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.

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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.

A brief retrospective of Slayer

September 13, 2014 –

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Slayer blasted their way into the underground metal scene in 1983. Metal had just shifted; the genre of Black Sabbath got taken over by the Led Zeppelin fans, resulting in glam and arena rock, and was just being taken back by a DIY movement via speed metal. Inspired by that speed metal movement, Slayer took their music in a slightly different direction.

“Heavy metal and British punk, that’s what we are.” The four young men from Southern California shaped their music by instinct, applying the techniques of punk to the most intense moments of heavy metal. Iron Maiden, Judas Priest, Motorhead, Angel Witch, GBH and Discharge. It all went into the blender and the result emerged more vicious than ever before.

Woodstock – Los Angeles, CA – March 28, 1983

The Keystone – Berkeley, CA – January 27, 1984

The Country Club – Reseda, CA – September 1, 1984

Heavy Sound Festival – Poperinge, Belgium – May 26, 1985

Dynamo Club – Eindhoven, Netherlands – May 28, 1985

The Ritz – New York City – June 12, 1986

Felt Forum – New York City – August 31, 1988

Clash of the Titans – Genk, Belgium September 22, 1990

Show No Mercy reflected more of a heavy metal bias, still hanging on to the grandeur of the 1970s. By Hell Awaits, Slayer forged their own style, inspired in part by the minimalism of the Haunting the Chapel EP. Even more, the band discovered a mythology in Satanic rebellion against a world where the term “good” meant obedient, oblivious and zombie-like in pursuit of individual pleasure at the expense of realism. They hated this world, and branded it with an inverted cross in rage at its existence. This outlook was healthier than the pleading resentment of the protest rock bands and less dead-end apathetic than what punk became. Metal had a new voice.

With the next album, Reign in Blood, Slayer pulled out all stops and most melody to create the ultimate hardcore album. The metal elements infused riff structure and song structure but its energy was pure hardcore punk, the raging album that The Exploited and Black Flag always had wanted to birth. In the 1980s, endorsing Satan and singing about the dark underbelly lurking beneath our happy commercial Utopia was in itself a life sentence of exclusion. Slayer wore it with pride and as people caught on to the new music, the most extreme band in underground metal headed toward the dead center of the genre.

In response, Slayer did what few bands have the guts to do: they backtracked from their nihilistic extreme and made a melodic album, but kept the melody constrained to a sense of dark atmosphere that would not be revisited until black metal exploded four years later. South of Heaven immersed the listener in pure mood and then manipulated it to create an unnerving experience of getting in touch with emotion by leaving behind all that is human. This was the peak of Slayer and represented the end of their emotional involvement with their own music, thus afterwards they pursued ideas that others had made popular and successful, hoping to make their own form of the alien.

Burzum releases “how-to” videos for classic songs

September 3, 2014 –

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Burzum mastermind Varg Vikernes has released instructional videos showing those out there in black metal fandom land how to play along with a selection of riffs from classic Burzum songs.

The videos, released via Vikernes’ ThuleanPerspective YouTube account, show him playing each riff and explaining its context and purpose in the corresponding song with an ear for atmosphere and emotion.