Death Metal Underground

Interview with Brett Stevens at MetalRecusants.com

April 27, 2014 –

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Adventurous metal site Metal Recusants published an interview with myself that hopefully will not bore any of you too much. Metal Recusants is one of the more interesting sites out there as you found out when you read our profile of Editor Dom and his team a few months back. Be sure to poke around for their commentary and reviews, interviews, and other forays into the world of extreme metal.

CIA agrees that later Deicide sucks, uses it to torture prisoners

April 25, 2014 –

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As part of its enhanced interrogation of prisoners in the worldwide police action against terrorist guerrillas, the American Central Intelligence Agency (CIA) has been subjecting prisoners to abruptly-changing streams of loud music. The idea behind this interrogation is essentially to obliterate the prisoner’s mind with repetitive and offensive noise and make them pliable; how this is different from people voluntarily watching television and listening to radio remains to be studied.

Helpful journalists compiled a list of songs used by the CIA during torture. In addition to the predictably annoying like the Barney Theme or Meow Mix commercial, and the usual venality from pop divas, there’s Deicide with “Fuck Your God.” While that may seem like a nod to death metal, it’s actually the CIA confirming what we’ve all known for some time, which is that while early Deicide is amazing beyond words, later Deicide sucks and is horrible.

In fact, “Fuck Your God” in every way resembles what you imagine a television preacher from the 1950s would warn against. From the 40-IQ-point title to the pentatonic melodies and chromatic rhythm work without any phrasal significance, this song sounds like an angry rock ‘n’ roll band blaming an absent god for their failings between bouts of AA and parole hearings. Because we don’t want to torture you, dear readers and little profit centers that you are, we’ll leave you with the Deicide discography for thinking people.

Desecresy – Chasmic Transcendence released by Xtreem Records

April 24, 2014 –

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Finnish old school death metal band Desecresy released their third album, Chasmic Transcendence, via Xtreem Records (ex-Drowned) on April 21, 2014. Following more of a mid-paced approach in deference to the doom-death of past, the album offers 14 tracks of shorter length than previous albums.

Descresy, which consists of Nurmi T.G. on vocals and Tommi Gronqvist on guitars/bass/drums, might be compared to a fusion of old Finnish death metal like Abhorrence and doom-death like Incantation or Asphyx. The band released a promotional track, “Voracious Mass,” which demonstrates the changes in style.

Tracklist:

  1. The Ethereal Bane
  2. Shattered Monuments
  3. The Denied Legacy
  4. The Eye of Death
  5. Cyclonic Mass Consumptor
  6. Sons of the Burning God II
  7. Celestial Intoxication
  8. Climber of the Sky
  9. Hibernant Orbs
  10. Travellers of Forbidden Planes
  11. Voracious Mass
  12. Waters of Neptune
  13. Infinite Halls
  14. Autumn of Souls

Slayer posts new track for free download

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Slayer, the band that along with Hellhammer and Bathory essentially innovated underground metal, has posted a new track, “Implode,” for free download by fans. To download “Implode,” click here.

Tom G. Warrior agrees with our review of Triptykon – Melana Chasmata

April 22, 2014 –

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As always, Warrior is self-deprecating and honest to a fault:

At any rate, I, too, think Melana Chasmata might be the most deficient post-Celtic Frost reunion album I have been involved in. I have made uncounted such statements within the band during the extended time we were working on the album, and there exists a long string of very unambiguous mails to this effect, addressed to the band’s management and to our partners at Century Media.

Melana Chasmata was an exceedingly difficult and complex album to make, and that is never a good sign. There were reasons for these difficulties, and they were far from superficial, on more than just one level. In the end, I couldn’t have worked on this album for even one more day, even though I seriously pondered at least a remix, if not far more drastic revisions. But I eventually felt I needed to wrap it up and thus also conclude the entire emotional landscape attached to it.

Frankly, I personally am utterly puzzled by the extremely favourable opinions the album has garnered from most in our audience as well as from reviewers, record company, management, and fellow band members. My own stance is far, far more critical, and I have so far been unable to listen to the album as a whole. The faint light on the horizon, for me, is that I felt the same way about To Mega Therion in late 1985. Only a few years down the road did I begin to digest that album and its production, eventually enabling me to think of it as one of Celtic Frost’s most significant albums.

The difference perhaps is that To Mega Therion encapsulated what many were feeling but did not yet know how to say, where Melana Chasmata encapsulates what many are saying, but not what they are feeling.

Call for papers for Modern Heavy Metal: Markets, Practices, Cultures conference

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The international academic research conference Modern Heavy Metal: Markets, Practices, Cultures has issued a “call for papers” or request that those of you with something to write on this topic announce your thesis and send in your paper(s). This conference is hosted by the Aalto School of Business in conjunction with the International Society for Metal Music Studies and will occur from June 8-12, 2015.

According to its description, the conference focuses on this nexus of metal’s growth: “The evolution of metal, as any other music genre, is impacted by the technological and economic revolution that has radically reshaped the forms of music production, delivery, consumption and culture – let alone the role of social media in communication, community building and fandom. Altogether, metal is embracing new fans and markets, creating new practices, forming new cultures, while treasuring the strong and polymorphous legacy of the genre.” To address this, the conference participants plan to analyze and explicate “the current standing of metal; the plethora of its forms, cultures, practices, and markets.”

For those who have an opinion on metal-as-industry as it has come about in the post-1994 years when it left underground and transitioned to being aboveground but a recognized “niche market,” much like in the 1970s, this conference is an excellent time to record those thoughts in orderly and studious fashion and present them to an audience of not just fellow metalheads but also academics and industry. The organizers invite input of many forms:

We are particularly interested in contributions shedding light on the markets, practices and cultures, faced by the metal practitioners and fans in the current multifaceted and global expression of heavy metal and its countless forms and sub-genres. The event is open not only for academics focusing on metal studies (in business studies, cultural studies, social sciences, humanities, musicology, arts, and other fields) but also for scholars from the wide range of popular music and popular culture studies. We warmly welcome also views from “the outside” to discuss and compare metal with other genres and cultural forms and helps in positioning metal in the bigger picture of cultural production and consumption.

The suggested themes include (but are not limited to):

  • Metal music industry and markets; global and local views, formation and structure of markets, entertainment and cultural industries
  • Metal management; strategic thinking, branding, visual communication in metal, metal export/import, leadership and roles, creative management
  • Metal practices; music, production, technology, performance, delivery
  • Metal cultures; fandom and fan communities, local communities, transnational/global communities, tribalism metal and social media, mainstream and subcultures, metal generations, gender and metal, artistic identity
  • Form and philosophy of the metal genre
  • Sound and structure of metal music
  • Metal narratives, lyrics, and storytelling
  • Metal and belief systems, metal and religion
  • Politics, ethics and moral of metal
  • Artistic and aesthetic considerations; metal (in) art, metal representations, aesthetic experience, bodily experience
  • History, present and future of metal; transformations of the genre
  • Scope and methods of metal studies
  • Metal on the borderline; positions and connections of metal within the popular music and popular culture context
  • Various topics exploring the phenomena and representations of metal and related genres.

Alongside with more traditional research papers, novel and creative approaches to research are strongly encouraged. Theoretical reviews, practical case studies, conceptual studies, methodological papers, ethnographical reports, lyrical and visual analyses, qualitative and quantitative approaches, and various other forms and approaches are supported. With the long abstract and paper process, we hope that many new studies get ignited and completed for the conference.

Please note that the paper review process comprises two stages: abstract and full paper. Final acceptance is based on the full paper.

For more information, see the Call for Papers announcement.

Another take on the Hellfest porn angle

April 18, 2014 –

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By now, you’ve probably heard that France’s Hellfest had been planning to team up with a porn site to provide entertainment at the show. Naturally, two sides have formed, the pro side who think either this might be cool or it should be allowed, and the con side which thinks it’s a bad idea.

I’m going to join the con side at a meta level by saying that I think we should be very careful about involving any industry with metal, including the “metal industry” (which should be an oxymoron) itself. Industry wants the opposite of music quality; it wants a tractable fan-base that will buy whatever comes out so long as it has some “new” quality, like using a trombone or a different singer.

Pornography is many things. There’s a moral argument against it from conservatives, which is that it debases the family; there’s also a moral argument against it from liberals, which is that it degrades women. Probably both are true to some degree, but it’s also true that women and men both voluntarily join up to participate both in the films and in purchasing the eventual product. Either it’s not debasing/degrading, or some people want that experience or at least don’t mind it.

But the real issue here is economic. People are already leery of Toyota’s Scion imprint sponsoring metal shows, or past sponsorship deals with alcohol companies. There’s no reason we should be less skeptical here just because porn is an “underground” industry (like the “metal industry”). It will still try to infiltrate and use you for its own ends, metal fans, because to it you represent dollar signs. Does the money go into the music, or the… ah… you know?

Explore alternative religion: Hail Satan

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One of our readers sent this in, and in the interest of exposing our readers to alternative religions and expanding all of our horizons and being open-minded, we present this manifesto:

Bathed in the Black Sun – An Initiation

Welcome to the gateway of The Grotto of the Ibex Glade, a group of Satanists that celebrate the entropic gift of life for its own reason alone. Here we have a conglomerate of positive humanistic convictions that we assert, but in respect of the individual reserve for suggested option to our members. Our primary goal is distinctively humanistic, in that we support the isolate, psyche-centric convictions and growth that covers all domains of the individual. Such love for freedom has been damned by religious organization, within and without, for too long of a time. Though our philosophical meta-theology may cover a portion of needs, the way of Satan will always boil down to the elemental responsibility of yourself to yourself.
I would refer to our specific branch of Satanism as “Atavistic Satanism,” in that we oftentimes revert to our ancestral roots of the Black Arts. We launch from a paradigm that is paleo-Pagan in approach, since Satan is far older than the Christianity and Judaism that we all know so well. Throughout the ages of man, the adversary has been the nucleus of all mythic tales that revolve around the will of man breaking the bonds of tyranny. Since reflexively we can judge that the organized structures of man are counter-stratified, rewarding the least merited with wealth and hierarchy, we can view the adversary, and its effect on man in a purified, atavistic sense within the context of these tales- the maxim of elevated mythic study has always viewed the trickster as the culture hero. A full etymology would be inappropriate in this introduction, therefore we will reserve that for a separate piece of writing.
The world was born from the primal soup of the chaotic void, and before the orphic cosmogenesis of the cross-cultural creation, it was this power, this Dark and Balancing Force of Chaos that is Nature that called itself into order- and for what purpose? Satanism is concerned with life. Life itself can loosely be defined as movement, going against the grain and flux. The heart pumps the blood, and the neurons fire in the brain – we can observe life. Satan is life, and Satan is death. Satan is the Dark and Balancing Force in Nature. Therefore, we as Atavistic Satanists actively work to destroy all useless and programmed philosophic binaries, including light/dark, good/evil, life/death. We all must share in the experience, since death is a process in life – it is unavoidable, and therefore not separate.
The Grotto of the Ibex Glade relies heavily on the writings of Anton LaVey, specifically with The Satanic Bible being our primary doctrine. The reason we are not affiliated with The Church of Satan is because the atmosphere and scene in the Church of Satan has changed with nearly every decade, in that its original purpose seems too far different from its current approach. We however do not discourage membership in the Church of Satan. We are highly appreciative of its historical function, and recognize many figures in its priesthood, including its current High Priest, as highly intelligent, influential key-players in the culture of Satanism. We do not restrict dual-membership with any other group, inside or outside of The Grotto of the Ibex Glade. This is a cabal of like-minded elites that are courageous enough to view life as the great adventure- which is the self-identified function of the trans-folkish culture hero- Satan.
We refuse to subject our members to masonic degrees of recognition. A simple, uncomplicated admission of nature and man’s cooperative office is all that is necessary to view Satan within a favorable light, cogniscent or not of its symbolism. We offer a Left-Hand Path oriented program of a heavy occult praxis, in active and passive currents. Though our system is influenced by Kabbalah, the Thelema of Aleister Crowley and the Witch Cult of Western Europe, we are uniquely and unabashedly Satanic above all other adjectives in magical expression, regardless of how hermetic and pagan our theology goes.
Our teachings come free, and at no cost other than your own willingness to dedicate yourself to the Left-Hand Path. By following the Left-Hand Path you are by proxy serving yourself and mankind as a whole. If you’d like further information of how to get involved, contact the Satanist who has been assigned for public relations in your geographic area listed below.

In nomine Dei nostri Satanas Luciferi excelsi!

Contact: SigLaufeyJarson@gmail.com

In his spare time, Sig Laufey Jarson composes for Bacchanal:

Documentary Lone Survivor – Paul Speckmann and the story of Master soliciting funds

April 17, 2014 –

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Way back in the early 1980s, a band in the Chicago area began making the transition from speed metal to a proto-death metal style. It transitioned through punk and oddly retained a lot of elements of 1960s rock, but was part of the formative path toward death metal along with Bathory, Slayer, Hellhammer/Celtic Frost, Sepultura and Sodom before Death or Morbid Angel had ever recorded.

Three decades after that rocky start, two metal journalists are attempting to record the life and times of Paul Speckmann with a documentary entitled Lone Survivor – Paul Speckmann and the story of Master. The filmmakers bill the film as not just a Speckmann history, but “the story of anyone who has chased a dream and endured the victories and defeats that come with the journey.”

Filmmakers Jeff Tandy and Will Wulff are tackling this project from a zero-budget start. Wulff is a UC Irvine film graduate who attracted the attention of Paul Speckmann with a graduate project short film. Tandy is a 20-year music veteran and freelance metal journalist with extensive experience in the death metal field.

Record Store Day 2014

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International Record Store Day, an attempt at preservation by celebration for the category of independent record stores, kicks off this week on April 19. The general idea is that indie record stores offer up some vinyl and rarities on sale and hope for higher attendance.

Some of the participating stores are offering metal (such as Vinal Edge Records in the Heights, above). If you don’t mind fending off the hipsters with a machete and elbowing aside diehards (nostalgia buffs), you might be able to find some good deals and fight back against the digital encroachment on record collecting at the same time.