Sadistic Metal Reviews 01-12-15

January 12, 2015 –

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A few speak the truth, but most lie, not because they mean badly but because they think it helps them “get ahead.” Later do they learn that unearned merit simply means they are trapped in a world of having to uphold false images and it destroys their souls. To avoid this, we just cut the chaff from the wheat with pure linguistic and musical cruelty. Welcome to the latest installment of Sadistic Metal Reviews: come for the tears, stay for the (occasional) corn in the turd.

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Rippikoulu – Musta Seremonia

Musta Seremonia is clearly B-level death metal that imitates many of those that went before it in the 1989-1991 period. It is excessively primitive, like Grave or Obscurity. Much of it tries to be doom metal, which is — with a few notable exceptions — boring music for boring people. Expect cudgel-primitive low-end power chords rumbling against each other and moveable melodic patterns which create an atmosphere of forward motion and near-symmetry. Like the best of the doom-death slice of the death metal genre, including Asphyx, Miasma, early Atrocity and Funerus, this band creates a grinding atmosphere but refuses to make it wholly repetitive, creating the sense of a plane flying through a ruined city to observe new interactions each time like disconnected visions of a mad prophet. The point is to lower you into the darkness and not let you up, which is excellent as an experience but like many bands in the doom genre, probably not an everyday experience. Unlike its contemporaries, Rippikoulu understand how to put contrast into a song and yet keep it focused on a goal of expression, even if in utter primitivism this goal is so basic as to be very similar from song to song… If this band falls down, it is the intersection of the disadvantages above that brings it down: the B-level death metal with citations in rhythm or melody from Amorphis, Incantation and Deicide; the repetition and relative similarity of approach; and the extremely basic nature of these riffs which, as in Swedish bands like Uncanny and Suffer, can create a sense of pervasive doom bordering on total entropy instead of preparing us for reconquest of the wasteland in the name of terror. And yet, Musta Seremonia lives on with infectious rhythms and a distinctive presence to itself which distinguishes it from others who have traveled this lonely path. It is less rhythmically recursive than Grave, and songs hold together better than Obscurity, and it does not fall into the reheated speed metal patterns which doom Insanity and Num Skull. It simply thunders, aiming to be primitive and basic in the same way Belial or Agonized. While this will not hold a candle to the best of Finland, like Demigod Slumber of Sullen Eyes or even Amorphis The Karelian Isthmus, it stands above the other retrospective acts for at least having a sense of purpose.

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Deconstructing Sequence – Access Code

Tragically progressive and technical metal have become gigwise, or in other words are composed for an existing audience on the basis of what they have liked in the past, instead of forging their own path to attract an audience on the musical merits of the composition. Deconstructing Sequence launch into this arena with a highly informed, creative and periodically musically elegant entry which bears a second look. The surface adornment will unfortunately drive away many die-hard fans and simultaneously attract the type of greebos who were drawn to Opeth because it made them look musically profound among the fedora m’lady crowd of NEETs and hipsters. Much of the surface aesthetic involves voice overs about space landings, lead guitars that cleverly emulate the beeps and quirks of digital computers, and jazz fusion-inspired riffing that mates the ultra-texturalism of Meshuggah with the harmonic depth that bands like Dream Theatre and Gorguts used to establish contrast for their melodic themes. A mixture of Pestilence from its technical years with Dream Theatre and Meshuggah might accurately describe the sound, but the composition here hearkens back to simpler — think Rush or Camel-level — interpretations of mid-1970s classic progressive rock, although this is sometimes hard to find under the layers of postmodern configuration. Underneath all the layers, much of the riffing here as in Meshuggah is the same early 1980s speed metal where guitar serves a purely rhythmic role with a secondary melodic role, as harmony is impossible, thus adopting the chromatic fills that death metal later turned into phrase; a comparison between Meshuggah and Linkin Park is appropriate because they both have their origins in blending this essentially keyless, harmonically-moveable style with jazz fusion and rap/rock respectively. If I have any advice for this band, it is to lose everything but the music. We’ll understand the space exploration theme from the cover and the Hal 9000 guitar noises. Then it might make sense to worry less about writing the heavier riffs and to focus instead on why people will like you, which is your harmonically-rich composition in which melodies stand out in context and are not used as a production quirk-cum-purpose as they are in most “melodic death metal” bands. Access Code compares favorably to works from Sadist and other progressive death metal bands even if its heart shares dual loyalties in the 1990s and 1970s.

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Sacrocurse – Unholier Master

If you want to make metal strong, be hard on metal, especially of the type you like best. Otherwise, in the absence of quality control, that which is mediocre and predictable but familiar gets promoted and any musician who wants his or her work to be heard will avoid that genre like the plague. This is the problem with the NWN/FMP attitude toward classic metal, which is to find an aesthetic imitator that is “true” by being extreme and unrelenting and uphold it as an ideal. These bands are neither satisfying with the same musical punch as the individuals had, nor do they present a quality level markedly different from the newer metalcore hybrids, and thus they maintain a small but diehard audience while driving everyone else toward the newer material. In this way, the “underground” labels maintain a symbiotic relationship with the big media pap labels dumping warmed over hardcore with jazz fusion fixins onto a clueless audience. Unholier Master on its surface fits the underground with charging power chord riffs and extreme death metal vocals under high-speed drumming. The problem is that every riff on this album is excruciatingly obvious and repetitive, song development is near zero, and the main focus has thus become the vocals chanting repetitive but semi-catchy choruses. This reduces death metal to the same level of entropy that speed metal hit toward the end of the 1980s when tons of bands appeared who composed with almost exclusively chromatic rhythm music and hoped to distinguish themselves with vocals and increasingly random guitar solos. This album is an insult to the underground; throw it out and embrace natural selection instead, or you weaken death metal with your good intentions.

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Monuments – The Amanuensis

Excruciating: soaring Gospel-like power metal suddenly breaks into some dude… rapping… in a death metal vocal. The album proceeds in this pattern, with simplified (but less chromatic) Meshuggah style riffing banging out hard rock tunes and then, as if nu-metal went underground, the rap-influenced death vocals kick in. The whole thing seems designed to distract at any given moment which is probably palliative care for the listener who presumably could not be dissuaded from putting the album on and, short of a power failure, will not be immediately delivered from it. Not only is the heavy metal part of this music as cheesy as humanly possible, the brocore rap/metalcore side of it is as insulting to the intelligence as possible. If you are a person of no intelligence who likes stupid things because they make it seem like the world is compatible with your utter lack of positive mental attributes, purchase this immediately and get the tshirt too so we can spot you at a distance, adjust for windage and elevation, and do what is necessary. An experienced listener hearing this is immediately embarrassed for the band, and those who listen, and those who accidentally must hear this album, which would confirm every negative stereotype of metal (maybe it is a counter-astroturfing effort by vegan techno bands). It combines everything stupid in rock, rap, metal and inspirational music into a single ball of string which drips a fermented slime of human oblivion over all that it touches. While normally I oppose censorship, this album makes me re-think censorship on a level of excluding bands of poor musical quality, since all this album does is create a heap of landfill that even bacteria will find insults their intelligence.

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Infra – Initiation on the Ordeals of Lower Vibration

From the tryhard realm of the underground comes love for a new type of band that combines the simplistic Blasphemy/Incantation clone with “high art” and produces music that seems stately, deep and profound. Somehow all of these bands explore spiritual philosophies or ancient religious texts and invent large mythos for themselves. This parallels the tendency of nu-metalcore acts to write about whatever literature they remember from high school, or spiritualist topics of peace and love like Cynic did, which is a way for metal bands to improve their image through pretense. The problem with this approach is that it leads to a flood of metaphysical bullshit which is ill-advised for bands to mention. This band from Portugal, and that fact seems important from the bio, makes this new hybrid low/high-brow grinding black metal. Where Blasphemy channeled the id, this music may be too self-conscious, but is nonetheless well-executed but from these two tracks create a lukewarm effect because song-form and “purpose” rather than content dictate what occurs in each song. Thus we have songs about songs, a kind of theory about black metal, and they never come to a point. Further, they like to stack primitive riffs up against melodic ones, which creates a kind of “precious” response which is every bit as contrived as numu bands switching from distortion and shouting on the verses to acoustic and singing on the choruses. On Initiation on the Ordeals of Lower Vibrations, the black metal moments express themselves and fade into the background as we wait for Profound Moments… but these come not from this kind of preciousness, but in the form of melodic/atmospheric material that exemplifies the best of the old school, both simple and evocative of events in life.

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Bleed – Seven Billion Demons

What is it that is so appalling about judging a band by its style? It is OK with some forms, clearly, since no one ever said “Well, you shouldn’t write that band off just because they’re disco.” But in metal we shy away from it, ignoring the fact that some styles are designed to reduce music to what attracts like moths to flame the most basic, blockheaded and purposeless human tendencies. Brocore is one such genre, and while Bleed is clearly above-the-fold brocore, it is still brocore: the ranting speed metal of Pantera, updated with the chromatic riff texture noodling of Meshuggah, but simplified to fit around hard rock chord progressions in the background, against which all the riffery serves as simply decoration. Thus when you peer down into the core of this album you find something closer to Look What the Cat Dragged In or Hysteria than Meshuggah or Pantera, just done up in a new (or should I say… “nu”) aesthetic for a new generation of the credulous and inexperienced who will spend their parents’ money on dreck that will keep the slacker jobs program known as the music industry operating for another year. No offense intended slackers, and none taken; as a proud slacker I defend the right of everyone to slack off as appropriate, but wish the music industry would admit this fact and stop wasting time with clear filler. Nothing on Seven Billion Demons is badly executed and in fact the album as a whole is quite professional, just empty, like a streetcar at night or an entry-level job. Thus if you have a soul — and you might if you’ve kept reading this far, not sure — you should probably avoid this. But if you’re looking for Brocore 2.0 and something to chant along with as you drink beer and (no homo) wrestle with your buddies at a keg party on the beach, Seven Billion Demons may be for you. Kegstand!

Sadistic Metal Reviews 01-06-14

January 6, 2015 –

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The music fan possesses limited resources to achieve the goal of an enjoyable listening experience: time, money and energy. Reviewers tend to write about how cool everything is, but they should be writing about how mediocre most albums are so they can focus on the few that can be enjoyed for the next few years at least. It is hard to be cruel, but it is kinder than kindness. With that I introduce our latest round of Sadistic Metal Reviews

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Villainy – Villainy I

This enjoyable little romp reminds the death metal listener of later Sentenced crossed with the Venom-worship of Nifelheim and other bands who, in the old school days, were simply referred to as Venom tributes. Heavy metal genre riffing, combining the best tropes of the late 1970s and early 1980s, meets a harsh Cronos-styled vocal and updated technique. Nothing sloppy here; the band are tight and the arrangements show no spurious detail. However, despite the somewhat harsh vocals, like Venom this is NWOBHM and 1970s heavy metal revivalism without any particular relevance beyond that era. It skips speed metal textures for a death/black metal styled fast strum and continuous drumming as if taking notes from Merciless, and injects melody, but mostly stays within verse-chorus with introductory and transitional riffs different. The riff forms will be familiar to fans of heavy metal from that era. Lead guitar strikes a pentatonic blitz that is both enjoyable and very much within form. Unlike Merciless however this album focuses on writing hard rocking tunes and does not develop an evolving mood or atmosphere beneath.

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Tenebrous – Arias Toward the Black Sun

Underground metal needs a new trope for a certain type of composition which appears frequently among our ranks. I dub this “80s situational comedy” after the movies where a character makes a bad decision, then to hide it chooses another bad option, then deceives and conceals in a string of events leading to absurdity and eventual plot collapse. Sitcom metal occurs when a band finds a riff they like and write other riffs to fit that riff without having an awareness of what the riff communicates emotionally to the listener, thus what the song is actually about, and so you end up with a cool riff and reactions to that riff which are designed to put it into context but ultimately have the opposite effect. Tenebrous fits this pattern through its work in a style that combines a whole lot of Graveland with some of the more aggressive strains of black metal. They have mastered the basic flowing riff, but not building a song around it, only building a song commenting on it. This is underscored by the cover of “Unpunished Herd” which ends the album and makes the rest of it look incoherent in contrast.

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Pagan Flames – Symbol de Vie et Lumiere

This atmospheric black metal band combines Burzum-styled lead folk melodies over sweeping guitar riffs. Its strength is its melodic composition; its weaknesses are its vocals, which focus on rhythms that are too obvious and thus trite, and its tendency to try to work slamming full-stop and bounce rhythms into what should be a more continuous architecture. Barring those two disadvantages, Symbol de Vie et Lumiere presents black metal that unlike most recent efforts tries for the ancient, melancholic and epic warlike sound that made this genre popular before idiots invaded with thinly-disguised rock music to keep the mouth-breathers occupied. Many of these songs verge on being folk music itself and like the Darkthrone sidepoject Storm, feature trudging rhythms over which pagan lyrics are chanted to volkisch-reminiscent melodies. The fractured aesthetic presented by the overly busy vocals and tendency toward self-interruption with choppier rhythms narrowly keeps this album from being top tier but it distinguishes itself on its essence — attempting to write actual music through melody — from the formless legions of tryhards, shoegazers and hard rockers trying to use black metal as a vehicle for their own failed prior attempts at other genres.

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Skrømt – Sjelebrann

Not since Disharmonic Orchestra Not to be Undimensional Conscious has a hybrid of this variety yet which retained its ability to express itself been cast among the metal minions. Skrømt combine alternative metal, post-metal, rough punk and older black metal influences (Ancient, Enslaved) into a form which keeps the catchy songwriting of indie rock bands but fleshes it out with a rich backdrop of shifting harmonic texture and, like metal, combines multiple riffs into chains to create a moveable part of a narrative. For the most part, songs stick to verse-chorus as augmented by background material and sometimes with a second instrumental chorus to expand upon the first loop. Like alternative metal, songs guide themselves through the vocals and the presentation of lyrics in a combination of shouted, sung and harsh vocals. Where this goes wrong is that rock and metal do not mix on an aesthetic and thus artistic level, and so the end result is rock gilded with metal riffs which are quickly absorbed, and some of the best work of this album exists in the shadow of the alternative rock tropes that it stands far superior to. This is unfortunate as clearly many good ideas and musical insights went into this album. Most inspiring in this release is the technical work applied to making the various riffs and styles fit together. It is rare for a band to understand how to connect different emotions together without following a blatant formula, but Skrømt stitches together multiple moods and styles into a coherent whole on a musical level, even if making it work on an aesthetic level seems difficult.

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Church of the Dead – Vol. 4 – Meet Me in the Tomb

The term “cultural appropriation” seems trendy these days but few realize what it means. Blatant theft of the cultural methods of another group is too easily detected, so people appropriate those cultural methods by translating them into a form that most will not recognize. In this case, while Church of the Dead clearly uses death metal riffs and death metal vocals, its vocal rhythms are influenced by rap and its riff rhythms are closer to Motown than standard issue death metal. Thus while this disc shows some musical promise, it remains a confused aberration that wants to be in one genre but keeps itself in another, losing the spirit and atmosphere of that genre. Each piece tends to feature both Cannibal Corpse style trope cadence rhythm vocals and sing-song jingle-style vocals, making these hard to listen to without a wincing cringe, but also internalizes groove to the point where riffs take a basis in Morbid Angel and Malevolent Creation and become closer to Pantera. As a result, despite the many positives for this album, the overall negative is that its overall presentation is bouncy, poppy, and very much “rock” and not metal in form.

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Deep Wound – Deep Wound EP

At some level all hardcore punk approximates the same thing because the genre solidified certain tropes and combined with the mathematical limitations on complexity, these defined the variety of punk songs. Deep Wound creates songs that sound either like Black Flag without the dissonance, or early Corrosion of Conformity without so many pauses. The vocals strikes a jaunty and sarcastic pause when they are not in full blur mode. As far as thrash goes, this is closer to the punk side like the first DRI LP, and its riffs are less metal than hardcore in minor key, but it beats the recent “crossover thrash” rebranding that verges too much on speed metal territory and becomes either tame or inanely jingle-y as a result. The hardcore spirit lives faithfully in this music but because of the vast similarity of hardcore, it also does not stand out in any particular way — riffs are not radically different, nor song forms, nor even vocals — so qualifies as a fun listen but not as definitive as the albums from DRI, Cryptic Slaughter and COC that defined thrash as a genre. However, this stands head and shoulders above the “party thrash” of recent years and by coming at the genre from the hardcore side, brings in an energetic simplicity that metal riffs make too complex to self-sustain.

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Nidsang – Into the World of Dissolving Flames

  • Basic black metal combined with Angelcorpse-style aggression, but leaning on the latter for songwriting. As a result, not much atmosphere but plentiful aggression. Melodic riffing adds some depth but consistent song form and intensity rob this album of much enduring power.

Aborted – The Necrotic Manifesto

  • Aborted took their high-intensity low-complexity grind and gave it the modern metal (a/k/a deathcore) treatment which made it more chaotic. The more elements you add, the more internal complexity (melody, structure, theme) you must have or you reduce your core complexity to nothing, which is what happens here. Catchy chorus + two grinding riffs + hard rock influences.

Abysmal Dawn – Obsolescence

  • Workable death metal with heavy metal influences in abundant lead soloing, melodic riffing and catchy choruses. Very paint-by-numbers however with not much of an intent to put anything into a song but energy and internal cohesion. Good riffs give it strength but do not make it compelling; modern-metal-style chanted choruses ahead of the riff also increase frustration.

Cemetery Fog – Towards the Gates

  • This attempt at Paradise Lost-styled doom metal is both well-composed and artistically relevant, but highly cheesy from the use of melodies that directly gratify pop instincts to the occasional female vocals which aesthetically create the type of cheese that Motley Crue could only dream of. Songs are well-written and express a unique form and content for each, even though they drone on through a series of heavy metal riffs slowed down and are united by a melodic lead shadowed by vocals. While not bad, this makes the album as a whole somewhat sentimental in the sort of obvious Thomas Kinkade calendar way that drives away people like me, but it would be remiss to not notice the quality of songwriting here.

Abigor – Leytmotif Lucifer

  • Black metal needs to stay black metal. Abigor try to work in late Gorgoroth through early Deathspell Omega influences and it makes their already spotty music more spotty. Some good melodies, no continuity, too much style.

Aevangelist – Writhes in the Murk

  • Imagine Teitanblood with melodic riffing and slowed down to fast mid-paced death metal. The one cool effect here is the use of abrupt transitions to create a theatrical effect, but the lack of underlying riff and song consistency makes even this seem hollow.

Bethlehem – Hexakosioihexekontahexaphobia

  • Most will notice the creeping Rammstein influence: clean vocals, more dance-able beats, more pronounced use of German lyrics. However, a good deal of this sounds like recent Absurd as well with more of a folk influence creeping in and while the rhythms are more popular music friendly, they are far from industrial, and what appears instead more resembles NWOBHM with more groove than the quasi-modernist sound of Rammstein. Otherwise, the riff wizardry remains but is muted, with more emphasis on vocals and repetitive choruses, but generally these songs fit together well musically and develop an internal melodic sense that produces a multifacted atmosphere.

Agatus – Dawn of Martyrdom (re-issue)

  • Sort of like a cross between Legion of Doom and old Rotting Christ, Agatus uses the full punk style of even strumming speed creating droning riffs. These are pleasurable in themselves, and fit together well in songs, but they are both too obvious as melodies/phrases and too similar as rhythm riffs to make this work. In addition, many of the melodic choices here are simply rudimentary crossing into bad. This could have been an epic album if a more critical eye had been applied during composition.

Acheron – Kultes des Hasses

  • The challenge to Acheron has always been to overcome their cadenced rhythm that comes to a full stop in perfect symmetry, sounding a bit like a child’s song. On this latest album they work up the usual assortment of great riffs in bad rhythm and occasional disorganized order.

Baphometh – In the Beginning

  • Essentially speed metal with plenty of repetition, catchy choruses and circular song structure, this band nonetheless adopts death metal vocals. However, it is better for fans of B-rated Metallica and Exodus clones than anything newer. While none of this is incompetent, songs have no center around any kind of conflict, so the general mode is repetition and circularity.

Authorize – The Source of Dominion

  • Thudding, predictable, circular and confused, Authorize are Swedish death metal in the style of Suffer but with none of what holds songs together or makes them anything but basic guitar practice. Lead guitars totally incongruous, other elements equally out of place. Should have stayed unreleased.

Aurora Borealis – Worldshaper

  • The melodic death metal band works Absu-style jaunty vocals into the mix, but they take over composition too much. Riffs follow the vocal lead which dominants rhythm and creates a kind of circus atmosphere with the MC describing each act and then the trained bears of the riffs, clowns of the background vocals and highwire dancers of guitars take over. Sounds a lot like Warfather but more melody.

Sadistic Metal Reviews 10-18-14

October 18, 2014 –

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What are Sadistic Metal Reviews? As you lie on your deathbed and look over life, you will divide everything you know into things you will miss and things you have forgotten already. Some metal is worth remembering, but the vast majority is just background noise. We hail the former and smite the latter, salting their wounds with our sardonic laughter…

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Internal Bleeding – Imperium

After Suffocation got big in the mid-90s as the next big direction for death metal, lots of bands took the Cannibal Corpse hint and started imitating the easier parts of the Suffocation percussive death metal approach. Unfortunately, doing so creates music that is dumber than malformed concrete, and Internal Bleeding quickly distinguished itself as the death metal version of Pantera: brocore for bros who like to you know drink beer and punch their heads into walls. Checking in with them 19 years later, it seems little has changed. These songs are hook-laden and not fully random, but the hook relies on the most basic of rhythms and their expectation, sort of like watching a chihuahua chase its tail. The band tries to compensate for their basic and unexciting music with really active vocals and occasional melodic touches on guitar, but nothing changes the fact that these songs are based around extremely basic patterns designed to numb and erode the mind. The famous breakdowns are back and serve to break up some of the constant muted-strum chugging and ranting vocals that shadow the rhythm of the guitar riff, but even if they dropped occasional symphonic parts into this Internal Bleeding could not hide the fact that most of this music is designed to destroy brain cells or appeal to those who have already voluntarily obliterated their own minds.

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Oppression – Sociopathie & Gloire

This band will be overlooked by many because the production on this album makes it hard to hear anything but bass, vocals and metals (cymbals and high-hat). However, what lies beneath the obscurity is a quality melodic punk album that verges on Oi and shows us what emo could have been in the hands of quality songwriters; you could compare this to the Descendents and the Misfits because this band write quality vocal melodies over melodically hookish riffs and rhythms, producing a sense of familiarity and yet a sense of weight like that of history or topics that pop up in every life no matter what age. Vocals alternate between a black metal-ish rasp and sung punk vocals, with the latter being more convincing. As with Misfits, the composition of these vocal melodies defines the song, combining old world melodic intensity with a casual punk sense that favors the simple and almost childlike. Touches of metal technique accentuate the harmonic space created by these rather open melodies, but generally, what you hear is punk that sounds as much like Blitz or Reagan Youth as something more recent. The result brings together the best of punk in its attempts to combine its energy with depth, and provides for a good listen, if the listener is able to hear past the abysmal production.

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Steve Hackett – Genesis Revisited: Live at Royal Albert Hall

Among the 1970s progressive rock bands, Genesis is frequently mentioned but often forgotten. It seems to me that the reason is that its vocalist, not its guitar-keyboard duo, dominated the composition and thus it drifted closer to the regular-rock tinged Pink Floyd style of “light” progressive rock, without getting as populist and compact as Pink Floyd or Rush did. However, it would be a mistake to overlook the first few Genesis albums which were ambitious although steeped in a self-righteousness which seems more pretentious than the usual self-indulgent musically masturbatory egoism of progressive rock. On this live recording, Genesis guitarist Steve Hackett revisits the older Genesis material with the benefit of an extensive solo career and an entirely different band. The result makes Genesis sound more pastoral, with greater emphasis on vocals and mood in the style of later-1970s big radio rock bands, but also brings out some of the more aggressive guitar that got buried under keyboards and vocals on the originals. Vocalist Nad Sylvan manages a more soulful and less starchily self-referential voice than the original, and all accompanying musicians are excellent including a cast of highly talented players who, while not fully noticed by name in the mainstream, have demonstrated their abilities in complement to larger acts in the past. While all of this shines, the fundamental problem with Genesis remains the “oil on water” feel when it switches between something that sounds like Queen and a sort of extended figurative structured jam. While highly musical, Genesis often seems atopical and thus lost between its rock drama and its progressive underpinnings, and in many ways, having Hackett reinforce the role of guitar both reduces this gap and highlights what is left. For Genesis fans who wondered what this band might have been like with a different internal balance of power, these re-envisioned tracks will provide hours of exploration.

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Wolf – Devil Seed

This album takes the speed and intensity of a speed metal album, adds in Accept-style power metal vocals, but underneath the skin is something more like a hybrid between the first albums from Motley Crue and Queensryche. The result is… well, there’s no nice way to say this, but: annoying. Highly skilled and highly repetitive, vocally demonstrative and vocally over-dramatic, catchy and infectious and yet cloying, it hammers out the earworm qualities of glam metal at the pace of speed metal with the production and sound of power metal. If this is your first album from this style, it might be interesting to own, but probably difficult to listen to on a regular basis because of the similarity of the tracks and the consistently high levels of sentiment and bounding energy. The 1980s varied moods of glam metal have been replaced with the aesthetics of techno or punk, and it just keeps going and eventually even drowns itself out. Musically, nothing here ventures outside of the camp of what has worked before and become established, although a few adept variations give greater power to the framework. As with most metal/rock hybrids, what brings it down is the need for vocals to lead which crowds out other instruments, in turn squeezing the space available for song development. While the vocals are impressive, when they become too predominant like this they lose some of their power; Halford or Dickinson (or Di’Anno) would have been more selective in the use of their full-bore intensity and emotional depth.

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Vardan – Enjoy of Deep Sadness

This band combines “suicidal black metal” with the shoegaze/emo/indie variant that specialized in certain minor key chord progressions turning upward at the end of each phrase to convey a sense of misplaced “hope,” much in the way early 1990s emo-punk bands did. The result is merely a new aesthetic slapped on top of very ancient and pointless music, since the “mixed emotions” sensation has been popular in rock music since the 1960s and produces the type of emotions one might want in the background of a movie about losing your favorite race car, but apply not at all to any life with depth, where the emotions are more than mixed but intertwined in some way more than a balance of sadness/joy that seems like it came off a greeting card. This isn’t bad in execution; it’s soulless in intent. While the former is forgivable, the latter renders this music irrelevant to anyone who is here to live for the purpose of living, because to such a person confused self-pity and weepy “hope” is completely non-applicable. In the same way it is entirely possible to listen to this entire EP, nod once, and then read a book on database administration and be more thoroughly moved by its depth and emotion than anything Vardan will ever record.

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Savn – Savn

Anyone else remember The Gathering? They had a female vocalist, a quite good one name Anneke something-impossible-in-Dutch, and she was not only adorable but also could sing. But that’s the distraction. The question of whether a metal band can have a female vocalist is never asked when the female vocalist goes the route of Doro or another high performer. It’s when the presence of a female vocalist changes the sound of the band that people start wanting to talk about that instead of the music. And Savn cleverly starts out with very black metal sounds, then the keyboards kick in, and then very pretty female vocals intrude. Excellent production. There’s even a harmonica, for the sake of Zuul. The whole nine yards. But if you stop hearing the distortion for a moment, you realize you’re hearing standard folk rock that has been 100% consistent from the 1960s through the present day. It fits the female vocal and range but even more, it fits the needs of people in boutique shops that sell crystals to feel vaguely empowered, slightly sad and yet charged with some kind of great Meaning that has lifted up their insignificant lives of watching television and answering phones at work to the focal point of some vast collision between human emotions that form the basis of the cosmos itself. You can imagine Jewel belting out this album, or Linda Rondstadt, or even Taylor Swift. Savn would do better to just run Doris Day vocals over old Burzum albums. I do not contest the assertion that they are talented, good players, imaginative, and that the production here is amazing. I just question what it has to convey. The answer is feeling good while you shop and pretend that the universe is not a cold empty place, and that somehow your emotions derived from pop music are totally relevant and might even determine the future. On an emotional and artistic level, this release is poisonous; on any other level, it is simply a product that doubtless will sell many crystals, possibly cube cars and haircuts too.

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Provocator – Antikristus

Joining on the primitive black metal thread which bands like Von thrust to the forefront, Provocator crafts simple sawing black metal based on extremely rudimentary chord progressions that are nonetheless not pure chromatic, giving it a more accessible base of tones to expand upon. Like Acheron or Ungod, these riffs rely on building momentum and then redirecting it with quick rotational motion, but the repetition of this technique wears thin. Extensive demonic vocals crowd over the top but instead of giving this depth, simply distract from both the underlying guitar and the effect of the vocals to the point where it sounds like trying to listen to a portable radio in a busy train station. Nothing on this is terrible or misplaced, but it also provides no particularly compelling content and no reason to revive this style as a result. While it plays, the comfortingly familiar Sarcofago-style drone and chaos at the right BPM will make most black metal fans accept it without a further thought, but the real question with any release is whether you will seek it out again. In this case, nothing is offered that cannot be found elsewhere in a less repetitive form. Although this is no reason to choose an album, the blasphemous song titles and Blasphemy-style prison escape vocals add to some enjoyment but cannot compensate for the fact that this is like listening to a throttle test on a ’78 Camaro.

Soulburn unleashes “Under the Rise of a Red Moon” from upcoming The Suffocating Darkness

October 13, 2014 –

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Dutch underground metal band Soulburn — formed from the ashes of Asphyx and related acts — carries on in a new direction with new track “Under the Rise of a Red Moon” released in advance of forthcoming November release The Suffocating Darkness.

This track shows more of a black metal vibe and trope to this band, eschewing the percussive feel (and left-hand-mute sheeting distortion guitar technique) of Asphyx in favor of a dark atmosphere with melodic continuations driving the song, which was the style of black metal that exhibited the last gasp of an underground through bands like Deathspell Omega and Inquisition. However, the band cites first-generation proto-underground bands like Celtic Frost and Bathory as well as NWOBHM band Venom as inspiration, although Soulburn exhibits technique from later black metal.

Soulburn features Asphyx anchor and drum talent Bob Bagchus but also Eric Daniels, who wrote some of the more interesting guitar on early works up through the self-titled album, although by that point he had exited the band. Added to the list are Remco Kreft on guitar, who played with Daniels in Grand Supreme Blood Court, and Twan van Geel on bass. Notably missing is Wannes Gubbels of Pentacle who may be responsible for the melodic direction that Death… The Brutal Way took which was missing from the more mechanistic Deathhammer. However, Daniels and Gubbels serve similar roles in creating the melodic understructure of songs.

Billing themselves as “blackened death metal,” Soulburn clearly seek to distinguish their music from the choppy explosive death metal that Asphyx and related acts like Hail of Bullets are currently producing. “Under the Rise of a Red Moon” features a dark and lush ambiance with song structure mutations in unexpected places, leading to a sense of destabilization and ambiguity. This contrasts the style of Asphyx, which increasingly sounds like a reduction of the world into discrete and concrete statements, and embraces a future of dystopia and confusion.

Drummer Bob Bagchus, who left Asphyx at some point after they started to sound like Hail of Bullets, leaves us with this summary: “This track shows well what Soulburn is all about: cold, dark and grim blackened doom/death metal. ‘Under the Rise of a Red Moon’ is furious and contains all the elements we love the most about metal. This song also shows that one does not need many riffs to create a grim atmosphere…this is a mid-paced assault with a pure and heavy 80s feel, just how we wanted it!”

Sadistic Metal Reviews 10-13-14

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What are Sadistic Metal Reviews? The first metal album that you really connect with should be a magic experience, one that transforms your life. But a large group of people want you to apply that same feeling to their album so they can take your money, but their music is mediocre. SMR is the dividing line between the greatness and the forgettable, and we exult in the tears of the latter, for they are the sweetest of wines…

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Solace of Requiem – Casting Ruin

A new epidemic trend grips metal, following war metal, which is the tendency to Angelcorpse — yes, that’s being used as a verb — a mixture of metal influences and tie the mess together with loud vocals. Fast guitars and overactive drums work for Angelcorpse, who clearly came along in the Fallen Christ vein of blasting streamlined death metal, but metal bands now are using that style like a tortilla to dump everything else into, wrap up the ends and make a metal burrito. While some bands that make burrito metal are able to keep interest, the problem with this style and the carnival music high contrast (read: randomness) aesthetic of bands like Behemoth that rose in parallel is that by turning the volume up to 11 for everything, it creates a constant flow of essentially invariant sound that possesses no dynamic and no real progression. It is thus easier to write; songs require no real internal contrast, and songwriters can stack bits of whatever they have on hand and stitch it up with some technicality. I find Solace of Requiem to be unlistenable for this reason. It is a barrage of noise that, if someone were to take any part of it and break it out into parts divided by its internal tension and then make a song of it, might work. But the whole burrito does not. The Solace of Requiem burrito includes more lead guitar and melody and some NYDM style technicality and sweeps borrowed from metalcore, but that does not differentiate its essential approach from all the other Behemoth/Angelcorpse hybrids. Like Taco Bell, it goes down quickly, is easily forgotten and leaves an unpleasant odor lingering in its wake.

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Wombbath – Internal Caustic Torments

This is one of those bands that makes plodding rhythms catchy to the point that a listener will fall into the groove and not mind, but also will not seek it out repeatedly because of the sheer repetition without much of a direction. These riffs came straight out of hard rock, got detuned and had some quick fills added, but remain as predictable as listening to AC/DC covers at the local karaoke bar. The result is that Wombbath batters your brain until it gives up, then pours a layer of relatively obvious material over it, including songs that complete an arc but without any real doubt or tension in the middle, such that like the riffs, the structure of the songs themselves is duplicative and numbing. Nothing is done poorly and this band clearly shows mastery of the old school style, but what it lacks is a reason for a listener who is aware of the best of old school death metal to embrace this. Internal Caustic Torments expresses in many ways the worst of old school death metal and the tendency that caused the genre to collapse on itself, which was nailing the style and then using it to hammer out repetition like propaganda. This album could be improved overnight by introducing actual tension between the first and second riffs, then seeing where that leads and using it to reorganize these songs, because many of the raw elements are there.

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Pilgrim – II: Void Worship

Stoner doom metal happened when 1970s jam music swallowed up doom metal and remains basically stuck in the 1970s, Slacker, That 70s Show, etc. mentality. In other words, it aims to dig out wonder in the smallest of things, much as stoners can find a universe in their toenails. In this case, it is not the “doom” aspect that is problematic, but the fact that this music seems designed to find the fascinating and earth-shattering in simple chord progressions that remind us of Foreigner and Journey releases but without the strong sense of harmony. Instead, it’s every stoner’s dream: just start plodding along, then jam over that until some sort of magic emerges. When you think about it, that is what the Grateful Dead did for decades, blarting out never-ending tuneless solos that incorporated every technique in the book but to no end, because there was no point, only a desire to keep the jam going for as long as possible so the audience and band could take more drugs, be more groovy, pose more in front of the flower-painted school bus and other activities for people who have voids in their souls and no purpose to their lives. Pilgrim are more musically adept than most bands which cross this desk, but they take it nowhere. Songs jam, build up, trail off. Solos and fills drop in competently but express nothing. The album has a big concept somewhere if you read the theory about it that they include with all releases nowadays — I never do — but it is not expressed in the music. Much like a recent failed indie-metal album about whales, the putative topic is not the subject matter, but a cover story for playing the same crap. Really, just go get the first Def Leppard album because it does everything that happens here but with a purpose. A vapid purpose, but no purpose is more vapid than no purpose itself. Flee.

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Midnight – No Mercy for Mayhem

Warmed over NWOBHM with American glam metal glitz under a glaze of alt-death bands like Nifelheim or Gehennah. Remember when that stuff came out? It was 1998 and black metal had officially shot its wad, following death metal the dubious status of having a fully developed form but having expressed all of its relevant content three years or more prior. Thus bands thought, “Well, we have this new technology in the death metal and black metal styles, why not mix them and use them to encode the same old crap that bands were talking about in the 1970s?” You know, the safe stuff: alcohol, sex, partying and pissing off your parents. No one in a modern liberal democracy will argue with you for such an assertion of individualism and defiance of The Establishment. Thus it’s about as challenging and volatile as tap water, as controversial as feeding pigeons in a park, and the perfect product because it takes almost zero effort to make a few catchy hard rock songs with heavier vocals and more intense drums. Anyone can do it! Those were the words they used in the dying years of punk, also, which meant that anyone and everyone did do it, which ensured that the music became boring because it wasn’t about anything. Midnight isn’t about anything either. Its members are fixated only on being in a band and making some tunes that people like. That’s sort of like a chef deciding that he wants to make Big Macs instead of Filet Mignon because “people like it.” Like a Big Mac, No Mercy For Mayhem is soft and uniform in consistency and slightly sweet with a tangy sauce of rebellious high school rock. But it resembles an average of every burger ever made with the never-fail treatment of adding fat, salt and sugar, thus there is no growth, learning or evolution in it. It is simply an object, a product. And like all soulless things, it can only occupy your time, not enhance it, which means you stagnate, and you know what they say about stagnation.

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Cemetery Lust – Orgies of Abomination

I suppose this is intended to sound like Autopsy, but it more sounds like the bad SOD and DRI clones of the late 1980s: really simple sing-song two-point riffs driven by the vocals to keep the rhythmic hook alive because that is basically all the song does. Rhythms are very similar to old DRI, COC and SOD as well. Lots of downpicking. Nothing is poorly done and yet this style, like all rap music, is just too simple to express much of anything especially with these entirely standard song structures. Each song consists of two related riffs, a vocal hook, and support from other instruments. The result is not exciting unless people playing stuff faster than normal excites you. Lots of tropes from middle-1980s speed metal and early death metal, but the songs never really get any momentum going and sound about thirty years old, out of date and without personality. Some things belong in the past and should be buried next to all the bands who didn’t make it because they sounded like watered-down versions of their influences. This band can join them.

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Rippikoulu – Ulvaja

Funeral doom metal with death metal touches in the vein of Skepticism, Rippikoulu on this release create a convincing atmosphere that relies too much on texture of vocals and instrumentation but nonetheless is convincing. These songs begin with simple riffs and expand both depth and tonality, moving from minor-key intervals to more open intervals much like Ancient used to on its longer tracks, creating a sense of a moving target on a lengthy journey. Use of piano, strings and female vocals both soften the abrasive distortion and force more spacious dynamics, allowing other themes more room to move. While these songs clearly focus on atmosphere, the more important idea here is the change of moods like seasons, which gives them a grace and makes the distorted guitar seem actually jarring by way of contrast. Although this release is an EP and thus short, the mood created by this musical approach could be, like Summoning Nightshade Forests, the basis for a short escape from reality that reveals more about existence than direct confrontation ever could.

Nunslaughter – Angelic Dread

October 10, 2014 –

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This band have been around for over 400 years and have made the same album over 75 times, but each time it is good for a simple reason: this band know what they are aiming for and carefully edit their songs to make sure all parts fit together into a smooth musical experience. While it is tempting to categorize Nunslaughter as death metal, they are in fact speed metal, as most of these riffs come straight from the late-1980s fully-developed speed metal that incorporated advances by Slayer, Exodus, Anthrax and others into the Metallica standard.

Although Nunslaughter first came to the US on the Mayflower many years before Metallica existed, it is believed that Nunslaughter developed this style on its own and may have in fact invented it before the band was formed during the final days of the Roman Empire. While some may be tempted to categorize Nunslaughter as dinosaurs, the fact remains that this band takes the raw ingredients of power metal, speed metal and most death metal and makes a stripped-down, hardcore-punk style ripping version of this that remains highly listenable even if not particularly distinguishable on a song-to-song basis. Like other collections of many short songs, such as Dead Infection or Carcass, Angelic Dread operates like many small insights into roughly the same idea.

When paleontologists recently unearthed a complete Archaeopteryx fossil, they found early Nunslaughter recordings beneath it. Somehow, what this band creates never gets old, in part because they understand their riffs as a language from the same basic source, and in part because like a thrash band their song format carefully fits the particular clash of the two riffs (with a few budget transitions, and sometimes rhythmic variations, Nunslaughter uses two riffs per song on average) and the need of presenting them in the best light. The result is compelling and enjoyable and upholds the best tradition of riffcraft and expressive violence in underground music.

Sadistic Metal Reviews 10-08-14

October 8, 2014 –

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What are Sadistic Metal Reviews? When fans, writers, radio presenters and musicians get fed up with the exhausting flood of imitators and demand that music have a purpose, because only music that has content can express something of beauty or horror about reality and thus be relevant to our lives, because unlike the herd that seeks escape, we seek a means of understanding and glorifying life. Death to the imitators, drowning in a sea of angsty tears.

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Edge of Paradise – Immortal Waltz

This jaunty take on a cross between burlesque music and hard rock with symphonic overtones seems designed to showcase the talents of vocalist Margarita, who layers her vocals in waves that create, along with the carnival horror show keyboards, a sense of being in some oddity of a dream. But this band really invites comparison to bands like Genitorturers and Marilyn Manson more than heavy metal; these songs are vehicles for the vocals and are designed to create a sensation of spectatorship more than have the music itself inundate the mind. Aesthetically, this will strike underground fans as cheesy; while not terrible musically, it also derives much of its compositional direction from riffing off known archetypes of the type of music it cites. That and the way songs are entirely driven by vocals places this outside the range of most expecting riff-based music, and the simplicity of its delivery ensures that it will sound like children’s music to most death metal fans. If this is symphonic metal, it is clearly not for me, but if you like the Marilyn Manson style spectacle and ironic deconstruction of cultural tokens, it might appeal.

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Krieg – Transient

Krieg started as purely chaotic improvisational black metal, then organized itself into a ripping war metal variety, and finally detoured into indie/shoegaze. With Transient, the band returns to roots with a primitive type of death metal fused with a heavy amount of punk and garnished with varieties of its previous influences. The shoegaze influence is still here as are some classic black metal riffs but they are suspended in a gelatinous mass of punkish simple death metal riffs which keep an energetic uptempo charge. While it sculpts atmosphere with agreeable verve, most of modern Krieg consists of transitions into moods and then riding of those moods, which interrupts the frenetic energy this band once conveyed while simultaneously not building up to its transitions with enough groundwork to give them power beyond their own attributes. Black metal works its atmospheric magic by manipulating context and showing a progression between events like a battle scene, but this new style is more like visiting different rooms in a spooky hotel. That being said, Krieg is stronger in riff-writing and understanding of the dimensions of harmony and how to navigate them with a riff than other American black metal bands, and also beats the hell out of Sonic Youth.

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English Dogs – The Thing With Two Heads

This punk band uses a lot of metal riffs and rhythms in that it likes to interrupt continuity with abrupt internal collisions in its music, and uses the muted strum in a style spanning the spectrum from speed metal to Meshuggah. Unfortunately, it also mates this with a rock style of offbeat leading phrases that make this music bounce just like rock or hip-hop, which kills any gravitas or building of intensity. There are some great speed metal riffs on here and some moments of pure punk energy but the whole is torn apart by musical discontinuities which result in what sounds like a train crash between the 1980s and early 2000s that never resolves itself into a voice that can express anything. If this band dropped half the riffs and focused on making songs that generate momentum and then channel it somewhere, it would hit like a ton of bricks but as it is now, it sounds like something that should be on in the background during an LMN late-night movie about kids hanging with the wrong crowd and ending up in an organ harvesting gang.

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Horrified – Descent Into Putridity

This album shows a great deal of initial promise in its attempt to resurrect the old underground. It gets beyond the two-point riffs that hammer a rhythm and then answer it and go nowhere, preferring longer riffs that lead on to different points and at times in the Deathspell Omega way extend themselves into wandering melodies. Its combination of Swedish death metal and Autopsy power death metal worship works on the surface. But the nu-underground has never understood the purpose of death metal riffing which is to create subterranean structures that mirror what goes on in our subconsious minds; death metal is about looking beneath the surface to reveal structure and a subtext of motivation. Horrified in contrast has one layer, which is some riffy music on the surface that fits together nicely, but lacks a core of something which cuts between the mental state and the music. Thus over time this wears thin and repetitive at about the same time the listener starts noticing how many riffs are anchored with doubled downpicking and how few of these riffs, despite growing in their own right, amplify the subject matter of the song. Horrified come closer to the original than any others attempting this style recently but still miss the root of what makes the underground what it is, and so verge closer to the much more “face value” work of speed metal bands, at which point the repetition creates bad flashbacks of late 1980s metal and the repetition PTSD kicks in.

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Xerath – III

The horror, the horror. Symphonic metal must be done gracefully but with aggression and force; Xerath approach it like hard rock and use it as a vehicle for over-dramatic vocals. This hurts to listen to because the keyboards drift, the riffs sound like a heavier version of Def Leppard, and the metal gets forgotten. Synthesizing two disparate things only works when a common ground and thus basis for a common voice is found, and otherwise what emerges is the oil-on-water effect that produces carnival music where random patterns contrast one another as if they were designed to accompany a cartoon and its wacky action. Xerath goes down all of these rabbit trails and comes out at a comical level. Distraction, deflection, recursion, confusion. Like Behemoth and other bands in this newer style, Xerath does great work at the level of detail, but when you add it up the only picture that emerges is confusion and haste resulting in an entirely random platter of stuff that is recognizable as metal but by depriving itself of continuity and context, entirely lacks the punch. It compensates for that lack by hammering extra hard on pounding rhythms and blasting passages which do nothing but highlight the sense of On Through the Night colliding with a roadside minstrel show on its way to play the outer reaches of Alaska and hope its luck changes there.

Sadistic Metal Reviews 09-18-14

September 18, 2014 –

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What are Sadistic Metal Reviews? When Hessians decide they are sick of every random person tagging along for the glory of metal while making the same dreck that big media pushes on us through the pop industry. Make art, make it violent and aggressive, be truthful… or go home as we enjoy your delicious tears.

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Siftercide – Siftercide

Some time ago there was much ruckus in the press because people were using the word “retarded” as a synonym for “extremely stupid.” This died down when people realized that retarded people are actually extremely stupid, generally in the 60-70 IQ range which is typical for Congress but very low for normal people. Siftercide is retarded. The basic idea was to make deathgrind at fast grindcore pace and throw in a few dissonant chords to try to hide the fact that these riffs are boring, these songs are predictable, and this music will generate a headache not because it’s extreme but because it is like listening to a jet engine. Really, screw this. It’s not worth your time or mine.

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Ormgard – Ormblot

Underground metal typically occurs at three speeds: the tempo set by the percussion, the pace of changing chords, and the iteration of tremolo strum. Ormgard makes black metal which frequently slows down the first two with the latter at full pace, creating the kind of atmospheric black metal that distinguished early Behemoth or Ungod. Much of this picks up the straight fast pace of classic black metal with relatively straightforward chord progressions that emphasize melody. Keyboards and howling possum in pain vocals accompany it; the album is sandwiched between two imaginative instrumentals that evoke the feeling of the ancient era. In mood, this album most resembles a less-Gothic version of the first Gehenna work, but picks up the energy like early Ancient to create a sense of conflict and desperation. While this breaks no new ground stylistically, that never struck most metal fans as important. Comparisons to Abigor will be hard to dodge, especially the Orkblut era, and while they are apt aesthetically, Ormgard spreads out further than Abigor for an approach more like that of the original black metal bands exploding from Norway in the early 1990s. Ormblot channels its power into a faithful exploration of this genre and while not strikingly interesting, holds the attention by being non-random and carefully manipulating mood to dark effect.

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Nocturnal Graves – From the Bloodline of Cain

The term metalheads generally use for bands such as this is “straightahead.” Straight out of the 1980s but with black metal vocals, it is high-speed basic riffs and catchy but binary songs. If you did not get enough of Aura Noir, or have an urge to re-live Slaughter Lord in simpler form, this may appeal, but the fundamental lack of musical motion or depth makes this a hard sell for the experienced metalhead. While the aesthetics have changed somewhat, this style of really basic riffing and exuberant simple songwriting has not evolved in 30 years. Its attempts to become more high-intensity end up being repetitive and it flows by and is forgotten when silence returns.

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Goatwhore – Constricting Rage of the Merciless

If you are not fully paying attention, this album might sound like a good thing. Its style is pure Angelcorpse mated with 1970s heavy metal and some Southern Rock; its approach is to pack in extra riffs to interrupt a verse-chorus loop that focuses on the vocal rhythm of the chorus. No flaws in musicianship, vocals are vicious, but the songs do not really go anywhere. Or maybe a better way to say this is that these songs sound like academic exercises, laboratory experiments or designs on paper: they relate well to their parts but the whole is nothing larger than the linear sum of the parts. The result is much frenetic pounding and guitar raging, hooks grasping at your ears, and then a sense of disappointment as songs drill toward an end that means nothing more than the start. As the album goes on, more of the 1970s hard rock and metal riffs come out to fill space but the result remains uncompelling. This band is more competent than any others in this style but the style itself lacks any grasp on matters of importance and seems to be the metal equivalent of late-night TV. The Hod album we reviewed recently is a better take on this style.

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Colombian Necktie – Twilight Upon Us

Before Kurt Cobain shot himself in a heroin-induced haze, he was fond of saying that metal was out of ideas during the most fertile time in metal history since its inception. If he were around today, however, he would find metalheads buying him beers for saying that metal has run up the flag saying that it is out of ideas. Sludge, not really a hybrid of metal, happens when you mix stoner doom with slow hardcore and probably dates its innovation to the first three Eyehategod albums and slow Integrity songs. Colombian Necktie mix up the dirge-like rage-infused passages of those bands with ordinary Southern-fried rock played uptempo to keep your attention. Nothing stands out as horrible but the whole lacks any compulsion for a listener interested in content. You might as well listen to Huey Lewis and the News if you slow it down and run it through a distortion pedal, because in its core that is what Colombian Necktie and all bands in the sludge style seem to be heading for. If you read it cynically, it is another take on grunge music, which is basically hardcore bands making rocking music and trying to cloak it in metal aesthetics. If you look at any piece of these albums, it is hard to find fault, but if you listen to the whole, you will fall asleep standing up. Most reviewers get their albums free and hear them once and then give it a thumbs up so that the reviewers get promoted along the line by labels who love their spunky and wacky reviews. But if you look at music as a fan, anything you can only listen to one time and do not immediately want to hear again is off the menu, as it should be for Twilight Upon Us and its ilk.

To grow and destroy

September 14, 2014 –
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If you have noticed the site has been running a little more slowly lately, this post may offer an explanation. During the past year, our traffic has grown and lately it has been enough to tax our web server (pictured above) to the point of slowdown. Here’s what the last two weeks of traffic look like:


Average successful requests for pages per day: 66,582
Average data transferred per day: 2.97 gigabytes

Some of this traffic is the usual web gunk — search engine crawlers and spammers — but a good portion of it represents the community growing. We’re glad to have all of you on here and hope it keeps up, and we’re making some changes behind the scenes to speed up the process.

Sadistic Metal Reviews 09-14-14

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What are Sadistic Metal Reviews? You are mortal; your time is short. Listen to the best and death to the rest! We recognize that music quality is an objective measurement, where “taste” is more subjective. Taste however is easily fooled and leads you and the genre to a place of mediocrity. Thus we select the better options and mercilessly destroy the weak… if you are a false, do not entry!

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Abysmal Lord – Storms of Unholy Black Metal

Borrowing some ideas from the flowing columnar death metal fad/trend of last year, Abysmal Lord attacks this phenomenon from the opposite end, mimicking black metal like Demoncy, Beherit and Blasphemy but giving the music less of a “messy” aesthetic and more of a structured, hard-hitting death metal approach. Perhaps some would call this “blackened death,” but we all know what a waffle that phrase represents. Unlike most of the clone bands, Abysmal Lord merits a second listen for tight compositions and a strong understanding of how to fit together these riffs. Alas as the saying goes there will be nothing new here to shock you, but really what is new? Little: we find music that expresses an emotion and then go with that. In this case, Abysmal Lord creates a sensation like being part of a malevolent fog attacking a city of oblivious burghers with intent to rip out their souls and force them to face the emptiness of the lives they lead. While many riffs cite from earlier bands, the overall feeling of these songs stands on its own, although the band will want to renovate ancient sounds in order to move forward with its own progress.

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Aratron – The Recovery

Aratron creates efficient death metal in the intersection of styles between Centurian and Aura Noir, with lots of high-energy rollover rhythms pervading the riffing. The songs come together tightly and each riff fits in to the simple song structure and makes it more powerful. Like many bands of this type it stays within high-speed and mid-paced tempi and performs most of its motion with guitars over relatively passive drums. Riff forms will strike no one as stunningly new but belonging to this band in a form of its own when heard together. Unfortunately the band possesses a great weakness in the vocals which use chihuahua-style rhythms and sometimes, assemble themselves around the simplest pattern derivable from the song and repeat it slowly without variation in timbre or tone. That subverts some of the subtlety of this work which aims to be full-ahead-go and yet avoid falling into the pitfalls of that style. Periodic melodic breaks are reminiscent of Black Sabbath and show the capacity of this band for building more complex songs even when at heart they favor full-energy riff-chorus loops with a few extra riffs to reinvigorate their momentum. Many of the chord progressions used sound like these guys really like early Mayhem.

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Atara/Miserable Failure – Hang Them

Two grindcore bands comprise this split, Atara who are groovier and Miserable Failure who are more manic. Listening to these, the casual metalhead will recall that grindcore fizzled like a damp fuze in the 1980s not only because all the bands upsold into Led Zeppelin hybrids but because the genre itself is so limited. We get it: short songs, screaming, noise, havoc. But when does the cliché wear thin? When do we realize that we are making a parody of what elders said about our music for three generations? That riffcraft and songwriting take a back seat to novelty? Napalm Death was “cute” on Scum and From Enslavement to Obliteration but they bailed out after that. Carcass moved on after Reek of Putrefaction, and even the mighty Repulsion left it at one album. Within a narrow scope, there is only so much to say, and so grindcore like the previous minimalist experiment in punk rock abolished itself. Atara manages solid songs with a bit of groove between the extravagant flourishes but songs are extremely similar; Miserable Failure sounds like more constant screaming with repetitive droning riffs going on in the background. In one of the great paradoxes of humanity, both are probably at the tops of their genre, and yet that is not enough for a second listen.

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Integrity – Systems Overload

Bands like Neurosis and Integrity inspired the “sludge” revolution in metal by playing post-hardcore slowly and for atmosphere, but what attracted the industry was that as these bands gained experience they began sounding more like regular rock music. This allowed the simple calculus of all record labels: new thing / same old thing = new thing we control. This Integrity album shows the band pulling back from the punk and into the punk rock while keeping the aesthetic — the numerator of the fraction above — of hardcore, but adding in the raw structure (the denominator) of basic rock songs. You will recognize many of the patterns on this album from hard rock and classic rock albums, although to their credit Integrity have thoughtfully modified them and extended them, mixing the single items up across songs so that nothing sounds exactly like something else. In this, Systems Overload is one of the most professional albums to come out of punk; they worked hard on making every bit of this fit within the product range the audience expected but with a new aesthetic so it could be branded and a differentiated product. In that area this album is admirable, and it makes for easy and pleasant listening other than the strained and soar throat vocals, but otherwise it strikes me as music for the inexperienced that would be fun for a season and then discarded.

nihilisten_barbaarisuus-vainamoinen

Nihilistinen Barbaarisuus – Väinämöinen

This two-song EP evokes the golden days of Bathory with a long and hypnotic track followed by an acoustic instrumental, but owes more to the Norwegian wave such as Burzum and Gorgoroth. Much as with the latter, it composes in the melodic minor scale, and borrows much of its sense of pacing and trancelike riffing from second-album Burzum. This creates a sense of being suspended in time while watching for action to occur within a scene, and the use of flowing tremolo suspends reality much as it did with Gorgoroth and Graveland, another background influence — by the sound of things — on this band. The first track expands to six minutes on a few short themes and develops internal counter-melodies to give them depth (a less-overused version of the technique in Borknagar), which avoids the lazy wandering of bands like Drudkh or Inquisition, and instead creates a deepening sense of mood. The second track uses acoustic instruments and creates a folkish aura for the first, developing similar themes as if shadowing darkness with light. Much like other faithful retro-continuation projects such as Woodtemple, this music maintains integrity and avoids the pitfalls of contemporary music. It may not be the most exciting owing to an internal balance that is not as savagely unbound as Burzum, for example, and to its arrival twenty years after these techniques hammered audiences for the first time. However, unlike almost all from the genre today, Väinämöinen understands how to make beauty in the darkest despair of the human soul, and from that find not a contrarian impulse toward “good” but a desire to resolutely wage war on all that is inferior and thus, raise the darkness to a higher level of clarity that approximates beauty.