Black Witchery/Revenge – Holocaustic Death March to Humanity’s Doom

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War metal bands Black Witchery and Revenge issued their new release on tax day, April 15, with each band recording three new songs of their trademark sound, which their biography eagerly informs us is inspired by Blasphemy and Sarcofago. With excellent and intriguing cover art, and raw but clear production, this release should appeal to fans of the genre.

Black Witchery tear into their three tracks with a studied recklessness and noisy attack. These shorter songs use the standard circular structure with a final detour, but the band inserts rhythmic breaks throughout — the war metal equivalent of a breakdown in deathcore — to build intensity. Most riffs follow the rock/grindcore paradigm of a static chord, possibly with a chromatic offset, establishing a rhythm to which a fill is added. These riffs resemble faster version of punk hardcore riffs in minor key with lower tuning and faster, more precise playing. This shows a heritage with more in common with Napalm Death than Immortal and a lack of the atmosphere and uniquely shaped songs that made the Blasphemy proto-black metal grindcore hybrid work well, as well as an absence of the melodic structuring of the Black Witchery demo. The relentless aggression of these songs will make them popular but they will not be as memorable as Blasphemy or Sarcofago. If this band wishes to improve, their first step will be to worry less about being intense enough and worry more about shaping that intensity so that at the end of each track, a profound shifting of mood and idea leaves the listener in awe. This was the standard Blasphemy achieved on the best moments of Fallen Angel of Doom and the direction Sarcofago indicated their material should take with songs like “The Black Vomit.” Of these three tracks, “Curse of Malignancy” is my favorite for its directed power that forcibly enacts a concise regimen that achieves the feeling of warfare at least in concept.

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Revenge takes a different approach to war metal through riffs longer in duration which use the same surging technique but depend on active drums to break pattern with accents and spur the riff on to change. This technique can rally the attention of the listener and is often used in marching bands. It however creates a reliance on the drums, which although it makes the surge tremolo riff technique less important, also relegates guitars to a secondary role and creates a type of static riffing that resembles doom metal sped up to grindcore paces. Much like Black Witchery, this music is almost exclusively chromatic, which gives it the primitive and violent feel prized by fans. Revenge also tackle Bathory “Equimanthorn,” but in imposing their own rhythmic standards they enhance the jerky and sing-song nature of this tune (comparable to Mayhem “Deathcrush”) and add nothing to the original, so it stands out barely. This band has always been one of the more technically proficient voices in war metal and while their music is enjoyable in a single listen, the songs are too similar in approach, topic and technique for prolonged listening. “Revenge” rounds out this three-song EP and may be my favorite track on this side for its compact, solidly focused assault.

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Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak in San Antonio, Texas

Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak
December 1, 2001
Sam’s Burger Joint
San Antonio, Texas

With underground metal lacking an official convention the yearly un- covering of filthy, degraded and intellectually unstable metal bands has to find whatever common ground it can, and this year in San Antonio’s “Sam’s Burger Joint New Music Compound” the hordes gathered with a lineup of epic proportions: Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak among other local bands.

Infernal Oak played earliest and while much of their set became confused after a technical glitch became known, the performance was similar to their first celebrated appearance at the Atomic Cafe in Austin (thanks to Lord Ashteroth for that mini-festival). Covering in stocking caps they marched to the stage and performed dark, rock-n-rollish metal with a rhythmic surge to it like Celtic Frost meeting P-funk. The music needs some work and so does the stage show but in their nascent state both are intriguing enough to cause curiosity about future works from this band.

Noctuary kept their set compact despite its length, jamming songs back to back in order to fit them all in. Their metal while not visionary in concept or aesthetic is reasonable heavy metal in the Iron Maiden style, when the shrieking high black metal vocals and garnishments of extremity are removed. Drummer Rob Alaniz (formerly of Rise) gave a command performance of dexterity and precision, while both guitarists were impressive for middle experience players and are clearly proficient with mainstream styles.

Black Witchery was missed because the reviewer was elsewhere.

Krieg, with a volunteer tribe of luminaries from North American black metal bands to cover instrumental duties, was a revealing performance from Lord Imperial in which both the completely unleashed and irrational power of his screams and the design by which he accents tone in composition with his howls were exhibited. A handful of Krieg songs including the majestic crowd pleaser “Cold Wind Flame” were issued before a Von cover brought out the rage in audience and performers.

Ouroboros are a Canadian trio consisting of Sebazios Diabolus from Lust and two other musicians of his choice, all of whom were surprisingly competent considering how unsteadily they seemingly played. Their music was the most distinctive of the evening, using internal fills with abrupt self-conflicted breaks to balance phrases which used absurdist stalling and twitching motions to conclude. Often of a hidden melodic nature and sometimes random power chords thrown into pointless rhythmic filler, their music encoded all of its motion in texture and stopped as abruptly as it began, although each song seemed to have some unique form of harmonic shape.

Clearly what many were waiting expectantly, eagerly and even timidly for, the original Texas black metal band, Absu, entered the venue suddenly and went quickly to the stage for setup and performance. With a stoic new guitarist and their classic lineup in full form, the black metallers covered a brief sampling of their works from 1994 to the present before retiring after a brief encore. According to Proscriptor (drums) this was the band’s first concert in four and a half years, and follows his successful appearance at last year’s SOTNC with Judas Iscariot.

Absu is one of the most professional metal bands to be witnessed live. Proscriptor’s drumming and vocal performance is nearly unbelievable and guitarists are competent. The spooky bassist handled his parts well when manic depression did not overwhelm him. They are all excellent musicians who are weathering the storm of criticism, internal struggles and the usual constraints of musicianship and monetary need in conflict.

Infernal Oak are similar to hollenthon with less focus on keyboards and samples. There is not much else to say. They are nearly universally disliked among the black metal crowd for being more rock- n-roll and heavy metal in style than black metal, and this is a fair criticism. This band should stop trying to be underground and should market themselves to the same audience that enjoys Hollenthon, Girls Under Glass, later Pitchshifter, Ministry and Godflesh.

After the Absu event, an exhausted crowd fell back on the burgers, beers and soft chairs (and flirting with Dana Duffey of Demonic Christ) and since the hour had passed eleven many including this reviewer dissipated. While this was not the most polished or visible metal festival one could imagine, it was competent and accomplished its goals by bringing together bands in the scene without standardizing their concert appearances.

Bands:
Absu
Krieg
Ouroboros
Black Witchery
Noctuary
Infernal Oak

Promotors:
Sam’s Burger Joint

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Profanatica & Cianide Playing Destroying Texas 2017 Festival

Profanatica and Cianide are playing the 2017 iteration of the Destroying Texas festival along with a bunch of shitty scenester bands like Black Witchery. Check them out if you live nearby; Profanatica are still great live despite the last album, The Curling Flame of Blasphemy, being a turd. Tickets are available from EventBrite.

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Sadistic Metal Reviews: 3-14-2017

These bands attempt to masquerade their GarageBand music fit only for arcades, pizza parlors, and high school dances as underground metal. They fail.

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Sadistic Metal Reviews 1-22-2017

Everything you love is eventually butchered, emulsified, digested, and squeezed out by lesser life forms ranging from head hunters to bacterium to mediocre metal bands. Here are some Sadistic Metal Reviews for our readers’ pleasure:

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Sadistic Possession Vivisection

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The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.

The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.

The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.

https://www.facebook.com/hisbestdeceit?fref=ts

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Interview with Hatred developer Jarosław Zieliński

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As society circles the drain, some notice in art, music, literature — and video games. Increasingly misanthropic and world-cynical games like Hatred show us the direction things are going and possibly, give us a reason to fight back. Destructive Creations CEO and lead developer Jarosław Zieliński was kind enough to give us a few minutes to discuss this antisocial video game and its connection to evil metal…

What made you decide that the market was ready for an “un-PC” game about slaughtering other people seemingly at random?

I didn’t know if it was ready, actually. But observing all the shitstorm around since our reveal trailer, I think the market is ready. We’re small team from the middle of nowhere and now everywhere you have news about our game. Even Forbes! We don’t care about all the hate that is thrown in our direction. People who would like to play this title, now recognize it.

How much was this influenced by 1998’s Postal, a game with a similar theme? Any other game influences?

It was very influenced, obviously. There are many other games we played for entire life and many of them had influence for our creation, but the main inspiration is the first Postal game.

I noticed you’re a Black Witchery fan from the t-shirt in the Destructive Creations team photo. Are you the only metalhead on staff? How much did metal influence your choice of this career path?

I don’t like the “metalhead” word. I don’t listen to “metal”; I listen to some of its genres while I actually hate the others. I don’t really think there’s a link between living with this music and working on video games. Actually modding games was first in my life, since I got the first Wolfenstein 3D editor. I was like seven years old at the time. And I really doubt that making games influenced what music I listen to.

Can you name some death/black/etc metal favorites you have?

Umm, that would be a shitload of bands. I’m a lot into stuff like Revenge, Truppensturm, Bestial Raids, Black Witchery, Teitanblood, Archgoat, Wrathprayer, Goatpenis, Inquisition, Bestial Mockery, Dead Congregation, Ad Hominem, Nocturnal Graves, Goat Semen, Demonomancy etc. The list is in random order, from the top of my head, but I do have quite a spread in my taste, from Disgorge or Devourment to Enthroned or Urgehal, if you know what I mean. But it’s all in the black-death line. Someone may say that it’s dull to stick only to these genres, but I would tell him to fuck off, I don’t need more (it doesn’t mean I didn’t ever try). There’s still plenty of bands to discover.

Which genres do you dislike?

Actually: all the others. I respect thrash metal, for example, but I don’t listen to it, because I don’t like it. And I really don’t understand how someone can listen to heavy metal stuff like King Diamond or Manowar, it fucking hurts my ears, the music is cheerful and vocals sounds gay. Well, let’s say I like “evil” metal, not “cool” metal, I hope you get it. If it’s a low-distorted blastbeating about satanic tanks crushing graves of christians and hordes of MG42-armed hellspawns spreading genocide then it’s most likely my taste. :)

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Why do you think “Hatred” upsets people? Is it similar to the reasons death metal and black metal at least used to upset people?

No, I don’t think so. I think metal used to upset people because they don’t understand the music itself, rather than lyrical themes. Hatred is making people crazy, because of its context, not because its shell. If we were to make the same game but with any other plot, they would accept it with no problems.

Why are people drawn to dark themes like in metal and video games? Do you think that this attraction will mean that Hatred will become a household name?

Because every one of us has some side of evil nature deeply-rooted inside. Some of us like to get along with the dark side, which is why brutal music sometimes makes the evil grin on your face or you get chills. I want the same player’s reaction while playing Hatred. I have no idea whether it will become a household name.

Can you tell us about yourself, when you got into metal, and how you ended up becoming a video game developer?

I don’t really feel like talking about myself, I have a lot of something you might call “underground nature.” Most parts of my life were strongly tied with death/black metal and still are, but I don’t like connecting it with my job publicly. My engagement with the metal scene is my private thing, while making games is my occupation (and a hobby too). You know, I’ve comercialized one of two of my biggest passions, and I will never do the same with remaining one.

For more information on Hatred, visit the Destructive Creations web site.

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