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. (more…)24 Comments
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.3 Comments
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.
Condemptor – Coffins
Schiekron – Bulldozer Bass
Tairach – Voxum
Cryptic Tormentor – Chainsaw
Iron Incubus – Chainsaw
Finnish war metal band Archgoat have a new EP for something to shill on tour with hipster black ‘n’ roll bands Bolzer and Svartidaudi.6 Comments
Schattenmann Publishings has reprinted the sixth issue of the Deadhead Fanzine featuring interviews with Mike Browning and Richard Brunelle from Morbid Angel about the band’s earliest days when they wrote their best material. The original pressing sold out quickly so get yours while it is still available. Schattenmann is planning to recreate and republish other back issues of the Deadhead zine in the future too.1 Comment
Tags: afterlife productions, deadhead fanzine, Euronymous, fanzines, Interviews, mayhem, mike browning, morbid angel, repress, richard brunelle, schattenmann publishings, slaughter, venom, zine, zines
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.41 Comments
Humans and metal bands are self-replenishing resources. There are always more to burn!12 Comments
Tags: creatures, dark portrait, disthrone, false gods, forest of harambe, glaukom synod, hellschwadron, jagged mouth, junior bruce, krepitus, lectern, mentor, misanthropic rage, moanaa, Necromantic Worship, negative symbols, nephrolith, Nocturne, noise trail immersion, nuclear war now! productions, nwn, penitence onirique, pogavranjen, qip, sadistic metal reviews, sagh, sin of god, sleepwalkers, soulemission, take over and destroy, Tengger Cavalry, uburen, ungod, venom prison, waldgefluster, warcrab, wolf counsel
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.28 Comments