Interview with Janne Stark, author of The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever!

overdrive-janne_stark

As far as books about metal go, there’s nothing more hardcore than an encyclopedic reference because by nature these attempt to include everything. Janne Stark wrote The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever! to keep track of the Swedish hard rock / heavy rock / metal scene, but we found it even harder to keep track of him.

For example, Stark is listed as participating in three dozens, including Overdrive, Overheat, Faith, M.O.B., Flash, TNT, Alyson Avenue, Sir Lord Baltimore, Thalamus, Chris Catena, Audiovision, Vii Gates, Narnia, Grand Design, Blinded Colony, Spearfish, Audiovision, Tower Of Stone, Teenage Rampage, From Behind, Planet Alliance, Balls, Constancia, Locomotive Breath, Mountain Of Power, Zello, Nicky Moore Blues Corporation. This is only a small slice of his participation in music, however, as he’s also a music journalist and author.

Stark was good enough to give us the time for a mid-length interview, which was conducted over coffee in the fashionable Swedish borough of Östermalm. Err… we wish. Stark was good enough to conduct this interview through old-fashioned 7-bit email, but we got some interesting answers.

Sweden has fewer people than the city I live in, yet produces more quality heavy rock, hard rock and metal bands. Is there something in the Swedish outlook that is responsible for this disparity?

I’ve had that question a lot of times. I think it has to do with several different things. Music has always been important in Sweden, folk music, singing in choirs etc. ABBA came along in the seventies showing Swedish musicians it was actually possible to break through on a big scale outside of our borders. We also have a really good (and cheap/free) tradition of music schools and the ability to learn an instrument in school. We also have the possibility to start a study circle, within a band, where you can get free/cheap rehearsal space, the possibility to record and even arrange gigs. I also think Swedish bands in general are about the music and learning to play, that getting an image and just pose.

Sweden may have partially invented death metal and black metal through Bathory. Are there are other contributions on the road towards death metal that you found interesting?

Yes, Bathory were definitely the forefathers of primitive sounding early black metal in Sweden. Later on there’s of course also the Gothenburg sound and bands like In Flames, Dark Tranquillity and At The Gates, where they started mixing more melodic and traditional metal influences with the traditional death metal sound. Swedish bands have always looked to the UK or US for influences, but I think a lot of the bands have managed to put a slightly different twist on it. Take for instance progressive bands like A.C.T or Pain Of Salvation, and then you have classic heavy metal bands like Hammerfall and Wolf who have mixed the German and UK styles of metal with a Swedish twist to it.

There’s something about the way Swedish bands write music that seems to lend itself to heavy metal, and it’s broader than the legendary Swedish melodic sense. Do you get the feeling such a thing exists?

I think it’s basically that we borrow a lot of influences from outside and blend it with the quite traditional Swedish folk touch that is in our mothers milk, whether we know/like it or not. On another note, it’s also quite interesting how several Swedish hard rock/metal musicians have become very successful in writing for pop and dance acts. People like Thomas G:son (Masquerade), Peter Carlsson (Bedlam), Anders Wickström (Treat) and not least Max Martin (It’s Alive) and Johan “Shellback” Schüster (Blinded Colony) have all become highly acclaimed pop composers who have written hits for N’Sync, Britney Spears, Pink, Lady Gaga etc.

You refer to this book as “the heaviest” encyclopedia of Swedish heavy rock and metal, and it definitely is heavy in two senses, both content and the physical weight of the book. How long did it take you to compile this monster?

It’s the heaviest in many senses. It’s definitely the heaviest when it comes to its sheer weight, 3.7 kilos (8.5 lbs) and the amount of bands featured in it (3,600), but it was also the heaviest one to get out of my system, to decide when it was time to wrap it up and get it out. When the second book was released in 2002, I simply continued compiling information. Not detailed information, but more like making notes to check this band out, check this site out, I made continuous notes of special releases and such. Then, a little more than three and a half years ago I decided ­ Now it’s time. Then I started following up all the leads, compiling all info of the bands, took all the info from the first two books, updated and corrected and all the stuff I had noted about these bands. I made one document for each letter and just started all over again, from A to Z (well, actually the last letter is Ö in the Swedish alphabet). When I felt I was finished I started doing layout, but waited with the band pics etc until last as I was still adding last minute information and bands. I then had three people proof read it, an Englishman and a music nerd friend, plus my wife (also a hard rock nerd). In September 2013, I sent in the final PDF files to the publisher and it was off to the printers, and nothing more I could do. Sheer agony at that point!

What kind of research resources were available to you? Is there much printed information on rock music in Sweden, or did you have to spend most of your time interviewing people?

When I did the first book in 1996, there was no Internet and it was all phone calls, contacting bands, music clubs, record stores etc. Now the information is all over the place, the problem is to collect, find and sort out what is the CORRECT information. Anybody can write anything on sites like Wikipedia etc. and suddenly it’s the truth. It’s been as much about checking and double-checking this time around. I’ve listed the sources I’ve used in the book, but it’s anything from www.metal-archives.com, www.musikon.se and www.rockdetector.com, to Ebay, Tradera, Discogs and bands/labels sites to find all catalogue numbers, different pressings etc. There’s a couple of metal magazines and webzines here as well, plus books and websites covering local scenes, where I’ve found some additional information. I’ve also contacted a lot of people through Facebook etc. I’ve tried to get in touch with as many bands as possible.

From the looks of this massive book, you got every heavy band that Sweden has ever produced. Did you miss any? How did you find out?

I’m sure I’ve missed some, even though I do think I’ve covered 95% this time. There’s always going to be the local metal band that printed 250 copies of a single, sold it to some friends, tucked the remaining copies away in an attic and went on with life. These things pop up now and then, still! Plus some bands, especially when it comes to black metal, are intentionally secretive and only sell their limited vinyl release to “true” fans. But, that’s the beauty of it. Trying to find those hidden gems!

Swedish death metal won me over the minute I heard it. Do you normally listen to death metal? Did the sounds of Swedish death metal tempt you to go over to “the dark side”?

The thing is, when I wrote the previous books I wasn’t into death or black metal at all. But, for this book I’ve listened to ALL bands in it, and there’s a LOT of death and black metal. As a result I’ve actually come to like a lot of these bands, the more melodic stuff like Soilwork, The Haunted, Sterbhaus, In Flames and Unleashed, but also stuff like Watain I’ve come to like. My first choice of music is however still seventies influenced heavy rock/metal and bands like Spiritual Beggars, Mojobone, Grand Magus etc.

Can you tell us about your background as a writer and in music? This obviously isn’t your first project.

I got into music very early on and started playing guitar around the age of nine, made my first demo with the band TNT back in 1977, recorded my first single with the band Paradize in 1979 and formed Overdrive in 1980, with whom I’ve made a bunch of records. I also started doing some reviews for a local zine in 1982-83. My writing got more serious in 1989, when I started writing and reviewing for Backstage Magazine and since then I’ve written for a lot of magazines such as Hard Roxx, Kool Kat News, Sweden Rock Magazine, FUZZ Magazine etc. I did my first encyclopedia in 1996 and the second one in 2002. At the same time I’ve also made records with bands like Locomotive Breath, Mountain Of Power, Zello, Planet Alliance, Constancia etc. I still play in Overdrive, Constancia and Grand Design.

How did you get the confidence to tackle such a massive work? (It can’t all come from the writer’s famous “courage in a can” — coffee — itself, can it?)

Well, to be honest, it’s a combination of sincere interest for Swedish metal, being a music nerd and, yes, lots of strong, fine Swedish coffee. Besides beer and booze, it’s the only “drug” I’ve ever touched!

If you had to select five heavy and/or metal acts from Sweden to convince a newcomer that this scene is vital and worth investigating, what would they be?

As there are such a variety of styles within the Swedish scene I’d pick accordingly, so to check out the melodic death metal scene go for Soilwork, get some classic heavy metal with Grand Magus, some high class AOR with Eclipse, doom with Avatarium and progressive rock with A.C.T. To start with.

What’s next for you? Will you continue music journalism? Where do readers go to find out more about your work?

I still write and review for FUZZ, Metal Central and Metal Covenant when time allows it. I also have my own reviews blog and I’m now working on my next book entitled The History of Swedish Hard Rock and Heavy Metal, which will be as the title says, a more history-based book on the Swedish metal scene from the late 60s and until today with stories, interviews with prominent Swedish bands etc. Not sure when it will be finished, but I’m working on it. I’m currently also working on two new albums by Constancia and Grand Design for release in 2014. We’ve got lots of gigs booked for Grand Design as well as Overdrive. High Roller Records are also re-issuing the first Overdrive album on vinyl with an entire bonus LP of demos. No rest for the wicked!

http://www.youtube.com/watch?v=y4avfZnEDyQ

Death Metal Epic I: The Inverted Katabasis by Dean Swinford


Death Metal Epic I:
The Inverted Katabasis
by Dean Swinford
Atlatl Press, 160 pages, $10

death_metal_epic_i_the_inverted_katabasis-dean_swinfordThe intersection of death metal and fiction has so far remained fairly murky. Part of this is because writing fiction about death metal is hard and has a tiny audience, where writing fiction that mimics death metal is downright impossible and will send us all scurrying back to our Lovecraft and Poe.

However, Dr. Dean Swinford has given this one a shot with his book Death Metal Epic I: The Inverted Katabasis. In occult circles, the term katabasis takes on a new meaning of a descent into hell or an occult world beneath this one. Death Metal Epic I: The Inverted Katabasis describes an early 1990s death metaller dealing with the collapse of his technical melodic Tampa death metal band, and his rebirth first through an alternate musical avenue, and next through his induction into the extreme black metal underworld.

Working in a book store after the breakup of his girlfriend and the hiatus of his death metal band after a promising but ignored first album, David Fosberg is under siege from his record label which wants him to produce the second album now. The problem is that the modern world has eaten up the souls of his bandmates, who are now pursuing “normal” activities and have zero interest in death metal. He should grow up; death metal doesn’t make money, doesn’t get girls or make you famous. Or so they say. Instead, Fosberg pursues an unusual collaboration and applies the death metal spirit to a new form of music.

Swinford’s writing resembles a cross between a toned-down David Foster Wallace and Raymond Carver. The prose is simplified, with little time spent on set and setting, and the first-person perspective in which it is written allows the lead character to state intentions and escape dense exposition. This lets Swinford regulate the speed at which the novel progresses, and he uses this to skim over most of the boring parts. In the final third of the novel some confusion emerges because enough events have occurred that every interaction has many possibilities and the author is trying to show why some must become foreclosed. David Fosberg is a naturally likeable character who resembles many who can be observed in the death metal scene: a fundamentally normal person of above-average intelligence who is bored and frustrated by society, and mired in doubt and alienation.

Death Metal Epic I: The Inverted Katabasis is structured around its eponymous descent, except that here the descent begins and then seems to be ending, setting the stage for more action before the book ends on a warlike and inspiring note. Liberal use is made of metal history, not just band names but famous historical metal sayings, tropes, common events or observations in the life of a metalhead, and other details that only a metalhead might know. These are presented in such a way that an outsider can read them and think them “quirky” perhaps but not think less of the book for it. The result is a book that reads well, moves quickly and introduces the art form of death metal through stories of its devotees.

Relying on both postmodern literary technique and a much older Gothic sense of dark storytelling, Death Metal Epic I: The Inverted Katabasis shows metalheads and death metal in a light that may be understandable outside the genre. Within the genre, it evokes familiar history and ever-present struggles, forming less of a travelogue than an introspection as Fosberg attempts to fit his mind around the difficult task of being both alienated and having a place in the world. While it might not occur to me to take a fictional narrative of death metal down off a shelf, I was glad to read this one.

Bolivian metal band mixes native instruments, modern technique

bolivia-heavy-metal
Photo: New York Times.

One of the better developments during the past decade is that it’s now acceptable to talk about heavy metal in the mainstream press as something other than entertainment. It might even have, you know, artistic or cultural value and stuff.

A recent attempt looks at the heavy metal of Bolivia, which combines native instruments with modern underground metal technique:

The band members wore black. The lead singer screamed into his microphone and whipped his long, black hair around. The guitarists clawed at their instruments. The drummer pounded with fury. And then the panpipe player took his solo, and the fans packed into the mosh pit went into a frenzy…those songs, characterized by the use of the panpipe, known as the zampoña, and a wooden flute called a quena, have a special impact among fans.

The article makes the point that the hybrid style is more accepted among many of the people there, and that it directly references Incan cultural ideas including the ancient moral code that still lives on today in Bolivia.

Our question is: if it’s art, culture and morality there, why isn’t it art, culture and morality here?

Remember the first doom metal bonanza

morgion-solinari

bo·nan·za, noun
2.
a source of great and sudden wealth or luck; a spectacular windfall: The play proved to be a bonanza for its lucky backers.

Does anyone remember Morgion? They had a reunion a few years ago, and it seemed to peak interest for a month and then vanish. That’s a far cry from how it was in the late 1990s when Morgion was considered the future of metal.

Morgion was atmospheric heavy metal styled doom metal, or basically Black Sabbathy stuff with a little death metal technique and a lot of keyboards. Death metal had just burnt out, and the labels needed something new to fire out the cannons. As a result, the first doom metal boom was born.

This boom died of course because the real public discovered black metal exactly five years past its point of relevance, and suddenly it was quite popular and everyone had to have a black metal band. But before that, the labels and magazines had been casting about for something to call the future. No one wants to admit the best days are behind, but for all things, the day comes when that is true.

Back to Morgion. What happened? They produced some albums, lost a band member to a tragic accident, toured a lot and were on the cover of every magazine. Following up years later on the trail Cathedral blazed, there was a brief period where melodic and atmospheric doom metal bands came out of the woodwork to inherit the spotlight. There was a great gold rush to get on the gravy train of the popular trend of the moment, as if illustrating the dangers warned of by black metal. Death metal bands slowed down and added keyboards and strings. It was an odd time, one where the indecision in the air smelled strong.

My point is this, and it’s stolen straight out of Plato: there’s two ways to approach life. The first is to figure out what the idea is that gives it meaning, and then put that into flesh. The other is to accept the flesh as the end goal, and then use ideas to justify the behavior of the flesh. The first doom metal boom was the latter. It wasn’t about expressing an idea, cultivating a soul or any of the good things music does (including bringing us face to face with our fears and making us want to win). It was about bucketloads of cash since no one had any upward ideas.

We’ve forgotten about this now, shoveled it straight into the memory hole. Think about it: there was a time when you couldn’t go anywhere in metal without hearing about Morgion. Now you never do, only a decade later. And other bands persist seemingly immortal. It seems the first (Platonic) approach leads to something greater than life itself, where the latter drags us down into the same morass that clutches pop, politics, late night TV and mass religion, and once it has us it will never let go.

Codex Obscurum – Issue Three

codex_obscurum-issue_3

The third edition of contemporary old school print zine Codex Obscurum brings vast improvements to this already-promising zine. Under the guidance of editor Kevin Ord, Codex Obscurum has improved its readability, positioned its content for an in-depth view of the metal scene, become more consistent about its most important sections and added experimental content that expands what we think of metal zines.

The first thing a reader will notice is that readability is improved. This refers to the visual appearance of the text and how easy it is on our eyes. Since the 1980s, computer and printer technology for the average person have improved (all of this cool stuff was available then, you just couldn’t afford it). As a result, backgrounds and gradients are more likely to be used, as are complex fonts. The problem with that is that when the result is put out through a Xerox-like format, these fancy things can blur together or create contrast differences that apply torque to human optic nerves. This time around, the Codex Obscurum guys dialed back the fonts and went for more computer-y fonts on lighter backgrounds. Their best format remains the one they used for the Summoning, Disma and Nocturnal Deathstrike Records interviews, which is a white page with a border of hand-drawn art. Of course, this is the most expensive to create because it requires a human artist, but I wish the whole zine could be this way. It’s a killer look that is both like the old school and takes advantage of newer layout abilities. I also don’t mind if the whole zine is in Times New Roman and a good sans-serif font. That being said, however, readability is massively improved here and layouts mentioned above are positively gorgeous. It reminds me of the best of the 1980s zines that always seemed like little art books.

codex_obscurum-issue_one

codex_obscurum codex_obscurum-issue_two

In terms of content, Codex Obscurum was never a slouch. Previous issues included high profile acts like Incantation, Skepticism, Morpheus Descends and Rozz Williams. Issue #3 has chats with Saint Vitus, Mortuary Drape, Disma and Summoning among others, raising the Codex Obscurum profile even further. The zine has also stabilized its organization so that the vital content is present and in the roughly expected proportions. There are more record reviews and a solid block of interviews framed by show reports and features. In particular, having a big block of record reviews at the end is useful for the person who picks up a zine to figure out “what’s happening” in the metal world and might have a few minutes to scan for something fun to buy at the end of a long work-week. This “feels” more solid as a zine since the relevant content keeps coming and there’s no filler, with firm boundaries between sections such that none of them seem to be second-class citizens. In addition, Codex Obscurum has added experimental content in the form of stories and reflections. While some of this was indicated in the past, such as the surreal and passionate tribute to Slayer‘s Jeff Hanneman from the second issue, here there’s a crossover more like a bleed-in from a literary zine or chapbook. The result helps the end of the zine not trail off, but offer solid content of variegated types consistently throughout.

The result of all of the above is that the third issue of Codex Obscurum shows this zine picking up where the past left off, and going further. Not only that but it does so with high quality and in a way that gives this zine its own personality and brand. I’m looking forward to seeing more from Codex Obscurum as it races forward into the future …of the past.

codex_obscurum

Profile: Nicole of Sinister Path Promotions

sinister_path_promotions-logo

One of the great questions facing metal at this time is how it will propagate itself in a rapidly-changing record industry. Some have gone old school, and there’s evidence suggesting this is the most viable direction. Others are working with the new media to take advantage of its unique abilities.

Sinister Path Promotions is a pioneer in this recent field. By working through social media, Sinister Path reaches a large number of potential fans via their mobile devices and allows them to discover new metal. In addition, Sinister Path concentrates interest in a series of mp3-based compilations which help promote lesser known bands worldwide.

We were fortunate to be able to have brief interactions with Nicole, head of Sinister Path Promotions. Here are her answers to our interrogations.

When did you start Sinister Path Promotions, and what was your intent?

I started Sinister Path Promotions February 2013 (launched via Facebook) with the intent to share metal, and create a community for metalheads to interact. My best friend had recently passed away and I wanted to throw myself into something positive to honor my metalhead mate. My main intent at that time was to create a comfortable, non judgmental, interactive environment. We shared music links, news and did a lot of interactive type posts.

In a few months, we managed to build up quite a large fan base and I wanted to get my teeth stuck into my passion: supporting underground metal. There were a lot of larger pages posting about the more widely known metal bands but not many focusing on the underground. In April 2013 I then put together the first of what is now four independent/unsigned metal band compilations. More recently I’ve gotten involved in interviewing bands and have interviewed with people including Paul Speckmann (Master), Dennis Röndum (Spawn of Possession), and Matt Young (King Parrot).

The main goal of Sinister Path Promotions is to help bring exposure to underground metal. We do that by way of the compilations, interviews, news, and regular posts and interaction on the Facebook page. There are a lot of plans I have for the page and I’m excited to see where this can go!

What sorts of bands do you promote? Do you include “modern metal” (deathcore, metalcore, indie-metal, emo-metal) within that sphere?

I started Sinister Path Promotions with a focus on old school death metal, black, and brutal death metal. For me, death metal is where my heart is, but I think when it comes to promoting bands and doing it in a positive, approachable way, this means trying to include a variety. For us now, the focus is predominantly independent/unsigned metal bands and this includes all sub genres.

The last compilation included the largest variety of metal bands yet: death, pornogrind, brutal death, slam, groove, viking, black, prog, technical death, funeral doom, industrial, folk, thrash, and more.

I take submissions and also and hand pick bands based on what I think the compilations need in terms of balance.

You’re Australia-based; a lot of famous metal has originated there. Do you have a top five or so of bands from Australia?

Top 5? You can’t do this to me! Yes, Australia has spawned some beast bands and it would be difficult to narrow it down. There are so many bands who have been so influential to me like Bestial Warlust, Damaged, diSEMBOWELMENT, Sadistik Exekution, Destroyer 666, Mortal Sin, Blood Duster. Then there are Aussie bands I’m following at the moment and cannot wait to see what they come up with next. I’m thinking about PORTAL, Ne Obliviscaris, Be’lakor, Entrails Eradicated, DEATHFUCKINGCUNT, Seminal Embalmment, King Parrot, Mephistopheles, Disentomb, Nocturnal Graves off the top of my head.

What are the day-to-day activities of Sinister Path Promotions? Are you planning to expand?

I run with a very small group of active admin (at the moment there are only four of us). Our day-to-day aim is to expose underground metal by posting music links, art, news updates, tour updates etc. We pepper this with some more well known bands, gear porn, interaction statuses, specific posts about underground musicians, statuses about our own personal gear/merch, basically anything that will be engaging and could help bring exposure to a band.

We have just launched a new compilation, so linking songs off that and promoting the bands involved in that is a priority at the moment. Us admin continually work in the background corresponding with each other about independent/unsigned bands that could potentially be approached to be involved in our samplers.

In terms of the future for Sinister Path Promotions, the independent/unsigned compilations are ongoing, the interviews are ongoing, the active nature of the page will always remain the same. I’m interested in exploring a variety of things including the potential of being a label, and setting up shows.

How did you (Nicole) get involved with extreme metal — was there a first band? What made you like this weird form of art?

The more extreme types of metal? Probably checking out gigs at University I think. There was quite a large metal scene there and shows on all the time. Prior to that I listened to heavy music all through school, and as a kid my dad was into punk and heavy rock. My brother used to sneak me into metal shows when I was underage too which is pretty cool haha. Was always open to heavier forms of music and always looking but I got serious about heavier and more extreme shit from Uni onwards really. I mean, I’ve always been into my music, have played guitar for 13 years, learning the drums, have been in bands, solo performances over the years. I know what it’s like to try to get exposure and I think that’s why promoting the underground is so appealing to me. I’m like a woman possessed trying to get the word out, and the moment when someone is introduced to a band via the compilations or the page, that’s the sex for me you know? That’s what it’s all about.

Can you tell me more about this underground bands compilation you’ve put out. Is it a physical release, and how did you select bands? Who do you think will enjoy it most?

You can have a look at the compilation at http://sinisterpathpromotions.bandcamp.com/

The latest one is called: Sinister Path Promotions Unsigned / Independent Metal Band Compilation December 2013

Released through Bandcamp as a digital release; you can stream it or download it completely free. If you click on the individual tracks you’ll find more information on the bands so you can support them.

This current one has 42 metal bands from all over the world.

I approach the majority of the bands on it. I do have people who inbox the page or contact me other ways, and I check all of them out from there but mostly I look to gather up a variety of bands and styles and from there talk to them about being involved.

The compilations are a great way to check out some bands you might not have previously been exposed to and great for those interested in supporting the underground.

They’re awesome for bands to get involved with for a number of reasons. It helps bring some exposure because we link the bands on the compilation on a regular basis. The bands involved can contact me on the page any time they’d like to put out some news, info on new releases, pics, anything they’d like.

If people are interested in your promotions company, where should they go to contact you and/or read more?

They can contact me by emailing sinisterpathpromotions@gmail.com.

Check out the Facebook page for Sinister Path Promotions (inbox me there if you’d like).

The compilations can be streamed / downloaded for free at the Sinister Path Promotions Bandcamp site.

nicole-sinister_path_promotions

Instrumental metal: an idea whose time has come

earth_from_space

When Burzum released Hvis Lyset Tar Oss in 1994, underground metal was forever split. This album featured longer songs where concept was closely intertwined with song structure, and riff shape defined by mood. It both made undone past paradigms and raised the bar.

After that point, black metal and death metal deflated. The initial rise of ideas created in reaction to outrage at a dying civilization was gone, and nothing else propelled the genre forward, so it fell into self-imitation based on outward traits. Further, few bands could handle the raised bar, so it was “explained away” in social circles and the music tended toward the more primitive, not less.

Thus is the problem with raising the bar. Once you have done it, people either rise to the challenge and forge ahead in the new language, or have to hide the fact that they’re here for the gravy train which means they want to make the same dumbass music they would make in rock, pop, punk or blues, but use some distortion and call it “black metal.” That leads to high margins: the product is cheap to make because it’s a well-known type, but it has a higher markup due to novelty.

However, unless you’re deaf, you’ve noticed that the output of underground metal has seriously flagged in quality since the mid-1990s. Not so in quantity, of course, where we have more bands than ever before who have better production, are better instrumentalists, and generally more savvy at the music industry. Unfortunately the music they produce is not as good as what a few lonely intelligent outcasts did in the early 1990s.

This leads us back to a question of metal’s growth. Do we keep up with the raised bar? Style is not substance, but the two are related. Without enough substance, style never evolves; without the right style, substance often gets lost. Artists tend to visualize the two at the same time as part of the same articulation of an idea that they are communicating through mood, or the sensation of perceiving something and wanting to engage with it. In theory, metal could continue with what it has, using the same styles but writing new music, and many bands have succeeded in that. But keeping up with the raised bar has some advantages.

First, instrumental metal would be difficult and this would draw a line between metal and the pop, rock, blues and rap and place us closer to ambient and classical in the respect scale. Take for example this quote from educator Liam Malloy:

“In the past, heavy metal has not been taken seriously and is seen as lacking academic credibility when compared with other genres such as jazz and classical music. But that’s just a cultural construction.”

Second, this change would get rid of the vocal problem in metal. We know what death/black metal vocals are, but the shock has worn off as they’ve been appropriated by other genres. They are not extreme anymore, and overused by those who like them because a plausible imitation is easy to pull off. On the other hand, shouting vocals (Pantera) are annoying, most male singing sounds like drunk guys brawling, and the high pitched “operatic” vocals divide an audience. No vocals, no worries.

Third, this would make it easier to tell real metal bands from the weekenders. Real bands can put together long pieces that make sense, where the weekends just want the appearance thereof. Contrast real progressive rock like Yes to the somewhat paltry substitute in Opeth. Opeth have nailed the aesthetic, but not the underlying musical depth or density. When you hear the two together, it’s clear they are from different genres.

Fourth, instrumental metal would enable greater riffiness in metal. Already there’s a storm of protest when “riff salad” songs emerge, even if the riff makes sense. Much of death metal was an end run around using constant verse-chorus vocals, thus liberating guitars to create more interplay between riffs. Without vocals to keep bringing the song back to repetition, riffs could have greater leeway and repetition would exist not out of standard song form, but to emphasize parts of the song that need repeating for the sake of atmosphere.

Many people out there want metal to go instrumental. While it loses the masculine and terrifying aspect of the vocals, it encourages a competition among metal bands to not only preserve that but make it more extreme among their instrumentals. And if anything, that’s closer to the spirit of metal itself.

Carbonized – Demo Collection

carbonized-carbonized_demo_collection

The Swedish grindcore band Carbonized came from an era when metal was still defining itself, and grew up alongside the more intense death metal acts which were putting Sweden on the map. Carbonized remains somewhat less known because the band embraced weirdness and unconventionality in everything it did, which makes for great art but not a conveniently wrapped-up listening experience.

Through three classic albums — For the Security, Disharmonization, and Screaming Machines — Carbonized put its mark on the death metal and grindcore underground by using outrageous technique and converting ideas from other genres into their metal equivalents. While in too “raw” of a form on the Carbonized releases, these ideas were picked up by other bands in more easily digestible forms and thus made their way into the core of those genres.

Luckily someone has bootlegged the Carbonized demos in the grand tradition of underground metal. The three demos and one EP on this CD chronicle the emergence of Carbonized and, as time goes on, its refinement from a fuzzy concept to a clear personality and eventually, such a strong presence that its songwriting is immediately distinctive even when simpler and less polished than what we expect from the albums.

The “Auto-da-Fe” demo from 1989 shows the band as a primitive grindcore/death metal hybrid that leans toward the kind of epic statement that death metal bands made but without much reliance on tremolo strumming. “Re-Carbonized” from 1990 shows the style most will recognize from For the Security, with detuned guitars and recursive-chug riffing among the broad chord progressions played without embellishment in rigid linear rhythms. This gives the music a stark and birds-eye-view character but also places it outside of where death metal was, musically, at the time. This isn’t riff interplay so much as an advanced layering of verse-chorus pairs. Next is No Canonization which shows a messier and more conventional grindcore band that could have been on par with Napalm Death in the same year. A strong inclination to use melody to counter-balance chromatic riffing gives this an expansive feel. Finally, “Demo 3” from 1991 shows us a more confident and technically advanced band who have mixed the techniques of death metal into primitive grind and come up with a melodic but structured and semi-theatrical sound. Its essential character and weirdness shines through, which preserves the esoteric feel of this material.

Probably of interest only to Carbonized fanatics or at least Swedish death metal devotees, Demo Collection reveals facets of this band who shared members with Dismember, Therion and Entombed that had been lost to time. For those of us who think For the Security may be one of grindcore’s lost classics, seeing these demos emerge again is both a treat and an invitation to explore the murky history behind this shadowed movement.

Tracklist:

    “Au-to Dafe” Demo 89

  1. Final Chapter
  2. Paradise Lost
  3. Au – to – Dafe
  4. “Recarbonized” Demo 90

  5. Intro
  6. Recarbonized
  7. For the Security
  8. Two Faces
  9. The Monument
  10. No Canonization EP 90

  11. No Canonization
  12. Statues
  13. Au-to – Dafe
  14. “Demo 3” 1991

  15. Dark Curses
  16. Carnage Mass
  17. Emperors of Death
  18. Purified from Sulphur
  19. Hypnotic Ain
  20. Syndrome

http://www.youtube.com/watch?v=H4t4IdKzSVg

War Master – Blood Dawn

warmaster-blood_dawn

War Master attempt to create a new form of the classic death metal and grindcore that defined the underground metal period. Taking their name from a Bolt Thrower song, the band might be expected to sound like that august act, but the truth is more nuanced. War Master make a language of their own from pieces of the past.

This language can be confusing because many of these pieces of the past are recognizable, although never entire songs, so that War Master tend to pair an old riff archetype with a new riff of their own creation, or use song structure or aesthetic ideas but apply them with new forms. As a result, parts of this are immediately recognizable and it takes some moments to mentally integrate the past with the current version of the same form.

On Blood Dawn, a fifteen-minute EP, War Master drop back from their smoothly integrated style for a rougher, catchier and more Swedish death metal version of their sound. Applying the classic Swedish distortion, War Master also rely heavily on the bounding riffs of the first couple Entombed and Grave releases, producing an urgent and jubilantly violent sound.

The result is a new style for War Master that is both more hasty and, by being more raw, a bit more accessible and yet more fanatically old school. This compares favorably to the latest Autopsy which takes a similar approach. Simplified song forms, although not the verse-chorus loops of pop fame, plus catchy riffs like the most compelling heavy metal at high speed, guide these songs to immediate enjoyment.

While Blood Dawn shows this band with new personnel and new strengths, it loses some of what made Pyramid of the Necropolis so powerful, which was its tight-fitting and intricate structures. If history is any guide, War Master will explore this new direction and slowly work it into form so that they can be more articulate with this new — yet older — voice.

Why metal is not obedient

anti-mosh

It’s good to see the study of metal ramping up both in academia and in popular culture. This is because for the most part, metal remains an enigma.

One of its most enduringly baffling traits is its almost self-consuming alienation. Metal refuses to be part of anything. If a social institution reaches out to it, metal withdraws; if someone does something nice for it, metal gives them the finger. One might wonder how it survives with such a self-destructive attitude.

The answer may be found in a riddle of consciousness uncovered by the German philosopher Arthur Schopenhauer. He argued that what we know of reality is a “representation of a representation,” or a mental model of a world known only through sensations and re-assembled in our mind. Our judging mind forms a representation of the representation created by our senses. In the same way, metal is both a thing of its own, and a public view of the same which includes judging and social concerns.

Metal may hurt its public layer by being so alienated and isolated, but the actual thing that is metal — something we know only distantly through our senses, most notably our ears — remains health as ever. This is because it is metal the thing that defines metal the public representation, not the other way around. Metal is not obedient to any rule by itself, and it rejects formulation for the same reason it rejects trends and hippie ideas of love, peace and equality: it does not want its public handle to control its private reality. It is not ultimately rebellious per se, but disobedient, and seeks to remove itself from the social sphere entirely so it isn’t corrupted by guilt and obligation to justify itself according to the values of others.

If you wonder why ideological movements like Christian metal, National Socialist Black Metal (NSBM) and red-anarchist black metal (RAE, with an “E” for “emo”) have all failed, it is because metal is fine with accepting dangerous views, but it’s not going to formalize them. That is because in this universe, all things go through a process of being created, becoming fully known, then becoming calcified and finally dying. That calcification in the human world occurs through people imitating them outside-in, i.e. writing down the elements of what the thing is, then going through the motions, and never understanding the step before the thing in which the reasons for its existence were felt and motivated people.

You may also have seen how many retro bands utterly fail to sound like anything but a grab-bag of riffs from the past. This is outside-in imitation; they know what they want to “sound like,” but they don’t know why. We could argue that heavy metal is not the sonic end product, but the thought process that leads to that final result. That thought process cannot be easily understood, but requires someone to study the subject intently and think hard enough to find all the connections in imagery, ideals and what each musical element represents. Very few can do that, and even fewer can do that and then make inspired music based on it.

If you wonder why the Death Metal Underground is so surly toward the world, this is it: we realize metal is a fragile and sacred thing, a form of art separate from the social sphere. To allow the public image of metal to control what metal is would be to kill it. Thus we tend to reject all of that image, toss aside all obedience, and remain fairly hostile to anything that threatens to introduce obligation, justification or guilt to our motivations.

You are probably aware of how to “succeed” (emphasis on first syllable) as a metal reviews site: write friendly and fawning reviews of every band that comes down the pipe so the labels can quote you, so people can see your name and identify you as a supporterTM of the underground and then visit your site. The problem with this approach is that it’s useless. People need actual information on what each release sounds like so they can, with limited time and money, make purchasing decisions that benefit them and not necessarily whatever label found a way to make a musical clone for cheap and hopes to profit from the excessively fat margins that result.

In the spirit of metal, Death Metal Underground chooses to be unbought and un-guilted. We choose to be outsiders like the music we love because only by keeping free of that public image disaster can we be honest. It will not make us popular like the glad-handers, scenesters, hipsters, poseurs and salespeople of the world. But it will keep us from harming our favorite sonic art and help us keep a clear mind about what is important.