Derogatory – Above All Else

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This article contains an album review, interview and live stream.

Derogatory – Above All Else

Derogatory returns to the oldest form of death metal which is the fast and muscular rushing tremolo-picked phrasal riffs that Slayer, Morbid Angel, Massacra, Mortuary and Sepultura made famous. Much like those earlier acts, Derogatory creates a rhythmically compelling work in Above All Else that adds depth through the contrast in riff phrase and the sensations those evoke.

The most reasonable comparison for this album would be the debut works from Mortuary and Vader, both of which utilized this style in a method that kept a rhythm rolling throughout despite numerous tempo changes. Derogatory have sensibly avoided much of the stop-start rhythm that made later death metal bands unable to keep a steady stream of riffs with consistent intensity and instead of using abrupt pauses, keep riffs flowing into one another like a transfer of momentum between wrestlers. Spidery erratic lead guitars complement this with an otherworldly sense much like the leads on early Incantation.

Above All Else provides the essential power of death metal through a feast of riffs that combine like DNA in a primordial pond spawning life. Context expands, meanings connect, and songs emerge from chaos. While this is a simpler version than many riff salad bands, it displays technical prowess and an adept sense of what makes a great metal song. Individual performances are strong but vocals and drums could be more aggressive about distinguishing themselves across the span of each song. While this is an older style, it breathes new life through Above All Else.

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Derogatory Interview

We were fortunate to get in a few words with Christian Ordonez of Derogatory about the band’s past, motivation and future.

What’s the concept behind Above All Else?

The concept of Above All Else is explaining how people always long for more than what they have. Whether it be power or self satisfaction, people are always trying to obtain more from what they already know. The entire album is not based off this topic but its one of the subjects spoken of more than once on the album; other subjects include reality, space, and life

When did you as individuals get into metal, and what was that album that compelled each of you to decide to be full-time metalheads? (Or are you?)

Chuck Schuldiner and Luc Lemay inspired me (Christian Ordonez) to pick up the guitar and just try to write something decent, and three out of the four members go to school as well, but I am sure we would all love to be metalheads full-time.

What style of music is Above All Else? Does it reflect your influences? What were you listening to while you composed and recorded this album, and what inspired it?

I believe Above All Else is a straight-out death metal album. All the bands I was listening to at the time do show somewhat of a reflection in the album; a few of the bands I was listening to at the time are Morbid Angel, Cynic, Death, Gorguts, and Disincarnate. After writing a few of the songs i was inspired to release a CD and share my music with everyone.

Do you have influences and inspiration beyond music, like famous historical characters, novels or plays, TV shows or movies, forces of nature, metaphysics and religion?

The only influences I have are those of various musicians I favor. Music has always been a huge part of my life and there is really nothing else that motivates me or drives me more then great music.

Can you tell us how the band was formed, and your history to this time? How do you think this will change with Above All Else being released?

I started the band back in late 2011. I had some material and we worked off of that and in the months to come I continued to write more music for the band exploring different lyrical topics and trying to create a different sound for metal. I believe that with Above All Else being released Derogatory will prepare for the second album to be something more than what Above All Else is. Nonetheless I feel like releasing this album has matured us as a band and shows us our strengths and weaknesses and what we can improve on.

Is death metal dead? Do you think the old school styles are returning, or departing?

Metal will never die, especially death metal the genre is making a huge comeback there are bands left and right that play different styles of death metal. I think the old school sound has been popping up a little more but I prefer technical death metal just because of the musicianship. Anyone can be old school; for me its about breaking away from that, which we plan to do for the second release.

Can you tell us about these songs, and when they were written — were they composed as a batch for the album, or have you been saving up material? How did you record this album, and what aspect of its production are you most proud of?

I wrote all the music and lyrics and they were all written pretty quickly. Each song holds its own meaning with different subjects for each track. We did the recording ourselves: our lead guitarist did the sound engineering end of things and spent countless hours trying to obtain a great sound that captures the feel of the music. I’m very proud of the production for the album because we relied on no one but ourselves to record our debut

What’s next for Derogatory? Are you going to tour? If so, where do people see you? If not, how do they learn more about you?

We plan to tour and spread our music and continue expanding our sound and fanbase we hope to go overseas to Europe and support Above All Else!

Derogatory – Above All Else Live Stream

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Heaviness, the epic and masculinity

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In conversation with Martin Jacobsen, the topic of “heaviness” came up. What is heavy? Why is the term applied to metal? This question in many ways defines why it’s so hard to understand what metal is, much less describe it.

From my experience, metal is a spirit that leads to an approach. It’s not dissimilar to classical, where a certain attitude toward life, spirituality and culture leads to a form of music complete with its complexity and techniques. Nor is it all that different from martial arts, where a specific outlook leads to some near-universal shared characteristics.

Coming at metal from a literary/philosophy background, this isn’t surprising. Artistic movements tend to share traits they develop independently. They do this because they approach their art with a similar feeling, sentiment or belief system, and as a result no matter where they start, they end up in similar places. This is analogous to how just about every culture on earth has invented something like a chair, with most designs being very similar.

Jack Fischl over at PolyMic has another take on metal with his article ‘”That’s So Metal” Might As Well Mean “That’s So Masculine”‘ — it’s a bastion of alternative masculine thought:

According to the book Running with the Devil by Robert Walser, heavy metal imagery, music, style, and lyrics offer the illusion of power to a group (young men) that simultaneously lacks traditional forms of power (money, social standing) and is constantly barraged with cultural messages that inforce the importance of those forms of power. Listening to the music, especially by going to a concert, allows low-power young men to escape and live vicariously through metal’s imagery, the way one might live through books, movies, or TV shows.

Whereas pop music tends to portray (or at least address) your classical “manly” man, metal more often ties into elements of fantasy and science fiction — two other bastions of alternative masculine escape. Any given metal song likely depicts a man or male entity (spirit, creature) struggling with something — his place in the world, a woman, his own emotions. In other words, a typical song involves guys dealing with normal guy issues from a guy’s perspective.

He does have a point. The modern world does not exactly relish the hyper-masculine, but it gives it voice in rock music through the intense sexuality of the sound. However, metal takes this a degree higher. Where rock is about individual sexual power, metal is about power itself, and transcends the sexual per se in favor of an overall masculine intensity. This is the epic nature of metal; it is not based in the individual, but all that the individual cannot control.

Some might say this world, by being so obsessed with the safety of each and every person and ensuring that we all get along, is against the kind of conflict-driven Nietzschean masculinity that metal seems to espouse with its lyrics on war, death, violence and destruction.

For many of us however metal is more than masculinity. It is a worship of power itself. When you wield death and conquest, you are the power that society denies. This unites metal’s outsider status with its realistic ideals and returns us to a definition of “heavy.” In a time of stoned flower children worrying about nothing more than their next hook-up, “heavy” encompassed all the thoughts that this worldview could not tolerate. It was all that we fear and want to suppress, including mortality and fear of loss.

What made Black Sabbath “heavy” was not a specific technique but a tendency to gravitate toward these dark thoughts and the reality that society denies. This neatly coupled metal with hardcore punk, which saw a society out of control and in denial of basic facts of life. Together these ideas brought metal to its underground state where it is completely alienated from the values and behaviors of most of civilization.

What is “heavy”? It is that which we cannot define because it is beyond the instruments of our culture — such as it is — to discuss. It is the thoughts that grip us at four in the morning and shock us awake. It is what stalks us in dreams. And it is our primal past, reaching past our modern technology and enforced civility, awakening the beast within.

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Various Artists – A Day of Death 1990

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The Glorious Times team recorded the “A Day of Death” concert from 1990 and made it available as a free download in MP3 or FLAC format. Basically an abridged version of the show, A Day of Death 1990 shows founders of the underground at their best.

Opening with Autopsy, A Day of Death 1990 begins with “In the Grip of Winter.” This version sounds rougher than the Mental Funeral variant that later became the norm, and more like an earlier recording I’d heard on an EP. This is followed by Repulsion banging out “The Stench of Burning Death” (later found on Horrified) pretty much exactly as it is on the album, which fits with the band’s reputation for being immaculately rehearsed. After that, Deceased lights up the soundboard with “Decrepit Coma,” which is tightly played but loud owing to the recording conditions.

After that, the first of two Cannibal Corpse tracks comes up; Cannibal Corpse are one of those bands like Venom, Pantera, Cradle of Filth and Meshuggah that strike me as historically important in popularizing a genre but perhaps culpable in eroding its meaning. Incantation follows with both “Profanation” and “Unholy Massacre.” These are live and a little unsteady and without the bass-intense production of Onward to Golgotha, which reveals these songs further but makes them even stronger as they stand up without the intense sound. After that, another Cannibal Corpse song and Deceased with “Haunted Cerebellum,” which is the really catchy song from their first album and is executed with potent verve and energy. Another Repulsion song, “House of Freaks,” which was not on their album, follows; it is more uptempo and a bit more hardcore than death metal. The set finishes out with Autopsy and “Severed Survival” which is a more deliberate and menacing version of this messy death metal classic.

This live album is great for three reasons: first, it’s a glimpse into the history of this genre with some of the most active players visible; second, it’s done in true underground style and given away free, since these bands have the albums to sell to finance their bands; finally, it’s killer and you’d buy it anyway even if it were $15 and said RELAPSE on it. A Day of Death 1990 is more like being at the Smithsonian Death Metal Hall than being transported via time machine, and it doesn’t sound its age so much as sound the level of equipment available, but it shoves forward these classic recordings in a way that makes death metal both more obscure and more accessible at the same time.

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The return of reviews and opinion in metal

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The problem with dreams is that when they are achieved, the dream is no more. Life is about the chase, not the catch. This doubly applies to metal once it got social acceptance.

During the 1980s and 1990s in everywhere but Scandinavia, to be metal was to identify yourself as a kind of social reject. It was equal parts nerdly and menacingly rootless at a time when stable suburban living and office jobs were the only acceptable future.

Sometime in the late 1990s however metal was discovered as a form of natural resource. This resource is not renewable and hard to locate. It is hipness: a combination of authenticity, rebellion, transgression and the kind of personality that makes a character in a novel appealing.

At that point metal exploded. TV shows used its iconography, the media reported on it, and “kinder, gentler” forms of metal were produced for the audience that resulted. During this time, metalcore, post-metal/emo, indie-metal, alternative metal and atmospheric metal went ballistic.

The problem for us at this very moment, as Keith Kahn-Harris pointed out, is that we’re still drowning in an abundance of heavy metal. There are too many bands for fans to make meaningful choices. There are too many big blogs and news sites reporting the same news. All of us are drowning in digital downloads.

As Brian Pattison of Glorious Times opined in an interview:

The internet has made some things easier and perhaps better, but it has also done a lot of damage. Almost all of the personal relationships that happened back in the day don’t happen now. Kids today will visit a myspace page and download songs so they don’t get to build relationships with bands like we did way back before the internet. I still have letters from bands from back then, will kids today save their emails and myspace messages to look back upon in 20 years — I don’t think so.

In other words, convenience makes a product out of the music. With ease comes insincerity and disposability. Kevin Ord, editor of Codex Obscurum, points to the advantages of physical media in eliminating this problem:

I like to be able to hold something physical. I think a lot of people do. I want something that a kid might find in a shoebox in 10 years and say “I remember this; I’m going to reread it.” Stuff like blogs just seem so disposable.

As predicted here before, underground metal is turning back toward physicality to avoid the information overload of the digital age.

Fans and zines are asking themselves variants of this question: What use are 10,000 bands when no one can hear them all, and thus good quality does not get bumped up the line above the rest? A genre dies when it becomes so flooded that it has no quality control. Everyone gets to participate that way, sure, but the lack of leaders means that participation alone soon becomes pointless.

Where this is interesting is the nexus of intersection between metal’s concept of “heavy” and this return to primal methods.

“Heavy” is a beatnik word referring to concepts and knowledge that invoke existential and other concerns. In general, heavy is a confrontation with the dark and final side of life, like death or loss. If socialization and happiness are “light,” heavy is the opposite. In social talk, everyone wins; in heavy talk, it is clear that some win and some lose, including lose their lives to war, disease, violence and cruelty. “Heavy” is everything we fear as individuals and refuse to talk about in polite conversation.

When Black Sabbath emerged in the late 1960s, they distinguished themselves thematically from other bands by being heavy. Everyone else was singing about how the Age of Aquarius was going to bring Enlightenment and peace to everyone; Black Sabbath was singing about the collapse of the world, the failure of hope, and the doom awaiting us all.

In the same way, the Internet boom of the late 1990s was based upon a Utopian vision. Our old worries were over; a new society based on information and knowledge was here! But as the years went on, it became clear that in all areas most of this information was commercial spam or otherwise manipulative, and that the effect of “information liberation” was to drown us in irrelevance.

People crave what the old offered: strong opinions in record reviews and writing, and zines that were willing to push better bands on top of the rest. They want a death of the commercial spam that our media have become, and to be able to pick five winners out of those 10,000 bands to become the basis of the next generation in a genre.

Thus heavy returns. Darkness and evil return. A rejection of peace, harmony, happiness and enlightenment of the new age is replaced with a reliance on primal truths, pagan fears and ancient impulses. Instinct overtakes rationality. Practicality replaces morality. The beast within rises again.

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Interview: Argus

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As recent writings from Keith Kahn-Harris and others indicate, metal may be suffering from too much: too many bands, too huge an information flow, too many blogs, too much focus on surface aesthetics.

Contrasting this flood of “too much” is a true metal movement designed to emphasize what metal has always done well, but done anew by new generations. One member of this movement is Argus, whose album Beyond the Martyrs caught our attention for its NWOBHM/Candlemass classic metal fusion.

Luckily, frontman Butch Balich was available to answer a few profile questions and some existential ones via email. His answers strike me as relatively without contrivance, and show us this band both as it presents itself and as it is likely to be experienced.

Can you tell us how Argus formed? Did you come together on a mutual love of existing music, or a desire to create something that didn’t exist at the time?

The band was put together by Erik and Kevin out of friendship and a desire to jam and play some tunes. I don’t think it was ever envisioned it would become what it has. Our goal has always been simply to write great songs. We don’t concern ourselves with whether or not we are forging new paths or treading well worn ones. Its all about playing music we love and infusing our personality into it.

What is a “working class metal sound” (from your official biography)? Do the members of Argus identify with working-class or blue-collar roots?

Those guys grew up here in Western, PA and I think definitely identify with a working-class, blue-collar set of roots. We see ourselves as hard working and our music as fairly straightforward — what you hear is what you get — we aren’t overly complex and fancy in either our writing or our performance yet both are powerful. So I think we meant to portray the band as a straight up true metal band that works hard and is not pretentious in any way.

What would you identify as your primary and enduring influences?

We’re all over the map really. If you separated us and asked each of us you’d hear everything from Sabbath to Slayer, KISS to The Beatles, Maiden to NOFX, Marvin Gaye to Slough Feg. Collectively I think we draw from a common pool of Maiden, Thin Lizzy, some doom like Candlemass, old Metallica… We know what we want the band to sound like though so you’ll hear big riffs, great harmonies… sometimes the bands that those things remind of are coincidental, for instance “The Ladder” from Boldly Stride the Doomed has a real Solitude Aeturnus vibe even though I’m probably the one guy in the band who loves them. We are also influenced/pushed by bands like Slough Feg or Valkyrie.

You’ve picked an amalgamation of older styles for your music, instead of trying to keep up with the cutting edge or invent something. Why did you make this choice? Is there anything new under the sun, musically?

Let’s be honest — there really aren’t any combinations of riffs or notes that haven’t been used. There is NO ONE reinventing the wheel musically anymore. SO, our goal is to write great songs that we love — it is the goal of any good band. Our goal has never been to create something wholly unique as that is impossible. We draw from what we love about the music we listen to and enjoy playing and hopefully our personality comes across enough — and that is what makes us special. The notes/riffs/melodies may not always be something unheard of but we each have way of playing our instruments that adds up to ARGUS sounding like ARGUS instead of a mere rate retro metal knockoff.

Do you think the style you play selects the audience you receive, and that some audiences are more supportive than others?

I think any fan of true metal would like the band. We are neither overly refined or simplistic. I think our music has the ability to appeal to folks across different spectrums as it mixes bits and pieces of things and has strong melodies. I do think we’ve been most accepted by true metal and doom crowds so far. So far every audience we’ve played for has been pretty damn supportive to be honest. I do feel there is a niche market for what we do even though it has the potential to grow larger. If you play the style we play you do need to be prepared to accept that the fanbase is fairly limited and it will take a great amount of touring, perseverance and luck to advance beyond cult level.

There has been a movement in metal over the past four or five years called “True Metal,” in which people are less interested in outward-looking hybrids and more in an inward-looking, metal-centric attempt to continue the spirit of classic bands, although not necessarily the details. Have you seen this? Would it apply to Argus?

There is a segment of folks who aren’t interested so much in modernism and would prefer new bands to play in the old style. This is me to extent though I prefer bands not to be complete ripoffs of a specific band. I prefer bands like Slough Feg, Pharaoh, Twisted Tower Dire, Enforcer who have obvious influences but whose own personality comes through and who don’t consign themselves to 80s production values 24-7. I think Argus fits in with a retro tag though I have to say I think we manage to sound modern without sounding modern (if that makes sense). Like we don’t sound dated even though we’re playing metal based on the classic metal and hard rock bands.

This is your third album, after an EP and a demo. How has your sound changed during this time? Do you see it going in another direction as time goes on?

I don’t see that our sound has changed so much as streamlined a bit. We’re trying to capture the vibe and point of each song without belaboring the point in endless repetitions of the same riff. Why take ten minutes to say what can be said in six? I think it’s been a gradual transition. We’ve definitely become better songwriters over 7 years. Stylistically though we’ve been fairly constant. Maybe less doomy but no less moody.

Why do you think heavy metal remains popular after forty years of existence?

Because it is powerful, honest, hits-you-in-the-gut music. Because lyrically it provides escape. It provides understanding. It’s a very gut level thing… metal. There is an energy to it that few other forms of music capture — …and power, volume… I also think metal is also where you will find musicians whose level of integrity and devotion to their fans is high as opposed to more throwaway styles of music where musicians are chasing dollars exclusively rather than the art.

What’s next for Argus? Are you going to tour, or write more material?

We’re about to start writing for album 4. We hope to get over to Europe again the Summer of 2014. We have a festival appearance booked at the Ragnarokkr Festival in Chicago the weekend of April 4-5, 2014. Other than that we’re looking at some possible US dates… we’ll see what happens. Are discussing plans for small releases like a possible 7″, an EP and maybe a split.

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Sammath – Godless Arrogance

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Sammath combines the dark melodic understructure of black metal with the type of charging full-ahead death metal that Fallen Christ or Angelcorpse pioneered (which might descend from Morbid Angel’s “Thy Kingdom Come”). At this speed, the riff-salad approach of more traditional death metal would become a muddle, so the band focuses on a few ripping riffs per song and uses song structure deviations to incorporate entirely different riffs to create dialogue with the main verse-chorus pair and the Slayer-style introduction/transition riffs that accompany it.

Remarkably, Sammath has been consistent in this approach but have not found a voice for it until now. 1999’s Strijd showed an archly elegant melodic sense and underlying violence, but switched between the two much like later Entombed varied between pounding d-beat ambient riffs and architectures derived from John Carpenter soundtracks that showcased a spatial element to the music. During the early 2000s, two transitional albums Verwoesting/Devastation and Dodengang showed the band refining its rhythmic attack. Building on that past, Sammath went for guitar technicality and a more death metal approach to riffs on Triumph in Hatred but ended up losing the tendency to create an expansive spatial feel with complementary but radically different melodies in the death metal style, which uses riff to define context and then alters context for a type of continually evolving surprise ending.

Godless Arrogance features nearly constant high-intensity rhythmic riffing and finally has a production to match which emphasizes internal harmony but projects vocals and guitars to the forefront, creating an enveloping wall of sound. Drumming is violent martial battery without the happy kickbeat tendencies of overly rock-trained drummer; percussion here is more like punk, hard-driving intensity to channel the guitars, which alternate between abrupt chromatic confrontation in the Demoncy style to gentle unfolding melodies much like were found on Strijd. Bass folds into the guitar, and vocals are the high-volume bluster that reduces distorted vocals to a sound like a whisper spoken close to a microphone in high wind. The result is incessant and unrelenting but also has an inner life of melody that gives it depth and allows it to manipulate riff context like a death metal band while evoking ambient atmosphere in the best tradition of black metal.

“Godless Arrogance” will be released February 3, 2014 on Hammerheart Records.

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Matt Olivo from Repulsion directs Henchman: The Al Leong Story (2014)

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You probably remember Al Leong even if you never knew his name. He has acted in dozens of films as a bad guy supporting other bad guys. Hence the name of the documentary Henchman: The Al Leong Story directed by Repulsion guitarist Matt Olivo, which will see release in 2014.

Olivo has continued his musical career in parallel to his cinematic one. Interviewing dozens of media moguls and high-profile talent such as John Carpenter, Olivo assembled the documentary out of reminiscences and interviews. These enabled him to portray the career and life of legendary Hollywood stunt performer, actor and martial artist Al Leong, famous for his work in Die Hard and dozens of other violent entertaining films.

To help Olivo continue his overtime career (once you’ve been in Repulsion, you’ve wona t life) go to the Henchman: The Al Leong Story Facebook page and make sure to “like” the page, and then spread the word of the film to friends, family, bystanders and any movie industry executives you happen to know.

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Matt Olivo and John Carpenter.

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Matt Olivo and Repulsion back in the 1980s.

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How to “sing” death metal — an interview with Lane Taylor, vocal coach

lane_taylorEvery death metal listener has at some point heard some variation on the statement that death metal bands are untalented, and that instead of mellifluous singing, there’s some guy “just standing there screaming” (that’s from my Mom, about 25 years ago).

Despite three decades of these vocals, they remain vastly misunderstood. Leaving aside for a moment the question of their purpose and effect, there’s also the technical question of how they are produced. And how does this compare to regular “sing-a-long” vocals?

When heavy metal vocal coach Lane Taylor reached out to us here at Death Metal Underground, we asked him if he could resolve this issue. Is screaming singing? Is it a technique, with a right way and wrong way?

And most of all, what’s the right way? Here’s our interview with Lane.

You’re a vocal instructor for metal bands. How did you find this path in life?

Heavy music was my first true love. I was hooked the moment I brought home Metallica’s Black Album at the age of 10. As the years progressed and new styles of metal developed I decided to join a couple local bands to try my hand at composing the music I love. I enjoyed minor success in the local music scene and actually came pretty close to getting signed around 2007. As life would have it things didn’t work out with the band so I decided to get into teaching. There are a million guitar teachers out there so I decide to be different and study the art of screaming heavy metal vocal styles. I had already taken plenty of singing lessons at this point but could never find someone who taught screaming! For years I read every book and watched every instructional tutorial I could find on the subject and then later developed my own approach. The lesson feedback from my early students was great and so I decided to make a go of becoming a heavy metal vocal instructor!

Are death metal vocals a form of “singing”?

Technically no. When you sing you are singing musical notes in the keys of A,B,C,D,E,F or G. Musical notes fit together like a language to form musical scales. Screaming is a bit different in that you scream at a pitch instead of singing musical notes. When you scream it is done at a low, middle or high pitch.

Many people would say that metal vocals don’t offer much to the technicalist. Do you have some favorite examples that prove that talking point wrong?

Perhaps screaming is not that technical in a musical note sense but that is because it is a different beast! Metal music as a whole in my opinion is the most technical music there is! Many of today’s metal vocalists sing AND scream in their music which is very tough to do while still maintaining a clean powerful singing voice. Finding the right balance of singing and screaming when performing is technical in its self. Of course it is just my opinion but I believe Randy Blythe of Lamb of God is a pretty technical screamer. The man can do a lot with his voice! He has a lot of awesome vocal tones and really can mix it up with his screams.

Do you instruct people in death metal vocals? What methods do you teach?

Many of my students are into death metal bands like Cannibal Corpse and Bolt Thrower to name a couple. One of my first students even had a tattoo of the band Deicide – now that is a loyal fan! Since guttural low screams are a signature element in most death metal bands I will start the student out with a focus on the lows. After taking the student through several breathing and vocal warm up exercises we get into the meat of the screaming exercises which include “The Medicine Ball Toss”, “The Barbarian Hey!”, “Dog Barks and Growls” and “The Karate Voice Throw”. More information on these techniques is available at Scream Like A Rockstar!

Can you describe, in technical terms, how death metal vocals are produced?

In your throat you have the true vocal cords which are very thin pieces of tissue that allow you to speak and sing. These vocal cords block the escaping air that is pushed up from your diaphragm muscle and this creates a tension on the vocal cords. As the air pressure escapes through these cords they vibrate and produce speech or singing. There are thicker more durable pieces of tissue attached to the vocal cords and these are known as the false cords. These false cords are what a screamer relies on to produce a scream. When these cords come together with the right tension and air pressure it basically turns your throat and mouth into an echo chamber and your scream is produced. The false cords are very necessary in heavy metal vocals because they take much of the strain of the true vocal cords. Without the false cords the true vocal cords would be damaged very easily by screaming.

What are the benefits to a metal vocalist of receiving instruction? Are there ergonomic and health benefits as well as performative ones?

For the beginner screaming lessons are a must! If you are new to screaming and practicing with poor technique it is important to correct it so you don’t injure yourself. Just as it takes time to build muscle at the gym the same is true with building up strong vocal cords that can handle this type of extreme music. For a seasoned veteran screamer a good instructor can provide great ways to warm up which will help ward off vocal injuries and will also help to increase vocal stamina when performing. In my program I also provide vitamins and supplements you can take if you get sick on tour or need to bring down vocal inflammation.

How do people avail themselves of your services, and do you work remotely?

I am based out of the North Bay area here in California but for those who aren’t local I also have an instructional DVD at my website Scream Like A Rockstar. The DVD took 3 years to make and contains lots of goodies to help metal musicians reach their rock star dreams! At the website I also run a blog with some good free tips to help novice screamers. Thank you very much to the staff at Death Metal Underground for allowing me the opportunity for this interview!

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Glorious Times tshirts available with art by Kam Lee

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Kam Lee, former vocalist of Mantas/Massacre and former editor of Comatose Zine, has contributed art for the official Glorious Times tshirts printed for fans of the book and the time period. The shirts are white print on black and feature the Glorious Times stencil logo and art on the front.

We have covered Glorious Times in the past, but for the newcomer, it is a book of retrospectives by people who were active in the death metal underground from 1984 to 1991, which were the formative years of the genre and its earliest internal differentiation. Featuring many rare photos and perspectives, Glorious Times helped kick off the current retrospective view of the old school death metal scene that has brought many bands out of hiding and seen many classic recordings and publications re-issued.

For a sample of Glorious Times, download the Nuclear Death profile and read our update on version 2.0 of the book as well as our original article calling attention to the great work that Alan Moses and Brian Pattison are doing with Glorious Times and their help for the underground metal scene. Then consider buying a tshirt to support!

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The Black Moriah – Casket Prospects

the_black_moriah-casket_prospectsAn ex-Absu member in this band means that comparisons to Absu will be inevitable. However, Absu is basically a death metal band (Barathrum V.I.T.R.I.O.L.) who morphed into a Mercyful Fate-styled heavy metal band with black metal vocals and technical death metal drumming and vocals. The Black Moriah evokes the best of that style by bringing us a more Americanized version of the underlying speed metal that Mercyful Fate made famous (Don’t Break the Oath being its classic) with modern black metal vocals and straightforward death metald drumming.

What is great about The Black Moriah is that these songs preserve what has always separated heavy metal from the rest, which is its ability to tie riffs together and then reduce them to an entirely new statement through a concluding riff. Most of the riffs that form the body of each song are umptempo tremolo-strummed shorter riffs etching out brief melodies suspended in chromatic fills, but these set up each song for concluding material that transforms similar melodies and creates a radical shift in context. The result brings out what death metal did best, which was like H.P. Lovecraft stories evoke new worlds out of the mundane.

Casket Prospects shows us the basis of this band’s vision and where it can improve. Its unfortunate choice of name will lead most people to think The Black Moriah is a metalcore act; further, its similarity to Absu will be appreciated by many but also puts The Black Moriah in a difficult competitive position as an underdog. Also, what The Black Moriah is trying to do is in general a hard sell, since the speed/heavy metal audience has differentiated out into power metal which has driven the death metal audience further apart. However their style evolves, this band have shown a strength in songwriting that will take them far if they can get the aesthetic elements in line.

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