Zombie PMRC attacks Morpheus Descends

April 2, 2015 –

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During the 1980s, a group of wives of senators and other busybodies got together to form a group they called the “Parents Music Resource Center,” or PMRC. Their intention was to protect children from the dangerous heavy metal, rock and rap music which had sexual, drug and occult themes. After essentially shaming the interesting bands, the group finally used the coercive power of shame to force labels and record stores to insist on warning labels for albums with content that might upset the precious snowflakes and their absentee parents.

Unlike acid-washed jeans and Valley Girl slang, the PMRC unfortunately did not die with the 1980s. It lives on in zombie form through the Parents Music Resource Center appreciation group, which has taken to flagging certain metal bands, zines and labels as hostile to decency, morality and good taste as all metal should be.

Morpheus Descends proved to be the most recent instance of quality metal running afoul of these deranged censors, who feel that the new material from this band will cause “casual sex, drug use, enema fetishism and voting Republican” (PMRC boss Tipper Gore was wife to Al Gore, at the time Democrat senator from New Hampshire). We’re not really sure that people — at least still living people — want to have sex to old school death metal, but as the internet’s “rule 34″ implies, any imaginable fetish has already occurred.

This clash between good and evil occurred at the moment when Morpheus Descends released one of the two newly written and recorded tracks to be on their From Blackened Crypts compilation. Check it out below.

Dutch black metal band Kaeck unleashes first track “Holenmuur”

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Black metal band Kaeck showed the world a glimpse of its first offering today with “Holenmuur.” As this new band composed of Sammath, Noordelingen and Kjeld members prepares to introduce itself to a new generation of fans, this track provides the first glimpse of its fusion of war metal and melodic vitriolic black metal.

As our first glimpse of this band asserted:

To the experienced ear, comparisons arise immediately to Impaled Nazarene and Zyklon-B, both of whom used the blasting full-speed attack with undertones of melody to its advantage. A more bestial presence occurs here, taking influence from both the death metal crossover of later black metal and the burly high-intensity rhythm and noisy attack of war metal. The result melds sawing riffs with rising hints of melody and then runs that violence into archly ascending phrases which emphasize a union of the aggression and the beauty into a rejection of all but the pure feral naturalism of both beast and forest. [I]t achieves the rhythmic intensity of current metal in concert with the elements of black metal that made it the most enduring underground metal genre, namely its ability to find purpose in nature and alienation from the corrupted mess that is our society. Both listenable and true to its genre roots, Kaeck opens a door to new possibilities in black metal.

Look for more from this promising old/new fusion that upholds the spirit and outlook of the old underground!

Update: Kaeck has added a second track.

Funeral Bitch – The Demos

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The varied Paul Speckmann projects — Master, Abomination, Funeral Bitch, Death Strike and Speckmann Project — reveal attempts to forge a new genre out of the ashes of speed metal. Roughly combined of metal, punk and 60s rock, the Speckmann approach took several forms which reflected his vision of what was occurring in music at the time.

Funeral Bitch comes to us straight from the 1986-1987 era and reflects the influence of thrash on Speckmann. Not thrash as the teeny-bopper magazines us it to describe Metallica-style speed metal bands, but thrash in the sense of Dirty Rotten Imbeciles, Corrosion of Conformity and Cryptic Slaughter. Funeral Bitch sounds like the first COC album hybridized with the early Sodom demos under the advice of The Mentors.

Short songs weighing in at around two and a half minutes or less use the infectious vocals Speckmann borrowed from 60s rock, the buoyant energy from punk, and the shaped phrasal riffs of metal but deliver the punch quickly. Versions of “The Truth” and “Funeral Bitch” from other Speckmann projects reveal how these songs were sped up and the vocals simplified to a single cyclic hook for this rendition. The result is in many ways more compelling, because the extreme speed and thrashing drum aggression of Funeral Bitch requires simplification and removes many of the excesses inherited from rock that made Master and Abomination releases confused at times. Like commando raids in the night, these short songs leap in to the fray, speak their piece, bash down the opposition and then disappear into the jungle.

These two demos provide different views of the same idea. The earlier one shows more of a punk influence, while the later shows the marks of actual thrash and perhaps influences from the rising grindcore scene. On this re-issue they are at radically different volume levels which makes regular listening difficult, but these historical recordings fit another piece in the puzzle of the evolution of underground metal and provide a punchier, more effective version of the Speckmann vision.

We’re hiring!

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DMU has grown over the past year from a retro-site keeping the old writings alive to a vital source for information on the new underground metal that hasn’t sold out or otherwise lowered quality.

At this point, it’s time to push to the next stage.

This would involve taking on the “big” sites that publish label press releases as news and write fawning reviews that praise musical gibberish as “innovation.” But to reach that level, DMU has to become a more general-purpose news source.

To that end, I’m reaching out to you, the audience. We need a new editor. This editor would do the following:

  • Post daily news stories on all relevant events.
  • Write reviews on new death metal and black metal releases.
  • Edit texts submitted by writers including myself.

This takes about four hours a day minimum and so it is a paid position. Qualifications are an ability to write and edit grammatically-sound and interesting text and to produce the volume of stories needed to bring in this new level of audience. Apply within.

I have somewhat served in this role, but with multiple writing obligations, I no longer can do so.

Ancient Rites releases Laguz

April 1, 2015 –

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Flemish black/death metal band released Laguz worldwide on March 31, 2015 on Massacre Records. The album shows the band taking, like other death metal bands transitioning to an epic symphonic style such as Therion, more of a power metal approach.

Derketa re-issues In Death We Meet

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Philadelphia death metal band Derkéta has re-issued its 2012 album In Death We Meet with bonus tracks.

The album contains eight unreleased songs that were written between 1991 – 2010. Remixed/remastered by Ola Lindgren from Grave in 2014. CD includes the Darkness Fades Life 7″ bonus tracks including a cover of Sepultura’s “Troops of Doom.”

Infamous – Abisso

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Much like Nordic pioneers Ildjarn, Infamous combines the sounds of Oi and hardcore punk with black metal, but takes an approach similar to that of the Southern European black metal scene: longer melodies and song constructions building up to a triumphant explosion of rage.

Infamous uses longer melodies in the recursive style of RAC bands, which builds off a simple series of intervals a phrase with quite a bit of range, achieving an effect that inverts the drone of rock/blues into a diminishing melodic interval that expands into the stronger whole note and chromatic scales. Adding to this the band dig into a vast lexicon of black metal styles and produce a language all their own, choosing one progression (much like Enslaved) to guide the song and then branching to variations and oppositional phrases to build tension before a reunion, often with a sentimental lead guitar figure over the top. This creates an immersive sound which is both highly emotional and devoid of association with the comfortable sounds of music centered on humans, sounding more like ancient processionals filtered through violent punk bands and translated into black metal. The resulting atmosphere suspends disbelief and creates a fantastic world in which themes come alive as if on a stage.

With Abisso, Infamous improve over their debut Of Suicide and Silence by varying the form of each song more and as a result differentiating melodies through their development. In addition, higher speed drumming and guitar strum gives this EP a greater intensity without falling into sawing chaos. In many ways, it presages the wider changes which were to occur with the next full-length, Rovine e Disperazione, which took the band further into Ildjarn territory. For those who appreciate the pure spirit of black metal as it explores more of one of its foundational influences, this half-hour detour into an unearthly existence will provide savage enjoyment and contemplation.

Under the Sign of the Lone Star announces inaugural issue

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As the internet dies a slow death from both information overload and undue concentration (and thus agenda enforced) in sites like Wikipedia and Metal-Archives, many metalheads are returning to zines. Zine editors choose what to focus on and tend to specialize in certain levels of quality and types of metal, so if you find one you like, it becomes a combination learning experience and shopping guide.

Noticing a void of information on Texas specifically, JH (his lawyers insist that no identifying details are used) has started the process of bringing Under the Sign of the Lone Star to print. As part of the new wave of underground metal zines, this Texas-centric zine will focus on that which the mainstream media and internet chatter alike ignore.

We were lucky enough to get a few minutes with JH as he was loading suspiciously heavy blue barrels into a panel truck outside Lubbock…

When did this idea hit you, and what was your intent? What sorts of zines do you admire?

I’ve written on-and-off for years, and about two years ago I had the idea to put my thoughts to print instead of in a digital medium. Life got in the way and since I didn’t have any real focus other than “bands I liked”, the idea fell by the wayside. Fast-forward to the tail-end of 2014 and I found myself staring at a magazine rack full of “metal” magazines with, surprise surprise, no actual metal (or at least, with the actual metal de-emphasized in favor of flavor-of-the-month trash). I found myself compelled to write again as a reaction against those publications and began writing the zine as soon as I realized the concept.

I like my zines the way I like my metal demo covers: black-and-white, fairly minimal layout/presentation, and without pulling any punches if that makes sense. Some of my favorite (and most influential) metal releases are underground demos and I feel as the final result of UtSotLS is a printed equivalent of a tape demo (not that I’m comparing it to something as good as “Evil Metal”, of course). Also I’m not a talented writer in the technical sense, but I do feel a passion for putting thoughts to pen. I see it as similar to older releases that lacked by-the-book musicianship but had a near-tangible fire in their recordings.

Zines that get my support: Codex Obscurum, Slaves (#2 has killer interviews from Lust, Amputator, and more), Trident Nation, Chips & Beer, Zombie Danz, and Serpentscope which gets an A+ for original concept. And Slayer was killer, obviously.

What is the topic of the zine, and what will it cover, and will there be enough material?

The topic of the zine is bands from Texas that people should know about. Lots of reviews (including a few live ones), some interviews, and additional content that will hopefully open a few eyes to the metal that rules in this state.

As for whether there will be enough material; that will be for the readers to decide. Personally I prefer to keep things short and to-the-point rather than drag things out longer than necessary. I’d rather read a 20-page zine with interesting content than an 80-page behemoth with maybe four good articles. I’m finalizing the layout at the moment but it will be over thirty pages which works for me.

What is the Texas scene like? What are its strengths and weaknesses?

The Texas metal scene could probably be summed up in three adjectives: loud, aggressive, and hot. Admittedly I would say that it is fairer to split each city into its own scene rather than Texas as a whole for reasons elaborated on below, but just about every city has killer bands in their own right.

Strengths: The bands. That should speak for itself, but also the abundance of shows. There’s always something going on in at least one city (although you may have to drive for a while, see below). Also a lot of awesome bands from other states or countries play here often. Destroying Texas Fest XI with Blood Storm, Nocturnus A.D., Hades Archer, and Force of Darkness is an example of one that will crush.

Weaknesses: The state itself is gigantic. It’s pretty common to find yourself driving for hours to see a show in another city that would be the distance between states up North, or even countries in Europe. Also the summers are pretty brutal. Any time you’re in a venue and the AC is busted it’s borderline unbearable. But it’s always worth it in the end. Live for metal, get heat stroke for metal.

Can you tell us a bit about yourself and how you came to get involved with metal? Are there other staff?

I’m a mid-twenties bassist who drinks black coffee and plays faster than he should. I am also a native Texan, if anyone cared. I started with Metallica at age 14 and the first “gaze into the abyss” was Slayer. Progressed through classic metal (Sabbath, Motorhead), then thrash (Sepultura, Exhorder, Hirax), then death/thrash (Voor, Slaughter (Can.)), then death (Obituary, Morbid Angel), then black (Averse Sefira, Emperor), and so on and so forth (this is a rough timeline and far from in-depth). Started consistently going to local underground shows in 2010 with a Hexlust/Birth A.D. show and haven’t stopped since, tinnitus and neckaches be damned.

No staff other than my girlfriend who drew the cover, provided some layout assistance, and took the photo of myself for the author section. UtSotLS is a personal project at the end of the day and I prefer there to be a consistent voice throughout the whole issue.

Why do you advertise as “anti-clickbait”? What does this mean in your own lexicon?

I wouldn’t necessarily call the above an advertisement since it was just a personal statement on my own Facebook page, but I do see it as a relevant approach. “Clickbait” refers to online publications that post eye-grabbing headlines or articles (often misleading) with the intention of bringing a lot of traffic to their site to make money off advertisement revenue (this doesn’t refer to the DMU obviously, haha). I write out of passion for writing and for the music that means more to me than any worldly possessions, not out of the need to fill my bank account. As a reflection of this, no band solicited a single review and there is not one advertisement in “Under the Sign of the Lone Star”: the content is there because I wanted to write about it, 100%.

The full statement “ANTI-CLICKBAIT RAG” was a tribute to Rok from Sadistik Exekution writing “ANTI-NORWAY SHIT” on his chest ages ago and I always love to cite SadEx (and Bathory, for that matter).

If someone wanted to know what bands/zines from Texas that they MUST know, who would you list?

Bands:

– Older: Necrovore, Hellpreacher, Blood Spill, Divine Eve, Dolmen, Absu, Averse Sefira, Rigor Mortis, Imprecation, Obeisance, dead horse, D.R.I, Devastation

– Newer: Hod, Hexlust, Birth A.D., Blaspherian, Morbus 666, Spectral Manifest, War Master, The Blood Royale, Church of Disgust (They’re split between TX and Florida, but that’s good enough for me), Funeral Ash, Whore of Bethlehem, Maiestas, Oath of Cruelty (who have members that are now in Morbosidad who get 666% support), Nexul/Hellvetron/Nyogthaeblisz, Termination Force, Skan, Id, Cleric, and Sigil. I’m just going to stop here since I can’t possibly list everyone – read issue #1 for plenty of examples!

– Zines:

Feral Noise was a killer one, as is Underworld Zine which I believe is based out of Houston if I’m not mistaken.

I understand you’re involved with the Metal Enema radio show. What’s that like? Do you consider yourself a ‘metal activist’?

Metalenema is no-holds barred insanity. I’m somewhat amazed that I haven’t been driven mad over my three-year tenure on the show, but I’m sure it’s only a matter of time. In all seriousness it’s a blast and one of the key ways that I myself find out about newer music from Undertaker’s contributions to our mixes (otherwise I would probably hole up in my cave listening to nothing but the same four Celtic Frost songs over and over again). We are proud to wave the flag of extreme metal over the airwaves and hopefully enlighten listeners to the way of death/black/thrash.

In all honesty I wouldn’t use the term “activist” to describe the way I live since it makes me think of stereotypical naïve teenagers with well-meaning-but-misguided political affiliations, but I do live for this music that burns inside of my soul. I enjoy plenty of other music, but metal is what set me free. Ad Majorem Metallum Gloriam : To the Death.

Many thanks to DMU for the interview! For the interested, a preview of the zine with a few interview scans is available at the link below:

Corpse Machine – Depths of the Abyss

March 31, 2015 –

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Perhaps you hoped that Venom would put out a technical album without losing the energy of its primitive side. Corpse Machine aims for that gap with a heavy metal album dressed up as death/black metal, using mostly old school heavy metal riffs but concluding its songs in the soaring melodic motions which made black metal a favorite of its audience. Like Fester, Dissection and other heavy metal/black metal hybrids, the result has relatively predictable song structures and high doses of repetition but creates emotional tension through melody and makes songs into little worlds where the listener can cycle through a brief contrast in emotions.

While the stylistic aspects of this album will drive away the purist black metal fan, the underlying melodic composition is good: both compelling rhythmically and harmonically, it creates layered spaces of emotion with simple riffing formed in pairs. When Corpse Machine turn up the intensity the result is more energy behind the music but not a fundamental change in mood. The result seems crushed by its decision to straddle two different worlds, as this would make an amazing heavy metal album but ranks as confused for black metal. In many ways, it represents what Venom should have become if it had chosen to stay current with metal technique, and might fit alongside bands like Gehenna and Dodheimsgard which have a similar approach.

For Corpse Machine to rise to the next level, it makes sense for them to clarify this confusion in style and add more internal tension to give the satisfying moments of this release more power and thus to enhance their atmosphere. Depths of the Abyss shows an aptitude for engaging songs but does not rise to the black metal level of intensity despite having a similar approach to melody. Like other experiments in heavy/black like Dissection and Immortal At the Heart of Winter, it has an almost sentimental tint that amplifies its autumnal and post-apocalyptic sensations, but unlike those the darker parts of its composition cannot quite separate themselves from technique. Still there is great promise here that may develop on future works.

Ancient Wind – The Chosen Slain

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Properly belonging to the power metal camp that hybridized heavy metal with death metal technique, Ancient Wind plays fast melodic songs with conventional structure in a style influenced by melodic death metal favorites like At the Gates Slaughter of the Soul but also takes its influence from higher-energy bands in that style like Unanimated Ancient God of Evil and Merciless Unbound.

Within that context, this band is highly competent but it is possible to win the battle and lose the war, and unfortunately by managing their technique so carefully Ancient Wind have created the most unfortunate of all metal mis-steps, which is the album of constant intensity. This same disadvantage plagues bands like Perdition Temple and Fallen Christ with an energy that is so incessant it causes the music to fade into the background because of its invariant nature. That being said, there is some quality riffing here although nothing all that surprising, much of which recycles the 1980s era of heavy metal with a focus on Iron Maiden. Bluesy leads with staggered tonal center shifts complete that part of the picture. With all of that considered, it begs the question whether Ancient Wind should keep up the death metal front at all because with more internal tempo changes and a classic Hetfield-style strong male vocal, they could be on the edge of a speed metal revival which not only is a less crowded field than melodic “death metal” — put in quotations because at its heart this is heavy metal or speed metal with death metal technique but not composition — but more accurately represents the inclinations of this band. Liking classic heavy metal has never been a bad thing, but a modern tribute to that style will have to achieve the same distinction that the original had or it fades into the stylistic background much like constant high intensity and similar song structures causes it to flow past like a faucet on “high.”

The Chosen Slain displays many strong attributes including impeccable musicianship through riffs that demand not just precision siting of chords in the technical heavy metal style, but accurate textural strumming in the death metal method. Clearly a lot of effort went into this release. With more tempo changes, song structures that wait to present conclusions until they culminate tension in the music, and a few stylistic adjustments, this could be a really excellent record. As it is now, it faces a difficult struggle differentiating itself in the melodic death metal field despite being better than most contenders. As this band gains more confidence and listens more to their own material, it is likely these changes will come naturally, and an album which strikes the listener as competent but not memorable like The Chosen Slain will give way to something more like its inspiration in Merciless and Unanimated and less like the immensely popular but saccharine and uninspiring drivel that At the Gates put out after giving up on their own art and wanting metal to be a day job instead.