Re-release of Sacramentum classic

December 27, 2012 –

Far Away from the Sun

Century Media Records have given us some truly enjoyable metal gems throughout the years (and some really awful ones), but if ever we doubted their good intentions (haha), a look at this Amazon.de page tells us the Sacramentum classic Far Away from the Sun will be re-released next year on the 25th of January by said label.

Described in our DMU review as “a lucid but emotive tribute to the rebellious humanness of soul”, Sacramentum’s début album seems consistently hailed as a favourite among underground metal fans.

Best of Sweden

December 20, 2012 –

Quorthon of Bathory with Swedish flagAccording to Blabbermouth, the editors of Sweden Rock Magazine have named the 100 greatest Swedish Hard rock and Metal bands of all time, with Candlemass, Entombed and Europe topping the list.

Candlemass and Entombed were both highly influential (I actually even liked Clandestine for its goofy humour), but SRM’s list inevitably provokes a (short) DMU list.

In no specific order, I consider the following as a Top 6:

Bathory – The passionate Satanic hardcore punk band, blasting its way through the Heavens with Wagnerian leitmotifs. Totally worthy of its legendary status.

At the Gates — Mix the depressing avenues of Gothenburg with these fellows’ beautiful minds and you get the ultra-melodic, twisted art showcased on Gardens of Grief and The Red in the Sky is Ours.

Dismember — Their first album (and their demos) may have been their only worthy contribution (all right, Pieces is definitely not bad), but it takes them a long way. Like an axe-wielding ballet dancer, its impact is relentless yet sensual.

Therion — At first listen, Beyond Sanctorum may sounds like a random rock album, but pretty soon you’ll realize you’ve stumbled upon one of Metal music’s most magical releases, with riff upon riff flowing like an endless stream of imagination.

Unleashed — Described as “an exercise in the rhythms and textures of the battlefield in musical form” this anti-psychological, windswept creation might very well be the soundtrack of any ancient Norse saga (and, yes, we’re talking about the first two albums).

Carbonized — An almost forgotten side project. Their first two albums and their early demos are excellent. While For the Security paints a nightmarish world of  the Swedish welfare state (or so I assume), Disharmonization flies into space forging its own interesting world. Like some Hamlet, it may seem insane on the surface.

Anti-Christ Mass XIV

December 16, 2012 –

HOD liveFor the past 13 years, Adversary Productions have held an annual showcase of their extreme metal productions in Houston, Texas — Anti-Christ Mass. On December 22, 2012, the fourteenth instalment will feature the following bands:

Perdition Temple (Tampa, FL) – first time in Texas
Blasphemic Cruelty (Tampa, FL)
Funeral Rites (Houston, TX)
Hod (San Antonio, TX)
Blaspherian (Houston, TX)
Demonical Genuflection (Houston, TX)
Burial Shroud (San Antonio, TX)
Legion (Houston, TX)

Hell is unleashed from 6:00 p.m. until 2:00 a.m. in CST.

Location:
Walters [map]
1120 Naylor St.
Houston, TX 77002

Sponsored by:

The Adversary
Ossuary Industries
Ikon Customs

New Carcass album in early 2013

December 9, 2012 –

After 17 years of silence, English grindcore pioneers Carcass are to release a new studio album early next year. According to an interview earlier this month, original members Jeff Walker and Bill Steer are at it again together with new drummer Daniel Wilding.

Carcass made metal history with their debut album Reek of Putrefaction (1988) and their masterpiece Symphonies of Sickness (1989) and hopes are of course that the band will revive some of the spirit from those days. On a more pessimistic note, the band’s last offering was Swansong

Walker himself says the new album “sounds almost like the missing link between the third and [fourth] albums but with some groove in there”. The attitude seems about right anyhow:

We’ve done this recording firstly for ourselves—there’s no label backing even as you read this—in fact me and Bill have spent a small fortune out of our pocket to see this through—it’s more of an artistic/personal statement than anything.

Chthe’ilist

December 7, 2012 –

Fan of Finnish Old School?

Québécois band Chthe’ilist (pronounced “K-tee-list”) play an exciting mixture of death/doom metal influences, where the music is kept crawling among maggots by a healthy dose of Demilich, but is tastefully highlighted by Chthe’ilist’s own twisted inventions.

This is their full demo (also available as a free download from the label), Amechth’ntaas’m’rriachth (I won’t even try to pronounce that):

A Legend Out of Control

December 4, 2012 –
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Bathory’s relation to the band’s fanbase is an infected story of contradictory interests concerning very human desires for truth and meaning. Oftentimes fans and creator pulled in opposite directions, fighting over whether to leave the Bathory mask on or reveal Bathory’s inner workings.

Debuting in 1984, Bathory’s cult status was rapidly acknowledged in the musical underground. But during a long time a certain air of mystery surrounded the band. It seemed beyond time, beyond space, and even out of national context (to a Swedish person this Stockholm wonder didn’t seem as typically Swedish as many of the later Death Metal bands). In general, main man Quorthon kept to himself, few pictures of the band existed, and there were hardly any live gigs at all, in particular once the music got closer to Wagner than to Motörhead. Bathory took one heavy metal tradition to extremes: it created a mythos out of nothing more than a few cover images and an interview or two. This obscure and ambiguous myth bound people together. They wanted to live out this vision as they found it more appealing than their world. When the fanbase went looking for answers, and found little else but songs of evil, darkness, destruction and conspiracies with Satan, imaginations ran wild and filled in the gaps with what they wanted to see, not what they saw.

People have a desire for continuity in an individual’s past. In this case, that desire was expressed among metal fans by trying to explain Bathory’s music through references to a heavy influence from a band which prior to Bathory was seen as the most extreme: Venom. In several interviews Quorthon himself has denied any Venom influence, but in many biographies the memory of early Bathory as a Venom clone is nevertheless quite persistent. (According to Quorthon, his main influences were Black Sabbath, Motörhead, The Exploited, and GBH, and later on Wagner, Beethoven, and Haydn among others.)

The will to interpret Bathory’s music as a logical continuation of Venom, and accordingly seek out a sense of “eternity” in the genre which these two bands (among others) officially created in the earliest of times, is hardly surprising. A consistent pattern which suggests some sort of intention is simply more attractive than a chaotic mess of a genesis produced by two groups entirely unknown to each other.

It is, however, easy to recognize among the authors of reviews of early Bathory albums an aspiration towards and an acknowledgement of a distinct identity of the band and its founder. Regarding Bathory’s self-titled debut album and its follow-up, a mantra is repeated: these records are the starting point for a whole genre and Quorthon is its first hero. This is, so to speak, the creation myth associated with Bathory.

Repetition of this myth is presumably what makes it go beyond historicity and is what makes it timeless. It’s a way for a metal fan to not only “create” Bathory, but also be a part of the phenomenon. Even repeated listens to Blood Fire Death is a repetition of a mythical Now, which gives us a sort of “vertical anchoring.” If myth is a celebration of life, a summary of the Past in the Now, then this is certainly what Bathory is to the band’s followers.

Quorthon himself seems to have had an enormous respect for the mythical power of Bathory. Referring to his fanbase as “The Bathory Hordes”, he tried to reach out to it in order to receive answers on how to deal with this beast:

[…] send me a letter of what you think, what you would want us to do in the future […] Remember, it is you the fans out there on whom we depend on. […] Stay united and may the northstar shine on you all, keep metal at heart!!

This kind of democratization most likely rendered him unable to control the myth of the band. As Quorthon “grew out” of Satanism, and myths surrounding his persona still insisted on his being a demonic devil worshipper, he wanted to set the record straight. And this is where things get interesting.

In 1996, Bathory released Blood On Ice, a retro album with liner notes containing a lengthy exposition on the band’s early history. Presumably, Quorthon had wished to update his biography and rid it of the misconceptions that according to him were abundant in the metal world, but it was probably also a way to pay tribute to the legend by contributing to it with a few “behind the scenes” stories.

This, however, proved to be a serious miscalculation of what the fans wanted. The unmasking threatened the consistent cultural memory of Bathory. And reactions weren’t long in coming: fans spoke of sacrilege and treachery in the many letters that were sent to Quorthon as a direct reaction to the liner notes. The memory of Bathory was now to a great extent a social concern and no longer only the creation of one man. Quorthon writes:

I realized then more than ever before that BATHORY was surrounded by the same sort of stuff only legends are made from. The element of mystery and suspense was still very important to a lot of die-hard BATHORY fans. [The truth] didn’t suit the image that a lot people had of BATHORY or myself.

Quorthon died in June 2004, but shortly before his death he founded an official Bathory website in which he denies the old image of himself as someone who eats children, drinks blood, and lives in a cage, an image that apparently still needed to be denied. Quorthon tells of an interview many years after he abandoned his satanic image: despite the time that had passed, he was still expected to pose for a photo session with pentagrams, skulls and cobweb.

Ironically, many fans have as of recently noted that Quorthon himself tampered with the truth quite deliberately. The iconic Bathory goat – which has become a sort of identity marker among fans – is, according to Quorthon, a collage created out of bits and pieces “from several horror comic magazines”. In fact, the goat is taken from a finished illustration in a book on witches from 1981. It wasn’t until 2007 that the originator, Joseph A. Smith, got to know that his drawings had been used as subject matter for tattoos and the like all around the world for decades. It also turns out that the lyrics and title to Bathory’s “For All Those Who Died” is more or less stolen from a feminist poem by Erica Jong.

The legacy of Bathory will nevertheless die hard. Quorthon created a legend so powerful neither he nor its fans could control it, an art that hovers above independently of its creator and its receivers. Yet we shouldn’t forget the core quality of its longevity: Quorthon’s compositions. These are what will always create very much alive “elements of mystery and suspense” in the mind of the listener. That’s where the magic happens. Hence the art of Bathory is stronger than both the fans’ myth-making and Quorthon’s myth-busting.

Going through Bathory’s albums again, experiencing the passionate evil melody of “The Return of the Darkness and Evil” or the haunting existential angst of “Twilight of the Gods,” they contain the same everlasting power they ever did and is what makes Bathory eternal. The mask is put back on. Continuity reappears and everything returns.

If Metal was a Painting

November 30, 2012 –

Les_Demoiselles_d'AvignonThe other day I looked up Picasso’s Les Demoiselles d’Avignon. I had seen it before a couple of times and heard it was important. It’s basically some chicks from a brothel with bodies deformed by Pablo’s furious brushstrokes, eyes staring at you uncomfortably and somewhat comically. A painting central to the evolution of Cubism, apparently. The point is that this is where visual art collapsed. The year was 1907; the nightmarish figures of modern art had already been around for decades, but now all traditional assumptions had to be annihilated, paving the way for all modern things to come – for all things post-modern as well. In hindsight, it’s simply the putrefaction of dying tradition doing its job. And we understand you, Pablo; you, the genius, had to show us what this meant, you had to show us the horrors of having no perspective at all. (How do we even start looking at a woman with two and a half arms?) Comedy aside, make no mistake: Les Demoiselles d’Avignon is sheer terror. As such, it suffices, it does what it should – it works. Those disconnected shapes told of all modern art to come, avoiding conformity to the most extreme degree.

But as with all such experiments, it fails to tell a story. It’s easy to point fingers at modern art because of its apparent ugliness, but its real weakness is that it’s a simple cry in the dark. Yes, the modern world leaves quite a few existential challenges for man to take on, but making your art as pointless as you perceive the world will make us all end up in a downward spiral. If you have something to tell the rest of us, then wrap it up properly and share the experience. You can’t do that with a “perspectiveless” experiment. But that is, unfortunately, how modern and much of contemporary art has interpreted the world.

(Now, I’m no expert when it comes to modern art and I have no problem saying that all modern art is not crap. But when you’ve come to understand its overall idea, you don’t have to be an expert to dismiss it. As with jazz, the very idea behind modern art is “faulty”, which is why the probability of finding beauty among the rubbish is very modest.)

Heavy metal music chose a different path. Black Sabbath knew the world was not all beer and skittles when they recorded their first album, but they weren’t crybabies either. They didn’t, like Picasso, make an experiment based on how we have nothing to base things on. Instead, they told a mysterious and intriguing tale of what the world had become. Following in their footsteps, bands like Slayer, Deicide and Emperor put all this ugliness in musical narratives which in themselves were paradoxically beautiful. Not as direct mirrors of our world and society, but as stories with a glimmer of excitement.

This is how metal music rediscovered tradition, a tradition of storytellers who have supported our souls through the ages, from Homer to Bach to Rembrandt to old men by a fire in a small hut in a murky forest. Metal was chaotic, especially at a glance, but underneath it all was a spirit that believed in life. This way metal music created a resonant mythos for people in the postmodern era.

But finding tradition seems a happy coincidence in this case, or, more likely, something which metal music realized only through sheer necessity. Deliberately reinventing tradition in art isn’t always a good idea. It has been tried before, and in my experience the results are actually worse than a cry in the dark. If we go back to the visual modern arts and look across the spectrum from Picasso’s wild experiments to the opposite side, we find (among others) the Academics, like William-Adolphe Bouguereau. This is from the wow-I-can-definitely-see-what-it-depicts-but-it’s-boring-me-to-tears school of art. It has no urgency. Great art is almost by necessity always inspired by personal experience in the world and time we live in. Trying to remove yourself from it will turn the art into stories about virtually nothing. And that’s what we see in Bouguereau. An artist trained in the old school, with all the craft of tradition but none of the spirit gained from experience. That experience doesn’t need to be one of terror, but giving an artwork weight demands an ability to pick up what is going on around you and inside you. And we are not talking socio-political particularities here, but an existential understanding. What does it mean to be human during this time and this place?

One may find it hard to believe that the musicians of the most extreme bands in existence ever thought about this, and perhaps many of them never did. But somehow their instincts have sniffed in the air the feelings of the time, remolded it in their heads and had their guitars resound of what it tells – even if they motivate it by, “Listen to this sound, man, it’s awesome!” The artist is told something about the world, and tells it back to us. Bouguereau in comparison sure makes fancy wallpaper, but it’s anything but awesome – it’s lifeless.

Metal music, then, builds anew in accordance with a tradition that the Academics only very superficially mimicked. It also sees much of the same things Picasso saw, but while he screamed with pathetic terror, metal screams with delight.

Bolt Thrower to attend Maryland Deathfest

November 27, 2012 –

Bolt Thrower liveEnglish battle poets Bolt Thrower will, according to their homepage, be playing at the Maryland Deathfest on May 23rd, Chaos in Tejas Festival in Austin a week later and Tuska Open Air Festival (Finland) on June 28th. At Deathfest they’ll be joined by Antaeus and Carcass among others.

Bolt Thrower made deathy grindcore during the late 80s and early 90s probably culminating in the epic …For Victory (1994).

Summoning album in the works

November 20, 2012 –

The latest offering by Austrian Tolkien-inspired black metal band Summoning was Oath Bound from 2006, an album that “re-explore[d] the medieval and naturalistic nature of black metal” and delivered “a new chapter of full-bore dark exploration that dominates almost anything from the last ten years of this genre.”

What of the new album? The Summoning homepage reports that the guitars will be recorded this November and that Napalm Records “will put a one minute trailer to advertise the new CD on [their] homepage, that hopefully will happen around december.” According to earlier news the album will probably be released during the first quarter of 2013.

In the meantime, our forum members have expressed a few requests concerning the future release, including varying the melodies and song structures within songs, cutting down on the drums and using instruments that are “less fruity”.