Riot V – Unleash The Fire

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Riot founder and guitarist Mark Reale died in 2012 after releasing the consistently engaging Immortal Soul. Under-appreciated for their entire careers, Riot never quite managed to do as well as they should have in the underground credibility sweepstakes. Manilla Road and Virgin Steele have both acquired formidable reputations with the passing of time, and deservedly so too, but Riot has been relegated to a footnote in metal history for the most part.

Like W.A.S.P. and early Manilla Road, Riot spent the early years as a fun-loving hard rock band teetering on the edges of heavy metal, without compromising their knack for tasteful songwriting or acute, insightful storytelling. Greater musical awareness dawned with the classic Thundersteel, no doubt influenced by the heavier, more intense developments in the contemporary metal of the time. Their run since then till the present day contains many undiscovered gems sure to appeal to all lovers of classic heavy metal.

How does one judge an album like Unleash The Fire? Created by those that have survived Reale’s death, and containing no original members, it is a tribute to a fallen comrade whose essence yet permeates all that is contained within it. As opposed to the more extreme strains of metal, everything in this music is geared towards a culmination in the big vocal chorus, new singer Todd Michael Hall recalling the late Guy Speranza’s clean, distilled tones. Riot’s talent, however, has always been to imbue this deterministic course of things with intensely melodic — but never melodramatic — embellishments and minute detours, thus greatly enhancing the overall fabric of songs. A wealth of detail lies hidden within the simplest of chord progressions, allowing the listener to enjoy the moment regardless of general predictability. Picking technique relies on tighter, speed metal chugging for creating and maintaining tension, and conventional, open power chords to convey a sense of epic release. Neoclassical virtuosity finds comfortable home amidst an undeniable individuality that is touched with the harmonic sensitivity of old practitioners like Blue Oyster Cult, Thin Lizzy, and Iron Maiden.

Albums like this are the reason why it is possible to be optimistic for the future health of metal despite much evidence suggesting that the rot has already set from within. There is a naive, guileless innocence to be found here, refreshingly free of the cynicism that reduces the best among us to surly curmudgeons at times. Unleash The Fire is a well spring of inspiration for all real strains of metal, as disparate as they may feel on the surface, if not always through its cosmetics then most definitely in what it aims to represent.

In its spirit, the way forward for metal can be seen much more clearly, by opening the eye at the back of the head, and keeping steady sight of what has gone before. What may appear as anachronistic or overly sentimental are actually the eternal universals; honour, beauty, pride, a respect for the past and, above all else, the debt to oneself to live up to these notions in the best way possible. These ideas may seem to be out of vogue in a transitory world but that doesn’t make them singular; it only means that they lie buried under the detritus of sensory overload and cultural conditioning, most people being unable to detect them or give them sufficient credence, and, if they do, unwilling to act on them due to conflicting interests. Their embers, however, occupy a perpetually smoldering space in all human consciousness, waiting to be stoked into the fullest of fires. As long as this stays true, heavy metal will endure.

Firespawn to release Shadow Realms, but don’t bother purchasing it

Firespawn - Shadow Realms (2015)

What do you get when you form a supergroup from members of Entombed, Unleashed, and Necrophobic, all of whom released excellent formative death metal at the beginnings of their careers? Not much, apparently. Firespawn (formerly Fireborn) plays generic modern Swedeath with slight hints of melody and not much else of interest. If you ever needed a reminder that a promising lineup does not automatically translate into a product that is even promising at best, Shadow Realms is there for you – more accurately, you will be able to purchase it on November 13th from Century Media if its banality fails to undermine your interest. In the mean time, you can listen to one of its upcoming tracks (“Ruination”) for a textbook example of how to put together generic deathpop. Particularly notable are the rudimentary vocal rhythms and the exceedingly basic song structure.

Future coverage is possible, but very likely to be sadistic in nature.

Hellfires of the lands down under

Does it seem to you that the days are shorter
And does it seem to you that the nights seem so much longer
Well it does to me, and in time you will see
That the fate of the world is burning in fire

– Deströyer 666, Genesis to Genocide

In my visions of another age, Australia is a domain of rogues and devils, swept by sands and heat, a colony of fear. Aboriginals fight, mutated animals leap and grappling hooks are thrown from jeeps that speed with metallic roar across the wasteland. Humanity decays, but Australia preserves the instinct for survival, man against desert, taking pleasure in the primitive actions of hunting, fighting, lovemaking and getting drunk on bourbon. Nocturnal winds howl through the chasms, kangaroos leap over graves and tribal chants are raised amidst campfires as skull goblets are raised.

While I have never been to the country, the impressions of Australian black and death metal do nothing but strengthen the images of brutal frontier life. The sense of the wild is different, more internalized, almost Jack London -like, compared to the European romanticized walks in civilized Teutorburger woods or pure, silent Scandinavian nature. Australians are rebels who have tasted the whip of slavery and still remember it – with hate in their blood.

Every rock fan knows AC/DC and Nick Cave, the astonishing twin pillars that represent total opposites of image and style roleplay in hard rock. Both of them influenced heavy metal around the world, but a mainstream fan would be hard pressed to name any other Australian bands of note. I’m not going to dwell on the early 80′s, but mention some events that were triggered by the resurgent death and black metal ideas of Europe and the USA.

Australia is characterized by geographical distance from the Western pop culture trends and so, death metal didn’t happen early but it was marked by a serious intensity from the beginning. As a perfect example, we can take Armoured Angel, who with their late 80′s series of demos gradually developed from a heavy and grinding version of speed metal into a technical artillery of militantly precise death metal akin to Polish innovators VaderHobbs’ Angel of Death, due both to their cult reputation and connections to later more visceral bands, proved definitive with their self titled album in establishing the early death metal attitude and sound of bands like Destruction and Slayer in Down Under. Hobbs’ raw, molten hot solo bends and breaks were like burning gasoline leaking from a bullet torn hole in a fighter plane. Meanwhile, Sadistik Exekution initiated their campaign of abuse against every known musical principle, which continues up to this day.

Influenced by hardcore and speed metal, these madmen from Sydney proceeded to destroy the reputability of Australian metal with their on-stage and off-stage antics, almost becoming performance art with their macabre, sarcastic terror campaign of pure noise. Already “The Magus”, recorded in 1986, suggested that this band would dare to go where others would not, the subconscious realm of damnations and mutations, yet containing the elements within an underground death metal rhythm and riff based format. Their second and best album, “We Are Death… Fukk You!” was already something else – a noisy freakshow of an album, with the catatonic, desperate screams of Rok and nearly fusion jazz-y random blasts of violence from the strings of Rev Kriss Hades and Dave Slave. Sadly, their later albums mostly devolved into using the madness as a gimmick instead of a mode to express actual items of perception.

The next generation produced more self-contained music but it also showed the blooming of the world wide death metal presence, as we are talking about the days when death metal was at its commercial heights, ’91-’93. Many bands wanted to be like their big brethren in Florida, as a shameful but popular example let’s mention Mortification, who aped the thrashy sound of early Death with some of the complex rhythms of Obituary or Suffocation, yet infiltrating the standard gore text with reborn Christian propaganda, which had a widespread presence in Australian metal at large. Meanwhile, a band like Anatomy, whose elegant use of melody as texture, akin to Swedish bands like Grave or maybe even At the Gates, remained unknown to most death metal fans. Anatomy’s constructions weren’t altogether as brilliant, but as with many Norwegian early death metal bands, it was a breeding ground for musicians and ideas that would fully develop into a wave of satanic, intense war metal. And if you read the diSEMBOWELMENT review we published some time ago, you already know that they were able to built a transcendentally blissful temple of Zen-like tranced out death metal from the simple basis of combining British style grindcore with British style doom.

The acid, sex and Satan obsessed wave of barbaric war metal, ca. 1994, was again closer to the sardonic “fighting man’s black metal” attitude of BeheritBlasphemy and Impaled Nazarene, than Norwegian “top hat black metal”. This means that Bestial Warlust (“Vengeance War ’til Death”), Deströyer 666 (“Violence is the Prince of This World” and “Unchain the Wolves”) and Gospel of the Horns (“The Satanist’s Dream”) used Sarcofago and Destruction as templates to unleash a torrent of riffs which could have been untuned Motörhead on 45 rpm, emphasized by an artillery of ambient drumming to evoke images of blooddrenched hordes and endless streams of bombers. I remember how back in the day these bands were even widely detested in zines documenting the black metal phenomenon, but they proved crucial to bands which around the turn of the millennium clad in bullet belts and started wearing gas masks in “war metal” revival’s endless stream of clones.

All this might have you thinking that the Nordic and Romantic styles of black metal were obsolete in Australia, but this was not to be the case. Abyssic Hate (whose “Cleansing with an Ancient Race” was a perfect match for the Immortal related Det Hedenske Folk on their split album) intended to capture the harsh poetry of Burzum and Ildjarn. Later material was somewhat unsuccessful because of humanocentric (“suicidal”) terminology, despite ambient leanings in songwriting. Nazxul was the Australian counterpart to mysticist bands like Nåstrond or Osculum Infame, whose cloaked, symbolic stage presence was a source of controversy. Theatrical, esoteric and arrogant, Nazxul did not fail to clothe oblique satanism in suggestive and venomous fury, at times surprisingly cerebral – especially on the mini-album “Black Seed”. Samain‘s “Indomitus” recalled some of Enslaved‘s and Graveland‘s explorations in long songs influenced by folk and classical music, wandering through interludes and heavy, thunderous, emotional modes as if paralleling the documented trials of the ancient Indo-European tribes, whose mythological symbolism filled the lyrics.

Gradually, we can note the presence of all the international metal trends and hypes increasing in Australia, filling the continent with meaningless bands. It would be a lie to say that the random band you hear from Australia is up to anything good. But there’s some you might like to hear. Asphyxia is a young technical death metal band, influenced by Nile, Kataklysm and the rest of the champions of convoluted hyperspeed – they are bit in love with the Necrophagist digital treachery fashion but they have room to develop and the players definitely deserve applause for their instrumental excursion. Midnight Odyssey uses oceanic layers of slow melody to transform black metal to a landscape of dark clouds, using keyboards in the evocative manner familiar from Schulze and Summoning. The best of the epics on “Firmament” rediscover a youthful, hopeful beauty that hasn’t been too fashionable in the image and commodity oriented latter days of black and death metal. Nazxul, who sadly lost a vital member to a motorcycle accident, released in 2009 their possible magnum opus, the immense “Iconoclast” which has established itself as one of my top black metal choices of the year despite initial skepticism towards the more standard imagery and vocabulary employed on the surface. Suggestively classical and elegant, as Emperor and Avzhia did it, Nazxul praise the unliving and the unknown with a Bach-ian playful sonority, adding themes, keyboards and guitar leads to basically simple songs the same way an alchemist adds prime materials to his boiling tincture of salvation. It is all, and much more, than most of Funeral Mist (and their ilk) tried to achieve with their experimental norsecore.

The old horde is still going strong, of course, as I got the initial inspiration for this writeup when interviewing Deströyer 666 (now based in Netherlands and the UK) elsewhere. With their latest album “Defiance”, they continue to quote the metal history all the way back to Judas Priest and the NWOBHM and this was of course much enjoyed by this writer even though it would be false to say that they would have reinvented, or even surpassed, their old selves in any manner. The scene is still brimming with offshoots of Anatomy and Bestial Warlust, such as Ignivomous, who on “Death Transmutation” have definitely listened their Incantation and Immolation, not without streamlining them to a more generic barbaric noise approach though, and Razor of Occam, whose “Homage to Martyrs” updates the violence of Sodom and Kreator to a new generation yet again, as wolves surrounding the throne room of Absu who stumbled and diluted their ancient black thrash in favor of “progressive” stylings that mostly only pleases reviewers in Terrorizer.

I know that mortals’ ears are already bleeding, but it’s impossible to escape this topic without mentioning a few curiosities from Adelaide group of total nutcases, starting the cult old school death metal band Martire back in the early 90′s. The early demos and EP’s have been re-released multiple times. Since that, members who call themselves “The Great Righteous Destroyer” and “The Serpent Inquisitor” have continued to baffle the hapless headbangers with one after the other more indescribable and twisted songs. Stargazer‘s Lovecraftian, off-center and racing death metal is what I personally consider the flagship band, whereas Cauldron Black Ram grooves like a joint venture of Celtic Frost and Running Wild members (in concept also). Misery’s Omen paints a hyper-dramatic curtain of dreamy black metal resembling Samael and a krautrock band on an endless bad acid trip, describing “Desolate Winds of Mars”, “Antarctic Ice Chasms” and other spectacles of consciousness awaking to the immense possibilities offered by nature itself, impersonal, cold but beautiful.

Gather ’round all you fire-starters
Whirlwind reapers and comet riders
Come to our mountain hall
Come and heed the call

– Deströyer 666, The Calling

Written by Devamitra

Entrails Premiere “Soul Collector”

Swedish death ‘n’ roll band Entrails previewed a new track, “The Soul Collector”, from their upcoming sure to be awful album World Inferno from Metal Blade Records. Prior Entrails albums were shot full of holes in in the firing ranges / execution grounds that are the Sadistic Metal Reviews. World Inferno will surely be too based on this track.

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Satan – Court in the Act (1983)


Article by George Psalmanazar.

Satan‘s Court in the Act exists in a unique space between the New Wave of British Heavy Metal and speed metal. As a wholly metal album that attempts no pandering to mainstream radio rock unlike seemingly every other NWOBHM band, Court in the Act is by far the strongest studio album of that sub-genre/movement and incredibly influential to American speed metal bands Metallica, Megadeth, and Slayer.

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Sadistic Metal Reviews: Flush ‘Em All

Blood must be shed to atone for the sins of these mostly horrific recordings. Every single person who thought releasing these was a great idea should attempt to give themselves a self-swirlie while under the influence. Banging their head on the porcelain toilet tank lid will knock some sense into them or crack their skulls open. Hopefully the latter.

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N.W.O.B.H.M. Survivors

The New Wave of British Heavy Metal was the simultaneous, sudden emergence of hundreds of heavy metal bands in the United Kingdom in the late 1970s and early eighties. The NWOBHM was prompted by the collapse en masse of earlier hard rock bands and heavy metal originators. Led Zeppelin and other blues-based riff rock bands had collapsed into meandering stadium rock with only a couple listenable songs per record at best (“Achilles Last Stand” on Presence). Black Sabbath fell flat on their faces after Sabotage, making the meandering duo of Technical Ecstasy and Never Say Die. Punk declined from almost-progressive works as the The Stooges’ Fun House to boy bands such as the Sex Pistols playing radio pop. Deep Purple regressed to playing what their former guitarist Ritchie Blackmore termed “Shoeshine music.”

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Vader North American 2017 Tour

Vader are touring North America this year in support of their mediocre new release, The Empire. Hopefully Vader will play a good amount of material from their better, older releases such as The Ultimate Incantation and De Profundis. Tour dates and the press release are after the jump.

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Memoriam Snore Through “Reduced to Zero”

Memoriam posted the first track and track list for their upcoming death ‘n’ roll album For the Fallen. Hear Karl Willets sound tired and rip off himself on “Reduced to Zero” over riffs that make Benediction‘s The Grand Leveller sound like a peak of death metal in comparison. I’m so excited! Let’s find out what this single sounds like!

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Ungod: The German War Machine That Flies Under Metalhead Radar

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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