When Profanatica could not finish their unreleased album, the genius and creator of the band Paul Ledney took time away from the noise of other musicians to fully realize his vision in composing a short album that took the best of his influences from all over the underground into creating something that would show the world the extent of the musical genius that this man possessed and that he was much more than an alumnus of a few great bands. In this final piece in the Craft of Metal series, we look at one album that managed to open new branches for what was to remain of the underground as the Death metal movement had just began to explode with bands getting signed by big labels all over the place and leaving the most repulsive bands to grow far from the spotlight.35 Comments
Inverloch are an Australian death/doom four piece mostly known for being composed of half of the members of Disembowelment and for being considered their rightful heir. With projects like these there is a fine line between upholding the heritage of a previous project and reiterating past works in hope of achieving former glory. Inverloch straddle that thin line but also manage to find influence in much more recent branches of death metal and the funeral doom subgenre and overall create an enjoyable piece of work that may push the listener towards the greater releases in the genre, especially Transcendence into the Peripheral.7 Comments
By the time Despise The Sun was released, Suffocation were on top of the death metal world and had at this point already influenced the rising slam and brutal death metal styles that would inundate and signal the downfall of the whole genre as the technicality and the percussive nature of the music would be the focal point rather than the incredible songwriting present. This short EP would prove to be the band’s final charge as they would soon break up only to reform a few years later, but without Doug Cerrito the band drifted off into mediocrity and tired attempts at pleasing the deathcore crowd. (more…)18 Comments
Here at Death Metal Underground, we wish to congratulate D.A.R.G for what happens to be the greatest reign in the history of this site and his relentless approach to consistently creating some of the greatest content on metal to appear on any publication while maintaining the helm of the website and continuously seeking to outdo himself.28 Comments
Sabbat are a cult Japanese band known for primarily for being Japanese and playing a heavily Venom influenced style of Heavy metal that sometimes crosses over to real black metal though rarely and for the briefest of periods. This record is actually more known for the exotic origins of its creators rather than the actual quality presented here. Replacing the seriousness of other similar bands with a certain rock and roll cheese and tongue in cheek lyrics that ultimately pull this band behind the rest.
Sabbat have a terrible habit of wearing their influences on their sleeves with far too much pride. “Satan Bless you” has a main motif particular similar to Venom’s “Black Metal” and all of the speed metal parts can be attributed to the English Sabbat. “Evil Nation” is so reminiscent of Iron Maiden’s “2 minutes to midnight” that you can easily sing the verse parts on top of it and there would be almost no difference as the chord progression, rhythm and techniques are practically identical. Carcassvoice steals the first two passages of Mayhem’s “Deathcrush” and only slightly changes the rhythm and added to this package is a hilarious imitation of Maniac’s high pitch rasp. Though these are the most obvious acts of plagiarism, the entirety of the album is drenched in déja-vu and this refrains the album from reaching the same level as their Norwegian and Brazilian peers.
Arrangements tend to be in the classic pop style except for some brilliant moments of over the top soloing and the inclusion of speed metal breakdowns. Though some tracks experiment with the stop and start mechanics from Motorhead’s Overkill (1979) but ultimately fail as the individual parts function in solitude but do not combine as a whole and we are treated to separate songs encapsulated within a single track. There is nothing to be found of the narrative Death and Black metal structures here as this album is firmly rooted in Heavy metal.
The note selection stays within the usual combination of the natural minor scale and the minor pentatonic except when the band allows themselves forays into fully developed black metal territory as seen on track “King of Hell” which has a long droning sequence with a lot of chromaticism that contrasts most of this record but then on closer inspection this feels more like a reject on Bathory’s The Return (1985). The drums hint towards more developed black metal at times as they play a martial techno beat here and there without fills but this record is exceedingly behind what was going during that time period. The best part of the entire record are the solos and how are they given the kind of space and freedom suited for the more commercial strands of metal. The solos first and foremost obey the whims of the accompanying riffs and seek to amplify what they convey with the use of a large repertoire taking from the most famous relevant shredders. The compositions do have their charm in how they use the energetic approach of their heroes to create uplifting and fun music but ultimately play on shock rock tropes like main influence Venom.
The best composition here is the instrumental “Dead March” which takes a simple Judas Priest like motif and advances it forward with perfect control of mood as the motif twists and turns and the interactions between it and the second guitar that either harmonizes in conventional thirds or plays some contrapuntal melodies. The song conveys perfectly a march of the dead and escapes the pop structure through the reuse of certain passages and a complete lack of chorus. A fantastic bridge between the Heavy metal of the past and the Black metal of the future as it takes those elements and applies it in ways that the Norwegian bands would then apply on darker melodies.
Envenom shows a band going through multiple periods as this album was released seven years after the band initially formed and shows this progression from NWOBHM worship to Mayhem’s Deathcrush unfortunately this record shows the timeline of the genre but fails to do anything with it nor add a unique twist to it. Envenom remains a fun record but lacks any transcendent quality that separates it from some of the more forward-thinking acts in the genre and probably because there seems to be not a single ounce of influence from what was going in the Death metal or a willful ignorance to the innovations brought over. An easy listening album to bring over neophytes but for the experienced listener this is enjoyable for a few listens with a beer or two but has nothing else to offer.3 Comments
Capharnaum were a short-lived “tech-death” band hailing from Connecticut but then after the release moved to Florida in the dying of the Floridian movement in an attempt to gain recognition for what is a technical Death metal album that genuinely has musical quality beyond mere feats of virtuosity. Influences range from bands like Monstrosity, Death and Iron Maiden with various Jazz techniques inserted. Though this formula has led to an infinitely long list of terrible tech Death bands, Capharnaum avoid these shortcomings by implementing these techniques within a genuine Death metal context and a true passion for genre not halted by technical acumen.
Abominations of Desolation (1986) appeared during the fertile years of death metal as the first full-length release from Morbid Angel but was relegated to demo status during the period when the band became more well known. All the songs except “Demon Seed” were re-recorded on later releases.
The true first Morbid Angel album reveals the genetic material that the band would then expand for the next three releases during what would be their musical prime. It shows the band at their peak from a compositional point of view owing in part to the combination of Azagthoth’s and Browning’s genuine belief in the Necronomicon and the focus on making their music the soundtrack to their beliefs.
The incredibly diverse riffcraft shows the band absorbing influences principally from Hellhamer, Angel Witch, Slayer and Mercyful Fate. Unlike their influences, the band plays fully developed death metal with long tremolo picked passages, single picked notes, fast alternate picked open strings playing against moving power chord progressions, even playing with other diatonic chords from time to time and combining the whole in a varied amount of ways depending on the needs of the songs. Notably absent is the influence of speed metal which would appear on the more streamlined Altars of Madness (1989). None of the bounce nor the rhythmic interplay of their contemporaries is in evidence here; the band does not accentuate the offbeats nor do they use the choppy syncopation of their more well-known peers.
From the heavy metal that was so influential to this record Morbid Angel brought the device of guitar solos, not as an ornament or an embellishment, but as a central piece within the composition that works closely with the rhythm guitars playing underneath. Here is a band with a limited number of technical tools derived from previous bands but combined in a large variety of ways that sets the standard for all of death metal and allows the band to create much more powerful melodies that can be interconnected in maze like arrangements.
Contrary to popular belief Morbid Angel never attempted to create atonal music as they obviously do enjoy smashing one note or power chord and then making the whole sequence invert the relationship formerly established. However, on a much subtler note Trey Azagthoth does have the ability to play with tonality in the most twisted of ways. Take for example “Chapel of Ghouls” and how the low chugging has a particular power to it and never sounds like the chugging between riffs from any speed metal derived band. That is because the chugging note is not the actual root note of the song but what is referred to as the subtonic. This is the last note in the natural minor scale and demonstrates a lack of desire to lead into the root note of the scale. Rather than a rhythmic embellishment, we are treated to an integral note in the many motifs of “Chapel of Ghouls” and how the band managed to truly convey power and occultist ideology through simple yet effective musical choices.
Chromaticism at this point in time had already been a widespread technique but Morbid Angel decided to apply their own twist on it. Rather than create fully chromatic passages the songs are derived from the minor scale and its variations but with added streams of three or four chromatic bursts. This really did obscure the tonality of certain passages, and gave birth to the myth that Morbid Angel played atonal music to make the band seem much more intellectual where in reality the young band did even better than that: they adapted tonality for their own style and to this day very few bands have been able to emulate these techniques efficiently.
The arrangements here push the riff as being above all else. Multiple melodies form these songs that flow in such a fluid manner that this would inspire the Norwegian scene in their compositional choices. The melodies vary in tempo and in note selection yet the transitions never sound forced as the band will lengthen the note duration when speeding up and shorten the note duration when slowing down. This allows for these motifs to mutate without being held back by rhythm. The influence of Mozart is subtle but is ever present in the way the band designs the arrangement of each song. At first each song has a primary melody that either begins the composition or is introduced by a motif of minor importance. A development then occurs either through a new riff that either takes the previous motif and transforms it or through an entirely new riff accompanied with a tempo change to push the tension even further along. Eventually the music arrives at an apex where all the tension is released before it concludes on the main motif that has now become a revelation.
Let us look at “Angel of Disease,” which has a simple heavy metal motif in D# minor without any chromatic notes. It is then warped to a slower riff that is barely in D# minor but has been deformed entirely by surrounding chromatic notes and this continues the momentum of the main motif as the cycle repeats one more time before branching out into a palm muted stream of single notes working in opposition with the secondary motif leading us to the grand climax of the song. The solos Azagthoth performs obey the underlying riffs and, through a combination of insane melodies that are at times atonal whole tone jumps or some very unique arpeggios like the diminished seventh which is an endless stream of minor thirds, create some very unique sounds. The solos through their madness show a strong logic where they reinforce the arrangements either by providing the climax or by creating even more tension upon the chromatic segments.
Abominations of Desolation takes the underground metal that evolving at the same time and use it to make the first truly mature death metal record. Surprisingly the heavy metal of the past is still very present in this band though it remains a device for the creation of the more consonant motifs, yet one can only wonder what the avenue explored by the only song to not appear on future records “Demon Seed.” The extravagant heavy metal didn’t seem to be in accordance with the band’s future works but what we have here is a Judas Priest style composition that plays with its dual identity, and it would take a few years before the European bands would develop this style further.
Where the influence of future country singer David Vincent would push Morbid Angel to explore grindcore and speed metal whilst taking influence from this album, Mike Browning was able to channel the band toward creating a powerful piece of art that is still to this day not fully understood and that neither musician has been able to recreate. There are far too many elements in this album to effectively analyze in such small an article as this is, but it reveals the power held by the common beliefs of two above average individuals, as well as reveals the magic that happened in that incredibly short period time only to disappear back to the depths of hell.12 Comments
In this age of musical saturation, noteworthy releases slip through the cracks as mediocrity bombards the average Death metal listener who prefers to remain within the well-defined boundaries of the classics of the genre. Some bands distinguish themselves the horde and create compelling works that while not classics are sincere and well-crafted pieces of music that deserve attention and that merit multiple listens. Very rarely do we see works of art crafted within this genre that can be compared on equal footing to the greats of the past in creating their own unique voice. Here at Death Metal Underground we have entered Sammath and Serpent Ascending into that category. Today we open the gates for Ectovoid and their release Dark Abstraction (2015).
After the initial explosion of Death metal, metal had finally made the breach into untapped territory. Gone were the tropes of previous influences and the race to reach new summits of musical expression had begun. On the sidelines the speed metal bands saw themselves pushed into irrelevance; hardcore had now evolved into Grindcore and heavy metal heroes had now degenerated into more commercial sounds in order to expand their fanbase in a world that had left them behind. The European power metal bands found escape in Tolkienesque fantasy and escapism. In America, the USPM movement was not interested in the more flowery interpretation of European power metal. Some of these artists recognized the power of the early Death metal moved by Slayer and sought to integrate it into their own music for greater effect. Here we shall omit the failures of bands that attempted such experiments like Satan’s Host or Iron Cross.
Bethlehem are a German band that was formed with the intention of adding sorrow, melancholy and madness into extreme metal. Their first opus “Dark Metal” used a mixture of black metal, slower primitive death metal and the melancholic rock inspired British sound that bands like My Dying Bride were developing. (more…)12 Comments