I found myself interested in Vektor after discovering their studio albums late in 2011. Essentially an extreme speed metal band that at times reminds me of a souped up Destruction (although their visual imagery is clearly patterned off Voivod), Vektor demonstrates great technical ability and knowledge, but more importantly writes coherent and well structured songs that allow them to effectively use their prowess to explore interesting musical ideas and to illustrate science fiction/dystopian themes. “Ultimate Artificer”, off the upcoming Terminal Redux, tends to favor the melodic and consonant side of the band’s work. It is still representative of their overall sound, and certainly should be of value to anyone interested in this genre or Vektor’s overall themes. Terminal Redux is currently scheduled for release on March 11th, 2016.3 Comments
Were the year 1988/89, when Speed Metal was making it’s final, most definitive statements of dystopian frenzy and technical invention, the reverberations of this music would undoubtedly be traced back to places like Canada and Texas, detecting the names of Voivod, Obliveon, Watchtower and dead horse among others. Certainly not Arizona, where, in Vektor‘s case, these sounds have travelled to and eventually merged in an energetic experiment of nuclear fusion. To some, the last few years have been good times for Speed Metal and saw a resurgence of bands trying to capture the spirit of the 80′s. In reality, this was one of many niched exercises in nostalgia and the long out-of-date fruits of useless bands like Evile, Merciless Death, Lich King and Municipal Waste reflected the trivial trend with sounds of supreme tackiness. Vektor are among the very few in revitalising Speed Metal, creating more than just a retrospective and methodological account of that genre’s heyday. ‘Black Future’ is a work that honours the past enthusiasm for innovation and musical proficiency, thus having a mind of its own to render this music for present and future audiences.
Voivod is the most visibly emblazoned influence on this band’s aesthetic, touching everything from the logo to the trademarked discordance and the futuristic scenes of technocratic dissolution it portrays. The Obliveon influence is quite explicit also, as there’s a lot of complex and unconventional movement of individual notes that resembles some kind of robotic Pagannini-droid, disembodied from the more rhythmic sections to emphasise the Classical aspirations of this band where melody is concerned. The rhythmic sections also stress this connection via. Metallica and their revolutionary instrumentals such as ‘Call of Ktulu‘ and ‘Orion‘ (there’s even the odd riff-a-like worked into the otherwise unique and beautifully crafted compositions). These songs flow very well through the course of the album, arranged much like one would theoretically expect it to sound had the band announced that they’ve written a ‘concept album’. It progresses from scenes of human conflict, chaos and error to glimpses of dark matter and the expanses of space hitherto undiscovered, mutating the neoclassicism into crescendos of high-end, sci-fi movie score material. Vocals are piercing shrieks that sound like the most ultrasonic intonations of Destruction with a touch of Absu. The drumming is really skillful but, as with the guitar-work, is almost over-indulgent at times, bringing undue attention to staple techniques like galloping kick-drums and shredding, though these occasions are few and far between and in any case, it’s infinitely more enjoyable to hear such exponentiated energy where it really belongs.
This album took us by surprise as 2009 was drawing to a close, capping off a year filled with more quality albums than the discerning Metal listener of recent years is used to. Vektor’s grasp of their ancestry is profound and combined with an epic concept and insane and elegant musicianship, ‘Black Future’ plays out like some cosmic race towards entropy with mankind in the driver’s seat.
Every year we are treated to an endless amount of ridiculous lists. It seems that any individual with the ability to express their opinions is obligated to share their Top 10 or top 20 metal releases that more often than not echo the same three websites. The bands that enter such lists tend to come in two varieties: veterans rehashing the same ideas in a more streamlined fashion and those who trick their audience via the use of gimmicks and presenting a familiar product with slightly different aesthetics as the next big thing. In these last two years, speed metal has conquered the number 1 spot of most of these lists. Last year Vektor’s Terminal Redux ruled the metal lists by far with it’s melody derived from Voivod and the phrasings from Destruction’s Eternal Devastation all held together in long sloppily composed epics… ultimately resulting in an above average album but a strong move for the funderground. This year, Texans Power Trip succeed in winning the “funderground 2017 award” with their second album Nightmare Logic. The Speed metal revival movement has finally found its idols to guide it’s path of remaining in the past and offering the most faithful reproduction of late 80s speed/thrash.34 Comments
The Death Metal Underground staff subjects themselves to countless nights of toilet diving in order to bring you gems crapped out by the dessicated undead corpse of the music industry. These are what we left in the latrine.15 Comments
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Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as Mastodon – Leviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).39 Comments
Article (obviously) by David Rosales
Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
- Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
- Deep Purple – Stormbringer
- Rush – Rush
- King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
- Judas Priest – Sin After Sin
- Motörhead – Motörhead
- Iron Maiden – Iron Maiden
- Black Sabbath – Heaven and Hell
- Angel Witch – Angel Witch
- Cirith Ungol – Cirith Ungol
- Metallica – Kill ‘Em All
- Slayer – Show No Mercy
- Iron Maiden – Piece of Mind
- Mercyful Fate – Melissa
- Manilla Road – Crystal Logic
- Manowar – Into Glory Ride
- Slayer – Reign in Blood
- Metallica – Master of Puppets
- Kreator – Pleasure to Kill
- Morbid Angel – Abominations of Desolation
- Sepultura – Morbid Visions
- Fates Warning – Awaken the Guardian
- Candlemass – Epicus Doomicus Metallicus
- Sepultura – Beneath the Remains
- Morbid Angel – Altars of Madness
- Bolt Thrower – Realm of Chaos
- Voivod – Nothingface
- Helstar – Nosferatu
- Powermad – Absolute Power
- Rigor Mortis – Freaks
- Pestilence – Consuming Impulse
- Burzum – Burzum
- At the Gates – The Red in the Sky is Ours
- Demigod – Slumber of Sullen Eyes
- Morpheus Descends – Ritual of Infinity
- Therion – Beyond Sanctorum
- Sinister – Cross the Styx
- Amorphis – The Karelian Isthmus
- Deicide – Legion
- Incantation – Onward to Golgotha
- Atrocity – Longing for Death
- Autopsy – Mental Funeral
- Cadaver – …In Pains
- Asphyx – Last One on Earth
- Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
- Darkthrone – A Blaze in the Northern Sky
- Emperor – Wrath of the Tyrant
- Graveland – In the Glare of Burning Churches
- Immortal – Diabolical Full Moon Mysticism
- Sacramentum – Finis Malorum
- Skepticism – Stormcrowfleet
- Suffocation – Pierced from Within
- Vader – De Profundis
- Gorgoroth – The Antichrist
- Graveland – Thousand Swords
- Summoning – Minas Morgul
- Deicide – Once Upon the Cross
- Sacramentum – Far Away from the Sun
- Immortal – Battles in the North
- Abigor – Nachthymmen (From the Twilight Kingdom)
- Funeral – Tragedies
- Dissection – Storm of the Light’s Bane
- Iced Earth – Burnt Offerings
- Gorguts – Obscura
- Vader – Black to the Blind
Incantation – Diabolical Conquest
- Dawn – Slaughtersun
- Sorcier des Glaces – Snowland
- Angelcorpse – Exterminate
- Blind Guardian – Nightfall in Middle-Earth
- Symphony X – Twilight of the Gods
- Rhapsody – Symphony of Enchanted Lands
- Suffocation – Despise the Sun
- Absurd – Asgardsrei
- Soulburn – Feeding on Angels
- Arghoslent – Galloping Through the Battle Ruins
- Master – Faith is in Season
- Skepticism – Lead and Aether
- Gorguts – From Wisdom to Hate
- Absu – Tara
- Martyr – Extracting the Core
- Lost Horizon – Awakening the World
- Deeds of Flesh – Mark of the Legion
- Averse Sefira – Battle’s Clarion
- Graveland – Raise Your Sword!
- Krieg – The Black Plague
- Avzhia – The Key of Throne
- Quo Vadis – Defiant Imagination
- Blotted Science – The Machinations of Dementia
- Avzhia – In My Domains
- Krieg – The Isolationist
- Burzum – Belus
- Divine Eve – Vengeful and Obstinate
- Atlantean Kodex – The Golden Bough
- Graveland – Cold Winter Blades
- Profanatica – Disgusting Blasphemies Against God
- Autopsy – The Tomb Within
- Overkill – Iron Bound
- Decrepitaph – Beyond the Cursed Tombs
- Black Sabbath – 13
- Condor – Nadia
- Graveland – Thunderbolts of the Gods
- Satan – Life Sentence
- Argus – Beyond the Martyrs
- Autopsy – Headless Ritual
- Profanatica – Thy Kingdom Cum
- Imprecation – Satanae Tenebris Infinita
- Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
Two tours of note today. First, and presumably better, is Voivod’s impending US tour. The band is currently traveling through Europe with Napalm Death and Obituary as part of Deathcrusher 2015. This February, they will join Vektor and Eight Bells for what is mostly a tour of the eastern USA, with some later dates in the Midwest. If an interview from February 2015 is to be believed, an album (and one that may be more overtly progressive rock oriented than usual for the band) is coming some time next year; the splits with At the Gates and Napalm Death that it mentions appear to have released without issues. The tour dates follow:
2/06 – Providence, RI – Fete Ballroom
2/07 – New York, NY – Gramercy Theatre
2/08 – Philadelphia, PA – Kung Fu Neck Tie
2/09 – Morgantown, WV – Mainstage
2/10 – Pittsburgh, PA – Altar Bar
2/11 – Asbury Park, NJ – Stone Pony
2/12 – Lancaster, PA – Chameleon Club
2/13 – Washington, DC – Black Cat
2/14 – Richmond, VA – Strange Matter
2/16 – Raleigh, NC – Kings
2/18 – Charlotte, NC – Neighborhood Theatre
2/19 – Sanford, FL – West End Trading Co.
2/20 – Ybor City, FL – The Orpheum
2/21 – Atlanta, GA – Masquerade
2/22 – Knoxville, TN – The Concourse
2/24 – Chicago, IL – The Abbey Pub
2/25 – Cudahy, WI – The Metal Grill
2/26 – St Paul, MN – The Amsterdam
2/27 – Omaha, NE – Waiting Room
2/28 – St. Louis, MO – Firebird
3/03 – Ferndale, MI – The Loving Touch
I could theoretically make it to the Rhode Island show, and I am certainly interested in doing so, but we’ll have to see how things shape up in the next few months.4 Comments
Editor’s note: this originally appeared in issue #3 of the zine “voices wake us…” (“Voices Wake Us…” Zine. $1ppd. email@example.com) but it can be disseminated freely so long as this notice remains intact.
Questions by “Voices Wake Us…” Zine.
Answers by MkM (vokillz).
First off, what is your name and what part do you play in the band (instrument or vocals, etc.)?
vokalist, disease holder of AntaeuS. Satanik stigmata & preacher of the Void. 27 years old up to this day, non dead to most humans. Frontman & main voice for AntaeuS, I do speak for Him.
Now to the real questions. Black Metal’s legendary “first wave” included so many legendary bands like Mayhem, Darkthrone, and Immortal. Many conclude that the evolution of BM ceased after this period, so what do you think Antaeus’ relation is to the progression of the art? Is it justifiable to be merely more extreme? Can anything be added to the music at this point that has not been done already?
Black Metal does mix both ideology & musick, on this level, I would have to point out that most of nowadays bands have no linkz with the real meaning of this Art.Immortal never really took part of the bm kult, though their sound is very similar, their concept would be more based on northern landscapes, while bands like dark throne & mayhem had a more nihilitic death feels to the lyrikz & the aura was a bit more depressive in most cases.
We are payin hommage to those bands of the second wave, for their dedication in the early days & the message they did spread. We do evolve in the same vein, we hold the same message & our speech is based on hatred, denial of life & anything that would be related to “holyness” any religions wise, anything “human” related would be a target.
Black metal = SataN in its most strikt vision, we here speak of death, total death & the praise of the vortex that would swallow all. Though the utopia of such an ending is known of us, we do work in this way, spreading our disease & disgust of life and the concept related to it.
Sound wise, we are more extreme than the suscited bands, we couldn’t perform the same of art, for multiple reasons : we do breed violence more than depression (as individuals) & we do perform what we are & breath. The band is composed of 5 individuals more or less evolving on the Hate path. Me & Set being at the forefront of this, & since we are the main composer (him for the music & I being the sole responsible for any lyrikz & propaganda), we are the trademark of AntaeuS.
Also our approach is more destruktive than the “90s” gloomy approach of darkness, while they were opening gates of despair, we are opening gates of torment & pain.
Both are as effective, I truely find my inspiration in both, but violence is our key, our vektor.
Feel his pulse through us.
We are one stone of the edifice.
Black Metal is like a kathedral of Hate, it is not a question of evolution, the “evil”ution within takes place within the rankz of devotee evolving & praising the kult.
You have expressed dissatisfaction with the Cut Your Flesh and Worship Satan album as being too rushed in the studio. To me, I can say I do not think it harms the record and adds to the urgency of the album. However, you have a new album coming out and will this be different and in what way a “representation” of the band that we have not already seen?
Somehow you are right, now that the album is older to my ears (two years or so) I get to listen to it in different perspectives, not rekalling all the shitty detailz about its conception & its spreading.CYFAWS was a gathering of mostly old trackz, like demos & reh tracks, all gathered on the same full lenght. Only one track never appeared anywhere before the cd release (though I am not even too sure about that now, I should check the live tape on chanteloup creations…) also the cd had three different rekording on it, which was a bit messy & made it sound more like a recollection than anything else.
Now, I think that baphomet did allow the band to put all together the most efficient earlier track of the band (inner war, devotee, nihil khaos…) but a rerecording of the whole album would have been best, now that would be the main complain about this lp.
Also this album did cost us a lot of money, but I do not fool myself, it is the same way for many bands around here, still having labels to cash on your work without being fair to the band is something I will never tolerate. That made me freak out, the band never got a fuckin cent out of the sale of the band, considering it did reach around 3000 copies (which is amazing to us, we never expected this much) one could easily guess that we got massively fucked on this one.
DE PRINCIPII EVANGELIKUM the newest release presents a more compact release, being composed on a two years basis, the whole has a more “united” strukture & lyrikz wise, that did allow me to have something fully solid. This time the lyrikz are included, I had the time to type all in time so people will finally get to understand what lies behind antaeus, though it will remain obscure to most or simply fucked up.
DPE is less easy to get into, it took me a few month to get into some trackz myself, having one hell of a hard time to lay vokalz on those & get the whole strukture in the reh’ room
The band does reh’ around 6/7 hours per week in the reh’ room & more when we get nearer to live exp or studio rekording. We get ridd off a lot of material, our work is very serious & we are making sure to have the most efficient offering to the black metal kult.
I think that one thing that would lack on DPE would be the intro sektion that are truely important to me, this time the drummer & I did lack time to meet & do something of my taste, that is my main “negative critic” to the new album. Next release shall see a return to those sonic landscapes & all the frustration that did hide behind those.
Many BM bands are one-person projects (Burzum, Bathory, Taake, Krieg, Ildjarn, eventually Emperor, and at times Darkthrone). What is the band construct of Antaeus? How does the song-writing process work and who does most of the “legwork” for the band, ie: setting up gigs and record-related business. Any comments on past members or development of the band over time?
You would mention there strongminded individuals that had one hard time finding the right members to perform their art with, or simply couldn’t deal with others, due to ego conflikts.I was just a session member in the early days, being too busy with my zine & my distribution (& my former band)
When AntaeuS turned into a virus in me, I felt like it had to evolve further than the limitations that the main man back then had for it. I think that all took shape when I got hold of all the strukture of AntaeuS, getting set as main guitarist was the best move ever, since we have known each other for years & we had the same musikal taste (for the early 90s sound, nowadays we tend to listen to different aktz yet our basis are the same).
Drum wise, we decided to get ridd off the drum machine & never changed since.
Bass & rythm guitar wise, we might have had more than 20 different members within the band, but in 98 we did finally find the right one, being also involved in Eternal Majesty with whom we did a split demo back then. I did know them since they were working a lot with SPIKEKULT (since their first demo, “dark empire”).
Since then, the line up is perfekt & all of us are united & work on the musikal struktures.
For all the rest, interviewz, ideals, propaganda, kontaktz, ALL is done by me & me only. Mostly due to the fact that I am the only one speakin & writtin in english.
That does take a lot of my time, due to this I did stop all others implications (my zine, other bands & even spikekult for some months/years).
We do not seek gigs really, since conditions are always fuckin ridiculous or awful, I try to avoid to the max getting to play live, though we had two or three great shows since 94; mostly over the two past years.
Getting gas money & some beers seems to be the VERY best we could get in europe, even if we perform in front of 300 people… the cost to rent a place is so high that none could ever pay the band.
A couple reviews I’ve read of CYFaWS, while positive, have accused the band of not bringing anything new to the table. Stylistically, I would say that Antaeus is a) faster (I’d say only Krieg is as fast), b) more “grind”, c) less atmospheric, d) more brutal and divided into penetrating structures of noise than in an “epic” sense of many bands. Agree? What is the aesthetic you are going for here, other than just “fast.” Because it is definitely a unique and not just a retro sound.
I do agree with those reviewz, still we never did claim to bring anything to new, so I sometimes wonder why we are accused of that, just like we were lyin about it.True, we are faster, though I would use “more brutal” instead, since speed for itself doesn’t mean much to us, tons of swedish bands are playin hyper fast, but both the drumz & riffs are without any effects on the listener.
Brutality & Hate are the main faktors in AntaeuS sound, we do hold this pulse & seek to create such aura within any rekording of ours.
Our epic approach might be linked to the tension we do put in the rekordin process.
The grind aspect cannot be denied as well, musik wise, some bands are truely unique to me, but the message, most of the time, would be simply ridiculous or be the opposite of my ideas.
Older grind bands had more of a dark or sick approach compared to today’s fun/gore/political bands.
Hate is a large concept of the band. Does this reach over into politics at all? Many BM are clearly fascist, a politics based on hate, while others are nihilistic (and in that sense, partially anarchistic). Views of politics in yourself and in the scene?
Hate is anywhere, but most politics would serve some instead of others, while we support the death of ALL; all those fascist bands are always a source of interrogation in my kamp. All those linked to black metal & openly using both the sigils of SataNism & those of Nazism are creating a nonsense to me.the nihilistic part is often dealing with one hope for a brighter future, built on the ashes of nowadays society & values.
I do not have any hope of this kind, the only hope I have is tattooed on my chest.
Let’s go back on the nonsense, I don’t care about NS bands as long as they are not linked with black metal. Politics would limit the initial meaning of black metal.
NSBM seems more serious to the young than the “inverted cross”, since it would represent something more “socially involved”, having to deal with values that would be more “linked” to todays world & having more impact due to the importance of sigils (ie : the use of swastika or SS sigils are full of meaning & related to happening that took place less than a century ago). Politics are giving black metal a more “humanistic” approach, which I don’t really understand. I would understand sadistik exekution using SS symbols or funeral mist for their vision of death in general, but as far as “human values” are involved, I simply don’t get it.
Any individuals mixin bm with ns should realize that there is already a scene for that, anything metal related is more or less viewed as “outcast” due to the code of life (destruktive, alcohol, aggression)…
anyway when I think of those teens doing “sieg heil” here & there with their beers & long hair, they would be among the first to enter the gas kamp that does make me laugh
Death is the main goal anyway.
In what sense is Antaeus a “do it yourself” band that controls the aspects of recording, promotion, management, and production itself? You are clearly dedicated to the underground, but many people are not familiar with the metal underground as much as the more-established and cohesive American punk underground. How does the underground work and how much is Antaeus a separate entity from outside control and influence of labels, promoters, etc?
A would be my band then, since I would be responsible for most of those aspects.Being honest, I am not too aware of the punk scene, though got to meet up with some labels from around here pressing punk vinylz & their scene seemed much more “supportive” & less “inner war” in between labels & so on. I might have a wrong of it though.
I would be totally dedicated to one aspect of the ug scene, which I could describe as the only real scene, with true sick freakz & not wannabes & morons of any kind that would pollute the bm kult.
those idiots are numerous & for the past years, I would have spent way too much time on those inbreed fags instead on workin on my code of life & supporting what had to be supported with the scene (bands & labels wise). Now we are viewed as traitors to most, since we did sign to Osmose.
Osmose allows us a studio rekording budget & having the whole distribution in their hand, I could never deal with that myself, my daily job takes around 50 hours per week now (compared to 70 h per week for last year) which makes it nearly impossible to cope with the mail & any correspondance in general. Even reh’ with the band got closed to impossible for me. All is getting better now, but as far as I am concerned, if A didn’t sign to Osmose, all would have stopped. I couldn’t go on paying 300 usd per month for the band, not having enough to cope for my own living cost.
Now we do loose less cash, but we still loose. So when I get to read that we did become fucking rockstars or sell out, I might ask to whom did we sell out???
A band selling 5000 copies (which even ain’t our case) could never live out of it, I am sure that you are aware of that, but many readers out there that did write us do think that we do earn enough money with the band to live with….
It was ok to reply to those questions the first years, but after a while, it killed me that most people wouldn’t get how it workz…
But hell, we are talking about fuckin labels detailz & how bands are getting fucked most of the time
Right now with Osmose, all is doing ok, we just did spend around 400 usd for this one, (lay out & mastering) since we did excess a bit the budget allowed for the studio rekording.
How is the French “scene?” Are there many bands, zines, or venues to play in? Are there a lot of posers?
Scene in france is not my fave subjekt, I did support many bands from around here in the past, being proud of my “local scene”, but all those bands did fuckin backstabb us for no reasons or so. “allies of today are the backstabbers of tomorrow”, thus I don’t mention too much about bands from around here.There is a fair deal of akts though, most of them are amateurish to the core & spending more time in front of camera or doing shirtz than working on the musikal parts.
All of them are envious little morons who are offended when they realize it is not that “easy” to have a cd out. They all think that demos are useless & that the underground is just a chat room on the net.
For the older ones, we had either conflikts with them or totally different views.
Apart from a few dozen individual in the whole france, we don’t get along too much with individuals from around here.
I had my fair deal of war around here.
In the newer band ; dark opus & aosoth are among my faves
DEATHSPELL OMEGA must be the ultimate black metal band the traditionnal way. END ALL LIFE is without any doubt the best vinyl bm label, they must have by now the CYFAWS on lp out, & that is one Honour for us to be on that label.
Zines? well 666 is the best in the extreme bm/dm way, eternal fire was killer too but defunct (or simply no newz from them since long), stregoica was kult in its dayz, now they are doing ordealis rekords which is very promising (killer work from their part), deadfuckinchurch is a good zine but he said that his final issue will be the next…
Some distro are great too, like paleur mortelle & warchangel.
AntaeuS will have a split 10″ with AOSOTH on Paleur Mortelle (firstname.lastname@example.org) in the comin month btw.
Gigs wise, the audience is way better than any us gigs that I got to visit (& I had my fair deal of us deals over the three or four stayz I did over there), we usually get from 150 to 400 nowadays, but places are not so numerous & each venues does cost around 2000 to 3000 usd to rent for a night, with such prices, no bands would get any payment, asking for gas payment is already a dream for bands.
Due to that, in 2001, antaeus only performed live Once.
We did perform a bit more over the past months, with bands like nargaroth, taake, enthroned, eternal majesty…
The last hellish gig we did do was in Paris with taake & enthroned, our best set ever since 2001
In nov 002 we will be among the opening bands for the DEICIDE european tour, we shall desecrate new countries & I do expekt that tour I must say.
It’s nothing you’d understand, but I do have something to say. In fact, I have a lot to say, but now is not the time or place. I don’t know why I’m wasting my time or breath. But what the hell? As for what is said of my life, there have been lies in the past and there will be lies in the future. I don’t believe in the hypocritical, moralistic dogma of this so-called civilized society. I need not look beyond this room to see all the liars, haters, the killers, the crooks, the paranoid cowards — truly trematodes of the Earth, each one in his own legal profession. You maggots make me sick — hypocrites one and all. And no one knows that better than those who kill for policy, clandestinely or openly, as do the governments of the world, which kill in the name of God and country or for whatever reason they deem appropriate. I don’t need to hear all of society’s rationalizations, I’ve heard them all before and the fact remains that what is, is. You don’t understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil, Legions of the night — night breed — repeat not the errors of the Night Prowler and show no mercy. I will be avenged. Lucifer dwells within us all. That’s it.
– Richard Ramirez
Most BM has diverged into “symphonic,” commercial crap. I’m sure you have some ventings on bands like this (Dimmu Borgir, Anorexia Nervosa, Ancient), or on “retro” bands like Dark Funeral. To many, Black Metal must remain underground and elite, and yet within it are elements that are more palatable to the masses- a band like Immortal proving that BM can be commodified over time. Thoughts on this phenomenon in Black Metal?
Like anywhere, when you get an artistic style that would be perceived as elitist & underground, one will have the wish to “extand” it on a different level, for various reasons.Some considers that the message should not be limited to one handful of individuals
some seems to think that they would sell more rekords having an “evil” image Some just find it “cool” to use such imagery Others are living the black metal kult, on a daily basis.
Music wise, I am closed minded when it comes to black metal, not opening myself too much to new genres, though I did try to pay attention to all those bands poppin up & crossing goth, indus & so on with black metal.
I must admit that diabolicum & mysticum were the only one that did match my expektations when it comes to the aura created.
On the other level, I also pay attention to the “performers”, for example : Anorexia Nervosa is often quoted as fag band, mostly due to the COF sounding of the musick. But on a personal level, the frontman is really a sicko & is among those few individuals I consider. Yet he would be a bit too much “rock n roll” sometimes eh too much drugz & autodestruction for me (which does provide a smile, that does you an idea on how fucked the man can be) aktually I think that when you get to meet him, he would be more in his place belongin to sadistik exekution than anorexia (musick wise) Ancient & dimmu borgir never made it to me, not even one track from their early days (the ep of ancient was ok though).
You did qualify some elements of black metal as “palatable” for the masses, yet we have to redefine masses then, since those masses would be the “extreme metal scene” which is not that wide, only a few thousands people I would say.
Not something that could be play on the air of any local radio show & musical tv shows or whatever. We are not dealing with “pop” music. But I do agree, black metal did sadly evolve to a wider audience & that doesn’t mean that the real audience did grow bigger, just that it did expand to people that simply don’t get a clue of what real black metal is about.
Having some individuals to compare napalm death to dark throne amazes me… the only link between those bands is mostly in the instruments used & some beats. (& some would kill me for the “rythm” comparaison)
Anyway, on our level, like other bands, we remain an underground band, you will most likely always find “cyfaws” & “dpe” on cd format, but we will go on doing limited tapes & vinylz. Only for those few sick ones that are also the pulse of the band.
It does mean a lot to us to be supported by like minded individuals, band members or zine editors or just listeners.
I do not get much letters in that vein, but with those few with whom we share visions, getting to read some comments on AntaeuS work is always rewarding.
Our satanik audio violence would be a weapon & only some individuals know how to handle it & how to view it properly.
Carcass or Bolt Thrower? Pick one.
Fuck… Bolt Thrower
at least they didn’t change & “cenotaph” is an instant classic for me, such as the “in the battle there is no law” lp. carcass had amazing trackz but fuckin wimped out too much for my taste.
When can we expect the new album (on Osmose, right?) and will there ever be an American tour??
the new rekordin shall be out on sept 23rd in europe, so obviously a bit later in the usa, osmose doesn’t have a distributor over there I think, so most releases are available mostly through ug mailorders & so on. I doubt one will find it as easily as CYFAWS over there. I seriously doubt on the american tour thing, though I wish we could go over there & perform with bands like black witchery, thornspawn, krieg, demoncy, gbk & so on. Since we are doing a european tour for “DPE” in november, as opening band for Deicide, I am not nearly sure that no tour will happen until the next release (the third album that is).Having us on a european tour would mean getting the band on a bigger “bill”, having an headlining band that could make it possible. As of now, I have no big expectation about a us tour, since it seems nearly impossible, we are not “selling” enough to be pushed that way.
The Deicide tour is already something really expensive.
In the future, who knowz? but I wouldn’t be surprised if the band never gets to perform over there.
Bands like marduk, satyricon & others took forever to go to the other continent & most of the time, itz like a money vortex more than anything else.
Time shall tell, we still have to perform over here first, that is our territory & we haven’t visited more than three countries as of now (which would be like performin in three different states for a us bands).
To you, what is most important in sustaining black Metal into the coming years, as it is increasingly an “endangered” form of music?
I see it that way : Evil will never dies, it might change shape, as long as some form of Art will be dedicated to its “grandeur”, I see no problem with itBlack Metal has somehow a more raw approach to it, a darker incarnation meant to appeal to more extreme masses, thus a minority of individuals are truely meant to understand fully the concept behind this genre.
Black metal is nowadays marketed as a musical genre only, with gimmicks to help the sales. Many bands did take the opportunity to rise using those “eye catching” ideas related to black metal.
Your top 5 BM records?
DarkThrone “a blaze in the northern sky”
Funeral Mist “devilry”
Katharsis “666” + “red eye of wrath” demo
Blasphemy “fallen angel of doom”
Beherit “D. down the moon” (& oath of the black blood)those are the ultimategettin near to that, I’d add sadistik exekution (all releases), profanatica, demoncy, krieg… I’d easily give 20 names that would represent the whole list of bands I really support…. Giving 30 names would be impossible though. not enough bands have individuals matchin the right ideology one should have within the bm scene.
Thanks for the interview! Good luck on your upcoming record and in the inevitable Satanic victory over the forces of light. Have a nice day
Forces of Light are forces of lies as well, they are their own failure & we shall be the witness & the temptation for them.Take a look in the abyss & the abyss will stare back at you
For we hold the ultimate void, we shall go on, we are Omega.No Comments
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Being a music reviewer is like playing a neighborhood game of softball. Most people just toss the ball at you in an underhand heave, figuring you’re probably too incompetent to hit it most of the time. Every now and then one comes in at a crazy angle, either because it’s the one kid who can pitch even if he’s tossing you a giant rubber ball with the aerodynamics of a bison turd, or they let the retarded kids play. Either way, that crazy pitch is one in a hundred, and I live for those. Either it’s the rare CD that has some intent behind it, and some feeling to it as a result, or it’s some immaculately oblivious basement dweller here to amuse us with failure. The rest fail just by being ordinary, unexceptional and therefore, completely forgettable.
Kayo Dot – Coyote: This King Crimson tribute project likes to use diminished melodies, atonality, and chaotic combinations of instruments, but at its heart it is pop music with a simple variation on a common theme — instead of using pairs of riffs, the band assemble their phrases in groups of three so that you can shift between them and feel a sense of motion without unnecessarily complexity intervening. Many songs rely on long passages of “building up” harmonic energy through texture, which are like fun jams that then dissolve into structured song again. Songs vary enough to keep interest but are aesthetically unfulfilling as they aim for an aesthetic of randomness and barely remaining organized, which flattens the emotional dynamic possible because every moment is a cliffhanger. In addition, the vocals are like a really bad version of Sigur Ros and will annoy most people who like aesthetically coherent experiences. The most common mistake in making progressive music is to throw everything but the kitchen sink into the pot and hope it sticks, but the best bands always worked from a very simple plan and then spun layers of detail off of that. The horns dominate and guitars are relegated to rhythm and noise. Individual instrumental performances are excellent however so if you are a basement guitarist hit this like a cuffed protester.
Aggression – Forgotten Skeleton: If you crossed Nuclear Assault with Dissection, and gave it punkish choruses borrowed from Cryptic Slaughter, you’d get Aggression. Lots of classic speed metal riffing that will delight anyone who really loves the period after Metallica but before the Dark Angel/Kreator/Destruction/Sodom influenced morphed into death metal, and linear riffing that’s reminiscent of Powermad. On the whole, it’s somewhat random like Destruction and the chanted choruses over the offbeat kickhappy drums sometimes makes me want to make origami out of an IQ test, but this is a credible effort. I just don’t want to hear it again.
Daughters – Daughters: If you crossed Mindless Self Indulgence and Talking Heads with the Beastie Boys, you might get this whacky indie band that uses drums like an industrial band and keeps a theatrical, almost vaudeville level of hysterical intensity with lots of background noise. The vocalist half-talks half-sings and the guitars follow a song structure of extended versions textured in found sounds and different guitar riffs but essentially like all good dub following the same rhythm. Unfortunately, it’s also abrasively annoying because it is essentially simple with many distracting sounds packed into its core. “Daughters” has a spacious sonic profile and weaves some catchy riffs cloaked in noise throughout it, delighting those who thought post-rock should be weirder than slowed-down shoegaze/emo mashups.
Battalion – Winter Campaign: I keep a clay pigeon launcher next to my reviewing station, and when a disc irritates me beyond all reason, I send it flying out over an oblivious world. This is bounce metal, this Battlion stuff, which means it’s like Exhorder crossed with something jaunty and stupidly hard rock like Motley Crue. Although they use a lot of death metal riffs, the majority of playing time goes to riffs which are straight out of the most cliche days of speed metal: chuggachugga chuggachugga chug chuggachugga chuggachugga chug, chug . It is so obvious you have to hold your head up to avoid slumping into a stupor. Not sleep — who can sleep with all of this noise? — but a stupor as if you had someone present to you a 19-hour lecture on how to pick your nose. Mundane is the word. Throw this out as fast as you can find it.
Grave Miasma – Exalted Emanation: There’s a recent spate of these “simplified Incantation/Demoncy” bands. The only one I like so far is Cruciamentum; they vary just enough to be a solid B level death metal band. Teitanblood and Grave Miasma are so obvious it’s just painful to listen. Grave Miasma in particular seems to draw inspiration from Grave, who would use basic chromatic progressions in the most obvious way in rhythmically very basic ways, such that the boldness of it made you want to like it, as with early Napalm Death. But then you’d reflect on it and realize there wasn’t much there unless you really enjoyed the guitar tone. So it is with Grave Miasma: standard song forms, plodding progressions, little harmonic or melodic development, and not particularly compelling rhythm — unlike Demoncy and Incantation, who used minimalism creatively, this is just minimal. I’d like to love this, or I’d love to like it, but I don’t want to listen to it again.
Zs – New Slaves: Tribal drumbeats with metallic noises for harmony, deconstructed sound and effects, and a wailing saxophone make up this experimental band that uses the dub structure of layered sound. The beat established early in a song almost never changes, although it may cease at strategic moments, as in a primal ritual; within the spaces between beats, additional percussion instruments lend their timbre as an electric guitar and/or saxophone make repetitive oddball sounds with minor textural variations, giving the sensation of the album slowly surrounding you like chocolate icing. While most will not have the stomach for the abrasive wall-of-noise technique, the ritual rhythms and ceremonial pacing to each song make it an enigmatic sonic wallpaper for the background, reminiscent of the K.K. Null/Merzbow project “Absolute Null Punkt” if hybridized with The Electric Company.
Diamondsnake – Diamondsnake: This band cracks me up. Well-known ambient dude Moby created it with some of his friends from non-succeeding metal bands. It sounds like middle period Motley Crue done by pop punk brats Blink 182, with lots of extra cheese and sleaze, more with tongue-in-cheek irony than attempting to really provoke a parent or legal guardian. For hard rock listeners, this album is about as clear as anything else in the genre, and has some retro appeal with its very “Quiet Riot 1985 turned up to 11” sensibility. One oddity is that the production is so thin and designed to resemble a pop band, because the reedy hum of guitars cannot compete with today’s louder and thicker sound. However, it captures vocals, which with infectious four-note melodies are what really drive this band, since the riffs are if not generic at least cut from historical archetypes. Like most popular music, it’s children’s songs — really basic 3-4 note patterns repeated as “melodies” — but it’s catchy, fun, and not half as bad as most of the trve kvlt releases we get here.
Catapult the Smoke – Unearthed: Stoner metal is about half Black Sabbath, with the other half being filled by the rock heritage that comes into metal through bands like Cream, Led Zeppelin and Iron Butterfly. This CD contains competent stoner metal with unsteady wailing for vocals, but its essence is rock ‘n’ roll wrapped up in a bunch of metal riffs. In fact, it could well be a case of regression to the mean; this band is not substantially musically different from the Night Ranger clones of the 1980s, but they used lower tuning and have a greater vocabulary of metal riffs, namely Candlemass and Cathedral. Song structures are very much radio rock and these songs suffer greatly because there’s no emotional dynamism in them, where we feel a sudden change in difficult emotions that has the effect of stepping onto a three-story water slide and riding out of control. Instead, these songs claim a space and fill it, but there’s not much internal change or feeling of any emotional conflict, so they end up being more like leaving a fan on at night for comforting white noise.
Vuohivasara – The Sigil: Sounds a lot like Niden Div 187, namely fast melodic violence with lots of chromatic fills and a basic riff/chorus construction. Not bad, not as good as Mythos.
Trauma – Daimonion: Metalcore-influenced modern death metal, reminds me of a cross between Pestilence and Eisenvater, but it does the thing every bad metal band does which is repeat a basic rhythm through everything. Vocals/guitars synch and chant. Riffs are very similar too.
Master – Slaves to Society: Paul Speckmann is a genius of metal who sometimes leaves things half-finished as he does with this album. Riffs are similar, and guitar wankery fills in the gaps. In addition, his chorus-chant heavy metal just makes for repetition. There are some awesome moments but it’s not Master’s best.
Beherit – Unholy Blessings: Compilation of demos. The early demos sound like the first album, the second album demos sound like the second album played hastily, and the live set is chaotic and brilliant but not really something you need recorded. Blasphemy cover is a nice touch. I love this band but don’t see the point to this bootleg.
Skeletonbreath – Eagle’s Nest, Devil’s Cave: I like this because it reminds me of what Carbonized attempted to do on their second and third albums, which is leave rock music and jazz behind by giving songs a pattern of development more like that of a movie soundtrack. Using drums, adroit bass, and a violin, Skeletonbreath create carnival-esque longer songs that resemble soundtracks for the greatest movies you’ve never seen. These songs have clear theme and develop through a series of melodies that comment on one another, creating a real sense of atmosphere and through change, emotion. One of the more interesting CDs I’ve heard recently and musically, head and shoulders above the rest.
Xasthur – Demo 2005: Xasthur is easy to like, at first listen, because it’s actually musical in the formation of its riffs and use of vocals. The problem with Xasthur is that songs don’t go anywhere; this is the same problem every “Burzum-influenced” band has, which is that it’s much harder to string together riffs into an atmosphere than maintain it with one riff and a few breaks. This demo represents the furthest evolution of Xasthur in that songs vary between several moods, like how in your average house, you end up in one of three rooms most of the time. It’s very pretty but doesn’t stand up to repeated listenings.
Wiht – Wiht: First track sounds like a cross between Capricornus and Celtic Folk; it’s very bouncy and very intense on repetition with layers of simple technique on it. Sounds a lot like early Abigor mixed with Samain and early Hades. Not bad, but needs more direction.
The Austerity Program – Backsliders and Apostates Will Burn: Melodic punk music interrupted by extended periods of bass/drums while some dude sings a faux Jim Morrison/David Bowie melodic ramble which is not so much directed as responding to itself. The chaotic result is really abrasive for the most part but has its moments of beauty. I’d like to like this CD but it forgets about the listener and has made a theoretical object instead. Most people will as a result find it annoying.
Antediluvian – Under Wing of Asael: This is like a death metal version of war metal. Take some of those two-chord rhythm riffs that Blasphemy made big, add a musically unrelated fill, and make it a song… then repeat. It’s not bad, it’s not great, it’s on the low side of good but too repetitive to listen to again.
Pyramids with Nadja – Pyramids with Nadja: Often when reviewing failed black metal projects, my thought is that the musicians involved are simply in the wrong genre. Our personalities determine our ideologies, and from that what we find good and what we find bad, and if those don’t match up with the genre, we’re out of place. Nadja the shoegaze emo black metal band is insipid crap; here, however, with personnel from Pyramids as well, the Nadja people are in their element and a great album results. This most reminds me of Mick Harris’ Lull fused with post-Godflesh project Final, if supervised by My Bloody Valentine, because it is layers of organic sound like distorted guitar usually not even playing notes so much as skimming strings and using vibrato directly; they use bass as percussion much like Final does, and layer their distorted waves like My Bloody Valentine, but the sense of songs arising out of silence through chaos into pleasing drones is pure lull. Piano serves here as a guiding voice that brings the surging noise back onto something resembling a melody; voices can be heard, like a Greek chorus in distant space represented by reverb, filtering through. The result is pure texture like noise music, but it’s a texture that takes harmonically related notes and builds from them a fullness that is gentle and intricate enough to hold the attention. This is where these musicians belong; burn your Nadja CDs, because they are nothing in comparison to this.
Aosoth – Ashes of Angels: This is very similar to Anael, in that they use a couple of additional power chord shapes to fake a sonic tapestry. Dissonant chord, consonant chord. Always a binary, like a nu-metal band: here is soft and sensitive, and now it collides with rough and tumble. This technique is as old as 1987, which is when I first heard it and these chord voicings used by emo bands. This release doesn’t understand the spirit of old school death metal, or how it’s composed, and the result is a boring, lukewarm, soulless and repetitive listen.
Cleric – Regressions: Metalcore mixes hardcore, emo and metal into music with the compositional style, pacing and chord shapes of hardcore, but often throws in metal riffs, textures and vocals. The result is like a bag of kittens, each one scrambling to be nearer to the top, and the result is pure chaos. Cleric throw in some droning guitar feedback that’s quite pretty, some odd pauses and lots of prolonged open chord strumming, but musically this is no different from 100,000 other bands since 1987.
Apostasy – Sunset of the End: This album inherits the worst of speed metal, which is lots of strumming in the background while drums race to keep up and some dude “white guy raps” over the top. They’re good at their instruments, and know that intersection of riffing between Artillery and Destruction that is so fertile, but it doesn’t hold together. My head hurts.
Blut Aus Nord – Memoria Vetusta II Dialogue with the Stars: When an album like this comes out, Mossad should be dispatched to the homes of the perpetrators to find the “Black Metal Paint by Numbers” kit they used to make this. Even the worst band made by 15-year-olds is preferable because in its randomness, it is not predictable. This is entirely linear and pulls every trick to sound black metally. There is no direction; it’s a school assignment, “write a black metal album.” And it takes forever to end.
Angel Eyes – Midwestern: Alternating between droning higher-end sound that resembles a siren Doppler test through a smoky sky, and a very basic hybrid between sludge metal (Eyehategod) and stoner doom (Sleep), Angel Eyes create a post-rock opus that almost escapes its roots in indie, emo and modern hardcore. Songs unfold like a rambling house with rooms of different sizes built onto one another in a gradual process of accretion. There’s a room for spacy electronics and heavily reverbed guitar throbbing across a mostly empty sonic platform, and there’s a room for metalcore riffing with about 50% more indie rock taming it from incoherent raging into sensible sound. There’s even the room — shows up frequently, like a storage room linking two wings — for a lack of distortion while simple sweeps echo radiant through the ears. Much of this material succumbs to the linearity of non-linearity, where it both tries to be out there and because it needs to be listenable, shapes its deviance around a very simple core. However, many songs develop in interesting and poetic ways. The weak spot in this band are the predictable elements it inherited: the metalcore riffs are predictable and don’t add much to the song, and the vocals are really pointless. Dropping those would let these guys do what they’re good at, which is designing sound like a playground, with interesting nooks and slides and tunnels and bridges to explore even though you know you’ll end up back at the sandbox eventually. If you want an example of post-rock you can believe in, this would be it.
Cenotaph – Saga Belica: Bands commit suicide after albums like this. The interesting facet is that it’s a cross between later speed metal, like Destruction, with symphonic metal like Emperor or Therion. That means lots of Testament-style riffing that bounces around a chord while vocals rage all over the place, then the verse/chorus slurry runs straight into a pause and keyboard fill, then accompanying guitar/keyboard melodic run. It’s as ludicrous as it sounds, and this album is as directionless as you might imagine. Sad as this was a once-epic band.
Harvey Milk – A small turn of human kindness: This music is really obvious. It’s really stylized, but really obvious. I don’t think anything else matters. If you fall for this, you like listening to first-turn-off-the-main-road variations on metal riffs from the 1970s which, because they’re in a dramatic format full of lots of high school drama student Pauses, are assumed to constitute songs. But songs don’t happen here. Loops of riffs do, and then there’s a bunch of noise and something that sounds like a Walrus on PCP howling, and then the song “peaks” by being super-chaotic then smooths out into normalcy, which is the usual boredom. If you were fooled by Boris and Opeth, you might like this, but otherwise it’s just a treacle of boredom tugging at your heels.
Cerebral Effusion – Impulsive Psychopathic Acts: This is straight off-the-shelf deathgrind of the Y2K+ variety. Breakdowns, pauses, lots of long battery runs with blastbeats. Not incompetently composed but the style is so painfully blockheaded that it’s hard to want to hear.
Dark Half – Reborn: Standard punk music played with metal flavoring, namely a minor key and some metally riffs. For the sense of tempo alone this band should be shot over an open pit, but the completely shrinkwrapped standard black metal riffs dumb this down even further. For bonus points, it’s half speed metal so you get the same hackneyed fifteenth-rate ripoff riffs that have been around for thirty years. Songs go nowhere, but you guessed that by now. If this band were an individual, it would be on the police blotter for stealing empty safes. People waste their lives trying to make themselves like crap like this.
Desexult – Demo II: For your convenience, we have compiled all of the blockhead riffs from the first month’s practice of every metal band ever created. It’s like Hellhammer, but without the insightful incompetence; it’s just sort of part of the ride. I can’t imagine why anyone would keep this around.
Disaffected – Vast: Painfully predictable technical speed metal/death metal. Obviously, these guys listened to a ton of Testimony of the Ancients, but never got their act together to find a style or direction. Lots of speed metal riffs and “wait for it” off-time paused-based riffing, like Pantera on a Dream Theater kick. Plenty of shredding but little going on. Save yourselves before it’s too late.
Disgorge – Consume the Forsaken: Standard totally incomprehensible deathgrind of the Y2K+ variety. Breakdowns, chug-a-lot, blast beats, gurgling vocals and very similar riffs. In fact, this band seems to specialize in the non-riff, or the linear chord progression played with different rhythmic emphasis. It’s a real brain drill, this CD, as you try to remember what you were thinking before the incessant chug-gurgle-blast invaded your mind. What was I saying?
Eradication – The Great Cleaning: Much as I stand behind the idea of killing off the stupid, this band missed at least one, which is this album. Predictable melodic black metal with dramatic pauses and blasts. The result is insipid because it recycles the past without a direction, so you feel surrounded in make-work interpretations of other, better bands.
Ereshkigal – Ten Years of Blasphemy: God is safe from these blasphemers. Really, really safe. This really lukewarm black metal merges the truding mid-paced sound with the goofy, placeless keyboards that Master’s Hammer could use to effect but Ereshkigal manage to use like some bizarre punctuation that intrudes wherever, somewhere, a retard shits himself. It’s not even interesting enough to be random. How did they not fall asleep when writing, or recording this stuff? Oh well just send it to the pressing plant, someone will like it. Anyone… anyone…?
Execration – Syndicate of Lethargy: Guys, you didn’t forget anything. You didn’t leave anything out. This brutal blasting death metal incorporates melody, Gorguts-style odd timings and melodic fills, and New York style harmonics and stop/start riffing. The problem is that it’s disorganized, so you get a ton of unrelated crap that has to streamline into the linear to complete itself. And then it’s boring.
Exmortem – Nihilistic Contentment: For a metal band, it’s easy to confuse “frenetic” with “has content.” This very busy — “chaotic” — thrashing madness has constant clanging bass, battering drums and whirring guitars. What it doesn’t have is any particularly unique or insightful view of the world, or an aesthetic experience that rewards consciousness with an expanded view of life. Instead, it’s like cramming your head into a tiny box and then beating on the sides with your tiny impotent fists.
Fatalist – The Depths of Inhumanity: Oh fucking awesome, it’s just like the early 1990s when the Swedish death metal gods ruled the world. Except that somewhere along the way, Fatalist lost its soul. They’ve aped the sound of the guitars, and play derivative riffs at the same pace, but the songwriting is a mess. Sure, all these riffs are in the same key, but they don’t relate to each other that well and aren’t that interesting. To compensate the guy doing the vocals rants in a really predictable cadence. The result is mind-numbing and lacks all of the interesting song structures, melodies and atmosphere of the original Swedish death metal, or any music more competent than jingles in commercials for cleaning products. If you wanted to know what it’s like to be a retarded child, listen to this extensively.
An Albatross – The An Albatross Family Album: This CD tries to capture the experience of taking bong hits while you flip through a random selection of cable TV channels, with a metal CD going in the background and something really intense on your mind. They patch their songs together from metal, punk and indie riffs broken up with sound samples, keyboards, and radically sonically different interludes and transitions that resemble the intensely emotional conclusions of nature channel documentaries. Much of this music plays with being on the edge of deliberately super-annoying, and so will fail the “do I want to listen to this again?” test, but as an exploration of pushing the limits of style, it raises some interesting issues that someone else could develop in a more coherent and expressive way.
Faust – From Glory to Infinity: Very linear music, embellished with technical metal frills, but this cannot disguise the basic blockhead approach and lack of aesthetic opening that defines this music. Reminiscent of a faster and harder version of later Rotting Christ, this is melodic metal trapped in the middle of absolutely predictable overractive rhythms. It’s a mishmash of speed metal, Meshuggah, and death metal riffing that ends up just wearing you down with its insistence. This band really needs to just step back and figure out what they’re expressing. This is a highly competent mess.
Faustcoven – The Halo of Burning Wings: This is hiking music, meaning that it keeps building on a single two-step throbbing rhythm and hopes you follow along. I’m sure there are tasty granola bars, and maybe topless female hikers at the next rest stop, but this is boring as hell. Trudge, chant sing-song verse, then chorus and dick around with some riffs before you end the song. I’m trapped in that two-dimensional mirror thing they used to store bad guys in the Superman movies. LET ME OUT
Child Abuse – Cut and Run: The postmodern music of the late 1990s onward has confused cause and effect. When music is unique, the cause is a unique view of life and a burning desire to express it (put it into symbols and sound). When music is not unique, you cannot make it unique by dressing it up in everything “different” without making a mess that’s both chaotic and annoying. Child Abuse sounds like what would happen if a nu-metal band decided to make grindcore with math-metal and metalcore influences. Lots of odd noises, weirdly bent guitar riffs, and then standard grind/punk riffing while vocals shriek and feedback imitates the stall warnings of a 747. This really is not a path to success.
Faustrecht – Demoniak: Now that every metal band has an intro, let’s be sure to include one. Make it especially wandering and pointless. Then speaking of wandering and pointless, let’s put together high-speed Venom-style riffs and Donald Duck quack over the top. Even better, let’s keep it as verse/chorus as possible. Minimalism is like being closer to Satan. Then a really catchy chorus, but don’t make it too distinctive, or it might offend our advertisers (lobotomy wound care products, no doubt). So it ends up insipid, but that’s convenient, because so is the rest of this disaster of an album. I’m sending it to the Large Hadron Collider people because “Demoniak” is so bad it will make time itself slow down. Hope you’re not feeling your mortality while you waste irreplaceable seconds on this turd.
Fear Factory – Mechanize: Staying true to the title, I think they outsourced this album to a Perl script. It does that annoying white boy rap thing for the verses, and then choruses are the dude howling three syllables over and over again. It’s like the worst parts of Godflesh and NIN, but they added VNV Nation style techno touches. But we’ll be DIFFERENT and throw in some singing to make you know hey, it’s not like the other brick-stupid obvious stuff out there; there’s SINGING! Did we mention the SINGING? Still it’s so driving yet invariant and depthless that it’s good for nothing more than driving your parents, if you’re deaf and so immune to this wreck. I think they clearly designed this for people new to music who don’t mind really obvious and prosaic music so long as they get the message. And with this degree of high volume repetition, there’s no way to miss it.
Fractal Gates – Altered States of Consciousness: This sounds a lot like early Nuclear Assault to me, but with death metal vocals and uptempo. Good melodic hooks, riffs are obvious but not out of place, and there are some pleasant melodic diversions. Very Gothic in its use of melody, like a short bus version of Gehenna or later Rotting Christ. I wouldn’t call it profound, and as a result, wouldn’t listen to it again, but it’s far more “together” than most of the shit in this review pile.
Funeral Moth – Funeral Moth: The good thing about a gimmick is that you don’t have to work on the content of what you do. Let the gimmick sell it. You’re a Japanese doom metal band; what else do you need? Never mind that Winter, Thergothon and Skepticism all did the very slow riffs thing better and they did it by developing those riffs. Just get totally linear. No one is going to be listening anyway, because they’re too busy talking about how you’re a JAPANESE DOOM METAL BAND. Exotic, dude. Pass the PBR, and continue half-listening to this insipid hipster nightmare.
Gammacide – Victims of Science: You wanted some chaotic speed metal? Good, because this is pure chaos. Fast riffs flow into faster riffs and then they get into the staple of 1980s speed metal, the trudging riff that’s basically a lot of fast strumming of a recursive but rather slow progression. Chanty vocals with jaunty rhythms are par for the course too. But there’s a reason this band never really took on the world. This stuff has personality, but you wouldn’t say it really nails it, or expresses anything interesting about life. It’s there and it’s metal.
Gorgoroth – Quantos Possunt Ad Satanitatem Trahunt: Droning misery. Constant drumming. Harsh background screams with predictable rhythms. If this is Satan’s music, I’m getting a Bible. Interestingly, other than the fast strumming, this music is identical to the mediocre crap that came out of the late speed metal era, including the riffs that are based on Slayer patterns but, to distinguish them, random notes get tossed in. When you think it can’t get any worse, they do a “dramatic” pause and then start up, or throw in melodic black metal riffs that are about as new as erosion. If you are busy doing something really difficult, you won’t notice this background noise is pointless and boring. But listen to it? It has the soporific effect of a televangelist’s sermon.
Grabnebelfursten – Schwarz Gegen Weiss: It must be that Reader’s Digest is offering a series of helpful articles on handy home repairs and making symphonic black metal. These riffs sound like the guitarist is feeling them out and just trying semi-random stuff as he goes, and the composition modus operandi of this band is to find something they like and pound it into the ground, then toss in something totally different so you don’t get bored. The result is circus music that’s comedic in how little it relates to itself, or anything else. Vocals are also of that ptomaine poisoning hurl that sounds like the vocalist is straining to keep up with the random clatter beneath. I think they should refer to this as “suicidal black metal” because unless you have the option to turn it off, death may be your only deliverance.
Gravferd – Demonized: Hi everyone, I’d like you to meet my Down’s syndrome child, Gravferd. He sits in his room and practices stuff he knows other bands have done, and then vomits it back in a random order so that there’s enough for an album. Any time he gets confused and starts to cry, we just double the tempo and then he starts barfing out incomprehensible lyrics recycled from a giant pile of cliches we keep in the diaper room. You might recognize intense moments from the last twenty years of black metal, stripped of all context and power, rendered incompetently. But he’s my tard, so I’m going to put a gold star on this fucking thing and publish it. File under G for “glazed over.”
Greymachine – Disconnected: People love ambient music because you can turn on the drum machine, start jamming over a simple progression, and by dumping layers of noise, found sounds, keyboards, vocals and guacamole on it you can gradually shape it into a song. Then you turn off the tape machine and mail the thing to your record label, who start talking about it like it’s the esoteric holy grail of lost musical genius. Let’s dial it back to reality: this is very stoned people dicking around in the studio, and it shows none of the genius that occured on Streetcleaner all those years ago.
Holocausto – Campo de Exterminio: You have to get this, it’s a classic! Undiscovered cult metal from the early 1980s… and there’s a reason it was undiscovered. Do you remember those record players they made in the 1970s for playing Disney records? They were all plastic and had cartoon characters molded into them. This album belongs on one, because it’s kiddie music. It’s super-basic, not in a profoundly disturbing way like Discharge or Sarcofago, but more like a cross between old Sepultura and Anthrax. Like Anthrax, it’s simple-minded. Like old Sepultura, it’s fast and blasphemous with incomprehensible vocals that sound like tearing Kleenex. Like much of 1980s speed metal influenced material, it has the uncanny ability to kill time by hanging out on a very linear, obvious series of variations on a rhythm. I really wish this was buried treasure, but it’s not.
I – Between Two Worlds: Predictable hard rock, meet black metal vocals. Yes, it sounds like a toad on meth, and the riffs that came out of the 1970s but now come at you twice as fast just make the ludicrous more painful. Even worse, the increased tempo means that there’s no breathing room, just constant cliche at top volume. Then when you think you’ve heard enough, the shitty guitar solo comes in to make you long for peaceful silence. Unless you’re a moron. Then this must seem like it was made just for you.
Homicide – Dale of Lost Souls: Here come the police — where can we hide this collection of stolen ideas from the FAIL file of bad 1980s speed metal? Oh look, we can stuff them into this blackened death metal band and no one will notice. Mainly because no one is listening because this sucks. It’s all over the place and to hide the fact they have no idea to develop a song, the musicians here rely on repetition to remind you which song you’re listening to. It’s the one with that borrowed, dumbed-down Exodus riff. Oh wait. That didn’t help. It’s the one that’s a microwave TV dinner version of Devastation… that won’t help either. Throw this out.
Ignivomous – Death Transmutation: I wonder how these musicians memorize these songs. Since the riffs fit together in tempo and key only, and make no sense as a metal tune, and the only transitions possible are dramatic pauses, it’s likely they have a mnemonic to this. Probably something like GDHJJKFLX because the whole album is incoherent. Good guitar tone, zero on the content, and like all shitty metal bands they have to shout it at top volume to try to distract you from the suck. The best course of action is to go do something more stimulating, like mow a lawn or punch out gargoyles.
Impurity – Lucifer Vomiting Blasphemies Over Christ’s Head: No, it’s Impurity vomiting inconsequential noise over your head, and over your wallet, if you bought this. This noisy foray into basic death metal sounds like war metal, which is to say that it’s near constant tempo incoherent riffing with a drunk guy gurgling while the drummer does basically whatever he wants because no one is paying attention. You can do better than this, probably with a pair of castanets and a broken fan to howl in the background. This album is the comical disaster that your parents would imagine upon hearing the title. Well, at least it presents itself accurately.
Infected – Crawlspace: Sometimes, when you get infected, you get a bad headache and you lose 20 IQ points. That’s what happened to this band. This is stop-start “wait — I’ve got to crap — look — some open ground” style semi-skeltonic brain-absent chanting over recycled riffs from failed Exhorder clones who perished in prison where they got sent for ripping the warning tags off of mattresses. The total failure of imagination, or connection to what makes music good, gets us this headache which has zero flow and zero appeal.
Inflabatan – Wanderer of Grief: Every melodic black metal album, boiled for 12 hours to ensure no flavor remains, served with peas steamed in dishwater and a tasty glass of fortified wine gone to vinegar. It’s not bad, it’s far from good, it’s just there. Kind of like when you have a late assignment so you write I ATE MY OWN ASS AND LIKED IT on a sheet of paper and hand it in so you at least don’t get a zero. It’s not a zero, but maybe like a 36.
Inquisidor – Inquisidor: You know, disco had its moments. It had melody. The songs often were distinctive, and sometimes, reminded you of a moment in life where you felt clarity and got excited about what was to come. Inquisidor is “generic” in the oldest meaning, which is that it fits into its genre dead in the middle and is exactly what you’d expect. Fast Kreator riffs, in songs structured like those of Sodom, with urgent blasphemous vocals. If it were the first of this type I heard, I might like it but find it a little boring. Now I just flee.
Inquisition – Magnificent Glorification of Lucifer: I can see why people like this — it’s competent. The rhythms fit together, and riffs work together. The problem is that it’s composed in an idiotic style, and is as a result limited. This is the fusion of war metal and Judas Iscariot-style slow ambient black metal, so you get (a) more repetition than you know what to do with (b) simple riffs on a bouncy rhythm and (d) detached, disconnected vocals. It’s about two riffs per song, often variations on the same theme. While they all fit together, and the result is pleasant to listen to because these guys are five times as competent as the average black metal band, it’s still boring. Nothing happens: what is going on when the song starts is what happens when it ends. That result doesn’t feel evil, or challenging, but kind of dance-y like later Napalm Death.
Wreck of the Hesperus – The Sunken Threshold: Imagine an indie-metal/doom metal hybrid. What you’re imagining even with half a brain is what you get with this release. Slow limbs of chord progressions rise and crash while drums keep a busy, jazz-inspired distraction going. Songs move slowly, verse/chorus, then conclude in a trailing out to insignificance. If Winter, Thergothon and Skepticism did it too well for you, here’s a generic version.
Vektor – Black Future: Hipster music. I say that because it’s dressed up (ironically) like Voivod worship on the outside, but it’s pure aesthetics; there is no understanding of the composition or content that made Voivod great. Instead it’s standard war metal, slowed down by 1/4, played with some of the chord voicings Piggy used. Songs are standard format, very busy with lots of chaotic drums and messy riffing, but no concepts that tickle the brain or even amuse the gut. On the surface, it’s Voivody. Beneath, it’s the standard punk/metal/rock that hipsters like, dressed up in a unique way. Watch this band disappear quickly.
The Shadow Order – Untold: This is probably the best Burzum clone I’ve ever heard. If you can imagine Burzum writing songs that transition from state “A” to state “B” directly, you’ve got roughly what’s going on here. It’s simpler, similar in spirit, and slightly more ear candyish (e.g. confines itself to conventional consonant voicings) but on the whole is pleasant to listen to. It’s unlikely to stand up to repeated listens well, but will occupy a position like the first Infernum album of being a reasonable alternative.
Inveracity – Extermination of Millions: This is a good solid release in the Deeds of Flesh/Suffocation percussive death metal style. It’s more linear than Doug Cerrito’s inspired riffing, but has a good sense of putting together a basic song and stacking up parts that contrast each other, so doesn’t fall into the monotonous camp of most material in this genre. While it is good, it falls short of exceptional and thus radically distinctive, so it’s always going to lurk in Suffocation’s shadow until it develops more of its own voice.
Insect Warfare – World Extermination: If you crossed Terrorizer, Assuck and Nasum you’d get something a lot like Insect Warfare. This is grindcore that sounds like some very energetic people dropped whatever they were doing, rushed to their instruments, and bashed out short but furious songs. These songs are well-composed; however, they’re also extremely basic and rely on riffcraft that alludes to much of extant grindcore. As a result, it’s kind of a neat album if someone hands it to you, but hard to want to reach for it when much more personalitied and diverse offerings like the early Terrorizer material exist.
Kaamos – Lucifer Rising: Pure speed, awesome Swedish(tm) production, and intriguingly blasphemous sound titles cannot compensate for having depth to your music. Kaamos is, like almost everything but the original wave of Swedish death metal, screamingly obvious. These riffs are almost entirely linear and capture no melodic or harmony; not only that, they aren’t shaped into interesting phrases rhythmically. The result is a CD that instantly descends to background noise. It’s pleasant-sounding but empty.
Liturgy – Renihilation: Get the hipsters out of metal. If you like emo-style melodies played really fast over chaotic drums, or the former hybridized with riffs from old Metallica clones but played in a kvlt black metal style, you may like this. I find it really obvious, although clearly musically more erudite than the trve kvlt types. The problem is that despite all of these interesting elements, the songs express nothing, and chord/note progressions are very similar from track to track. The frenetic drumming and vocals only accentuate, not conceal, this deficiency.
Malign – Divine-Facing Fireborn: You and I would really love to like this. It has all the promise of older black metal: a cross between Sarcofago and Merciless, interpreted through the filter of later Mayhem (lush chording, odd slow tempo changes, murky sounds) with the viciousness and yet very pop sense of melodic hook that all the Swedish black metal bands wield. Yet, that’s it. The surface traits are all; what’s underneath is unmotivational. So you end up with black metal wallpaper and an empty soul, but also, a bored one.
Maim – From the Womb to the Tomb: These guys have an interesting approach, aesthetically, in that they try to be Autopsy but mix in the speed and pacing of older Entombed. Sonically, it’s a great approach but not much changes in the song between the beginning and the end. It’s less like a big loop than a spin cycle: you start looking at something, then rotate around it and hey, there it is again. In addition, riffs are really basic variants on forms we’ve seen before from Kreator, Destruction, Atrophy and numerous death metal bands. They are very basic, very interchangeable, and lack the feeling of having been designed to fit together into something distinct with a meaning of its own. That depthless nature to these songs makes this album an endurance contest.
Perished – Seid: Strip away the death vocals and fast drumming, and this is plain boring hard rock like you might find on a Motley Crue record. Aesthetically, it sounds like Immortal, but without the greatness of personality that made At the Heart of Winter a great album, or the spark of insight that made earlier Immortal even superior.
Pathology – Incisions of Perverse Debauchery: Cross Deeds of Flesh with Dead Infection, and you get this gurgling deathgrind which is relentless and not bad, but also not exceptional enough to merit a re-listen. In particular, songs are streams of thudding riffs and relatively similar textural shifts, which makes it difficult to distinguish between them, although the radically varying production helps. I respect this more than most bands because it has a simple goal and fulfills it, although it’s hard to want to go through the experience when there are more interesting listens out there.
Pantheist – Amartia: If Paradise Lost and Skepticism had a baby, it would be this ponderous doom metal band. Songs are glacial with melodic underpinnings and a bit on the pop side, although they love their sonic dynamism and intense distortion. It’s competent but not particularly compelling in form or content, and the vermicular pace does not help us get over that.
Overthrow – Within Suffering: It’s a hybrid of Beneath the Remains era Sepultura and early Sadus, and it’s well-executed but not a standout in that these songs follow fairly cookie-cutter speed metal patterns. Riffs: you’ve heard their archetypes before. Vocals: they do that thing where they chant on the beat as the kickhappy drums crazy go nuts next to some chugging guitars — fucking annoying. On the plus side, they change riffs like Dark Angel so that there’s always tempo, harmonic or phrasal motion (or when disordered: commotion) going on. And lots of solos that sound like later Nuclear Assault going hog wild on the pentatonics. Ultimately, I find this really annoying but if you would let Sadus mount you from the rear, you’ll love it.
Pensees Nocturnes – Grotesque: This promising band confuses aesthetics and content. They’re good songwriters, with an apt grasp of the technical side of the music, but because they have never found an aesthetic “voice,” end up piling random types of stuff on top of one another hoping that summing up parts magically makes the whole bigger. This sonic collage features crashing slow metal riffs which give way to fast melodic riffs reminiscent of Enslaved’s Frost, and are periodically interrupted by transition material with piano and string instruments. On top of this, some guy is bellowing like he is getting raped by an elephant. While in general I’m all for overlooking aesthetic dislike to get to the core of a band, in this case the lack of aesthetic ties an arm behind this band’s back as far as songwriting is concerned — too much is lost as they try to conform to this bizarre format. In addition, they’ve picked up some of the chord progressions and bad habits of post-rock bands, with huge parts of this album resembling the lost Maudlin of the Well “Dave’s got the purple shrooms” sessions. When they are able to put together an aesthetically coherent part of a song, it flows well, but then drops back into their bad habits and crutches. My advice to Pensees Nocturnes is simple: standardize your vocals, become a doom band, and use other instrumentation at strategic points in each song instead of as a general technique — look at the first At the Gates album. Less is more, if that less is more organized than the more. But use more oboe.
Prevalent Resistance – Dynamics of Creation: I’d like to like this because it’s easy to listen to, is pleasant and comforting. Patterned after Dimmu Borgir’s Stormblast (the first version, with the video game music) and a smidgen of early Dissection, this album is candy for the ears. But that’s the problem. There is no tension, no moral conflict, no desire even for pointless destruction. It’s trying to make friends. Like a warm puppy nose on the leg. In fact, it resembles the indie rock of the last decade: slick, studied, and very good at writing a melodic hook into the end of a three-step phrase so that it gets that Hallmark(tm) “uplifting” feeling. I think if I wanted smoke up my ass, I’d just listen to indie rock. Musically this is adept, artistically it gives blowjobs for $10 at streetcorners.
Diabolicum – The Grandeur of Hell: I have tried to like this 1999 album for literally 11 years. It has all the right elements, and it starts well, but becomes shapeless in the middle. I don’t think this has anything to do with how industrial it is. I think it ran out of steam in terms of songs and what they are about. Typical of Swedish bands, Diabolicum write great melodic riffs and then have no idea how to develop them, so end up in circular song structures that leave you unsure of why a song ended; it just ended, when it did, semi-arbitrarily. The result is that there’s no reason to keep these songs in your head other than as a pleasant distraction.
Oxbow – Fuckfest: This music is both spectacularly annoying, and good but fairly standard. If you took a Motorhead/Black Sabbath crossover, made it more rock ‘n’ roll early friendly, then chopped it up with fast rhythms and dissonant syncopated riffing, you’d get this. The vocalist howls like he’s in the Bad Brains but with little of the musicality. I think they believe this is revolutionary. Musically, it’s not terrible but aesthetically it’s like a screeching siren in your head, making you wish the world would end.
Die Apokalyptischen Reiter – Licht: Most people are going to identify this band as a heavier version of Rammstein, but that’s only half the story: this ostensibly industrial band is a three way hybrid between pop punk, melodic death metal and very danceable industrial. They write their songs like At the Gates, with several riffs cycling during the verses after the first introduction, and they shift between these like rally racers taking shortcuts through the old neighborhood. Vocals are very pop punk, with a rhythm similar to Bohse Onkelz or other brainier punk, and riffs are often power chords staggered in the death metal style with an emphasis on the stop/start rhythms that industrial, speed metal and rock favor. However, this is in a very literate musical framework where subtleties emerge from what are initially very basic melodies, and songs develop around this melodic core and end up being quite beautiful and infectious. After about ten minutes, you no longer hear the heavy riffs, and you feel like you’re listening to a more touch-and-go version of Wolfsheim on guitars. This isn’t my type of music, but I respect it — which is more than I can say for most versions of most genres.
Droids Attack – Must Destroy: We were chilling on the porch trying to figure out what to call this new style, not yet quite a genre, where they put bands like Red Fang and Droids Attack. It’s like fast, bombastic, hard attack versions of stoner doom songs; this CD, “Must Destroy,” sounds a lot like the first couple Sleep releases: bluesy, hard without being aggressive, bounding party rock. It’s like they took the Detroit underground rock/punk sound from the 1980s (before The White Stripes) and merged it with Motorhead and the MC5, and got out of it this entirely rockin’ style that isn’t metal but borrows a lot from it, and isn’t punk but attacks with the same sheer verve, but then sticks into the heavy bounce of guitar rock like Grand Funk Railroad or Iron Butterfly. It’s easy to listen to but more motivational than techno, even, so makes great music for partying or cleaning the house. On this CD, the style is expertly implemented with lots of space between bounding riffs for introspective parts, like the calming parts of the ritual of a rave, so that you can listen without getting washed out by pure bombast. I see a great future for this style and this band as people get sick of the twee effete hiding-in-basement styles that have been popular for the last decade.
Nun Slaughter – Goat: When most people talk about old school metal, they’re thinking of bands like this that combine the barebones essentials of heavy metal (Venom), death metal (Master) and speed metal (Nuclear Assault) into one high-energy package. What propels this CD is its ability to keep momentum. Riffs follow each other logically and transfer energy like a locomotive hitting a truck full of bowling balls. This energy conservation is harder to do than one might think, because if a band just plays really fast, it doesn’t happen. It takes an awareness of the music and a love for the metal craft of putting riffs together so that they talk to one another and keep kinetic inertia. Clearly this band know their metal, as the riff forms — the basic phrase and arrangement upon which these riffs are based — descend from all generations of metal, but have been adapted to fit the song and NunSlaughter’s trademark crude but adept songwriting. Most songs are verse/chorus riff cycles with discursive bridges that lead back to triumphal restatements of theme, but given the rawness of the music, nothing else would really fit without making this a modern animal. If you like bands like Onslaught, Sodom, and Merciless, this band stays within the same range but is immediately distinctive. Like fellow midwesterners Cianide, they hide their subtlety and distinctiveness underneath a desire to make a riff language out of metal’s heritage and use it to sing of their specific experience, which seems to be a conglomeration of Satan, rape, blasphemy, violence and sodomy. Given this framework, however, it’s clear this band is a thoroughly enjoyable ripping ride through the dark recesses of human visceral emotion, and no matter how much people wail about it being derivative or lowbrow, it’s great stuff.
Morser – Two Hours to Doom: We should christen this band the German version of Human Remains. They play in the modern metal, or proto-metalcore, style innovated by those founders, meaning that they put metal riffs in punk-style songs. The result is an emphasis on individualism through deconstruction shown through the juxtaposition of random images, which if you think about it is the origin of all modern art. Instead of continuity and order, they show you many individual perspectives which don’t agree, further isolating you in yourself. 1980s crossover thrash on the other hand tried to make radically different riffs fit together like a storyline. While this style provides unbalanced listening as a result, it exceeds the competence of its genremates by making these songs fast and to the point, even if that point is a binary song with a fairly random third option introduced in the last third of it. Later on, bands took this style and threw technical death metal done in one dimension into the mix, but for now it’s honest punk borrowing from every style under the sun in a fast and precise but not show-offy fashion. You’ll hear the blues riffs, funk bass, prog trills, and even quotations from soundtracks and ethnic music, all done at high speed in blisteringly distorted guitar. It’s no wonder this release has, for a flavor of the day genre like modern metal, stayed in demand over the years.
Black Funeral – Vampyr: If you put a simplified Emperor/Ancient hybrid to Darkthrone percussion, it might sound like “Vampyr” — an unknown quantity of death metal rhythm, and ambient black metal made with the flourish of symphonic metal, but in the simplified and abraded sound that also qualified early American bands like Havohej and Demoncy. This is a very American thing, both North and Sound hemispheres, to simplify song structures to a standard form like in hardcore, where much of what made early Nordic black metal beautiful was that song structure was defined by content — in the way that early American phrasal death metal like Incantation was. While this album makes for more recognizable listening, and is clearly the musical peak of this band, for artistic reasons a discerning listener may prefer other works.
Chthonic – Seediq Bale: This symphonic metal band from China sounds like Dream Theatre melded with Cradle of Filth, as played by later Therion. More focused than any of those acts, it takes advantage of compiled conventions from the various constituents of this genre, and makes a distinctive version of them. If they more seamlessly integrate this with the indigenous music of China, it could be a powerhouse; for now, it’s a better option for Dimmu Borgir fans.
Blazemth – Fatherland: This short release charms the listener with its beauty, brave pasted-together emulation of black metal heroes and honesty in expressing something of significance even if at times the methods are crude. In essence, this band is a hybrid between early Emperor and Graveland, hoping for sweeping melodies interwoven with keyboards and spoken/acoustic dirges, creating an atmosphere that it then delights in breaking with riffs sounding like they come from the melodic heavy-metal-influenced black metal of Rotting Christ and Hades. This band specializes in contrasting textures of riffs: a mostly open simple riff will abrade when a flowing tremolo melody follows it, and chromatic death metal shredding offsets windswept sweep picking. While the individual parts are less graceful than their archetypes, they are nonetheless beautiful in the same way early punk was: individuals captured in their striving for an ideal that they may not achieve, while enjoying the struggle.
Blazemth – For Centuries Left Behind: Template driven from the early works of black metal, this band achieves an ambient black metal sound by attempting a simplified version of Emperor and other early black metal bands. Riffs are simple, production distorted enough to background guitars into a roughly harmonized blast of noise, and keyboards unite the rest into a smooth flow of sound. Emblematic of this album is the spoken introduction with which it begins; this is a guileless take on black metal that is not afraid to be ridiculous, but because it is earnest, never irks like the commercial cluelessness that followed. Its strength is an immersion in mood, but its weakness is that individual parts ape classics like Emperor and Burzum, just in an interpretation specific to this band. Although this will not blow anyone away with its breaking of ground, it remains more convincing than most post-1996 black metal because it has a clear ideal in mind and pursues it making creative use of what techniques and elements are within reach. Their followup, “Fatherland,” reflects more development; on this short CD are themes you have heard before, done uniquely in the homebrew style by this straightforward and committed band.
Jodis – Secret House: You have to have a high tolerance for slowness with this album. A chord plays, rings out, the distortion crumbling as the sound loses its solidity; then, two notes jangle with the seeming discordination of a snapping clothesline or the slow decay of metal in abandoned factories. Someone bellows. More noises, feedback zoning in and out like lawnmower noise across the street as you try to nap your way through a summer day. More bellowing. The songs are like hailstones, formed of layer after layer deposited upon the last. If you unfold the surface it forms a great linearity, like a giant strip of paper covered in words that blur together. Time goes by unheeded. You get up and change the CD.
Nihill – Grond: Standard uptempo Darkthrone black metal clone with really emphatic, dramatic, emo-style vocals still done in the guttural end of black metal sound, Nihill is technically competent but makes binary songs, meaning that they alternate between two moods until the vocals are done ranting and the song can end. When Darkthrone did this, it was to great effect because their songs centered around a contrast that conveyed a greater sense of mystery or discovery. Nihill is just cyclic and offers no hope, only a sense of inevitability. I could see this appealing to fans of Judas Iscariot.
Eradication – The Great Cleansing: An attempt to merge “Following the Voice of Blood” era Graveland with “Ugra-Karma” era Impaled Nazarene, for the most part this album works. The randomness of its melodies and the drone-strum technique from the Graveland side gently obscure some of the rough edges and more obvious riffs, which feed nicely into the full-speed-ahead woodchipper riffs from the Impaled Nazarene side. It’s a solid B+ for content, maybe a A+ for technique for being both original and nuanced enough to give this band its own voice.
Vile – Depopulate: If the Deeds of Flesh style second-wave percussive death metal bands simplified things a bit to the level of the first Deicide album, and chose very basic bouncy riffs with melodic accents like Brutality, you could well end up with Vile. It is both good and bad; it is good insofar as it develops, but it is bad because that’s often two steps of thinking away from a double-strum on an E5 chord. Chortling vocals battle it out with gurgling rasps over pleated sheets of power chords where the offtime notes are played in a muted strum, giving this a pirate shanty bounce which is then torn apart by drums like a multi-legged battle robot scrabbling through the ruins of a city. There are messy leads, and often ludicrous “my attention shifted suddenly when I noticed the shotgun” song structure deviations. While they do what they do well, this style of death metal limits itself too much for repeated listening.
Gifts from Enola – Gifts from Enola: Someone crossed Kyuss with uptempo indie heavy metal and threw in the developments in the last ten years of stoner doom metal, creating a jazzy and fluidly composed album that moves about at the pace of early Black Sabbath. With very little intervention from vocals, the band jam in this style with droit, jazzy changes and variation in riff types from psychedelic lead-picked atmospheric to droning power chords to harmonizations on par with what Iron Maiden did. These songs are relatively linear, with breaks and resumptions, but form a kind of sonic texture that is easy to absorb, comfortingly varied, and most of all — unlike most post-rock — pleasant to listen to because it contains an internal balance and musicality. If you’re familiar with the jazz fusion of the late 1970s, nothing here will be a surprise musically, but it’s in a new form with more force behind it and the crossing over of the loud and abrasive with the subtle and beautiful gives it an elegance jazz fusion could never hope to have.
Urna – Iter Ad Lucem: Cross Ras Algethi with a post-rock band and you have this mess. The chord progressions are typical of that emo, shoegaze and indie rock fusion that is “post-metal,” which in most cases but not all has nothing to do with metal except that thanks to black metal’s extremity, it’s what the angry activist life-did-me-wrong failures are listening to these days. The worst sin here is that nothing really goes on in these songs. A few notes go up; a few go down. This is repeated with layers of vocals, a la Teitanblood but more artsy, and drums that keep busy outside the main event like those in a doom band, but ultimately songs don’t evolve and only gain structure through linear variation on known themes. In addition, if you step back and listen to this, it’s ludicrous. Like Krallice, it’s soft rock trying to be evil and as with all paradoxical and half-witted goals, has instead made a squirting fecal mess of it.
So there you have it — like a cheap buffet lunch, mostly FAIL with some tasty nuggets stuck in there, only half of which will come out whole in your stool. If I had to design a record-shopping trip from this, I’d pick up the Nunslaughter and Gifts from Enola and call it a day.No Comments
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