Back in the chaotic early 1990s, most death metal bands were racing to catch up with albums like Morbid Angel Blessed Are the Sick and Deicide Legion. Bands increasingly experimented with complex rhythms and riffs but eschewed the radio-friendly sound of the last generations of metal, including the melodic harmonized guitar attack of Iron Maiden.
Enter Sentenced. Like At the Gates before them, this Finnish band decided to work with melody in addition to complex riffs, and to do so began to work with lead-picked single-string melodies. After their first album of Swedish-inspired primal death metal called Shadows of the Past, Sentenced improved musically and artistically and took the leap into melodic metal. At this point, almost no bands would touch this style as it seemed an anachronism held over from the 1980s where death metal was forging ahead with chromatic riffs and difficult tempi.
Sentenced took the Slayer approach to songwriting with verse-chorus songs interrupted by transitional riffs for emphasis wrapped around a lyrical concept and added to it the Iron Maiden style harmonized guitars producing a melodic effect. Following a lead from At the Gates, the band also allowed melodies to evolve over the course of a song, creating an immersion in similar sound in which slight textural and phrasal changes could take on greater effect. Along with other bands like Unanimated and Cemetary, Sentenced forged a different path which succeeded because it kept the alienated and dark sound of death metal.
Just a few years later, this sound would explode as bands like Dissection mixed more of the NWOBHM melody and even more abrasive death metal and black metal technique into the mix. After that, clone bands like Dark Tranquillity and In Flames took this style further toward radio metal, but for a few years, this small group of melodic death metal bands revealed the potential of this style. North From Here much like its iconic cover transports the listener to a consciousness beyond the everyday in which union with the empty cosmos and the potential of transcendence of the everyday propels the mind through not only darkness but into a sense of magical light which rediscovers life as a visionary journey. Without losing any of the intensity of their earlier album, Sentenced layered emotion on top of aggression and produced a lasting and unsurpassed testament to the power of this genre.
Twenty-one years after the Fuck Christ tour ravaged North America, the Fuck Cancer 2 fest will hit Houston, Texas. On August 23 and 24th a passel of death metal bands descend to tear out eardrums and possibly other body parts with the proceeds going to medical costs for cancer patient Calan Cazares.
10:00 CEREBRAL ROT
9:00 Entrenched Defilement
8:15 Desecrate The Faith
6:45 Sever the Silence
6:00 Eviscerate the Proletariat
5:15 Irreconcilable Suffering
3:45 Malignant Rot
According to Blocked!, an Open Rights Group keeping track of content filtering in the United Kingdom, one of the bigger UK national ISPs blocks deathmetal.org. We’re not sure if this is for our embrace of openly Satanic bands, our bad language, the Profanatica picture or our utter flippancy toward society in general.
Either way, it goes to show you that metal — despite acceptance of its tamer forms — has a long way to go before it is accepted as it is by society at large. We’re contacting Sky to see if they have any comment on the matter.
Cosmic ambient band Khand keeps deep roots in the metal community. Unknown to most of its fans, the compositional power of Khand was forged long before the first synthesizer tracks worked their way into the minds of listeners. Like most things related to this mysterious project, these metal roots remain incognito.
The band first emerged in the mid 2000s and began recording a series of demos which it release through a Creative Commons license via information-wants-to-be-free label HiArcTow. Gaining audience momentum for its journeylike compositions with a total lack of the usual smarm and pander of ambient music, Khand raised the skull chalice with its 2013 release, The Fires of Celestial Ardour. Since that time, the obscure project has kept its silence but recently, broke that quietude with a new teaser and new interview.
For those who dislike ambient music, Khand avoids the pitfalls of a genre where it is only too easy to lay down a beat and layer odd sounds over it until it feels “deep” enough for the greeting card buying public to swoon. Khand takes advantage of the depth of range and texture available to electronic music and uses it to produce unearthly compositions that take the listener on an adventure far from these mortal, material zones.
Metal comprises both a concrete format and an idea. That idea, like pollen on the winds of a tempest, spreads far beyond its original home and takes root in other landscapes. One venturer in the recent hybrid style of metal-influenced cosmic ambient is Khand, whose shadowy personage spoke to us through an encrypted Skype communication over a private anonymous “darknet” network within the internet.
Where does the name Khand come from and what does it symbolize to you?
The name Khand comes from The Lord of the Rings. It is a mysterious land southeast of Mordor. Tolkien didn’t say much about Khand so my interest was piqued. Given the frequent usage of The Lord of the Rings band names it was refreshing to see one that had not been used at the time. Out of the whole universe Tolkien created, Khand still remained mysterious. That notion is also influential on the mindset I take in creating Khand’s music, regarding fantasy and science fiction.
What’s the name of this upcoming Khand release and when will it be out, and where will we be able to get it?
The name of the release has not been decided yet. That is usually the last thing I come up with after everything is recorded and mixed. That said, the song titles are completed for this release, so once they are finalized and ready to go, it will give me a better general idea of what to ultimately call the whole thing. The release will be available to download for free, most likely on the wonderful HiArcTow creative commons page that has supported myself and others throughout the years. Beyond that, I ultimately hope to release this on some sort of physical format… whether it be cassette again, CD, or even vinyl.
Will there be any differences to past Khand work? How do you see the band evolving with this release?
There are a number of differences with this newer material. I have always felt that this project has lacked some sort of direction and organization; it was as if the past two releases were a bunch of random songs thrown together with no real end in sight. With this release, I have decided to focus on one idea only. The release will be a chronology of events that take place during humanity’s first trip to Mars. It seems that we will most likely see this venture at some point in our lifetime, so the imagination runs rampant with all the possible scenarios we may face. Musically speaking, I have upgraded my equipment and have decided to use some newer synth sounds for this release. Everything will have a “spacey” feel per se, taking the listener on a trip with the crew to Mars. These recordings will not have any medieval/fantasy inspiration like some of my past works, though I am currently working on a few songs in that regard which may end up being used as a demo or split release of some sort.
What other artists are you listening to / reading / watching / observing during this time?
Art exists all around us; you just have to look for it. As an inspiration for this release, I am obviously looking up to the night sky, imagining what the future holds for the human race. There is no greater influence to me than that of nature and science itself, as it is the only real constant we know of. We are mere peons on this bloody planet, yet our potential is limitless if we free ourselves of bonds. I’ve always felt that artists and musicians see the world differently than most. During this time, there have been a number of artists or musicians which have been inspirational. The biggest influences for the music of this will be that of Robert Fripp, Brian Eno, Varg Vikernes, Tangerine Dream, Kraftwerk, John Carpenter, and Vangelis. Though not really a prominent influence on this release’s music itself, I also feel certain classical music has a profound influence on our perception of the emotions that coincide within music, so there has been inspiration there as well.
Do you think there’s a strong community for metal transplants into ambient and atmospheric music with epic themes?
Yes and no. It seems there should be more of a community than there currently is though it certainly feels like it has started to pick up steam. In my opinion, there is a strong correlation between ambient/ atmospheric music and metal. Both have the ability to create worlds within worlds, something more than most other kinds of music can say. They dig deeper into the human psyche than your average pop song. The possibilities with ambient music are endless. Like metal, there are many different styles and takes on the sub genre. So as one door opens, another swings open. I always tell people that it is good to start with the classics. Like those of metal, the forefathers of ambient music had laid the foundation and built the canvas. It is our duty to pay them respects and listen to the worlds they’ve created and find inspiration in their limitless contributions to the music we know and love.
Dark Descent records unleashed the cover art for the upcoming Blaspherian/Imprecation split 7″ recording. This will combine the power of the two bands, including Blaspherian vocalist Daniel Shaw who drew the intricate and necrotic cover.
Expect copious apostate blasphemy as both of these bands, coming from the religious yet contrarian abyss of Texas, Houston, have nursed an inculcated dislike of all things holy since an early age. Both bands have a root in the original incarnation of Imprecation who released a Morbid Angel/Revenant-ish compilation of demos in 1995.
Since that time, Blaspherian has emerged as the vehicle of songwriter Wes Weaver to express cavernous thunder of old school death metal austere rage and epic historical-mythological minimization of humanity and emotion, while Imprecation has merged melodic doom metal with old school death metal to create a new form of unholy ritual metal.
As these two new legends prepare to holocaust humanity with their acerbic ire and irreverent heresy, the underground awaits with growing anticipation. The underground death metal revival that began in 2009 with Beherit Engram gains momentum as it overcomes inertial barriers and defines this ancient style for a new age.
Shane and Amy Bugbee drove across America for a year-long epic road trip spent producing some 200 short videos featuring interviews with classic American figures, including metal- and punk-related ones such as Jeff Becerra (Possessed), Ian Mackaye (Minor Threat) and Averse Sefira. They called this project A Year at the Wheel and have released the extensive interview footage to the public.
Their footage has been featured on syndicated news shows, and even in the Peter Jackson documentary West Of Memphis. They financed their project with no grants, no sponsors, and not even a credit card, and began with only $180 between them. Since that time, their YouTube videos have received over 1.3 million views and they have published a 534-page book called The Suffering & Celebration Of Life In America including their interviews with the above musical figures.
In response to popular interest the Bugbees have made their archive available to others through Archive.Org. The footage can be not only viewed, but used by other filmmakers and journalists in their own projects. Subjects include internationally known photographer Joel Peter Witkin, anthropologist William H. McNeill, Craigslist founder Craig Newmark, Attorney for the American Atheists Edwin Kagin, punk icon Ian MacKaye, the Godfather of Death Metal Jeff Becerra, American Indian Movement activist Dennis Banks, the black metal band Averse Sefira, and eyehategod’s Mike Williams.
Following a reunion show last year in which most of the original lineup of Dead Horse took to the stage and the success of the Dead Horse/Dirty Rotten Imbeciles side project Pasadena Napalm Division, the Texas thrash band has released its latest work in an EP entitled Loaded Gun.
Dead Horse made a name for itself in the late 1980s by continuing the DRI/COC/Cryptic Slaughter/Fearless Iranians From Hell tradition of skateboarder punk/metal hybrid music called “thrash” but adding the surly growling vocals of death metal. With their debut album, Horsecore: An Unrelated Story That’s Time Consuming, the band launched itself to fame with short idiosyncratic songs that displayed more internal variation than most thrash of the era.
As the band ventured into the 1990s, it combined thrash with death metal possessing progressive overtones on the 1991 album Peaceful Death and Pretty Flowers, which showed longer songs with bigger themes and more use of harmony. After that, the band released a series of EPs and then fizzled out in the late 1990s after the departure of founding member Mike Haaga.
Those who attended the reunion shows claimed a revitalized Dead Horse took the stage, finally sure of its mission without Haaga and in a new musical world order where the raw extremity of early Dead Horse might get it overlooked, not noticed. We look forward to seeing what this band might render in the future, starting with Loaded Gun.
Azermedoth Records will release Chants of Pagan War: The Official Tribute to Graveland in July of 2014. The 2CD limited to 1000 units will feature other bands covering Graveland favorites from past and present.
Line up and tracklist (as of February 12, 204):
1. MOLOCH (UKRA) “Intro”
2. ORNAMENTS OF SIN (FRA) “In The Glare Of Burning Churches”
3. RAVENSBRUCK (USA) “The Night Of Fullmoon” from the “In The Glare Of Burning Churches” album
4. HIRAETH (USA) “Through The Occult Veil” from the “In The Glare Of Burning Churches” album
5. DIE WILDE JAGD (POL/HUN) “For Pagan and Heretic Blood” from the “In The Glare Of Burning Churches” album
6. YAOCUICATL (MEX) “Intro” from the “Celtic Winter” album
7. DARKEST GROVE (USA) “Call Of The Black Forest” from the “Celtic Winter” album
8. SAD (GRE) “Hordes Of Empire” from the “Celtic Winter” album
9. FOREST OF DOOM (MEX) “The Gates To The Kingdom Of Darkness” from the “Celtic Winter” album
10. KROLOK (SLOVK) “Barbarism Returns” from the “Carpathian Wolves” album
11. GRAFVOLLUTH (USA) “The Time Of Revenge” from the “Thousand Swords” album
12. TM (FRA) “Black Metal War” from the “Thousand Swords” album
13. ERESHKIGAL (MEX) “White Hand´s Power” from the “Following The Voice Of Blood” album
14. PROPAST (SERB) “Thurisaz” from the “Following The Voice Of Blood” album
15. AKASHAH (USA) “Raise The Swords” from the “Following The Voice Of Blood” album
16. SLEZA (POL) “Sons Of Fire and Steel” from the “Immortal Pride” album
17. PULSAR COLONY (USA) “Sacrifice For Honour” from the “Immortal Pride” album
18. HNIKARR (USA) “Tyrants Of Cruelty” from the “Creed Of Iron” album
19. HOLY PORTRAIT (USA) “White Beasts Of Wotan” from the “Creed Of Iron” album
20. UNTO ASHES (USA) “Source Of My Power” from the split CD with HONOR “Raiders Of Revenge”
21. HERMITAGE (UK) “Jewel Of Atlanteans” from the “Memory and Destiny” album
If you are interested in paying tribute to Graveland with a track for enclosure on this forthcoming work, send an email to Azermedoth Records with the name of your band and the track you will record.
Our minds quickly forget the vapidity of the 1990s amongst the greatest that some bands managed to achieve. In particular, its hangover from the 1980s was so unmemorable that the mind gratefully forgets it. That hangover was the attempt by industry and musicians to cash in on the notoriety of metal and the accessibility of rock by hybridizing the two.
In particular, this appealed to record execs. Why? They were all Baby Boomers. Their world defined itself through a search for the next Jimi Hendrix, Led Zeppelin or Pink Floyd. As a result they found death metal to be totally alien, black metal to be unlistenable, and even most punk to be incomprehensible. Why don’t they just throw in a flute solo?
Straight in the middle of this process Massacra release Sick in 1994. Everything about it screams middle-90s when computer technology hit the point where you really could do just about anything from a desktop, but not quite do it well. Thus everything hit the page in bold colors, funky font tricks, and so on. Looking back, it resembles the 1980s teased hair and bright colored clothing: technological convenience. Similarly, the style of speed metal erupting with Pantera represented technological convenience.
Recording studios finally grokked how to record heavy guitar sounds so that the precision of the muted palm technique could be heard, which encouraged bands to divide aggressive rhythms with internal syncopation and expanding recursion, so that one rhythm broke down into several internal rhythms all of which outlined a “bounce” or offbeat rhythm based on slightly delayed expectation. This mixed funk (arguably the roots of rap), rock and metal into an abomination uniquely suited for dumb obedient tools of the system who wanted to blow off some steam before another shift and another six-pack of watery beer.
Sick represents a higher intelligence approach to this tradition and cites freely from the speed metal world, including the album that almost every intelligent metalhead had in the early 1990s, Prong’s Beg to Differ (which along with Exhorder and Vio-Lence influenced the Pantera sound). The band make conscious attempts to be avant-garde, most of which consist piledriver series of riffs ending in non-distorted semi-classical passages. If you wondered, however, where Meshuggah got their sound starting at this time, Sick seems to be the place. The same polyrhythms, the same use of groove between aggressive passages. Sick came out in May, and None (the first EP where Meshuggah demonstrated its modern technique) in November. Even the production has similar coloring, but this tells you all you need to know the sound here: based on expectation, like dogs chasing laser pointers, lots of bounce, basically rock structures subdivided by a proliferation of related riffs using the same concepts.
Most modern metalheads will experience embarrassment upon hearing this record. Like most fads, the bounce-metal fad experienced only very narrow relevance within a certain time period, and now sounds dated and awkward. Worse still is that a band like Massacra, no matter what their record label thinks, possesses too much talent to successfully chase a trend. What you get instead is something split between the music that they are good at making, and the music that industry wishes they would make (rewarmed Hendrix and Zeppelin, themselves rewarmed blues, itself rewarmed country music, that in turn rewarmed European folk music).
The tragedy is that much of the innovation that late 1990s bands relied upon in connecting together musical passages of this nature came from Sick or the prior release. American fans may forget how influential Massacra was (and is) in Europe, and how many American musicians heard it even when fans couldn’t find it in stores or on MTV (then an important method for mainstream fans of finding metal). Among the riffs that our minds skip over because we have heard the archetype so many times, great riffs populate this album at a 1:3 ratio to the rest. Some of the soloing contains concepts we have not yet heard metal elaborate on, and clearly someone thought hard about how to structure these songs. Musicians might keep Sick around as part of their book of tricks.
As far as a listening experience goes, Sick falls short in the range somewhere between “fru-fru” and “embarrassing.” Most metalheads would not want to be caught dead listening to this album, which sounds like the underground finally adopting how the mainstream saw metal (i.e. angry groovy drunken rock ‘n roll). The irony of course is brutal. By the time 1994 rolled around, Shark Records had fixed its US distribution problems and was able to get a record into just about every store. This meant that American metalheads who had heard tape-traders raving about Massacra for years finally got a chance to buy some and found this turd of an album belching in their faces. This, and the thin production on the first two Massacra albums which bothered American metalheads more than Europeans who liked the mids-centric feel of Bathory’s Blood, Fire, Death, relegated Massacra to a ring outside the inner circle of famous underground metal bands. Hopefully that will change someday, but not through Sick it would seem.