Witches Mark – Witching Metal Ritual

witches_mark-witching_metal_ritualThis affectionate tribute to the days of classic metal, both NWOBHM and its more bombastic American cousin, fits into the same vein as material like Gehennah, Nifelheim or Diamonsnake: it’s catchy, with overemphasis on the flourishes of the past, but can be compelling for its sentimental view of the world that comes off as poetic.

Witching Metal Ritual features motives from the initial heavy metal era but played with the energy and less responsive drumming of hardcore punk, with occasional touches of the speed metal techniques of the early 1980s. However, what drives this recording are its melodic moments and the use of lead guitar as a running commentary to create a sense of detachment.

Vocals are chants with harmonized singing at intervals, and these complement the guitar, but it is the six-string that sustains emotion. If the album has an achilles heel, it is that too much of this guitar is lead which introduces complexity with more variety in riff could have been powerful. Similarly, drums may be a bit too detached for this style, although it creates an interesting effect.

Witches Mark are more creative than most of the bands who attempt this style and forge a unique sound for themselves that seems influenced by some of the more proggish material in the metal world of late, but is based very much in simple heavy metal riffs and grandiloquent moments where a collision by one or more motifs creates the kind of “heaviness” that metal is famous for.

However, much like later Ihsahn, the tendency to fill sparse songs with internal complexity can lead to listener disorientation and often prevents themes from fully developing. However, the faithful rendition of the past, including a vocalist with a wide range and crystal pipes, may over-ride that with a mood that is hard not to like.

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Metal across borders

orphaned_land-band_photo

At a recent concert in Tel Aviv, Israel, a remarkable thing happened: two bands from two different cultures, Jewish and Arab, stood up together and performed a concert.

“We are metal brothers before anything,” Abed Khathout, bass player for Khalas (“enough” in Arabic) said. His comment was underscored by Koby Farhi, Orphaned Land’s lead singer. ” Tonight is the second time we’re playing together — Orphaned Land and Khalas, as Israelis and Arabs. Having a brotherhood, sharing the stage, simply shows that Rock and Roll music is above politics, ” he said.

Farhi added, “The purpose of art is to represent harmony and coexistence in places of disharmony.” This marks the first time the bands were able to do this, after a similar show in Egypt was cancelled in November.

The more pressing question might be whether metal, the music that decidedly is not about peace and harmony, achieves a greater sense of balance by allowing people to speak honestly about their ambitions and desires, instead of hiding behind layers of social pretense.

http://www.youtube.com/watch?v=UF4vfL9JMqs

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First in Line: Slayer – Show No Mercy

slayer-show_no_mercySlayer’s Show No Mercy turned the metal world upside down when it hit the record stores. Keep in mind this was back in the 1980s, so there was no instant effect, more like a quick ripple as it took people time to learn about the album, get to the store to buy it, dub it from a friend, hear it on a weekly radio show, or get mailed a mix tape.

At the time, the world was just awakening to the possibility of speed metal, which grew out of American bands taking the best of NWOBHM, like Blitzkrieg, Satan, Motorhead, Witchfinder General, etc. and combining them, adding in the attitude of hardcore punk and its rhythms. However, speed metal had a defining characteristic, which was the sharp sonic edges produced by the use of the muted strum.

Slayer took another approach, also derived from hardcore (mainly Discharge), which was the tremolo strum. Instead of producing sharp edges, this produced fuzzy columns of sound like an organ or other instrument with huge sustain. The result was that longer riffs could be created and could be relatively independent from the drums. The song structure opened up with guitar as the lead voice.

This innovation basically created all of underground metal. When Slayer was combined with Bathory and Hellhammer, both black metal and death metal emerged. Black metal was a more ambient variety, where death metal was more structuralist, but both used the same ingredients brought about by this combination, namely the techniques and attitudes of these three bands.

However, Slayer’s invention was what was able to unite the long-form song structures of Hellhammer and the atmospheric approach of Bathory into a format that could expand. Immediately recognizing the power of a style of music which put riff changes before harmony or conventional song structure, Slayer expanded their work beyond the verse-chorus using their famous pattern of introductory and transitional riffs.

A new science was born. It was opposed by many in the speed metal world, since it offered competition to what those musicians were doing and signaled the end of that paradigm (speed metal officially hung up its metal union card in 1991, five years after Slayer took this style over the top with Reign in Blood). Others saw the possibility in this new style.

As a result, when you hear metal music today, you are hearing an inheritance from Slayer. Even outside metal music the idea of a guitar or keyboard leading the drums has gained traction, which breaks out of the somewhat rigid format of rock/pop and gives artists more options. It’s not entirely surprising that Slayer burst onto the scene only ten years after the groundbreaking ambient of Tangerine Dream and Brian Eno/Robert Fripp.

Critics have never really understood how to analyze Show No Mercy in part because the album links together so many influences. Iron Maiden lurks in the chord progressions, Discharge and GBH in the technique, Motorhead in the rugged riffing, Kiss in the somewhat grandiose theatrics, and Judas Priest in the conceptualization of riff structure. But what holds them together is this metal first, which is the tremolo strum and its implications for songwriting.

https://www.youtube.com/watch?v=EdjS4qMXQmQ

The “First in Line” series celebrates the metal bands and albums who did something important, and did it first. It’s like an inventor’s award.

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Sammath unleashes title track from Godless Arrogance

sammath-godless_arroganceWhat a difference studio recording and mastering can make. Sammath went into the studio with a demo full of their iconic black/death battle metal, but in the studio, something magic happened: it became transformed into a hybrid of early Morbid Angel and early Ancient, being both relentless and hiding melody inside its rigorous riffs.

Godless Arrogance promises to be a relentless war-charge of high speed percussion, fuzzily distorted fast riffing, and demented mocking vocals which sound like a criticism of the mundane world by something beyond it. The band have upgraded their playing to leave fewer spaces in the wall of sound, and have used production to mate their fuzzy guitars and whirlwind drums into a channel of sonic violence.

To be released by Hammerheart Records worldwide, Godless Arrogance shows this Dutch-German band backing off of the technicality of the last album in favor of the relentless riff assault of their most popular middle albums, combined with the sublime sense of melody that made their first album a keeper for so many metalheads.

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Varg Vikernes arrested in France

varg_vikernes-burzumAs related in this news report, Varg Vikernes has been arrested on suspicions of terrorism in France.

The evidence against him appears to be that Anders Breivik wrote to Vikernes some time ago, and while Vikernes then called Breivik a “Christian loser” on his blog (for killing Norwegians), Varg’s wife had recently purchased four rifles legally in France. Somehow these two events add up to a possible massacre.

This is unfortunate because Vikernes has just released the excellent Sôl austan, Mâni vestan, which is like a cross between classic Burzumic ambient and the music of William Orbit. We’re hoping he’ll be freed to make more floaty ambient albums.

We also tend to think the whole thing is dumb and overblown. He went to prison; he served his time. Now he’s living a normal life for the first time in two decades. He should be encouraged to do this! Not only for society at large, but for metal, which now permanently has Burzum in its blood.

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Morbid Angel Covenant Tour 2013

morbid_angel-covenantTwenty years ago this year, Morbid Angel released their third album, Covenant, which stepped back from the concept album madness of their second work and seemed to look instead toward the collection of ripping songs and experiments that distinguished their first album.

Working more melody and conventionally-recognizable technicality into the mix, Covenant showed Morbid Angel after most of the initial thrust of ideas from their demos had worn off — leaving them to create anew, from a place where they were at the peak of their musical power. As a result, it is for many people a favorite from this band to this day.

Starting November 7, the re-constituted Morbid Angel of David Vincent, Trey Azagthoth and Pete Sandoval will tour North America playing the songs from Covenant in its entirety. This show be a good chance to introduce your college-aged children, who were conceived to this album, to the magic of Morbid Angel. Tickets go on sale July 19, 2013.

Morbid Angel Covenant Tour 2013:

City Date Venue
Atlanta, GA Nov 7 The Masquerade
Charlotte, NC Nov 8 Tremont Music Hall
Baltimore, MD Nov 9 Baltimore Soundstage
Cambridge, MA Nov 10 Middle East Nightclub
New York, NY Nov 12 Irving Plaza
Philadelphia, PA Nov 13 Theatre of the Living Arts
Cleveland, OH Nov 16 Peabody’s Downunder
Chicago, IL Nov 17 House Of Blues
Minneapolis, MN Nov 18 Mill City Nights
Sauget, IL Nov 19 Pops
Lawrence, KS Nov 20 Granada
Denver, CO Nov 22 Bluebird Theater
Seattle, WA Nov 25 Studio Seven
Portland, OR Nov 26 Hawthorne Theater
San Francisco, CA Nov 27 Slim’s
Los Angeles, CA Nov 29 Henry Fonda Theatre
Phoenix, AZ Nov 30 Joe’s Grotto
Albuquerque, NM Dec 1 Sunshine Theater
El Paso, TX Dec 2 Tricky Falls
Austin, TX Dec 3 Red 7
Houston, TX Dec 4 Warehouse Live
Orlando, FL Dec 6 Beacham Theater
Ft. Lauderdale, FL Dec 7 Culture Room
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Exhumed – Necrocracy

exhumed-necrocracyFounded by a group of career metalheads, Exhumed started with a simple mission: make grind, but make it entertaining and participatory like the better heavy metal of the past few generations. While they were initially known as a Carcass clone, that comparison involves the vocals, while the guitar music is itself quite different.

Necrocracy continues the tradition with some very professional songwriting. The technique is pure death metal, grindcore and smatterings of punk and speed metal; under that surface, what lurks is old school heavy metal combined with Swedish-style melodic songwriting (which interestingly was also discernible on the debut).

As part of that professionalism, Exhumed fit each song into a series of gratifications: a good introduction, pounding verses, surging choruses, fireworks for solos and then a transition through a minor key melody into a triumphant return to the verse, plus an optional outro. This formula — adopted in part from glam ballads — propelled speed metal and heavy metal bands to the stratosphere. It’s doing something similar for Exhumed.

What makes Necrocracy hold together is that each song is composed of only necessary parts toward achieving this goal, which could be roughly described as half wanting to be a fun grindcore band, and half wanting to be a professional metal band with MTV-ready songs. Much like Amebix recently saw the utility of this format for reaching the slumbering masses, Exhumed use it to inject some death metal into the melange of hard rock, punk, speed metal, grind/death and heavy metal that makes up their songs.

It is probably not wise for old school death metal fans to rush to this album. It has more in common with grindcore and album-oriented stadium heavy metal, since it relies on the verse-chorus and derives much of its effect from application of known songwriting technique instead of straying into odd structures, bizarre twists, and experimental riffs. Its choruses are hooky, its verses catchy and chanty, and the heavy production and technique hides a band that could go toe-to-toe with the big heavy metal bands of the 1980s through 2000s. Their audience is its audience, updated a bit.

Carrying on the tradition of making metal music that pushes past what is socially acceptable, Exhumed return with an onslaught of cynicism about humanity that takes joy in its own dire predictions. Energetic and necrotically enthusiastic, Necrocracy pumps out the energy and the engaging heavy metal tropes in a voice that is all its own, and will serve as a great introduction for many to these genres.

Necrocracy will be released on August 6, 2013 via Relapse Records and can be pre-ordered here. Catch Exhumed on tour:

EXHUMED European Takeover 2013 [remaining dates]:

  • 7/17/2013 Vlamrock – As, Belgium
  • 7/23/2013 Metal Days – Tolmin, Slovenia
  • 7/24/2013 Garage – Munich, Germany
  • 7/25/2013 Eisenwahn – Obersinn, Germany

EXHUMED w/ Dying Fetus, Devourment, Waking The Cadaver

  • (10/4 – 10/19), Abiotic,Rivers Of Nihil (10/26 – 11/2):
  • 10/04/2013 Mojo 13 – Wilmington, DE
  • 10/05/2013 The Soapbox – Wilmington, NC
  • 10/06/2013 Back Booth – Orlando, FL
  • 10/07/2013 The Orpheum – Tampa, FL
  • 10/09/2013 Fitzgerald’s – Houston, TX
  • 10/10/2013 Red 7 – Austin, TX
  • 10/11/2013 Trees – Dallas, TX
  • 10/12/2013 Chameleon Room – Oklahoma City, OK
  • 10/13/2013 Warehouse 21 – Santa Fe, NM
  • 10/14/2013 Rocky Point – Tempe, AZ
  • 10/15/2013 Observatory – Santa Ana, CA
  • 10/16/2013 The Whisky – W. Hollywood, CA
  • 10/17/2013 DNA Lounge – San Francisco, CA
  • 10/18/2013 Branx – Portland, OR
  • 10/19/2013 Studio Seven – Seattle, WA
  • 10/20/2013 Rickshaw Theater – Vancouver, BC
  • 10/22/2013 Republik – Calgary, AB
  • 10/23/2013 Pawn Shop – Edmonton, AB
  • 10/24/2013 Riddell Centre – Regina, SK
  • 10/25/2013 Park Theater – Winnipeg, MB
  • 10/26/2013 Station-4 – St Paul, MN
  • 10/27/2013 Reggie’s – Chicago, IL
  • 10/29/2013 Peabodys – Cleveland, OH
  • 10/30/2013 Chance Theater – Poughkeepsie, NY
  • 10/31/2013 Palladium – Worcester, MA
  • 11/01/2013 Gramercy Theater – New York, NY
  • 11/02/2013 Empire – Springfield, VA

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Khand releases new track “The Squire’s Dream” from upcoming full-length

Ambient band Khand overlaps the metal community because its member and its history are intertwined with the history of east coast underground metal. In addition, much like Brian Eno, Jaaportit, Robert Fripp, Lord Wind, Neptune Towers, Tangerine Dream and Kraftwerk seem appreciated in some segments of the metal community, hessians appear to enjoy the “metal-like” dark heavy vibe of this ambient band. The following track, “The Squire’s Dream,” is from the upcoming Khand full-length to see the light of day at a time yet unannounced.

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A word on protection of speech

parents_music_resource_center_pmrcI am an introvert, but I tend to like people. I see in each of you a series of small (and in some cases, large) miracles. Biology and naturalism will always fascinate me, as will the study of the mind, and of reality itself. It is full of wonder.

That being said… I’m not going to agree with most of you on anything except the really obvious (Mental Funeral is Autopsy’s best album, nu-core is a misstep for metal, and the Cro-Mags trash almost all UK punk except Amebix and Discharge). I’m a realist, an active nihilist, and a perennialist. You will find my view of life either laughably stupid, appallingly Jack Londonism, or not materialistic enough. So it goes.

The point of that rather pretentious detour is that I’m not into the business of trying to stop other people from having their say. There’s only really two limits on that: illegal, or non-contributive. The latter is a field that like all things is a subjective assessment of an objective reality, and includes but is not limited to being massively off-topic, repetitive and played word-tics, violent and pointless speech directed at groups, drive by commercial spam, anal goat porn, etc. Illegality threatens the site, and the other is basically equivalent of commercial spam in that it has nothing to give to the community here. You have to meet us halfway.

You’ll notice there are no ideological limits there, but it does overlap with some ideological questions. For example, is outright political debate acceptable here? Based on other failed experiments along these lines, it’s clear that it isn’t. It polarizes one way or the other and then all the users are compelled to fall into lock-step with Ideologies created and endorsed by large impersonal entities. I see no point in that, but it’s also not that easy. Our political outlooks are a product of our personalities and philosophies. They’re going to creep into everything we do, because the political outlook is the result of a philosophy of life. (It even extends to cooking and music listening.)

A new user recently wrote in with a complaint and eventually he said:

Came by your site again to check out thoughts on the new Carcass single but was put off the rampant homophobia in the comments section. Since I now know that you moderate comments and only post those that “contribute” to the conversation, I feel I must inform you that I will never be visiting deathmetal.org again.

Naturally, the true metalhead response is to give the finger and say, “Eat dicks, you clone!” Right?

I dunno. I’d rather people come could in, learn about metal, and learn about metal’s philosophy of life. I don’t trust the plastic Ideologies and I think we should look toward what a metal society would be like, which would probably resemble a cross between things found on Summoning and Voivod albums. But the point is, why erect a DO NOT ENTRY sign at the door, especially considering that most people are brainwashed by TV, parents, big media, the government, the Raelians, etc.?

When I started in metal, it was the Reagan 1980s. People were reclaiming a country that had split apart in 1968 and drifted into the easy pleasures of the 1970s. But like all compensations, this one over-compensated. As a result, thanks to (Democratic, ironically) politicians you could get carded as a 55-year-old man for buying an Eazy-E cassette tape, and people did get their asses pounded flat for being Communists.

In the 1990s, the shoe went on the other foot, and it’s still that way. You won’t find anyone in the whole metal sphere expressing a right-wing opinion, but they also take the sort of casual “yes, Mom” approach to leftist beliefs as well. Metalheads, even when they adopt Ideology, are skeptical of it. A metal society is one united by brotherhood of battle, honesty, realism and human desires to exceed the lowest common denominator, wherever it manifests itself. It doesn’t need or have Ideology. It has culture.

Thus, I’m going to demonstrate with my behavior what my ideals are. I’m going to ask our regular posters to be welcoming. I’m not going to ask you to stop using the term “gaydar.” I don’t care about political correctness, which as far as I’m concerned is just Communist-bashing in a new form, making people feel superior to others for having some point of view or another. I’m going to ask our anonymous commentator here also to grow up a bit and accept a difference of opinion. Just because he thinks his opinion is correct, and the media and government and large corporations agree with him, does not mean we should end the debate there. He should be welcoming as well.

You’ll notice this isn’t a rule. Yeah, I don’t believe in rules. They train us to be submissive and stop watching our own behavior for its actual consequences, and they make us resent authority because rules are blockheaded (literally: square and boxy, where life is elegant curves), in addition to being easy to sidestep and thus defining a new “minimum tolerance” standard which is quickly exploited. This is how we’d do it in a Hessian society: this is a good idea and we should adopt it.

But in that spirit — and to avoid blatant hypocrisy — the comments are open for discussion on this issue.

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