Swine Overlord live stream of Parables of Umbral Transcendence

August 13, 2014 –

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Grunting percussive deathgrind band Swine Overlord unleash their Parables of Umbral Transcendence on the world on August 19, 2014. The title might lead a listener to believe this album will be more jazz-lite “technical death metal,” but instead what you have here is gurgling blasting primitive and raw sound in the style of all bands inspired by Suffocation.

While much of metal has focused on hybridizing with known rock, jazz and blues genres, the deathgrind genre continues its development of its hybrid of primal death metal and raw explosive grindcore, continuing the gore and paranoid dystopic themes of its origin. Swine Overlord take a similar path with music and lyrics in the blasting mayhem and cadenced grooves of this work of utter depravity and abandonment of social trust.

To celebrate the launch of Parables of Umbral Transcendence, Gore House Productions and DeathMetal.org present the live stream of the album in its entirety:

Imprecation to release split with Blaspherian on August 20, 2014

August 12, 2014 –

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Texas gut-crushing occult death metal band Imprecation will unleash their split release with Blaspherian through Dark Descent records on August 20, 2014. This new release will give metalheads a chance to see how both bands have developed since their latest full-lengths, Satanae Tenebris Infinita and Infernal Warriors of Death respectively.

In addition, the band plans to release a 10″ of its “Jehovah Denied” demo on Rex Bagude records (Mexico) and Morbid Metal records in the US. This demo revealed the style of this band that evolved in the intervening years since its acclaimed 1995 collection of demos, Theurgia Goetia Summa.

Rigor Mortis previews “Flesh for Flies” from final album Slave to the Grave

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Before the untimely passing of Rigor Mortis guitarist Mike Scaccia, the band recorded what will become its final album. Featuring the same lineup as 1980s Rigor Mortis, Slaves to the Grave emphasizes the unique approach of this groundbreaking speed/death metal band as rendered with contemporary production.

To spur interest in the album, Rigor Mortis released a preview track entitled “Flesh for Flies” which demonstrates the new style. The same frenetic high-speed rhythm guitar makes its presence known, but with more of the melodic depth seen on later Rigor Mortis works like Freaks and Rigor Mortis vs. The Earth. Bruce Corbitt elevates his frantic vocals with death metal technique mixed in with his urgent shouts, and provides the kind of engaging rhythmic chorus that will ensnare any metalhead with a love for 1980s style speed metal. In addition, Scaccia injects a solo that attacks with a blitzkrieg undulation of notes that creates a texture from which a melody slowly arises. Gone are the longer song structures of Freaks, replaced by a verse-chorus approach that hammers home the powerful transition between the more death metal verse riff and the elegant melody of the chorus.

The song consciously targets the self-titled Rigor Mortis album that floored the metal community with its gore lyrics but powerful instrumentalism and abundant energy. For those who are looking for a re-creation of that first album, Slaves to the Grave looks to be both in that vein and enhanced with the more immediately impacting approach that band members picked up from subsequent projects. The strength of this track comes from its simplicity and directness which allows its viral payload to intrude directly in the consciousness of the listener, leading wayward brains to a dark and morbid place undergirded with the trademark Rigor Mortis absurdism and musicality.

Morgoth unleashes first studio tracks since 1996

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German death metal band Morgoth releases its first new studio material since 1996 with God is Evil, a 7″ and digital single with two new tracks. The band also released a teaser of the new material which samples but does not include in full the first track, “God is Evil.”

The material shows the same classic death metal riffing as the original Morgoth releases that inspired their prominence in the early 1990s underground with Cursed and Grim Reality, but adds standoffish speed metal riffs and modern metal influences on the vocals. As a result, more groove and bounce enter the fray but are done in such a way as to maximize impact and deaden any similarities to life-loving positive music.

As the teaser runs only 1:38 further conclusions are difficult at this time but many of us are watching to see how this band develops for its return at a time when many classic death metal bands are seeing widespread notice for the first time. The single dropped on August 11 in Europe and will see US release over the new few days via Century Media.

Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music edited by Eric James Abbey and Colin Helb

August 10, 2014 –

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Metalheads tend to distrust academia. We distrust the machine in all of its forms, and since the machine accepts academia, we believe the voice of academia is tainted by interest toward social acceptance. Academia also has a habit of finding ways to cram reality into its theories rather than the other way around. However, some academics make insightful contributions to the study of metal and Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music provides an example of the best of this process.

This collection of essays looks at extreme music in general and extends this to metal, hardcore punk and punk rock communities. Sadly many authors make the mistake many do of incorporating recent pseudo-metal hybrids as some form of legitimate metal, which spams their results with some nonsense. The balance of results however turns out for the best because these academics look at detail-level reproducible phenomena and so are able to avoid the kind of craziness that would happen if they took “modern death metal” to be a legitimate form of the genre. Since metal and hardcore punk share a heritage both influencing and as influences of one another, the multiple pieces on that topic serve to bolster the understanding of metal.

Ross Hagen‘s piece “No Fun: Noise Music, Avant-garde expression and Sonic Punishment” ventures into the world of noise as music and explores a number of theories of its appeal. His most tantalizing riff zeroes in on the idea that society attempts to control noise and categorize it by the containers used to sample it, thus the tendency of irregular acoustic noise is to overthrow the social control imposed for the convenience of society having categorical dominance. While this piece does not seem to be directly on point to metal, it explores the same sonic space that metal uses and suggests reasons for it that may overlap with the psychology of metalheads.

Nelson Varas-Diaz contributes writing that analyzes Puerto Rico as a metal scene and the historical antecedents for appreciation of metal in this unique context. While his research involves statistical analysis, the best part of it may be the narrative aspect where he explains the history of metal in Puerto Rico as a type of struggle to be heard. In this piece also can be found extensive information about founding and contemporary Puerto Rican metal bands.

While it is beyond the scope of this review to cover every piece in the book, several others merit immediate attention by the wandering metalhead. Mika Elovaara looks into the meaning of metal lyrics and finds something akin to the mythical-historical view expounded upon in these digital pages. As if clarifying Lords of Chaos, one of his research subjects from Norway opines:

I feel that it is important that people understand why they have been born and that other people fought for our well-being and to preserve our culture and society. Our cultural heritage is going to die because people ignore it or do not even realize its significance. Viking and Norse mythology have been described as something evil and distant, but in reality, it is close to home and not necessarily evil at all. That it is not Christian does not mean it is evil. I use the mythology to describe situations in the world and politics, actual topics that were part of our lives a thousand years ago just as they are today. One can be proud of one’s heritage and identity without any racist or nationalistic tendencies. And Satanism is quite outside of this.

His extensive interviews bring up other similar flirtations with the taboo which makes sense as metal is “edge music” that exists to push social standards beyond what they normally accept. He probes the filaments of metal’s obsession with the evil and dark, and yet finds a certain kind of benevolence. “They mean critical thinking and encourage independent thinking,” said one fan about metal lyrics. The entire study is too complex to summarize here but at a minimum provides food for thought about what metal is attempting to communicate.

Another metal-related piece by Marcus Erbe looks into the science of producing death metal vocals and what that type of sound might mean in the unconscious and shared experience of being human. He finds that human vocals universally split between a melodic voice and a textural voice, with the latter expressing “monstrous” sensations. He then explores the nature of the monstrous in psychology and finds that it includes both the other and our fears for what is within us. This thought-provoking essay fuels further the question about what it is in metal that is really socially unacceptable, its rejection of social mores or its seeing through them.

Other articles explore more specific topics. On the whole, the book shows a new face for academia in looking into metal that is less afraid of certain areas of metal that are alien to what academia customarily writes about and may reject attitudes held by the majority of academics. The insight offered into the mechanics of metal and the associated symbols that it invokes also suggests new areas for academics and thinkers to pry into this interesting genre. Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music lives up to its title and presents a window into the troubling questions that most would ignore raised by these dissident genres.

Swine Overlord – Parables of Umbral Transcendence

August 5, 2014 –

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Deathgrind took the guttural percussive sounds of Suffocation and took them to a place previously reserved for grindcore which was the ultra-primitive lower five frets of the guitar spelling out riff codes in a mathematic of recursion. Swine Overlord inherits this style and tries to give it as much life as possible despite a genre convention being simplistic repetitive vocal rhythms doubled by guitars.

The band keeps their focus on two predominant rhythms per song and works out several textural riff variations for each, then adds a series of pull-away riffs that serve as both break and transition. Ultimately songs remain in roughly the same cycle which they interrupt for effect. Vocals will take most of the focus of the average listener here and are executed in deep bass croaking expulsions that form the primary rhythmic instrument and through inflection cue mood. The problem with this approach is that it emphasizes very basic, almost-sing song rhythms. Vocals bear a passing resemblance to not only Cannibal Corpse but Infester in their tendency toward flared enunciation.

Guitars take a straightforward approach with occasional squeals and breaks but essentially non-stop blasting grindcore-style riffs or percussive speed metal-styled riffs that ride an E chord into a reductive cadence. The challenge to this band comes from the style itself: deathgrind has no rules but by its sonic conventions limits itself to a few general approaches and while Swine Overlord can make these interesting on first listen, Parables of Umbral Transcendence may not appeal to anyone but dedicated listeners of this sub-genre.

Interview: Unaussprechlichen Kulten

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We recently reviewed Unaussprechlichen Kulten Baphomet Pan Shub-Niggurath, a death metal album that knits together old school and newer styles of the underground metal art. We were lucky to get a few moments with Joseph Curwen, guitarist and composer, to explain the intricate secrets behind this dark cult act.

Do you identify with the “old school spirit” in the metal underground? If so, what is it and how does it emerge in your music?

Not really. “Old School” sounds like a “nostalgic trend” of “clone bands.” For us the Death Metal way is one style. It may have variants like brutal, old style or mixtures with other styles. But if the bands begin to clone all — the style, sound and even the graphics and pics — this really… sucks. Poorly made copies are not necessary! The “Sunlight” or “Tampa Florida” styles are wonderful and are always “inspiring,” I know it’s difficult to innovate in a “strict” style and with so many old bands as reference … but if a band does not have in its purpose something new, creative, original… anything in particular that distinguishes… why make that band?

The name “Unaussprechlichen Kulten” or “nameless cults” comes from the Cthulhu mythos, as do many of your song titles. How important is Lovecraft’s work to your art, and to metal in general? What other occult/romantic/fantasy writers influence you?

You are right about our name. Lovecraft’s literary legacy is rich in terminology and knowledge, therefore allows us to explain with his words the religious or spiritual concepts that otherwise we would be forced to use “Christian” or “common” terms so they can be understood. Lovecraft always publicly declared himself to be an atheist, but his erudition in the occult was something more than an amateur.
Therefore we are not only focused on the work of Lovecraft. We also include other topics, including Chilean mythology. The Necromancy is not unique to any particular culture, so what we do is explore in different subjects, always mystical and dark, but with the work of Lovecraft as a reference. Other interesting writers are Robert Bloch and Robert E. Howard, classics occultist like Blavatsky and Eliphas Levi, even contemporary Chilean writers as Oreste Plath and M. Serrano and others

Metal has always been influenced by the literature of Terror, and Lovecraft is the horror writer who made the most important revolution in the genre. He will always be a benchmark in the lyrics of Metal bands.

Baphomet Pan Shub-Niggurath sounds like it takes influence from both newer and older raditions in underground metal. What are your influences? Which of these did you find most useful in creating this album?

A lot of influences, you know mainly 80-90. Classic Swedish and American death Mmetal. Some from South American or Scandinavian… older? …mmm INCANTATION, NECRODEATH, GORGUTS, SHUB NIGGURATH, IMMOLATION, NECRODEATH, PENTAGRAM, MORBID ANGEL (old), MORTA SKULD, DISMEMBER, the mighty SADISTIC INTENT, DEMIGOD (old), MORTEM, and of course SLAYER, MERCYFUL FATE, SACRIFICE….. Newer? Throneum, Karnarium, Deathspell Omega, Godless, After Death, Dead Congregation, Hatespawn, Katharsis among many others.

In the early 1990s, there were few bands and not that many fans. Now there are more of both, and metal is accepted as normal in the mainstream press. How has this changed what it is to be a metal band? How has it not changed how it is to be a metal band?

Good question. It’s been over 20 years and society (worldwide) changed. We live in the information age; in the early 90s without internet, the bands depended on the promotion and diffusion that could be done through the “official” and monopolized media (radio, tv, zines Poser, label’s flyers, etc). Now every band can do their own promotion, also in these 20 years there was a “democratization” of recording technologies now make it possible to make music in a “Home Studio” way. More music available and easier to access it produces “the moment” in which we live.

This album embraces a dark and occult way of putting riffs in order and making songs of them. How do you know which riffs fit with each other? And how do you compose a song — do you start with a melody, a riff, an idea, an image?

From “People of the Monolith” onward our approach has always been the same way — to do riffs. I bring the riffs, arrangements and dis-harmonies of both guitars (I come with everything done and ready in accordance to what lyrics need like faster, slower or thicker parts, strange arrangements, etc.). It’s personal, a kind of trance. I only think in the “concept” and the lyrics, while I do an old trick: I move my fingers over the guitar until I’m no longer playing at random, but there is a “pattern” becoming a “riff.” Once I show the guitars to Butcher, drumming is 100% his responsibility. Then we adjust the structure and cuts together in the rehearsal room. When that base is settled, we incorporate the bass (based on drums). I used to do the bass but in this last record, NAMRU IMPETRADORUM MORTEM was integrated into the creative process of basses, all of them were 100% invented by him in Chapter VIII.

How did Unaussprechlichen Kulten form? Did you know each other from previous bands? Did you have a stated goal in coming together and forming the band?

In the beginning we was just two members, with no previous bands, the first name was “SPAWN.” With that name we just recorded 5 tracks of traditional Death Metal (never edited!). During that period of time I always felt unsettled about the name of the band so I decided to change it for a name in Spanish: “Culto Innombrable” was the one that came into my mind, it was a good name, we even made a logo. At that time I realize about the coincidence with the apocryphal Lovecraftian book: “UNAUSSPRECHLICHEN KULTEN”, diabolically whispered in my ear by Azathoth!

How well has the album been received so far? As more people hear your music, will your plans change? What comes next for Unaussprechlichen Kulten?

So far very good reviews, but our plans will not change. We are a “not popular” or “trendy” band. It has been more than ten years since it all began. So far we are a very unknown band out of Chile, we have been into the deep underground always, and I think will always be so because of our style. Death Metal is not a “trendy” style at this moment; now Death Metal is made by people who are stubborn and headstrong which maintains this “sectarian” behavior. It is true that more and more bands are appearing… on one hand this is good … the “scene” looks “healthy,” alive, which allows bands to exist and makes the media interested in promoting them (and of course in our case, more people hear our music), but on the other hand, also the “overpopulation” of bands is huge, generating a size of information unable to be processed. “A lot of bands” are not synonymous with “quality of bands.”

Codex Obscurum – Issue Five

August 4, 2014 –

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Codex Obscurum graces these pages frequently as one of few print zines who uphold the idea of the underground: a focus on music, not popularity, and insight into the motivations and mentation of those who pursue the unholy music of death. Issue Five from this promising zine takes its power to new heights.

Over the preceding issues, Codex Obscurum refined its approach to layout, personality and content and now appears in a fully mature form. Layouts are readable and densely packed with information, interviews dig into the thoughts and emotions of those who are active in the underground, and content selection shows a strong preference for the ancient spirits of obscure music as well as an inclination to pick from current music the few bright lights who understand it in spirit as well as mechanics.

Layout for example shows great evolution. High-contrast pages of black on white or its inverse use sparse but intense images to anchor smoothly-flowing, tightly-packed text. The result proves readable for those in a computer age who wish for a professional layout in a print magazine, and allows the content to pop out at the reader without interference or confusing background. The resulting more efficient use of these pages allows the staff to cram in more interviews, notably more reviews, and features that show a concise but outspoken style.

Issue Five begins with a stream of interviews including most notably Brutal Truth, Krieg and At the Gates. These show the seasoned journalist at work, avoiding most of the standard background questions of mechanics and instead querying the musicians in detail about their compositional and stylistic choices. That approach elicits answers which deepen the connection between band and reader by escaping the surface world of rock and looking at metal as a series of choices united by a shared identity and way of looking at the world.

The At the Gates interview reveals the workings of of legendary band as the questioner probes into the branches of its career and the resulting changes in the music. Focusing also on the upcoming At the Gates album At War With Reality the interviewer knits past and future through the words of the band. A candid Brutal Truth exploration follows with bassist Dan Lilker talking about his approach to music and his history with the second-wave grindcore act, after which a cerebral Krieg interview digs into the questions that metal finds troubling. Witness this exchange:

Where do you see the place of black metal in the greater context of the development of musical styles in human culture?

I don’t see it as culturally important to humanity as a whole, only some countries it’s made a direct effect on their history and even then in the grand scheme of this shit circus it’s about as important as that one time you jerked off that one day that you don’t quite remember but you know that you did. It was engaging for those few minutes but then you finished and went on with your life. That’s how I see it in the big picture. But seeing that we’re Americans and American society places incredible emphasis on solipsism, then for the individual it’s touched it could be the greatest cultural movement of his/her life and for however long that individual is alive it’s the one thing they carry that had the greatest significance possible.

A welcome change comes in the form of the reviews which pack the ending pages of this zine. These take a longer form and look more in-depth at the music and use less rhetoric and judgment than before, which makes them more informative. In this issue, an editorial of a true metal nature follows the reviews and brings up a number of significant points for any thinking metalhead to ponder. This type of fully-developed personality shows the strength of this zine in its second year and fifth issue and promises even greater heights for its future.

Interview with Nidhogg of Sort Vokter, Ildjarn-Nidhogg and Nidhogg

August 1, 2014 –

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History reveals little about Nidhogg, the musician known for his contributions to Ildjarn, Sort Vokter and Ildjarn–Nidhogg. These projects, while initially rejected by an increasingly faddish black metal “scene,” quickly gained fans for their use of elegant short melodies within ambient songs of abrasive noise fused with aggressive Oi rhythms and black metal riffs.

Interview: Personal Device

July 25, 2014 –

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We reviewed Personal Device Microorganismos del Mal in Sadistic Metal Reviews 05-19-14 and found this to be an excellent late thrash album inspired by some of the more technical hardcore punk out there. At that point, we wanted to learn more, so wrote to the band with a short interview some months later. They were generous with their time and able to share their answers about music, life, micro-organisms, thrash and world destruction.

When did Personal Device start, and what bands or ideas inspired you at the time? What does the name “Personal Device” signify?

We go way back as a band.

We started up in 2006 as UNHEILBAR (German: incurable), playing what you may call “classic thrash.” At that point we were looking up to the Bay Area scene, trying to mix it up with some German influences: we were trying to capture the essence of such bands as Metallica, Anthrax, Exodus, Slayer, Sacred Reich, Testament, and so on. Then, circa 2009, we started exploring a fresher sound with crossover: Suicidal Tendencies, Nuclear Assault, Ratos de Porao, Billy Milano’s S.O.D and M.O.D. At that point, we made a switch from a purely thrash project to a more comprehensible one: mixing both old school thrash with some 80s hardcore punk (Minor Threat, Black Flag, Bad Brains, Batallion of Saints). With this new approach came along our changing the name of the band to Personal Device in 2013. To us it means the constant struggle to find oneself, one’s tools to get by. Plus, it sounds like something about to explode.

Are you a metal band? A punk band? A crossover thrash band?

Our music is based on Metal but we incorporate elements of hardcore punk sounds, which kinda makes us a crossover thrash band. We often refer to ourselves as thrash-punk, but we don’t care much about labeling us in a certain way. We are comfortable being refered to as a Thrash Band. If you want to Mosh, if you are looking forward to heavy riff-orientated, fast pace, songs, then Personal Device is for you.

Much of your sound seems like a better-played vision of what people were doing in the 1980s. What made you pick up this banner? Have you added anything to it that’s new? What have you added that’s all your own?

While it’s true that we draw heavy influences from the so called old-school 80s scenes of thrash and punk, we don’t consider Personal Device to be a mere “revival band.” You could that we are not nostalgic, we aim to produce our own sound, though we can’t deny our great debt to the old school. Even so, we also like the New Wave of Thrash Metal bands, it’s just that we find it somehow pointless if your entire music is devoted to yell BRING 80s THRASH BACK.

What inspires your lyrics, and is this important in the style of music that you’re making?

Our lyrics deal with the condition of modern circumstances, living in big dehumanized cities. Nonetheless, you may find some sporadic nonesense as well as constant references to Colombia. We also have one or two jams dedicated to thrash music, a couple of thrash-party anthems if you will.

Where did you record Microorganismos del Mal, and were these new songs or a collection of songs? Did you use any special techniques to get the very crisp sound on the recording?

After signing with our friends at the independent label Gomorrah Records, we went to the 4Cuartos studio in Bogotá D.C. We recorded our first full-length album Microorganismos del Mal (Spanish for Microorganisms of Evil) which is the consecration of eight years worth of work. There are 10 tracks in it: five of them are re-recordings of songs we had already recorded as Unheilbar, the other five are original compositions. The recording was pretty standard for a heavy metal band; we worked with two great sound engineers, Juan Carlos Bravo and Alejandro Veloza.

Can you tell us something about the concept behind the album?

The concept behind Microorganismos del Mal deals with our city, Bogotá, and with the meaning of Thrash and Punk.: a reflection on how important it is for us to live the whole experience of making music.

When did you sign to Gomorrah Records, and what made you choose this label?

We signed with Gomorrah around November 2013, and it was not much of a deal at the time of doing it since there was, and still there is, a friendship in between. So they just told us that they wanted us to release an album produced by them and we never doubted it.

Are you going to go on tour now, record more material, or both?

For sure we are planning to go on tour. There is the possibility to self manage a tour around the US more specifically in Florida. And also we have been looking for rock venues around South America where we could play. All this under a “do it yourself” philosophy. About new recordings, right now we are working on new material, and some of those songs were recorded in collaboration with sound engineering and visual arts students, with the idea of launching a live session

Do you think it’s hard for a band to get recognized in the underground now? How do you think people will find you?

It is definitely hard to get recognition when you play Thrash. Especially when you live in Colombia, but we think it is a matter of time and hard work. We have been playing together for around eight years and you can see how things start to happen when you are consistent. So in this moment the best way to be recognized its playing and having approaches with different people and all the movements that are concerned about music and keeping the scene alive.

What’s the most important aspect of a song for you, lyrics, riffs, structure or imagery?

For us, all those aspects are important. We like to come up with songs that have coherence between sound and lyrics, and that involves off course, structure and imagery.

If people want to learn more about Personal Device, how can they do so?

There is no doubt the best way to learn about a band is going to their concerts, buying their albums, reading the interviews, reviews and all that stuff. So taking into account we are a band…well people just can start by doing it. A good place to go first would be our bandcamp page, personaldevice.bandcamp.com.