alternating with a chorus, into the ground. Bass-intense vocals fall into cadence with guitar during verses, but range free for fills and choruses, allowing the range and texture of vocals to expand. Drums adopt the overactive style of post-Suffocation deathcore but keep an emphasis on varied internal rhythm to produce expectation rather than sheer repetition and breakdown as both techno and deathcore tend to do.
Reign of Ungodly Creation will split death metal purists. If you could listen to Cannibal Corpse alongside Suffocation and Kataklysm, this 37-minute diatribe will appeal and seem to expand on those conventions. If like many you preferred death metal before it started imitating post-hardcore, there may be too much deathcore in here for you. This perspective is entirely understandable, as the deathcore portions of this album use a few common forms in many variations, where the death metal segments vary more widely in form. It is more infectiously rhythmic and disciplined than most deathcore and so could well inject some needed life into that flagging genre.
Here you get a re recording of the very first Ungod song ever written, back in 1991.This version will soon appear,together with 3 new songs, on a split tape with Vestal Claret!
First appearance of our new Members Tairach and Iron Incubus.
As part of our Retro Reviews series, DMU looks into one of those classic bands that was on every Gen X death metal fan’s shelf, but probably never made it out for repeated playing after the early 1990s. Some bands just seem to fade… into the background.
What are Sadistic Metal Reviews? As you lie on your deathbed and look over life, you will divide everything you know into things you will miss and things you have forgotten already. Some metal is worth remembering, but the vast majority is just background noise. We hail the former and smite the latter, salting their wounds with our sardonic laughter…
Internal Bleeding – Imperium
After Suffocation got big in the mid-90s as the next big direction for death metal, lots of bands took the Cannibal Corpse hint and started imitating the easier parts of the Suffocation percussive death metal approach. Unfortunately, doing so creates music that is dumber than malformed concrete, and Internal Bleeding quickly distinguished itself as the death metal version of Pantera: brocore for bros who like to you know drink beer and punch their heads into walls. Checking in with them 19 years later, it seems little has changed. These songs are hook-laden and not fully random, but the hook relies on the most basic of rhythms and their expectation, sort of like watching a chihuahua chase its tail. The band tries to compensate for their basic and unexciting music with really active vocals and occasional melodic touches on guitar, but nothing changes the fact that these songs are based around extremely basic patterns designed to numb and erode the mind. The famous breakdowns are back and serve to break up some of the constant muted-strum chugging and ranting vocals that shadow the rhythm of the guitar riff, but even if they dropped occasional symphonic parts into this Internal Bleeding could not hide the fact that most of this music is designed to destroy brain cells or appeal to those who have already voluntarily obliterated their own minds.
Oppression – Sociopathie & Gloire
This band will be overlooked by many because the production on this album makes it hard to hear anything but bass, vocals and metals (cymbals and high-hat). However, what lies beneath the obscurity is a quality melodic punk album that verges on Oi and shows us what emo could have been in the hands of quality songwriters; you could compare this to the Descendents and the Misfits because this band write quality vocal melodies over melodically hookish riffs and rhythms, producing a sense of familiarity and yet a sense of weight like that of history or topics that pop up in every life no matter what age. Vocals alternate between a black metal-ish rasp and sung punk vocals, with the latter being more convincing. As with Misfits, the composition of these vocal melodies defines the song, combining old world melodic intensity with a casual punk sense that favors the simple and almost childlike. Touches of metal technique accentuate the harmonic space created by these rather open melodies, but generally, what you hear is punk that sounds as much like Blitz or Reagan Youth as something more recent. The result brings together the best of punk in its attempts to combine its energy with depth, and provides for a good listen, if the listener is able to hear past the abysmal production.
Steve Hackett – Genesis Revisited: Live at Royal Albert Hall
Among the 1970s progressive rock bands, Genesis is frequently mentioned but often forgotten. It seems to me that the reason is that its vocalist, not its guitar-keyboard duo, dominated the composition and thus it drifted closer to the regular-rock tinged Pink Floyd style of “light” progressive rock, without getting as populist and compact as Pink Floyd or Rush did. However, it would be a mistake to overlook the first few Genesis albums which were ambitious although steeped in a self-righteousness which seems more pretentious than the usual self-indulgent musically masturbatory egoism of progressive rock. On this live recording, Genesis guitarist Steve Hackett revisits the older Genesis material with the benefit of an extensive solo career and an entirely different band. The result makes Genesis sound more pastoral, with greater emphasis on vocals and mood in the style of later-1970s big radio rock bands, but also brings out some of the more aggressive guitar that got buried under keyboards and vocals on the originals. Vocalist Nad Sylvan manages a more soulful and less starchily self-referential voice than the original, and all accompanying musicians are excellent including a cast of highly talented players who, while not fully noticed by name in the mainstream, have demonstrated their abilities in complement to larger acts in the past. While all of this shines, the fundamental problem with Genesis remains the “oil on water” feel when it switches between something that sounds like Queen and a sort of extended figurative structured jam. While highly musical, Genesis often seems atopical and thus lost between its rock drama and its progressive underpinnings, and in many ways, having Hackett reinforce the role of guitar both reduces this gap and highlights what is left. For Genesis fans who wondered what this band might have been like with a different internal balance of power, these re-envisioned tracks will provide hours of exploration.
Wolf – Devil Seed
This album takes the speed and intensity of a speed metal album, adds in Accept-style power metal vocals, but underneath the skin is something more like a hybrid between the first albums from Motley Crue and Queensryche. The result is… well, there’s no nice way to say this, but: annoying. Highly skilled and highly repetitive, vocally demonstrative and vocally over-dramatic, catchy and infectious and yet cloying, it hammers out the earworm qualities of glam metal at the pace of speed metal with the production and sound of power metal. If this is your first album from this style, it might be interesting to own, but probably difficult to listen to on a regular basis because of the similarity of the tracks and the consistently high levels of sentiment and bounding energy. The 1980s varied moods of glam metal have been replaced with the aesthetics of techno or punk, and it just keeps going and eventually even drowns itself out. Musically, nothing here ventures outside of the camp of what has worked before and become established, although a few adept variations give greater power to the framework. As with most metal/rock hybrids, what brings it down is the need for vocals to lead which crowds out other instruments, in turn squeezing the space available for song development. While the vocals are impressive, when they become too predominant like this they lose some of their power; Halford or Dickinson (or Di’Anno) would have been more selective in the use of their full-bore intensity and emotional depth.
Vardan – Enjoy of Deep Sadness
This band combines “suicidal black metal” with the shoegaze/emo/indie variant that specialized in certain minor key chord progressions turning upward at the end of each phrase to convey a sense of misplaced “hope,” much in the way early 1990s emo-punk bands did. The result is merely a new aesthetic slapped on top of very ancient and pointless music, since the “mixed emotions” sensation has been popular in rock music since the 1960s and produces the type of emotions one might want in the background of a movie about losing your favorite race car, but apply not at all to any life with depth, where the emotions are more than mixed but intertwined in some way more than a balance of sadness/joy that seems like it came off a greeting card. This isn’t bad in execution; it’s soulless in intent. While the former is forgivable, the latter renders this music irrelevant to anyone who is here to live for the purpose of living, because to such a person confused self-pity and weepy “hope” is completely non-applicable. In the same way it is entirely possible to listen to this entire EP, nod once, and then read a book on database administration and be more thoroughly moved by its depth and emotion than anything Vardan will ever record.
Savn – Savn
Anyone else remember The Gathering? They had a female vocalist, a quite good one name Anneke something-impossible-in-Dutch, and she was not only adorable but also could sing. But that’s the distraction. The question of whether a metal band can have a female vocalist is never asked when the female vocalist goes the route of Doro or another high performer. It’s when the presence of a female vocalist changes the sound of the band that people start wanting to talk about that instead of the music. And Savn cleverly starts out with very black metal sounds, then the keyboards kick in, and then very pretty female vocals intrude. Excellent production. There’s even a harmonica, for the sake of Zuul. The whole nine yards. But if you stop hearing the distortion for a moment, you realize you’re hearing standard folk rock that has been 100% consistent from the 1960s through the present day. It fits the female vocal and range but even more, it fits the needs of people in boutique shops that sell crystals to feel vaguely empowered, slightly sad and yet charged with some kind of great Meaning that has lifted up their insignificant lives of watching television and answering phones at work to the focal point of some vast collision between human emotions that form the basis of the cosmos itself. You can imagine Jewel belting out this album, or Linda Rondstadt, or even Taylor Swift. Savn would do better to just run Doris Day vocals over old Burzum albums. I do not contest the assertion that they are talented, good players, imaginative, and that the production here is amazing. I just question what it has to convey. The answer is feeling good while you shop and pretend that the universe is not a cold empty place, and that somehow your emotions derived from pop music are totally relevant and might even determine the future. On an emotional and artistic level, this release is poisonous; on any other level, it is simply a product that doubtless will sell many crystals, possibly cube cars and haircuts too.
Provocator – Antikristus
Joining on the primitive black metal thread which bands like Von thrust to the forefront, Provocator crafts simple sawing black metal based on extremely rudimentary chord progressions that are nonetheless not pure chromatic, giving it a more accessible base of tones to expand upon. Like Acheron or Ungod, these riffs rely on building momentum and then redirecting it with quick rotational motion, but the repetition of this technique wears thin. Extensive demonic vocals crowd over the top but instead of giving this depth, simply distract from both the underlying guitar and the effect of the vocals to the point where it sounds like trying to listen to a portable radio in a busy train station. Nothing on this is terrible or misplaced, but it also provides no particularly compelling content and no reason to revive this style as a result. While it plays, the comfortingly familiar Sarcofago-style drone and chaos at the right BPM will make most black metal fans accept it without a further thought, but the real question with any release is whether you will seek it out again. In this case, nothing is offered that cannot be found elsewhere in a less repetitive form. Although this is no reason to choose an album, the blasphemous song titles and Blasphemy-style prison escape vocals add to some enjoyment but cannot compensate for the fact that this is like listening to a throttle test on a ’78 Camaro.
What are Sadistic Metal Reviews? When Hessians decide they are sick of every random person tagging along for the glory of metal while making the same dreck that big media pushes on us through the pop industry. Make art, make it violent and aggressive, be truthful… or go home as we enjoy your delicious tears.
Siftercide – Siftercide
Some time ago there was much ruckus in the press because people were using the word “retarded” as a synonym for “extremely stupid.” This died down when people realized that retarded people are actually extremely stupid, generally in the 60-70 IQ range which is typical for Congress but very low for normal people. Siftercide is retarded. The basic idea was to make deathgrind at fast grindcore pace and throw in a few dissonant chords to try to hide the fact that these riffs are boring, these songs are predictable, and this music will generate a headache not because it’s extreme but because it is like listening to a jet engine. Really, screw this. It’s not worth your time or mine.
Ormgard – Ormblot
Underground metal typically occurs at three speeds: the tempo set by the percussion, the pace of changing chords, and the iteration of tremolo strum. Ormgard makes black metal which frequently slows down the first two with the latter at full pace, creating the kind of atmospheric black metal that distinguished early Behemoth or Ungod. Much of this picks up the straight fast pace of classic black metal with relatively straightforward chord progressions that emphasize melody. Keyboards and howling possum in pain vocals accompany it; the album is sandwiched between two imaginative instrumentals that evoke the feeling of the ancient era. In mood, this album most resembles a less-Gothic version of the first Gehenna work, but picks up the energy like early Ancient to create a sense of conflict and desperation. While this breaks no new ground stylistically, that never struck most metal fans as important. Comparisons to Abigor will be hard to dodge, especially the Orkblut era, and while they are apt aesthetically, Ormgard spreads out further than Abigor for an approach more like that of the original black metal bands exploding from Norway in the early 1990s. Ormblot channels its power into a faithful exploration of this genre and while not strikingly interesting, holds the attention by being non-random and carefully manipulating mood to dark effect.
Nocturnal Graves – From the Bloodline of Cain
The term metalheads generally use for bands such as this is “straightahead.” Straight out of the 1980s but with black metal vocals, it is high-speed basic riffs and catchy but binary songs. If you did not get enough of Aura Noir, or have an urge to re-live Slaughter Lord in simpler form, this may appeal, but the fundamental lack of musical motion or depth makes this a hard sell for the experienced metalhead. While the aesthetics have changed somewhat, this style of really basic riffing and exuberant simple songwriting has not evolved in 30 years. Its attempts to become more high-intensity end up being repetitive and it flows by and is forgotten when silence returns.
Goatwhore – Constricting Rage of the Merciless
If you are not fully paying attention, this album might sound like a good thing. Its style is pure Angelcorpse mated with 1970s heavy metal and some Southern Rock; its approach is to pack in extra riffs to interrupt a verse-chorus loop that focuses on the vocal rhythm of the chorus. No flaws in musicianship, vocals are vicious, but the songs do not really go anywhere. Or maybe a better way to say this is that these songs sound like academic exercises, laboratory experiments or designs on paper: they relate well to their parts but the whole is nothing larger than the linear sum of the parts. The result is much frenetic pounding and guitar raging, hooks grasping at your ears, and then a sense of disappointment as songs drill toward an end that means nothing more than the start. As the album goes on, more of the 1970s hard rock and metal riffs come out to fill space but the result remains uncompelling. This band is more competent than any others in this style but the style itself lacks any grasp on matters of importance and seems to be the metal equivalent of late-night TV. The Hod album we reviewed recently is a better take on this style.
Colombian Necktie – Twilight Upon Us
Before Kurt Cobain shot himself in a heroin-induced haze, he was fond of saying that metal was out of ideas during the most fertile time in metal history since its inception. If he were around today, however, he would find metalheads buying him beers for saying that metal has run up the flag saying that it is out of ideas. Sludge, not really a hybrid of metal, happens when you mix stoner doom with slow hardcore and probably dates its innovation to the first three Eyehategod albums and slow Integrity songs. Colombian Necktie mix up the dirge-like rage-infused passages of those bands with ordinary Southern-fried rock played uptempo to keep your attention. Nothing stands out as horrible but the whole lacks any compulsion for a listener interested in content. You might as well listen to Huey Lewis and the News if you slow it down and run it through a distortion pedal, because in its core that is what Colombian Necktie and all bands in the sludge style seem to be heading for. If you read it cynically, it is another take on grunge music, which is basically hardcore bands making rocking music and trying to cloak it in metal aesthetics. If you look at any piece of these albums, it is hard to find fault, but if you listen to the whole, you will fall asleep standing up. Most reviewers get their albums free and hear them once and then give it a thumbs up so that the reviewers get promoted along the line by labels who love their spunky and wacky reviews. But if you look at music as a fan, anything you can only listen to one time and do not immediately want to hear again is off the menu, as it should be for Twilight Upon Us and its ilk.
Kentucky death metal band Abominant recently released its tenth studio album, Onward to Annihilation, in a style of death metal we don’t see much anymore: fast, melodic and yet riff-based and chaotic. This band is well-known in the underground, having released albums in the 1990s on feral label Wild Rags and toured across the country.
Onward to Annihilation shows Abominant nurturing the style that kept them going back in the 1990s, which uses fast riffs in complex patterns but always returns to a triumphant chorus which outlines the purpose of each song. The trademark Slayer-ish fast guitars and Dark Angel-styled drum breaks are also present.
You can hear Onward to Annihilation below in an exclusive live stream provided by Clawhammer PR and Abominant. It takes just a few seconds of your time to sample and explore this dark work of twisted death metal. (Your browser will show only the OGG files if Firefox, but both sets if Opera, Chrome or IE.)
In a time when the music industry is in upheaval, and most bands are changing styles and outlooks in order to chase the trends of the day, it’s gratifying to see some bands remain constant and constantly improving themselves. We were lucky to have a few moments with bassist Mike May, who was able to fill us in on all things Abominant, including the past and plans for the future.
Stream Abominant Onward to Annihilation here
1. We Are Coming
2. Conquerors of Dust
Left to Rot
Onward to Annihilation
Hold Your Ground
Beside the Dying Flame
Legions of Hell
For starters, I had to do a double-take when I saw that Abominant is on your 10th album. How have you managed to stick together as a band, face adversity and still enjoy what you’re doing after all these years?
We just don’t know how to do anything else? We are all just fans and friends that love to play metal and love to do it together. Some guys work on cars or hunt or play fantasy sports. We write death metal songs, simple as that.
I don’t think anyone in the band has any delusions of being famous or changing the world musically. We just like to drink beer, have fun and play death metal.
Pretty much by choice we never miss a practice and if any of us do, our week just seems less fulfilled. Whether anyone likes us or not, or if we ever put out another CD, I think we’ll still be getting together to do what we do.
Can you tell us how Abominant formed and what your influences were at the time? In other words, what inspired you to become Abominant and
how did you come together?
From say 1990 to 1993 Tim and I were in a band called Sarcoma. Mike and Jim had a band called Cataclysm. Also ex-members Buck and Craig had a band called Effigy, which were all the death metal realm.
All of those bands eventually fell apart and the six of us were pretty much the diehards that wanted to keep it going.
Worked out for the best in the long run. Weed out the weak and whatnot…. I was a big fan of the other guys’ bands prior to hooking up with them as well.
Overall I’d say alot of our main influences are shared in the 1986-1990 transition from thrash metal to death metal. Bands like Possessed, DarkAngel, Sacrifice, Bloodfeast, Kreator and so on really were happening at the time most of us were learning to play and we all still listen to that stuff pretty religiously.
I will say that as time rolls on we still get influenced even up to today, and no secret that black metal has come into the fold much more since we got Jim in 2005. We all listen to alot of different styles of metal, and its not like we love EVERYTHING, but it is very cool to be have extended conversations about which era of Darkthrone is our favorite and ten minutes later we’re talking about the new Candlemass while we listen to old Scanner cds. Variety is the spice of life.
Is there a “Midwestern sound” to death metal?
As a fan, I’d almost relate it to the “Chicago” sound. Bands like Master, Cianide, Macabre, Deathstrike and some outside Chicago like Repulsion and Impetigo is what I think of when you talk about “Midwest” sound.
It seems kinda true that most metal comes more from the burbs and bored teenagers rebelling against the middle class life than coming from inner city areas where punk and hip hop seem to have deeper roots, so i guess maybe thats a factor.Both Mike and Jim are natives but I was raised in Denver and Tim was born in Thailand, so i think our location has very little to do with our sound.
Do you consider yourselves a death metal band, or have another take on it?
Personally, Yeah… I would call us death metal, although by “scene police” standards, we would be called more “black death” which is also fine. Since we started, it seems that the death metal name has been leaning more toward ultra brutal bands, which i think usually end up being heavy on the DEATH but light on the METAL, which is sad. But I mean younger bands were introduced to Cannibal Corpse/Suffocation as their starting point in the same way I evolved from KISS to Sabbath to Slayer, so i cant really even blame them, its a different time, you know? We were kind of using the term “Goat Metal” for the longest time to blur what exactly we were doing, but in the end as long as it includes the word METAL, I think we’re fine with whatever.
Your songs show wide-ranging influences from within the metal genre. Is this a deliberate attempt to include the whole genre, or is this the product of your many influences? How have those influences changed over the years?
As I said, we all go all over the map as far as listening to metal goes, and I feel that every genre has its merits, but it also seems every genre is cluttered with mediocrity too.
As far as writing different styles, we just don’t want all of our songs to be the same and variety is also one of the things that keep us going. Not everything always works but at least we try stuff and dont want to limit exactly how an Abominant song is supposed to sound.
If you’re talking mainly about “Hold your Ground” from the new album, we had been playing “The Mob Rules” live for about a year after Dio died and ended up recording it for “Battlescarred”. After having so much fun with it and feeling so natural about it, I think we all wanted to take a shot at a straight up “Heavy Metal” song. I think it came out terrific and think if we set our sights on it, we could do a whole album in that style.
We have a new song that is kinda similar although a little more Mercyful Fate in style and I love playing that one.
I will say that we all really love blasting and fast Slayer headbang parts so I dont see us playing traditional heavy metal full time, but it is alot of fun, especially live.
How do you like working with Evan and the DeathGasm Records crew? (Did you have to explain what a “DeathGasm” is to any family members…?)
Working with Evan has been great. He stepped up right after Wild Rags and I had known him long time before that. He’s always supported what we do. I think our first album together Ungodly (2000) was pretty “next level” both for us and for him as a label, and what a way to start out!
Evan has booked us shows in Marietta and we’ve stayed at his house, so it really is very much a friendship. He knows what we’re going for and even what other bands we like so we just really couldnt be much happier. I also like alot of the stuff he puts out like Nominon, Manticore, Avenger so its its a good fit for Abominant overall. We havent had alot of backlash from the label name…personally, I think it sounds cool.
When you recorded “Onward to Annihilation,” what technique did you use to get your guitar sound? Have you changed much in how you produce albums since the last nine?
I know most of the guitar was a PRS going through a brand new Peavey head, but aside from that , you’d have to ask Tim.
He gets new stuff just about every six months it seems, so I would be surprised if ANY of our albums used the exact same equipment.
After hooking up with Scott at Velocity things really have just become more laid back and also more practical for us. Scott is a death metal guy, a hell of a drummer and inspires to be a great studio guy, which I think he is.. but I imagine 10 years from now he will be a fucking guru. Nothing negative to say about working with him at all, wish he was doing this in 1996!
Are you going to tour for this album?
Naw, as we get older and have families, touring just doesn’t work for us. Responsibility is our downfall :)
I wanna say 2008 we did like 24 shows, and that was our most ever, but we normally like to play out only around 8 -10 times a year.
We are all kinda reclusive, and I personally hate hanging out in bars, so I don’t guess we’ll ever get to be road warriors, but I like to think we are pretty solid when we do play live.
If you’re fans of the old underground, does it still exist? Who’s keeping the flag flying these days? Bands, zines, labels, etc.
I like alot of the more METAL death metal bands like Sathanas, Gravehill, Ares Kingdom, Cardiac Arrest, Mausoleum and so on (old guys I guess!) but even locally I think most of black/death bands here are putting out releases in 2013 or just did in 2012. So there still is stuff going on, but I dont know if theres much of a fan base for it.
Some of my favorite records are the newest releases from Immolation, Asphyx, VoiVod , Absu, Darkthrone, Autopsy and so on, so I dont go by the “only stuff in early 90s” like some people do.
Hells headbangers seems to be doing quite well and releasing cool stuff, and I like most of what Dark Descent puts out as well.
Where do you think Abominant will be when album 15 rolls out?
We average about two years for a record, so I’m guessing we’ll all be pushing 55 by our 15th album!
As it seems now, doing this for another ten years seems pretty viable and realistic, and barring any tragedy and/or line up shifts, I for one am looking forward to it! You can purchase the album for $6.89 here!
For the past eighteen years, it has been clear that for black metal and death metal to survive, they must do more than imitate the past. In other words, it’s time to get weird. There are many avenues to explore but few trust the audience to understand and so the majority spend their time making fifth-generation copies of bands whose ideas have long been forgotten and who exist now only as aesthetic “brands.”
Witchblood shows us a band attempting to create something new within the weird side of black metal. Hybridized with heavy and power metal, Witchblood fits into that territory inhabited by bands as diverse as Gehenna and Absurd which lets the weird side of metal through. It embraces that which polite society normally finds difficult, which is uninhibited emotion and fascination with the natural, which means this music is less manipulative and more sentimental than the norm. This gives it both a cryptic energy and an endearing personality.
Much like Absurd, parts of this are “immature,” meaning that in their guileless state they lack the focus on surface appearance that we have come to expect, and in their raw exuberance they resemble the musings more of a child than an adult. However, there is nothing uncoordinated about the result. Unlike most bands, Witchblood like to edit their material down to the point where every part serves a role, which means it is slightly more repetitive but the parts work together to produce a gestalt of emotion.
This EP will not be for everyone, in particular the more recent types who like slick alternative rock style “mixed emotions” aesthetic draped over their music, but Witchblood will appeal to those who like a good heavy metal tune with black metal style and power metal energy. Some will find the background vocals, which are either clean or war-whooped in the best primitive style or clean vocals that shadow the rasp and give it fullness, to be disturbing but this reviewer found that after a few listens they integrated well with the sound.
Instrumentally this band acquits itself well despite using relatively simple elements and riffing off known styles from Burzum and Dissection as well as some of the vivid gestures and grandiose ballad-like tendencies of epic heavy metal bands. In particular, drumming echoes the riffing but does so unobtrusively while still providing the emphasis where it is needed. Guitars are often reminiscent of primitive bands like Ungod and Absurd, but just as much at home with Dio-era grandeur.
Witchblood are relative newcomers into a genre overflowing with imitators of the past. This band is trying to keep that spirit, but convey it in a new form, in part by escaping the slickness that becomes easy once a style is well known. In short, it’s a return to the “Wild West” days of black metal before the professionals took over and turned it into the same old thing everyone else is doing. For that reason, this band is worth a first listen, and maybe at that point, the vulnerable and feral sides will make a convincing argument for Witchblood.