Finnish funeral doom metal band Skepticism performed their yet-unreleased fifth full-length album, Ordeal, in a live recording at Klubi in Turku, Finland on January 24, 2015. The event was also captured on film for an accompanying DVD to go alongside the album, in shades of what Empyrium did last years with their first performance in nearly a decade.
The band describes the new songs as “emotion-laden, crushing, and yet beautiful, more than ever before.” Visitors to the historic recording event received an exclusive re-issue of the band’s first 7” EP which was originally released in 1992. Ordeal will be released on Svart Records in May 2015 as a CD/DVD bundle and a LP/DVD set.
Skepticism commands a loyal following who want doom metal to fall neither into the nearly tuneless grinding of some doom-death or warmed over rock stylings of stoner doom, but prefer atmospheric and melodic music that creates a contrast within dark moods and can develop songs for a sense of being transported. The band formed in 1991 and since 1995 has released a stream of quality releases which remain enjoyed by a devoted cadre in the underground.
Death metal tends to get described in terms of its influences among the classic bands, and in the case of Abysme it makes sense to mention Entombed, Autopsy and Dismember when describing the style that cloaks the music of this band. Using the brawny Swedish distortion at full intensity, Abysme creating brooding prowl riffs like Autopsy and put their songs together much in that vein by carefully leading up to a moment of unleashing the riff that defines each song, but that riff quickly mutates into a style of melody like Dismember with the boxy but expressive riffing of early Entombed.
This is a Left Hand Path vision of Entombed, not anything later, and most closely corresponds — in its seeking of obscure moods and labyrinthine, backdoor entrances to the major themes of each song — to the songwriting template of Autopsy, but also has its own voice which is more gearing toward a deepening of moods within a dark mantle. The atmosphere of morbid despair generating an impulse to destroy becomes an assumption and within that framework, Abysme create different moods that transition from relatively understandable basic gut-level instincts to submerged existential questioning. Riffs achieve a voice of their own with a protean tendency to twist on themselves and emerge as a new form which evokes but does not echo the old, solving the mathematical symmetry problem that so many death metal bands find themselves becalmed in. Abysme like to vary between doom-heavy slower riffs that use single chords to hold space and the more phrasal riffs of classic death metal, frequently transitioning into single-note picked riffs to shadow and overlay major themes. As a result, from within a familiar style emerges a new voice.
Sometimes the vocals are overdone and sound more like a guy shouting himself hoarse at a biker rally than a musical instrument but for the most part they provide solid rhythmic backing to the change in guitar riff which is only loosely contexted by percussion, which alternates between doom-death quasi-groove to full-on blasting in rapid succession, managing to avoid leading the change within arrangements while still foreshadowing it and following it closely, like a covert sniper tracking a target among the artificial hills and valleys of an abandoned city. While some riffs originate in extremely basic chord progressions, the theme expands over time and develops into an entity of its own. Abysme create music on their own terms in tribute to the past and show an ability to understand death metal as the unusual but articulate beast that it is.
German death metal band Torchure has re-issued its second album, The Essence, on Vic Records. The album was produced by S.L. Coe of Scanner and Angel Dust and comes with very special liner notes, rare pictures and two re-mastered unreleased tracks as bonus.
Torchure formed in 1985 and released three demo tapes before unleashing their debut album through German underground metal label 1MF. Their debut, Beyond the Veil (1992), showed a style of death metal with origins in heavy metal that nonetheless managed to be both intense and moody. Torchure toured Europe to support Sepultura and Pestilence. After the tour founding members and brothers Andreas (guitars) and Thorsten (bass) Reissdorf died in a car accident. The band decided to go on and found two new members who were also brothers and with this new lineup recorded their second album, The Essence (1993).
Vic Records re-issued the Torchure debut Beyond the Veil in 2013 as reported previously. The reissue of The Essence seems to have received much the same treatment with bonus tracks, expanded booklet and a jewel case CD instead of digipak. The reissue can be ordered from Vic Records directly.
Perdition Temple, a band composed of Angelcorpse and Immolation members, will release its second album The Tempter’s Victorious on Hells Headbangers Records on March 24, 2015. The album shows the band refining their militant high speed slamming phrasal riffing in a style of death metal similar to Vader and Fallen Christ.
In many ways the underground’s response to the technical metalcore currently in vogue in the above-ground “underground,” Perdition Temple crafts songs from high speed strumming and extensive fills. On the new album, the band intensifies this approach and adds chaotic lead guitars which give it an oddly occult flair.
Simultaneously Perdition Temple announced that the band is slated to play Hells Headbangers’ forthcoming Hells Headbash 2 label anniversary festival on September 4-6 in Cleveland, Ohio (USA). The band will join other such Hells Headbangers-affiliated bands as Profanatica, Archgoat, Deceased, and Cianide.
Texas subterranean death metal band Blaspherian recently announced the planned release of a new album in 2015, tentatively titled Reborn through the Black Flames of Lucifer. According to songwriter/guitarist Wes Weaver, the band has already written four tracks for the new release. (more…)
Dark Descent Records announced the pre-order of a CD/DVD box set of classic underground death metal band Morpheus Descends (formerly Morpheus) featuring two CDs and a DVD including all past material from this formative act which influenced Suffocation, Cannibal Corpse and many other death metal bands from the early 1990s.
The box set will include, in addition to the 2CD digipak, two new and unreleased tracks wich will see issue as a separate 7″ entitled From Blackened Crypts and a DVD entitled Visage of Malady, as well as a 11×17″ double-sided poster and 24-page booklet. The tracklist is:
1. Oozing from the Urn
2. The King’s Curse
3. The Way of All Flesh
4. Corpse Under Glass
5. Immortal Coil
7. Proclaimed Creator
8. Accelerated Decrepitude
9. Submerged in Adipocere
10. Enthralled to Serve
11. Ritual of Infinity
13. Accelerated Decrepitude
14. Triformed Limbs
15. Stigmatic Crucifixion
16. Residual Kill
17. Cairn of Dumitru demo 93 Disc 2
1. The Cruciform Hills
2. Cairn of Dumitru
3. Autumn Bleed
4. Signs of Gehenna
5. Moupho Alde Ferenc Yaborov
6. Begging for Possession
7. Valley of Undead War
8. Shaitan the Unborn
9. The Horror of the Truth
10. Corpse Under Glass (Live Reunion-Martrydoom)
13. Triformed Limbs
15. The Cruciform Hills pre-release ’94
16. Residual ’91
17. Autumn Bleeds ’93
The Basic Needs compilation of New England metal and hardcore punk bands can be heard online and purchased on cassette for those who wish to own a physical copy. Promoted by the shadowy forces behind Codex Obscurum zine, Basic Needs contains fourteen tracks of varied material from almost as many different bands, so it makes sense to review them by track.
Sagnus – “Gaspipe”
This track starts off in a death metal vein but rapidly descends into bluesy heavy metal with updated technique like At the Gates Slaughter of the Soul. Nicely compact with no surprises but also no random or pointless bits, it fades out into noise.
Human Bodies – “Stygian Reverie”
Very much in the tradition of older hardcore but with black metal styled vocals, this Human Bodies track puts a new face on a familiar riff style and adds a Discharge-like chaotic solo, but otherwise sticks to fairly standard song form but keeps energy high.
PanzerBastard – “Workhorse”
Essentially d-beat hardcore, complete with broken rhythms and surging double-hit riffs, this song showcases high energy with emphasis on vocalizations.
Sexcrement – “Chemical Handcuffs”
This track starts off as pounding death metal but detours into a hard rock/heavy metal number that shows the band setting up a groove and more internal harmony, which actually makes the chromatic passages seem less intense.
Suffer on Acid – “Ride the Light”
Raging high-intensity hardcore from the “blurcore” style that emerged when the punk stalwarts confronted the horror of post-hardcore, Suffer on Acid creates music from fast simple riffs with exasperated shouting over the top. This track begins with a Black Sabbath style introduction riff that sets a mood to be destroyed which it is, amiably, by a thrash-style burst of collisive riffing and a classic hardcore punk extended chorus riff.
Living Void – “Auxiliary Conspiracy”
Writing in the fast style of death metal that bands like Deteriorate and Nokturnel pioneered before Angelcorpse, Living Void charge ahead with a series of quality riffs but then slow things up for a trudge/groove passage. The former strikes more than the latter.
Suffer on Acid – “Terminal”
Much in the style of the former track, “Terminal” relies more on vocal rhythmic hook and uses a standoffish groove more than burst but fits in lots of vocal rage and fast classic hardcore riffs to match.
Living Void – “Categorizing Woe”
This track starts with a doom metal promenade, then drops into trope of muted downstroke before bursting into high energy speeding death metal complete with blast beats and ripping choruses, the detouring into a darker and more black metal styled cycle.
Ramlord – “Distant/Detach”
At its heart, this track is older speed metal updated with death metal stylings to give it energy and more fluid transitions, but falls back into trope rhythm of vocals/drums in which the guitars drop like an interchangeable part. Some interesting black metal styled melodic work later in the track.
Grue – “All Mortal Greatness is Disease”
Beginning as a sentimental heavy metal/melodic black metal track in the Eucharist or Dawn variety, but then diverges into a chanted delivery of later Bathory-styled vocals over trudging rhythm riffs alternated with fast melodic hardcore riffing.
Word of Unmaking – “In the Crypt of Dead Values”
A Tangerine Dream style dronescape peppered with acoustic guitars and vocal samples, this track develops from linear into cyclic and recedes, leaving behind a homeostatic hint of atmosphere, then expands into a funeral doom track with articulated riffs like those from early Ceremonium.
Fórn – “Dasein”
What’s with all the Heidegger worship recently? This sludgy doom metal track follows the Winter model of slong grinding chord progressions with lots of fills from noise and vocals, changing riffs relatively frequently over this nine-minute track.
Morne – “Coming of Winter”
Sounding like a heavier version of Pelican, this band creates droning indie-influenced doom metal with heavy stoner doom elements and a hoarse plaintive vocal.
Of unusually high quality for a local compilation, Basic Needs shows a wide variety of the more promising bands in New England. Living Void, Word of Unmaking and Suffer on Acid strike me as the standouts which interest me in investigating further but there were no complete dead moments.
Why do most people lead lives of quiet desperation, obeying all that they must do, and then choose boring and pointless music on top of it? Nonsense music flatters the ego and requires nothing of the listener. No person of any quality lives that way, so it’s time to force people upward and not outward, with the sweet tears of poseurs, hipsters, scenesters and tryhards occasioned by these Sadistic Metal Reviews…
Moonblood – Blut and Krieg
When black metal died in 1994, it did so by losing sight of its direction. In art, direction takes the form of something which can be communicated only through metaphor, an idea in formation. In part, black metal had given its ideas to the world and was sitting back to watch them spread, but in another sense, the message — a copy of a copy of a copy at that point — simply got lost as bands imitated the form without the substance of those that inspired them. The Moonblood review exists in the last sentence, since this album represents all that is odious in music: an imitation of the surface configuration and emotional tropes of a genre not only while not understanding what the genre and its founders valued, but without even trying to make coherence out of the noise. Most people like this for the vocals which are like a hybrid between Varathron and old Mayhem, and maybe they enjoy the winding minor key riffs, but the fact remains that these songs go nowhere. They set up a sensation, loop through it, and then end with a convenient exit like a hipster suddenly realizing the people at his party not only do not eat quinoa exclusively, but cannot pronounce “artisanal.” Lack of direction is fortunate for Moonblood since these songs wander when attempting to extend themselves because they have no center and no purpose. It is not surprising that shoegaze took over from this weakened form of black metal because this is directionless atmosphere that apes the past but approaches none of its value or even ability to communicate. In comparison, this is incoherent posing.
Vital Remains – Horrors of Hell
If you see this in a sale or cut-out rack, you will perhaps feel it unjust. But compilations of demos tend to show a learning process, which means they start with the early attempts the band would rather forget (which is why bands tend to put boring covers on demo comps) and slowly work their way up to the ability level and hence material that you are accustomed to hearing. The demo that most are buying this for is “Reduced to Ashes” from 1989 which is the foundation of Vital Remains as a death metal band. This six-song offering shows the nascent death metal genre still emerging from a hybrid of speed metal (Metallica), thrash (DRI) and varied standout influences like Slayer, Sodom and early grindcore. In particular, large parts of this demo sound like they were heavily influenced by Repulsion, from riff style to the tendency to bring songs to a quick peak and then break away to a recapitulation that restates the main theme in coming and going perspectives. Vocals sound like the grim rant of Repulsion with all of its rhythmic power inherited from thrash, rather than the chant of speed metal or the full death metal growl. Riffs could fit on a Possessed or Dark Angel album, generally avoiding the muted down-strum of speed metal but not fully into constant tremolo of death metal, choosing some of the recursive open strumming of heavy metal. Rhythmically however this band does not fit into death metal. As in the first Possessed album, the drummer stays within the speed metal idea of aiming for concrete resolution at the end of each phrase, instead of recognizing that post-Discharge drums follow the guitar and thus must keep a continuous phrase. Although the band clearly knew more music than many of their contemporaries, it’s a stretch to call this “death metal.”
Bloodhunter – Bloodhunter
Imagine the melodic style of At the Gates Slaughter of the Soul that did not attempt to hide its roots in heavy metal and some speed metal, instead of death metal. Bloodhunter has the same strident emo death vocals that At the Gates and The Haunted put to good use, but the underlying music comes from the melodic heavy metal camp with some of the technique of speed metal filtered through power metal. This means for the most part that songs follow the intro-verse-chorus format but that the band will double riffs with a melodic guitar attack and break songs for lengthy solos or other classic heav metal tropes. As a result, this album flows easily and abandons much of the pretense of profundity that flows from the more metalcore offerings, preferring instead to be heavy metal with a few observations of life and a triumphant attitude. Nothing here will surprise the experienced heavy metal listener but most will appreciate its competent musicality and ear for songs that are enjoyable to listen to as well as hard-hitting within the range that this style can achieve. Riff diversity is high, spanning a wide range of tempi and styles including NWOBHM, all updated with the newer approach to rhythm that emphasizes constant forward motion in the speed metal style. Where this band falls down is in trying to distinguish itself with whispered vocals and (excruciating cliche of cliches) a sampled intro from a Tarantino movie. Bloodhunter does best when it sticks to its strengths. This album will not be varied enough internally for death metal fans but should delight power metal and classic heavy metal appreciators.
Sargeist – Satanic Black Devotion
Experienced reviewers wince at tryhard titles like “Satanic Black Devotion” because they indicate advertising, not a coherent statement from the band. Satanic Black Devotion might as well be a can of pureed, processed, sugar and salt added, preservative enhanced black metalTM. Imitating the style of later Gorgoroth and droning melodic black metal like Ancient or Marduk but with the chaotic approach of the first Krieg album, Sargeist is long on vocals and short on song construction. They hit on a few good riffs here and there and deliver those like Christmas presents, then repeat them ad nauseam. Most riffs show a tendency to cycle between symmetrical extremes and so fall into the same boring tropes as later hardcore did. Plenty of sawing guitar adorns this album as do riff patterns from past black metal albums but these are arranged in pleasant repeating rings that do not develop in any particular direction, leading to the listener’s brain grasping a bunch of droning minimalist guitar with an occasional melodic hook. Songs express nothing other than participation, and the inclusion of local band B- riffs alongside more developed ones leads the reviewer to wonder if the band has cribbed its best moments. Several patterns are note-removed from essential parts of Gorgoroth songs, but without the strong buildup, the Christmas riff drops in as a sudden variation and not a culmination or enhancement. This album does better than most because the band keeps the energy high and is smart enough to use the same song structure again and again to present its few powerful riffs, but the result of this randomness is more of what black metal wanted to escape, not create.
Watain – Lawless Darkness
Pretense is the fundamental state of humankind. As apes with linguistic brains, we rage against our impotence and insignificance and come up with poses: “I am important because I am good, smart, rich, sexy, hip, unique, different, wise, etc.” For some, the pretense is more or less accurate. These we call arrogant instead of pretentious. For others, in fact for over 99.98% of humanity, the pretense is merely self-important vaingloriousness backed up by nothing other than some hipster friends, a few possessions, or maybe a claim to fame like having punched out a local celebrity. Watain launched themselves with Rabid Death’s Curse, a pop black metal album in the style of The Other Side from The Abyss which won fans for its simple direct melodic songs. Several albums later, it becomes clear these guys do better giving interviews on metal theory (where they exceed almost all others) than writing music. Lawless Darkness resembles the kids show at the circus where as soon as one act fades another takes its place in relatively random order with the goal being to distract the audience so they eat up more of that popcorn and cotton candy. The album opens with dramatic violin, but then drops into disorganized metal music where riffs are joined through energetic flourishes of drum and Pantera-style bounce riffs. These songs make “sense” in that they follow a basic rhythm but most of what is written here is closer to the technical speed/death riffing of Behemoth than black metal, and none of it serves to build an atmosphere other than constant distraction. It is in fact comically random and empty of message. Presumably the ringmaster coems out and doffs his top hat and juggles live frogs somewhere in here to keep our attention but the music utterly fails to do so.
The Cult of Light – The Cult of Light
Crafted in the style of Meshuggah rather than the metalcore it partially inspired, The Cult of Light creates rhythmic speed metal — similar to Prong, Exodus, Pantera and various proto-prog bands like Anacrusis and Supuration — which installs a jazzy bounce into the speed metal cadence. This approach creates problems in that it makes it difficult to pace together multiple riffs in the speed metal style because the rhythms either conflict or resemble each other too much to distinguish the riffs. On this album, the band chooses instead to have only two major riffs per song but numerous transitions/intros and budget riffs to distract, as if installing turnarounds at each segment of the song before restoring the normal loop order. Vocals are the post-At the Gates rant which aims to complete before the beat and then hold an open-throat growl like a ringing note. Underneath this album lies a heavy metal work pointed toward the art-rock sensibilities that graced the far edge of off-mainstream rock in the 1990s, which means that despite the monotonic growl vocals the aim here is ultimately to set up a dense harmonic space which serves as the hook of the song and provides a space for contrast by other instruments. Unlike most heavy metal bands, The Cult of Light prefer keyboards and what can only be described as aggro-mood-jazz leads which use repeated patterns to serve in more of a lead rhythm guitar role than pure lead. The band builds its songs in layers in order to create spaces for effect, then introduces dramatic changes led by vocals, resulting in a sense of a radio play unfolding before our ears. While this style seems overdone, even on this composition where the need to keep the rigorous bounce and “different” riff styles contorts song structures in several cases, the underlying gentle arty heavy metal is worth appreciating. At the moment of that realization however one begins to wonder why bother with the adornments of style at all, since there is a shortage of arty heavy metal and an audience waiting for it.
Necros Christos – Nine Graves
Southern fried, bluesy rock/metal hybrid with swinging beats and hookish choruses, the new Down album — oh wait, this is Necros Christos. How did this make it into the underground black metal pile? It has deathy vocals but everything else is a slightly sped up version of Pantera but with more dimestore Satanic cult chanting vocals. Some of the chants come straight out of NWOBHM and many of the melodic riffs resemble those from the technical metal period that lumped itself on top of speed metal, calling to mind Anacrusis or DBC. Songs hold up well but basically express nothing but a vague gesture toward a certain type of experience while drinking beer and feeling sleazy somewhere lost in the modern morass. This could easily be a Ratt side project. Musically competent, it nonetheless expresses no greater mood than confusion and a certain type of teenage grimness which could be summarized as “my French fries are cold, and I suffer for it.” The chanting vocals add a certain unreality to the whole thing but evoke more of a sense of Marilyn Manson trying to rile up the apathetic, bored and directionless than the summoning of evil forces. When the band does force radical change in song dynamics or structure it seems more of a transition to a different seat in the same room than a change in how life or the song is viewed. Doubtless reviewers praise this as a fusion of stoner doom and black metal, but what really emerges here is a careful camouflaging of the same old stuff as the latest evil thing, and the real victims here are those who had to listen to this without getting it for free. Ignore trends, focus on structure and meaning in music. Learn from what Necros Christos has failed to apprehend.
Yob – Clearing the Path to Ascend
Someone made Trouble Psalm 9 for idiots, wrapping it up in the 1960s stylings that shows our commercial overlords that we, too, follow the one true path to the light. Because stupidity loves pretense, it contains Cynic-style statements about opening your mind and being a hip groovy 23 skiddoo cat… hasn’t anyone realized this crap is ancient? Other than the periodic death vocals and louder production, this stuff comes to us right from the hippie era. Musically it is not terrible but not terribly interesting either, since it essentially repeats tropes in circularity until ready for a linear withdrawal to equilibrium. The whining vocalist sounds like he is trying too hard to be pacifistic and profound under his patchouli and denim and the riffs fit more in line with jam bands of the 19670s than a heavy metal band. Yob count on the listener being lulled to sleep by the pace and the hypnotically boring vocals so that the person listening forgets what has happened and every riff is new like it fell right out of the sky and exploded. Instead riffs just kind of plod along, barely related to each other, in what might be filler songs on a Bruce Springsteen album if they sped them up and got rid of the posturing. This really has nothing to do with metal but it tries hard to fit in like a bear lost in the coatcheck room. Its pacing and wailing call to mind the albums from Confessor more than the Trouble works, but aesthetically it resembles the early heavy metal doom metal bands like Trouble, Pentagram, and Candlemass but made safe by turning them into warmed-over TV dinner hippie rock. Not surprisingly the music industry gave this a big thumbs up in a nod to the Baby Boomers.
Coming from the French-Canadian progressive metal powerhouse that later loaned members to Gorguts, Extracting the Core shows us Martyr playing a live set of their classic works. Before you wince: this is one of the better-produced live albums available such that it is indiscernible from a good but not excellent studio job; all instruments are clear and mixed in a way that fits expectations of studio recordings, and crowd noise is minimal. As a live album, it preserves everything you might want to hear from a band on record or live with a bit of extra energy in the vocals as musicians trying to cram ten thousand notes into six-minute songs howl at the audience with a high rate of exertion. The real question regards the style of this musically-erudite band, which brings up the question of poetry versus burritos.
A burrito, as you may know, is one of nature’s most perfect foods. A wrap of flour and lard encloses ingredients ranging from guacamole, pico de gallo, and carne asada to Spanish rice, sour cream and refried beans, and the whole thing is then consumed with the aid of delicious picante and verde sauces. What makes a burrito excellent is that instead of choosing what to have for dinner, you have everything, but in a form more convenient even than a sandwich. One cannot praise this Mexican-Spanish-Texican-Californian dish enough. But when composing metal, it becomes a brutal force. As Socrates tells us, all events have causes. What is the cause of a song? One either intends it to tell a story, or assembles a few musical theories into contrasting elements and makes a burrito of it. As with the burrito, uniqueness is lost in favor of a kind of sameness of differentness, where each song has everything and the kitchen sink, but over time — much like the constant pounding brutality of early Napalm Death or later Suffocation-inspired bands — it all starts to become the same, different variants of essentially an identical idea. With a poem, the form of the song and techniques used reflect the content; with a burrito, the content of the song reflects the need to include many different things in the form. You can analogize to variety shows, pluralism, unitarianism, and even Christianity itself — a compilation of a dozen religions, mostly Greek, Hindu, Jewish, Nordic, Babylonian and Egyptian — if you feel the need. But the point is that while the burrito pleases everyone, it does not achieve the distinctive expression that makes a song evocative of experience, thought or perception, which is what makes a poem or song stand out. It feels like something you have encountered, or something you wish to, and more than creating a solid impression it creates a space of balanced parts ambiguity and clarity, which makes you want to launch into it and battle for the beautiful to win out over the mundane, boring, pointless, directionless and entropic. In a burrito, this space does not exist because it is being used to hold all those delicious ingredients together.
Extracting the Core overflows with delicious ingredients. Head shredder Daniel Mongrain may be one of the most interesting guitarists in popular music. His jazz-influenced leads — this means dialing back the simplicity of rock music and accepting more complex harmony and corresponding technique — both display impressive technique and the ability to write a melodic solo with multiple emotions. All instruments show great proficiency, from the adept technical drumming that avoids overshadowing other instruments, to a subtle but present bass and complex riffing with difficult time signatures all nailed perfectly. The problem is the means by which this band composes: requiring a burrito means that a band must default to, at the core of each song, the simplest possible construction which can include all of its elements. When the randomness is removed, what remains is a simple speed metal song, with Meshuggah-style abrupt off-beat (as opposed to cadenced, like Metallica) speed metal riffing that alternates with hard rock and thinly-disguised jazz fusion riffs.
Essentially, this album is Pantera after music graduate school, much as Meshuggah simplified Suffocation and Exhorder and then amplified the degree of texture at oddball timings to produce their overrated material. While it is mournful to admit this, it kills the album and makes the listening experience one of tuning out the over-dramatic and busy riffing to get to the solos. In addition, in order to support the burrito, Martyr adopt many different voices of composition, from Supuration-style alternative-progressive metal to nearly hardcore, and the result injects further randomness. It would be better, as Gorguts did, to give this band a song template varied enough to tempt them but purposeful enough to channel these energies toward more musical profundity through instantial contrast in a prolonged and developing narrative.
German death metal band Morgoth, hot on the heels of their God is Evil EP, plan to unleash their first full-length work in 19 years, Ungod. Due to hit the streets on March 30 in Europe and April 7 in North America on Century Media Records, Ungod will contain 11 tracks of death metal in the Morgoth signature style, which blends Florida influences from Death with European melody and the type of flat-out abrasive aggression that bands like Grave and Obscurity demonstrated in their early years.
To preview the new album, Morgoth has released a track “Evil Enemy” streaming below. The band comments on the track: “The idea behind the song ‘Black Enemy’ is that this evil force rests within all of us and all we can do is trying to keep that beast under control. The ‘Black Enemy’ represents the dark and destroying part inside of us and the lyrics deal with someone who is not able to control it anymore, committing a murder in the end.”
About Ungod, the band says: “Our goal was to present some real MORGOTH-style Death Metal, which closes the gap between ‘Cursed’ and ‘Odium.'” They add: “After 18 years we can finally present a first glimpse at our new full-length album, ‘Ungod’! We started with the songwriting in January 2013 and finished the recording process by the end of December 2014. It was an awesome experience to go through the sometimes very complex and challenging process of writing and recording an album again.”
Karsten “Jagger” Jäger – Vocals
Harry Busse – Lead & Rhythm Guitars
Sebastian Swart – Rhythm Guitars
Sotirios Kelekidis – Bass
Marc Reign – Drums
MORGOTH live 2015:
Jan. 17 – Pretzschendorf / Dresden, Germany – Break The Silence Festival
Feb. 20 – Bergen, Norway – Blastfest
Mar. 26 – Hamburg, Germany – Bambi Galore *
Mar. 27 – Berlin, Germany – Cassiopeia *
Mar. 28 – Würzburg, Germany – Cafe Cairo *
Mar. 29 – Wermelskirchen, Germany – AJZ Bahndamm *
June 19 – Copenhagen, Denmark – Copenhell Festival
June 20 – Dessel, Belgium – Graspop Metal Meeting
June 21 – Clisson, France – Hellfest
June 26-28 – Protzen, Germany – Protzen Open Air
July 30-Aug. 1 – Wacken, Germany – Wacken Open Air
Aug. 13-15 – Dinkelsbühl, Germany – Summer Breeze Open Air