In rock ‘n’ roll, it’s better to die young. Even that is a cliche, but so is rock itself. Formed when corporate investors found a way to combine blues, country, folk and pop into a single product, rock has no real soul and so it pretends. The result is a parade of cliches and you hope that if you change the order enough, you become the next Jim Morrison or Morrisey. The sad truth is that rock bands come in two types: the ones who have three albums worth of good ideas and then burn out, and the ones who make the same song over and over again when they run out of energy. If a teenage version of yourself ever walked into a record store and spotted the guy with thinning hair, faded tattoos, and a bunch of stories and even more excuses but no accomplishments, you know what the new Napalm Death is. This is the sound of exhaustion pretending it has vitality for long enough to sell the slop to the kids and move on. The songs are built around the same tired chord progressions, which are barely even progressions in any sense except chromatic patterns at convenient places on the fretboard. The rhythms and riff ideas come from past Napalm Death albums, with a few influences borrowed from older death metal scattered throughout. On top of this, the aged suit-wearing corporate rock Napalm Death throws a single “outside” nuance per song. One tries to imitate the noise/avant-jazz of the early 1990s. Another is halfway to being a Rite of Spring tune. Still another apes the blur-core aesthetic of the new style of grindcore. Others try to return to the bouncy glory days of Fear, Emptiness, Despair or Utopia Banished. Underneath the skin however there is a total lack of ideas or even the guts to just go ahead with something that feels right. This is a cynical, manipulative album hiding a plastic soul which just wants your cash. In aging into oblivion instead of dying young as rock heroes, Napalm Death have made a mockery of everything they stood for. By wrapping this in a trendy surface and trying to pull the works of classic death metal over them like a camouflage mantle, Napalm Death have created a gateway into this genre from the soulless and burnt-out. You have made us all hipsters. Avoid this horrible album.
Terrorizer – Hordes of Zombies
Melba toast has a crunchy exterior, yet turns soft in your mouth. Lightly toasted, it is sweet upon contact with saliva, and will never upset your digestion. In fact, it is like baby food, except that it is crunchy. The new Terrorizer is baby food, true, but it’s awesome baby food. The band have focused not on innovation, not on a nifty surface, and definitely not on topic, since they’re beating the dead couch of the zombie album. What they did do was make something that’s easy to digest but unlike almost all metal released at this time, it’s coherent. Riffs fit together and make sense, even if a kind of pidgin. Rhythms mate effortlessly yet have enough variation to give depth to the compositions. Much of this is pure chromatic, but it captures the momentum of a good riot or fistfight. As a result, it’s easy to listen to and yet maintains its intensity throughout. If you can get over expecting something of emotional profundity like World Downfall, and instead look for the Terrorizer equivalent of Napalm Death’s Fear, Emptiness, Despair (or even Aura Noir’s Black Thrash Attack), you will find in this album a guilty pleasure. It throbs with aggression and yet by not attempting anything too complex, always manages to deliver. There is no attempt here other than to make an energetic, fun, musically-competent grindcore album and Hordes of Zombies rages supreme in this area. Oddly the only new influences seem to be a later Swedish death metal melodic tendency, and a study of riffs from the recent post-death metal era in which the punk riff and the recycled speed metal riff have crept back in. Wisely however Terrorizer keep their music extremely basic, along the lines of the first Brutal Truth album, but give it compelling rhythms and an underlying furor that makes us tune in to see how such violence can also be so much fun to listen to.
If you can imagine a cross between newer Bolt Thrower, old Paradise Lost and recent Fleshcrawl, you would have a good basis for the rock from which Vallenfyre carve their death metal hybrid. They use the Swedish buzzsaw guitars and the kind of melodic hooks that would make Watain proud in that these riffs are simple and hard to get out of your head, but then use a layered style of riff and response that comes straight from old Paradise Lost, with fewer of the heavy metal touches. If this EP gets its pop influence from anywhere, it would be Brit electro. The riffs are reasonable, and while sparse in the longer song constructions, the band’s habit of treating them as phrases and thus giving them multiple endpoints creates a sombre and contemplative atmosphere. Looking forward to seeing what the full length will bring.
Pestilence – Doctrine
Attempting to keep up with the times, Pestilence make a Meshuggah-style version of a deathcore album and add in their trademark ecclectic tone-twisting jazz leads. As if thinking that fans now must be blockheads to like such music, Pestilence deliberately dumb down the music with lots of chanting verses and repetitive, ultra-simple riffs based on old heavy metal tonal patterns. They vary these up with breakdowns and interludes, using abundant percussive strumming to shake two chords into forty seconds of constant texture variation. This is well-executed and unlike their previous album, does not feel off-the-cuff; attention has been paid to making these songs flow well and stay together. However, like most djent and textural music, it’s almost binary and thus is exhausting from a mental perspective. If you can imagine Celtic Frost Monotheist combined with Meshuggah’s None and Coroner’s Grin, you have a good idea of what Pestilence is doing these days. As an improvement over the past, Doctrine gives me hope, but I still think these guys are best when making complex, twisted, ingenious old school death metal.
Antidote – Thou Shalt Not Kill
NYHC came in on the punk scale halfway to thrash, being very much based in the more extreme school of UK hardcore. This album of short, straight-up, anthemic songs belts out a paean to working class existence in New York by combining the catchy choruses of punk with the fast, nearly technical riffs of later UKHC. Vocals are eerily similar to what Kurt Brecht did in the same year with DRI, a youthful voice shouting itself breathless and yet managing to capture cadence and through it, the hook of the chorus. Guitars are minimal but pick more challenging rhythms in order to underscore the chorus and its lead-up in the fast ranted verse lyrics, giving these songs like early speed metal an insanely infectious quality that borders on frustration with how the message bores into the brain. This is almost like the Circle Jerks sped up 4x with the middle class faux angst translated into rage at the three-block area surrounding the squat.
Atman – Like Pure Unawaited Magic
This CD would stand a chance if it weren’t so goofy. The intrusion of operatic vocals at random times with maximum pretense and minimal musicality pretty much kills its chances of ever having people want to listen to it, but underneath it are good, simple minor key melodic riffs like early Abigor or Emperor simplified. Huge parts of this CD feel pasted together, as if the artist kept creating as many different elements as possible to extend a song, and many of the melodic riffs are too similar in structure for this to really take the top shelf, but it has moments that match the intensity described by the title.
Evil – Pagan Fury 1994-1996
Probably the only band that can compete with Ildjarn for turning the obvious into the profound, Evil are high-speed pneumatic drums with a languid bass following searingly distorted, simple riffs that rise into sublime three-note melodies. While this is well executed, this is all they have to offer; if you like Ildjarn and Blood, you’ll like this because it sounds like a cross between the two. Songs generally feature two grindcore riffs and a melodic black metal riff to unite them, which produces a sense of high energy potential flowing into a melancholic panorama that encompasses the moods previous.
Aosoth – III
The only underground trend to counter metalcore can probably be blamed on Thorns and the emergence of the 7-string guitar. In this style, open chords or oddball movable chords are strummed in quick sweeps to produce a wash of sonic possibility; this can give great power to a quality song, like the “sonic cathedral” approach of some classical composers, but with a directionless series of riffs it falls apart like later Mayhem. Aosoth strides the line, sometimes sounding like Portal or Molested in the harmonic possibilities unveiled, and other times sounding like an avantgarde acoustic band that somehow got the wrong guitar rig. The tempos and riff styles are compelling but songs often do not pick a direction other than restating their theme, which leaves us stranded in the sonic wash between what could be and what is.
Denial Fiend – They Rise
These guys have a unique intepretation of old school death metal. Imagine proto-death like early Master, but instead of faster tremolo riffs, the kind of muted strum chugging that distinguished bands like Exodus predominates during verses. A Misfits influence rides the vocals and the hookish rhythms of the choruses, but otherwise this is 100% straight-ahead metal. Like many of the caveman bands from the past, no silly punches are pulled here and it is refreshingly free of ornamentation and other artifice for the sake of disguising its basic simplicity. Percussion keeps energy high by creating a forward momentum that catches itself in tidy pockets that drive it forward like tempo changes; vocals are a hoarse yell with the riot delivery of Demolition Hammer or Exhorder.
Nunslaughter – Demoslaughter
This primitive, rhythmic metal is hard to justify as anything but five-note modal stripes bent into song through riffcraft, but for the old school primal style this band is at the top of the curve. Vocal rhythms and the ratio of riff rhythms used in transition resemble Deicide; some riff patterns approximate early Death; many of the more sing-song riffs evoke early Mayhem. Nunslaughter on some level understand the “soul” of death metal, in which a riff puzzle constantly expands in context like a winding journey that descends into profundity. Nunslaughter, despite having many holdover elements from early punk and radio-friendly heavy metal, understand this essence of underground metal. The result is primitive, at types awkward, but represents a surge of energy toward expressing an idea of such magnitude that among the 56 tracks offered here, much as on other micro-omnibus albums like Impulse to Destroy, Expositions Prophylaxe and From Enslavement to Obliteration, a complete vision of humanity and where it stands regarding its ultimate purpose is expressed.
Shrinebuilder – Shrinebuilder
To kill a darling, raise the knife above your head; there is no point pretending contrition or doubt. While sludge and stoner doom metal are the darlings of the industry at this point because they appeal to legions of new fans bleeding over from rock, they are not the heir to the throne of metal. In fact, they are taking it in the opposite direction back down the evolutionary ladder, a man devolving to chimpanzee to mouse. Since the inception of metal, industry has sought in vain for a way to adopt the rebellious image of metal and slap it on music basically indistinguishable from other rock; this way, they maximize profit by using interchangeable parts for the music and handling the “genre” through studio fakery. This album could easily be a U2 album. It is three-riff rock music, with one each for verse and chorus and one for the bridge or jam interlude, and as a result it relies heavily on repetition and basic harmony through which a “melody” (fragment of melodic scale + pentatonics) rambles. If you can imagine early Crowbar and later Eyehategod mixed up with some Sonic Youth or Nirvana, that roughly describes what you get here. It probably helps to be stoned so you have a short memory and cannot notice how repetitive this album is.
NYC Mayhem – Discography
It is not difficult to see why metalheads loved this band. Like Agnostic Front and the Cro-Mags, these guys are a hardcore band that shied away from the simplified rock songs of most punk bands and instead went for metal-like riffs, thrash tempos and a brutally post-human view of the world. Riffs are phrasal and have actual shape, unlike hardcore riffs which were boxier; there are plenty of moments that resemble Slayer or Destruction. These alternate with punk-style riffs returning to a single chord for stability instead of remaining open-ended or slammingly conclusive. Vocals fit the hardcore style of a masculine shout without the bassy tone of later voices. Song composition is closest to early COC, with an effort made to distinguish each song by use of varied structure and introductions, interludes and unique changes in tempo. They write great riffs, but never manage to keep momentum in each song, which causes a process of acceleration followed by breakdown that is somewhat exhausting to the listener. The decrepit garage production merges sounds together into an organic whole, showing us a window into history with grit on the edges.
Calciferum – The Beast Inside
Inside of this old school styled album lurks a new school sensibility: a random collection of riffs, vocals taking over from guitars as the primary instrument, bouncy rhythms and a theatrical sensibility imposed on top of the music not emanating from it. It is tempting to like this, but it’s too linear and too random at the same time. Underneath the slamming exterior is a good sense of binary pop, but its vocabulary is limited, which creates the effect of a listener thrown into a washing machine on spin cycle, ratcheted back and forth by a relentless and circular process.
Anu – Opus Funaerum
The intro to this album captures a vision of chaos rising from order that exists only in one other art form, which is structured noise music from Japan. What follows is pleasant black metal that sounds like Kvist and Gorgoroth had a baby. The band tend to make good use of the harmonic minor scale to achieve a lasting atmosphere, and write some pleasant basic riffs. The problem is that atmosphere is all that is offered here, and it is very 1994ish, right before black metal jumped the shark, meaning that there’s no exceptional direction. If you want competent and pleasant music that does not distinguish itself particularly, this will be OK, but this musical elitist requires more.
Agalloch – Marrow of the Spirit
Do you remember positive jazz and lite rock from the 1980s? Hopefully not: it was the crossover between Muzak, or elevator music, and the new jazz fusion and adult rock categories. Industry needed music that it could play in communal areas and not offend anyone, so they took the soul-searching out of jazz and rock and came up with two super-consonant, super-upbeat and uplifting formats that they then used to beat the heart out of us. Post-rock is the new positive jazz (Kenny G) and lite rock (Michael Bolton). However, in order to cater to a new generation of self-pity, the lords of industry have made this both minor-key and self-reflexively super-balanced, so it’s like uplifting music that tells you it’s not your fault and watches Napoleon Dynamite with you. It is impossible to distinguish post-rock from the audience who listen to it, who are indie-rockers and hipsters, or those who have found no meaning in life so they focus on themselves, and accessorizing their personalities with beaucoup “ironic,” “unique” and “different” things. Industry encourages them because they are perfect consumers who will quietly work as web designers their whole lives, stay single and keep buying entertainment products, and despite all their grumbling are only too happy to report to work. Agalloch make an interesting meshing of textures and styles in Marrow of the Spirit, and there are no musical grounds for criticism. Artistically, for all its attempts to be different, the underlying songwriting is more like regular indie rock music and so while it’s “unusual” for metal, it’s actually the usual thing when you look at music as a whole. Summary: Agalloch make great rock music and should drop the metal pretense and just get bigger than Dave Matthews, because their current style panders to insincere people and those so clueless they think novelty in style is more important than clarity and meaning in content.
Triptykon – Eparistera Daimones
Tom G. Warrior, although an artist of great talent, gets sidetracked into trying to “stay current.” This happened to Celtic Frost in the late 1980s, and it now happens with Triptykon, which tries hard to be modern metal with touches of Rammstein and Marilyn Manson yet keeping the underground honest morbidity. This impossible task results in Triptykon dumbing down their music through repetition and really obvious, repetitive choruses that rant out memes in raw form and pound them into our heads. Songwriting is good although directionless because all else has been shoved aside to keep those “catchy” ranty choruses, and some interesting melodies come of this, but I don’t want to listen to it. It’s annoying and reduces consciousness to a background hum because it’s so loud and repetitive. What we loved from Celtic Frost was the atmosphere; Triptykon is the anti-atmosphere. It’s too bad because if Tom G. looked honestly in the mirror, he’d see that he is loved for the quality and content of his music and not its style, so he should get more honest with the style even if it seems 20-30 years out of date. Who cares what the trends are? In three years they’ll be gone along with this album, and in 30 years kids will still be learning to play “Triumph of Death.”
Abraxas – Damnation
Nothing wrong with this band — standard late-model death metal, like Vader crossed with Devourment. Not bad but nothing particularly exciting. Overuse of “intensity” makes this monolithic, like reading a page of zeroes. Like the band named Damnation, it hammers too hard to achieve any kind of variation in which a story or drama could play out, and so the result is like Napalm Death’s “Scum” if the songs had been five minutes instead of ten seconds, and rigid instead of sloppy. Nothing is done wrong here but the whole does not add up to much of enduring power.
Decrepit Birth – Polarity
Someone crossed Cynic’s Focus, Death’s Human and modern technical death metal to get a fruity sounding progressive band embedded in the midst of blast and breakdown. Individual parts are great, the whole is hilarious and absurdly unclear on any kind of direction. In fact, it reminds me of modern society: the salesperson goes through the list and ticks off all that is required, and then it gets passed to the factory floor, where they bolt everything together and hope it flies. The result here is really goofy and entirely misses the grandeur and imagination of metal. Flee.
Bahimiron – Rebel Hymns of Left-Handed Terror
Against all odds, this band have reinvented themselves with a new sound. This new styling works because the band have both stripped-down what they do and focused on making every bit count. The songwriting sounds hasty but as if a very deliberate focus were placed behind each piece, so that the band knew what they needed and fought until they found it, even if it went rather quickly. Combining the Demoncy “Joined in Darkness” cum Profanatica “Profanatitas de Domonatia” sound of fuzzy, foreboding, inverse-march riffs with the remnants of the original Gorgoroth-inspired sound that propelled this band into focus, albeit with bits of the Southern style (Down, Eyehategod) and classic death metal mixed in, the new Bahimiron makes fast songs in the style of hardcore punk but gives them a uniquely metal vibe. They aim at being incomplete; the songs themselves are complete, but the emotional concept they express is one of partial completion. Plenty of speed and power in these riffs; no particularly groundbreaking variations occur, and the noisy lead guitar (Watain “Rabid Death’s Curse” style) creates no enduring atmosphere. Even the EP itself tapers off, bringing in a few speed metal riffs and even modern metal influences toward the end (blame Krieg’s latest) but the riffs wrap up in hard-hitting songs that are not scattered random thoughts and as a result, create a memorable listen. Glad to see these guys returning on a high note.
The rise of the Black Metal movement in Norway is a case of humorless dirtheads taking a joke way too seriously. The joke was Satanic rock, which Lords of Chaos skillfully traces from its early origins in Led Zeppelin, Black Sabbath and Coven (who transformed from performing black masses on stage to perpetrating the weepy hippie hit “One Tin Soldier”) to metal’s second big wave in the early 80s and the rise of kitsch Satan-rockers Venom. To our modern eyes, Venom looks the spitting image of Spinal Tap during their Smell the Glove phase, but to dirtheads who didn’t know any better, Venom was the long-sought embodiment of evil. It was from the Venom branch of evil-metal that all of metal’s more violent, “evil” forms descended, including Black Metal. – Exiled (all quotations from this article)
This charge could be leveled at metal lyrics in general, but this idiot doesn’t know his metal history.
Black Sabbath – War Pigs:
Now in darkness world stops turning,
ashes where the bodies burning.
No more War Pigs have the power,
Hand of God has struck the hour.
Day of judgement, God is calling,
on their knees the war pigs crawling.
Begging mercies for their sins,
Satan, laughing, spreads his wings.
Oh lord, yeah!
Old school heavy metal, like Black Sabbath and American speed metal bands: watch out, evil will destroy us!
NWOBHM, like Angel Witch and even Judas Priest: society is blown because moralism is false, let’s explore the occult.
This theme also showed up in progressive rock…
Had the author of this piece done even an hour’s research this would have been evident, but he thinks he’s being funny.
The point of Satanic rock was to scare the Normals while fucking with the minds of its pimple-faced, predominantly male (nerdoid) audience, who needed to create a counter-world, with counter-morals and counter-aesthetics, to empower the nerdoids against the cooler, more successful jocks.
Straight out of 1980s teen movies. We know what research he did do…
The humor and empty boasts inherent in Death Metal were lost on Norway’s youth. They took Death Metal literally, and quickly discovered that it wasn’t “evil” or “authentic” enough. There were too many “poseurs.” And more important, too few genuine corpses for a scene that claimed to be so obsessed with death and violence.
You’ve got it backward. Death metal embraced all of this stuff first; remember the news stories about how a murder victim had been found lying on top of a copy of Death’s “Leprosy”? How many early death metal bands drifted toward actual occultism, and endorsing some fairly evil stuff?
Black metal just wanted to make it fully real.
For one thing, Black Metalists are incredibly pedantic–as laughably pedantic as the worst jerks you knew in the college rock/punk/hardcore scene, and pedantic about the very same stupid things: who is more “genuine,” “authentic,” “extreme,” “on-the-edge” and in metal’s case, “evil.”
Dummy, you just said it was an ideological genre. Of course authenticity matters.
Indeed, every sad word of An End to Evil oozes Perle’s and Frum’s pained, wasted 60s youths: wasted in yellow sheet stains, wasted studying maps color-coded with spheres-of-influence, wasted memorizing German armaments, and college years wasted playing Risk in their dorms while the socially successful hippies frolicked and fucked all around them.
Wow, straight up Crowdist dogma: it doesn’t matter how effective you are, be sure to be SOCIAL! That’s what matters!
Should Black Metalists cut their hair and vote Bush-Cheney ’04? Dude, I think the answer’s pretty fuckin’ obvious. In fact, thanks to these guys, America has become the world’s first Black Metal Nation.
A sub-intelligent finish to a downright retarded (yep, like trisomy 21 — retarded people are dumber than normal people) article.
One-time only rebroadcast of the streaming video of A Day of Death (July 16, 2011). Final chance to see the entire event. Whether you missed it or attended it and want to relive it for another day, you have one more chance to see Kam Lee join Druid Lord on stage, one more chance to see Kam Lee join Derketa on stage, one last chance to see Kam Lee perform “From Beyond” in its entirety.
$10 via Paypal to firstname.lastname@example.org (no later than Friday, July 29 at 10 pm est) link and password will be sent via email approximately 1-2 hours before the event airs. Grab some beers, invite the friends over and enjoy this once in a lifetime event, some of the bands of the day will be available in the chat room throughout the rebroadcast.
Lethal Aggression (only part of their set was streamed)
plus a surprise or two thrown in for this special rebroadcast.
Obviously everything that follows in that link is troll material. This part especially sounds like it was written by someone who barely once listened to half of a song and decided that they are crap:
Opeth “sounds like” prog even if it has none of what made prog great: real musical development, song structures that build upon themes instead of being random, and truly mindblowing chops.
And I’m pretty sure I’ve never read or heard anything about Mike saying they are a progressive death metal band (though they most certainly are imo), but rather just a death metal band so really the foundation of that article, which is to slam their approach to prog music, falls upon itself. Fakken trolls they troll don’t like em – ANUS topic at official Opeth forum
The trivialist band OPETH, who specialize in making boring simple death metal “sound like” progressive rock so that emosexual manpanties neurotic tweebo children of divorced homes and failed lives can cry together, and then consider themselves smarter than the rest of us peons, make their money selling what’s basically warmed over Dave Matthews Band songs with death metal riffs (sometimes). The foolish, unaware, uneducated, illiterate, inexperienced, confused, lost, low self-esteem and possibly uncle-raped flock to it as they search with mooning faces for some kind of meaning in their disposable, interchangeable part lives. And then they get upset when we point this out to them.
I want to make a fatwa here, which is that we make it illegal under ANUS Shariah law to compare Opeth to homosexuality. To do so is to insult homosexuals. Instead, we must focus on the truth of Opeth, which is that it is music for boys to cry to so that they do not have to become men. It is music for people to feel like they’re having a profound experience to, when really they’re just projecting their own neurosis (expanded rectums from parental rape, divorce and repetition of failure). If you like the thought of telling a rapist to go ahead and have his way with your ass, because you’re just too into yourself to muss your hair fighting back, Opeth is for you.
I was looking over the user comments on one of our blog posts (mainly because they are often hilarious) and found this:
please i kindly ask of you to stop vandalizing our Gojira guestbook, you are welcome to our site for information but please refrain from more hate comments that are signed as members from this website.
According, ANUS has composed an official statement:
Please understand that none of this is personal. You are probably very nice people and we would enjoy having a beer or two. But life is not about getting along with everyone. It’s about picking the right answers out of the pool of every answer, and using that knowledge to get better. Always forward, ever upward, and all that.
We encourage our users to vandalize, degrade, sabotage, guillotine, desecrate, corrupt, hack, immolate and sodomize any Crowdist information, which we can define as:
A partial truth. It takes some aspects of a situation and makes them “represent” the same situation, like symbols or social gestures, and so obscures the breadth of the situation.
It is populist in the oldest sense of meaning pandering, demagoguery, and “little white lies” that we tell in social circumstances when we’re not outright bribing people by saying nice things to them. It’s like talking a girl into bed.
It passively assumes a superior position. These thoughts need some reason why you would adopt them instead of common sense, so they pretend to be intellectually, morally, socially or empathically superior.
Gojira exemplifies Crowdist behavior. Your songs are written like indie-rock converted to powerchords and played with periodic violence, but you do not understand the metal spirit, its way of writing riffs, its song structure or imagery. Although you may be nice guys, you are (sadly) imitators and corruptors of the metal tradition.
Therefore, we encourage all users of this website — and any other website — to have fun vandalizing your Guestbook and/or rectums. Instructions:
You will find there a picture of a skeleton surrounded by dots. Click on the dot to the furthest right, at the 3 o’clock position on an analog clock.
At the Guestbook, either (a) endorse freedom, democracy, liberalism, effete passivity, anal sex, miscegenation, watersports, incest and Gojira or (b) feel free to point out that all indie-rock bands who pretend to be metal, but don’t understand metal, are poseurs. Some indie rockers came into metal and made metal. If people bitch that we are too kvlty, just point out that we hate Krallice as well (they are also nice guys).
In conclusion, I am sorry I cannot help you. But in the cosmic drama, we are on opposite sides, and all we can do is play our roles well.
“If it dilates, we want in.”
Maybe this will clear up the confusion. It’s worth noting that our trolls have completely demolished our own blog post comments, but they’re still more amusing than anything you’ll find on TV.
We finally got our hands on a review copy of Glorious Times here at the HQ, and the verdict is in: much improved over version 1.0, but still a niche product, so those of you who want Death Metal History for Dummies will need to go elsewhere.
Glorious Times does a supreme job of immersing you in the culture, the music and the feel of the era without having to shape your mind with a narrative. This is both its strength and weakness. Compiled entirely of first-hand statements from musicians and writers from the era, the book lets you make up your mind and read for whatever interests you. This was I think a mature decision, because the writers recognized the niche nature of this material.
My co-editor, Kontinual, and I differ on the importance of this book. I see it as a compilation of primary sources; he, rightly, points out that it’s for a niche and not ready for mainstream consumption. I don’t see these two views as incompatible. Glorious Times is a primary source, and will be in for future academics and journalists, but right now it’s us nostalgia freaks who are checking it out.
And therein lies its strength. While the editors could have conducted interviews and comped statements together into a summary, imposing order and assessing data, that would have produced a linear perspective. Instead here you get the history told by as many people as wrote in for the book, which shows us how people differed in their approaches to this music, and yet also, where they converged. No linear narrative can show the same breadth.
Fans of the music, as opposed to academics and journalists, will find that like other legendary metal docs like Are You Morbid?, Lords of Chaos and Until the Light Takes Us, this book enmeshes us in the atmosphere of the time. You get to hear all about tape-trading, the personal lives of musicians, how people got into the music, and the decisions they made with their bands and lives. You don’t get the kind of clear but oversimplified summary that Sam Dunn peddles in his Global Metal (my personal favorite of his movies); instead you stagger into this strange land where gnarled figures emerge from the mist and tell you their story in riddle and rhyme, then leave you to drift onward along a hazy road. If you want to know what it was “like” back then, this type of book is your best guide.
Detrators will point out the weaknesses that correspond to this strength. They will also say that the layout is amateurish, which was true on 1.0 but is mostly fixed for 2.0, at least to mainstream rock book standards. Detractors will say that the lack of an editorial voice means that the contribution from band members are somewhat random, and that depending on this volunteerist attitude among subjects means that the bands that didn’t make it outnumber the important ones. While these criticisms, as are those of my co-editor Kontinual, are valid, they miss the point: this book is not here to offer an overview, a history or an ideological statement. It’s here to give you the feel for the time, and to provide rich primary source material for those who will research it in the future. I hope someday someone makes the sequel to this, in which they interview all of these bands for two hours each and then assemble the statements, but that would lose much of the atmosphere and require a larger staff and budget than any old-schoolers have at this time.
When we look back on any time, we tend to measure its information by what it would mean to us now. We are looking at single facts at a time, and we interpret them as they would fit into our current lives and technology. When we look at ancient Sparta, we are repulsed by aspects of their warrior culture that in our society, would be cruel and unusual. To them, these “repulsive” aspects were a matter of pride, and what shaped them as much as we are shaped by our pride in not being like Sparta. Understanding early death metal is a similar matter, in that our technology and society was so different back then that we cannot place many of these “facts” into context. We need to see them in their original context, and by seeing that social backdrop, understand the atmosphere before we start trying to pull facts out of it. Glorious Times keeps this atmosphere intact and, while it may be a niche for death metal nostalgia buffs at this point, for the future it is the first serious record of the early years of death metal’s genesis.
Alan Moses (Butterface zine) and Brian Pattison (Chainsaw Abortions zine) are the death metal zine editors who compiled Glorious Times: A Pictorial of the Death Metal Scene (1984-1991). They also promote the A Day of Death series of concerts and have been active in the death metal underground up through the present day.
Glorious Times: A Pictorial of the Death Metal Scene (1984-1991) covers the formative years of the death metal underground in the words of its participants and as a result, is not a slick product designed to hype the drama of the scene but an in-depth exploration for those who care to exert themselves to learn.
We are fortunate to get a few moments of their time and to hear how Alan and Brian got into metal, ended up starting their zines, and almost two decades later resurrected it all with Glorious Times: A Pictorial of the Death Metal Scene (1984-1991).
When did the idea hit you for this book, and when did you think, “this might actually work”? I understand that both of you published paper zines, and that you Alan worked for Morbid Angel (gods among men) and that you Brian had a radio show and promoted live shows, including the infamous A Day of Death. Would you have undertaken this book without that background?
Brian: The idea came about in an off the cuff remark Alan made in an email to me in May or June of 2009. He mentioned having a photo album on his coffee table with old pics he had in a collection. I like that idea, then just thought it would be cool to have something like that in actual book form. In later discussions we agreed it would be even cooler to have stories from friends (the bands and ‘zines of the era) to go with the pics. I would say by possibly early Sept of 2009 we thought the book might sell some. We had begun getting emails from bands we didn’t contact ourselves and other people who had heard what we were doing and wanted a copy for themselves – originally we intended to print two copies, one for Alan and one for me and that was to be it. it’s hard to know if we would have done this without having the backgrounds we do. it would have been a lot tougher for sure. doing what we did back then made people remember us so it was easy to get stories from Chris Reifert, Kam Lee, Henry Veggian, etc.
Alan: I was probably a world more skeptical than Brian about it. After all it was an off the cuff statement I’d made in an email to him, a single email among I don’t know how many others. I forgot about the subject, but Brian went away and mulled it over for a while. He doesn’t just step into things blindly so he’d been thinking of all the hypotheticals before he came back to me with his thoughts of actually making a physical book, beyond just 2 overpriced copies via an online publisher, which was the original idea.
My mindset was way more cemented to the ideas about digitizing our combined audio tape and video collections, than any book concept, at first that is. When he came back to me with “oh I have been thinking about….” and went into details, I remember thinking “holy f%!k the guy’s gone nuts” haha but the more he argued the case (so to speak) the more I warmed to it.
It’s hard to say whether those things from our pasts played any part in it or not, I don’t know how much background the creators of any other books had in this music – so I have no idea what their drives are. In the past I’ve often been asking about doing a book of some kind – but laughed it off, or even if I may have entertained the idea for a couple minutes at best, my life was not the sort to support any such endeavour until recently.
Maybe our collective contacts proved helpful in doing this, but then again many old friends have ignored or turned down the chance to be a part of GT as well, and some times it seems to me that an unknown newbie off the street has better success these days of reaching OUR old cronies than we do, especially if they have tits and whorish looking myspace profile photos haha.
What advantages does a cut-and-paste or photocopied zine have over its electronic counterparts? What disadvantages? Are paper zines still relevant in the same way, now that we have blogs and mp3 trading to make life easier?
Brian: A big advantage is price. Making a ‘zine the old way you didn’t have to print thousands; you could just run off a few copies and assemble them yourself, sometimes as needed. Biggest disadvantage to me would be all your pics would be in the lack of color for cheaper copying. Paper ‘zines could still be relevant if people bought them. The paper ‘zines of our day were often put out by people who became fans of their local scene first, so those ‘zines were great ways to find out about bands that didn’t get national exposure.
Alan: Well, for a start, paper zines can be brought to the shit-house, so for most men, that’s the place they get to read in peace anyways hehe – if they have a family anyway.
They can be brought back out at leisure, wherever, and don’t dictate the need for all this extra technology or internet connections to read – especially in countries that have the system dictating how much bandwidth you can have and at what speeds you can use it, such as Australia and other third-world-internet-countries.
In many ways the print zine might be making a comeback, or seems to me to be making one, as people are beginning to leave the textureless internet and return to a more biological physical based enjoyment of all the trappings that come with this music. On the other hand though, as many print zines as I see flyers and adverts for – how many do they sell? Is it the same concept as when we made them, the concept being that we didn’t even care about sales, it was a labor of love and devotion.
The disadvantages of printing and postage costs and garnering physical mailing addresses as opposed to email are the main issues I guess, whereas today anyone can be a blogger and start a webzine or start trading mp3 with little to no background in this music. Contacts were hard to come by back in the day, and it was an investment to buy cassettes and establish a good stable of quality traders – it was based on hard work and faith, and that was evident from the list you had to offer trades from.
The bottom line is though that for the most part, only glossy magazines get the business and they cater to the borderline or fully blown corporate bands and their fans, that’s where the money is. That type of fan would snub their nose at a photocopied zine without a doubt – they only know glossy music and images, so there’s not much to be done on that front but leave them to it. To transcend the money issues on an underground level, ofcourse digital means greater speed and coverage – but we are sacrificing an entire facet of the experience in so doing.
Do you think mp3 trading is superior to tape trading? Does it help people find music, overwhelm them with too many options, or both?
Brian: HELL NO, mp3 trading is not superior to tape trading! For one thing you’re dealing in crap files, anyone who truly loves music would not listened to their stuff in a crapped down format like mp3. Tape trading was great, you’d get the stuff you requested and then usually a little bonus material as tape filler. In ’89 that bonus stuff could have been short demos (like Immolation’s ’89 demo) or live stuff or rehearsals of new bands like Mortician and Incantation who didn’t have demos. With mp3 downloads you just get the tracks you’re looking for. MP3 trading may make it faster to get stuff, but it has help destroy the scene. The personal touch and friendships that were made through tape trading just don’t exist in mp3 trading.
Alan: No, I don’t think it’s superior per se, not for the most part.
The exclusiveness is totally gone now. Grandma can plug her dentures into any USB port and now obtain live audio which was reserved on trader lists as “not for trade” like the old Genocide recordings (pre-Repulsion) were and is instantly metamorphosed into an old school Genocide fan. Now that exclusiveness has been sacrificed, yes, it certainly does immeasurably help people find bands they really like, whatever the style is. I wouldn’t have found totally kick ass bands like Punch or Question otherwise (both amazing hardcore punk bands) – stumbling into a blog lead me to “try” them out, like you would that unknown band on a trader list, or put on a trade at the end to fill the blank tape and see if the recipient liked it or not – that’s the same concept, so it does works.
It’s only when they start mass messaging you to “vote” for them to become the next reality-concepted band and “win” a Myspace or whatever label contract that it gets abnormal. Conversely – from a corporate mentality you want to market what the plebs want to hear, so you want that newest Kelly Clarkson or Mr. Hanky band brought to the table, by the very plebs you want to fleece with it anyways.
Then we get to the whole push-pull thing, and face the issues of whole albums being ripped and copyright and the rest of it.
It has the capacity for both effects though, no matter what, and the serious adventurer into this music better be prepared by wearing a shit proof suit – because they are going to swim in shit before they find the gems.
What kind of audience does old school death metal and Glorious Times have, and how many of them are carryovers from the original days?
Brian: Old school death metal seems to be regaining favor, thankfully. As a guesstimate I would say roughly 1/3 of the people who bought our first printing were people from the old days. Our sales pretty much ran the full spectrum of fans, we sold to a few in their early teens and a few that were over 50 yrs old.
Alan: We have people from our era and younger, although the younger are far less represented. Mainly, we gather, because we haven’t had any corporate mechanism behind us to promote things – only the really attentive youngsters caught on so far, because we are out of their more cashcow oriented world at this time. Unless you really use myspace ALOT or saw a quick blurb at Blabbermouth one time, we would have missed GT pretty much, that’s because we had no money to promote and people are guarded about what they throw their money at.
If we had Shane Embury ‘endorse’ the book, haha, we would have been picked up by most of the publishers of metal oriented books probably before the thing was even out of the draft stage haha.
Musically speaking, there’s so much more folks drifting back to the old bands and the old feel of things, since they’ve got a bit wise to the genericisms of the music today. Don’t get me wrong, some of the bands coming out with stuff these days are phenomenal (cough Malignant Tumour cough Master cough) – but we see letters every single day from a vast array of age ranges wanting a return to the Glorious Times, and there is an undercurrent of feeling disatisfied with what the state of affairs has become.
No matter what, death metal fans have always been really die hard. I think most people realize that there’s more dedication in general, compared to other music styles. Hardcore and the derivatives is the same ofcourse. They might have dropped out of sight due to life’s circumstances, or come back and become more active, and the old classics are still classics to them. Some may continue to venture forth to try to find good bands from the newer generation, which is what Brian and I do (although we are both as into hardcore as well as other extreme music, not just death). But we are not so sure the new young bloods adopt a similar philosophy because the whole shebang is different for them. They have ease of access but the exclusiveness is tainted by their having been spoiled by the technology.
We rest well, in the knowledge that so many old hands at this have stated publicly that GT is something no true death metal fan should be without, and so far only the hardest core have it. We have yet to be able to change that, and give other people, with as keen an interest, a chance to check it out. Most of GT’s appreciation base understands the importance of hearing the individual memories from the very people who lived them rather from a stale 3rd party who either wasn’t really active back then, or was simply too young or not even born. I am the sort of person that would rather read an autobiography than a biography, and GT fans respond to the concept really well, they are whom we made this book more available for anyways. Nobody else.
What’s the difference between then and now in terms of what fans expect, how bands act, and what people expect from the music?
Brian: Most fans today expect everything for free. They won’t spend $3 to buy a band’s demo because someone else will and that person will upload it to a blog. Bands act differently, some just stay backstage and don’t mingle with the fans forgetting that they are nothing without the fans and that they too were once just fans. Some bands don’t though, Alex Webster (Cannibal Corpse) still goes out and mingles with the crowd and will talk to anyone. Nowadays with the rise of digital recording people expect every recording to be of great quality, which is a shame. There’s some special about getting a rehearsal tape or poorly recorded demo, you know the band is in it for the music/for the fans, not to try to get signed and make money.
Alan: I can think of a few major household names today, from the old days, whom have made a 360 degree turn around from their former mindsets, and have totally turned their backs on their old fan bases, in favour of the adorations of a generation raised on rock star worship again – like the thing got killed by the underground and has been brought back in some sort of grandiose version of itself. Similarly, others from the same fold are still as grass roots as ever in their mindset and haven’t been poisioned. Then there’s some that are just as indifferent to their fans as they were then, and have atleast remained consistent on that level.
The fans I think, have made a major political shift – because the bands are more accessible to them, yet the rock star worship has been elevated – you’d think that would be the other way around? It wasn’t like that before, there was more of an even playing ground between a band and the fans usually.
I guess that is a symptomology of having years and years of success that eventually there is another generation born that sees things with a different set of eyes, with different value systems. Entertainment-wise anyways.
Do you have any insight as to the relative importance of fanzines in different parts of the world, if any? Who were/are your favorite foreign correspondences?
Brian: Fanzines back in the day were hugely important. those were the early years of death metal so it didn’t get coverage in the glossy music mags. If you wanted to read an interview with Immolation, Prime Evil, Insanity, Nokturnel, etc you had to find it in a ‘zine. You didn’t just want ‘zines from your area or your country either, you wanted them from all over so you can discover new bands, remember it was before the internet and myspace so to discover a band like Death Courier from Greece you had to either read about them in a ‘zine or happen to get a flyer of them from a tape trader. now of course my favorite correspondence is Alan, back then it was probably Walter Garau (Ass Ache) from Italy.
Alan: Certain zines were vitally important. Blackthorn from Denmark, Uniforce, Total Thrash etc from the USA, Decibels Of Death and Ultimate Speedcore Dislocation from France, and the legions of zines from South America were vital in exposing bands from everywhere yet still had enough from their own countries to be interesting – well there were an abundance of interesting bands though back then too. I had penpals in so many countries and it was always magnificent to hear from them all, I used to hear from most of the editors from the zines above, and traded with a number of them directly – and they are just the tip of the iceberg. My favourite correspondences would have been Lars Sorbekk (Vomit (Norway)) and Trey back then, but that’s a bit unfair because I truly reveled in hearing from EVERYONE. It’s the same today really, but Brian is the doss because we are doing so much together there’s usually something exciting or frustrating or whatever every single day.
Did you expect the exposure to bands you received when starting your respective zines?
Brian: When I started my ‘zine I just wanted to expose local bands to people elsewhere and have something of my own to put out to give me access to bands from other areas to interview and to expose to my locality. In the end my ‘zine did much more than that for me, it created life long friendships.
Alan: Yes I did, because most of the contacts were already made well before I started Buttface. Things were really taking off in 89 and 90 but by 1990 everything was put on hold because I relocated to the US and Buttface was never kept alive either there or in Australia by my co-editor Stuart Maitland. It’s been funny explaining to 3 kids why people still call their Dad ‘Buttface’ haha
You’re planning on mailing a live CD with bands playing the A Day of Death festival to people who pre-ordered the book. Can you tell us more about this CD, what it sounds like, and what these performances will reveal to those who hear them now, especially fans who weren’t there for the original underground?
Brian: We had several ideas for CD companions to the first pressing of the book, all of which fell through because we were never able to get material from the bands. we did the A Day of Death download to go with the blog, not every band from the show, but a solid five. We were provided DVDs that John Verica recorded that day, since he only recorded some bands that’s all we had to work with. If we had every band it would have made one hell of a CD. Fans who weren’t there could have expected to hear bands that became legends playing in their infancy.
In other interviews, you’ve mentioned the negative presence of corporate labels, of glossy magazines and hype machines — in short, the nasty end of consumerism as it turns music into a product. Do you think it’s harder for bands to be authentic, sincere or legitimate when they go corporate? With people raised on corporate rock and slick radio pop, is there an “awakening” process as they leave behind that world? Do you think corporations will simply buy out the anti-corporate movements and make them “niche” markets?
Brian: The big labels have always done that. They find a fad, latch onto it then just kill it. In their view if one Entombed is great then 30 is even better. If one band makes it big after using Scott Burns as a producer then every band starts using him. It all became a big machine, bands getting signed that should not have been. Lots of cheese being passed off as the latest greatest when they were just shabby clones of the original. Some people are just sheep and don’t want to be awakened to what is out there; they’re perfectly happy being told what they should like. It’s hard for some bands to stay sincere after signing with a big corporate label because of a few things…they feel the pressure to sell more, they start writing stuff in studio instead of in rehearsals, they have people (A&R guys) to answer too, etc.
Alan: Definitely, if they were sincere at all to begin with, which really 99.9% of the founding fathers WERE. There’s definately an awakening process to be had, if the person has the right mental dexterity to unlock it though, alot of people simply don’t possess it and have to be told what to listen to or how to think on every single issue, it’s the nature of the sheep that must be herded. There’s a small percentage that slip through the gaps and they tend to crave more direct expression and more enthusiastic music – like extreme metal or punk. While I don’t think corporations could buy what the youngin’s call “d-beat” now days and have grandma shopping in a Besthoven shirt like she does a Slipknot or Morbid Angel shirt today – anything is possible, and with the correct conditioning and the appropraite funding they could possibly do it – let’s face it – they can convince people to buy and eat a s%!t sandwhich if they put their minds to it.
One of the topics bands seemed to mention in the book, but only directly, was the rarity of these glorious days you describe. After all, death metal was then like a young child growing up, and now it’s a well-known and accepted adult, so it can never be “re-discovered” in the rise from obscurity like it once was. Were those glorious days singular and limited to that time, or will they happen again?
Brian: You can get something similar to those days, but it can never be the exact same. It can never revert to being as fresh and uncontaminated as it was. It was a singularity: 1984 was the big bang with the next few years of dramatic growth being the formation of the heavier elements and then the years up to 1991 would be the planets forming and so on. Late 1991 and into 1992 would be the birth of man and as he did with the planet man ruined a good thing.
Alan: There’s no returning, and that’s not what we call for either. We’d simply like to see a recognition of the era, no different than all the weenies running about and calling this “classic rock” today. Personally I am gun shy of all the bands that the glossies really push and have been anyways – they spat at Morbid Angel back in the early days, but now stop short of getting on their knees infront of Trey’s pants. Makes me sick.
Alan, you talk about leaving the mainstream as a gradual process, like a seduction. What is it like to live with a mainstream consciousness, and how does your outlook on the world change when you go underground? Is mainstream music different in consciousness, spirit or idea, and is that what makes it “sound” different and have different effects on us than underground metal?
Alan: I don’t think mainstream music as such is the same since it’s created with an alien mindset to begin with. Music created by a bunch of kids today – or 30 somethings even – that is written with, how do they state it in their bios? “looking for a recording contract and world wide touring support” – that is laughable. What’s worse is that the label’s consciousness has infected them into thinking they are even remotely good enough to create such music. It’s feeling, and you have to wade through alot of junk to get anything of substance. The process of leaving the mainstream is usually gradual I think, or else it’s jumping on another band wagon. As much as “sound” is importan t I think it’s feeling that’s as important – music of any kind without feeling is piece work, and shallow and therefore mainstream.
Is death metal music different in consciousness/spirit/idea, so that when different people hit on that same idea, they make music that sounds similar, even if they haven’t heard each other? Did that happen in the underground (parallel evolution)? Do you think people have to be ready for metal before they find metal, or vice-versa?
Alan: There was definitely evolution and hybriding – out of respect and pure influence, like the infamous Scot Carlson bass on Shane or the Kam Lee wipeout on Barn to name 2 influences. It was pure though and not a contrived means to cash in, like viewing a cupped vocalist in a photo today and knowing that 99.9% of it will be Suffocation’s 2nd generation music, clone based upon a band’s success 20 years after they made a ripple in the waters. They definitely need to be craving something on a deeper unconscious level I think – much of what we enjoy appeals to the baser instincts, and those lay in the Id. On the other hand so many of the bands, whilst being into whomever they were really into, still evolved to their own standards and were not clones at all. So there was evolution but being paralleled can be argued I guess. Perhaps we can say no to that statement since nothing is equal or the same in nature, evolution embraces difference not similarity and clones are not evolved, they are premeditatedly produced.
You’re planning to re-release Glorious Times in a wider fashion. When’s this going to happen, and are we going to see it in bookstores across the world? Why did you decide to release it in a limited fashion first?
Brian: We don’t have a set date yet. I’m getting a new publishing program and we’re redoing every layout, changing some pics, adding some bands to improve the book. We’d love to see it in book stores, but given it will still be just 2 guys doing it that’s not likely. We will print more this time so people will find it at places like Century Media and other metal distros. The first pressing was so limited because it had to be. We had $0 starting balance and to get it printed at all we had to take pre-print orders and the money from those orders paid for us to print books for those orders. So, we had roughly 150 pre-print orders and that gave us the funds to print 153 books. This time it will be much different, no pre-print ordering, wewon’t make the books available for sale until we have them. Now we just have to raise the cash to reprint it.
Alan: Brian has hit this on the head and there’s little I can say to complement it other than indeed, it was limited out of sheer having to be since we had no money and we were turned down by every single publisher. Period. We’ve heard every rejection reason in the book now. We owe everything to our contributors and supporters – without them, there would have been 2 books nobody saw but me and Brian. I personally do not forsee any reprint in the near future.
I remember this being something talked about a lot: how musically literate were the early bands?
Alan: Most bands were self taught. That’s a fact. Self taught and on a learning mission. They pulled it off though, you can have some kid sent through private music school for 10 years and grows his hair out, buys a trendy t-shirt from Hot Topic and they still produce garbage.
Brian, A day of Death was in my view the ideal death metal concert; how did you get up the gumption to organize it, and death with the business side of things, and get the bands to agree? Do people ever contact you who were there?
Brian: First I have to say, my old friend from those days almost always gets overlooked for this and he should definitely get his credit – Joe Pristach (Mosh Central ‘zine). It didn’t take much gumption at all, remember at that time most of those bands were still just demo bands. The idea Joe and I had was just to get a show of out of town bands that we wanted to see and that we were for the most part friends with. I didn’t deal with the business end, the club did that. Joe and I just handled the promotions side of it. Getting the bands to agree was no problem at all, any band of the day would have killed to play with Autopsy on the east coast. I don’t get people contacting me out of the blue about that, but once they find out I did Chainsaw Abortions ‘zine and hand a hand in the show they ask a few questions or make a few comments.
One of the big fears I have, as a death metal freak, is that the record of our glorious times will perish. CDs are going out of print, and memorabilia and documents fade and disappear into attics or worse, dumpsters. Is there any way to keep the spirit alive?
Brian: The old spirit is still alive, it’s just on a much smaller scale. bands like Fondlecorpse, Swamp, Druid Lord and some others still do things in the old school ways. There are still a few ‘zines that do things like the old days – Deathrasher ‘zine as one example. It would be great if there was a sort of museum or storage facility where people could send their pics and flyers and memorabilia that they no longer wanted, that way it would be preserved for future generations – people could donate or lend materials to it (a sort of death metal smithsonian) then everything document could be scanned to a high resolution and saved to multiple discs, then as if it also acted as a library people could do research there or ask about things in the catalog.
Alan: Brian has hit this too – and all I can say is GT stands amongst the real few striving for rememberance the way we feel it should be, not just a few pages in a magazine as a result of us doing the book.
Brian, you say you haven’t heard any bands that grab you the way those 1980s bands did — is that because they have a different consciousness/spirit/idea? What about the late 1980s and early 1990s made that consciousness or idea so clear for these bands? Was it something random, or were they responding to the time around them? Do you think this spirit will rise again?
Brian: What made those times special was the music was new. Each area, each band providing a new take on extreme music. The 1st and 2nd generation death metal bands had different influences than the bands of today. todays bands are influenced by death metal, but of course the original bands weren’t influenced by that because it didn’t exist before them. I don’t know if i’d say it was clear for the bands of the late 1980’s and early 1990’s, they just all wanted to go heavier or faster or slower than their idols.
The spirit is still there; it’s the scene that’s gone. The internet has made some things easier and perhaps better, but it has also done a lot of damage. Almost all of the personal relationships that happened back in the day don’t happen now. Kids today will visit a myspace page and download songs so they don’t get to build relationships with bands like we did way back before the internet. I still have letters from bands from back then, will kids today save their emails and myspace messages to look back upon in 20 years — I don’t think so.
Do I think things will become as great as they were? With all honesty, I would say no. Is it possible, sure, but it requires a lot. The bigger bands have to stop doing 4 and 5 band package tours and go back to doing 1 and 2 band tours, leaving room for local openers at every show. Bands have to stop making their stuff available for download for free and either just release CDs or charge for the download (made available in flac and empty3), they have to wean fans off of expecting free stuff.
The free stuff should be a bonus, not a given. People have to start realizing that supporting a band doesn’t mean just friending them on myspace or hitting the “like” button on facebook, you need to buy their demos, shirts and other merch, you need to go and support your local scene, not just when the nationals come through.
Production: The first three tracks showcase the studio work of Jim Nickles, and make the latter three, which are awful tape-grade garage production, sound like a middling 1990s studio with moderate volume, good tone, and reasonable bass. For the most part, he’s album to separate the instruments, which avoids the kind of washout frequent in recordings of this era.
Review: Before they were a thunderous death metal band, Malevolent Creation started out as a late speed metal band in the style of Slayer’s “Aggressive Perfector” matured a few years with influences from Metallica, Massacra and Sepultura. Unlike most early death metal bands who sound like primitive chromatic punk making warrior metal, this three-song 1987 garage recording shows us a sound comparable to Artillery, Devastation and Nuclear Assault or any other second-tier bands that lacked the rock sensibilities of Metallica but borrowed their technique to mix into a Slayer/GBH fueled frenzy. Riffs are short and use rhythm more than phrase in the death metal style, and like other speed metal bands, Malevolent Creation use catchy bouncy choruses which repeat the song title multiple times. Their verse riffs are more in the Slayer school, and their choruses more the Metallica style of broad intervals permitting harmonization, which creates space for lead guitar and vocal melody. Had they continued in this direction, Malevolent Creation would be a promising power metal band today. The first track, “Sacrificial Annihilation,” is a pure speed blur that calls to mind early Nuclear Assault; “The Traitor Must Pay” follows with familiar pieces of music from Malevolent Creation’s first album, and sounds like Slayer crashing into Massacra; finally, “Confirmed Kill” borrows a Metallica chord progression and puts it to good use. It’s good to see this historical document riding again so the rest of us can explore the genesis of Malevolent Creation.