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 –
Comments Off

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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.

International Congress on Medieval Studies call for papers

August 28, 2014 –

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For those metalheads from black metal or other genres with a medieval leaning, an opportunity arises in the call for papers issued by the International Congress on Medieval Studies. If you write on medieval topics, you may consider submitting a paper:

Imbas is an interdisciplinary postgraduate conference hosted annually by NUI Galway. The conference gives postgraduate students the opportunity to present ongoing work and to discuss their research with peers in an informal, interdisciplinary setting. The 2014 Imbas committee is delighted to announce the call for papers for the 2014 conference. The theme of the conference is ‘East – West and the Middle Ages’, and it will run from the 28th to 30th November at the Moore Institute, NUI Galway.

Imbas accepts papers from all disciplines, with a focus on any topic from Late Antiquity to the end of the medieval period. Interested postgraduates are invited to submit a title and abstract of 250-300 words, for a research paper of 20 minutes, to the Imbas committee at imbasnuig@gmail.com by 15th September, 2014. For more information see http://www.nuigalway.ie/imbas/

Selected proceedings from the conference will be published in our peer-reviewed journal.

Metal academics might find it interesting to submit here and draw some parallels between medieval practices and those of modern black metal. If nothing else, this would be a great place for all the swords and armor pictures that from Manowar onward have graced metal with their presence.

Happy 63rd birthday, Rob Halford

August 25, 2014 –

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The legendary Judas Priest frontman (born 1951) is 63 years old today, August 25, 2014. Introduced to Judas Priest bassist Ian Hill by his sister, Halford became the vocalist for the group and quickly defined his iconic style of singing and found a way to adapt it to the new style.

With Stained Class, Halford adopted what became his trademark visual imagery, which is the leather and studs clothing that spread throughout metal after that time. He later expanded this imagery to include military gear, motorcycles, whips and chains.

Judas Priest defined much of 1970s heavy metal by taking its NWOBHM sound and adding the album-oriented stadium rock feel, giving the music greater accessibility, but simultaneously focusing on strong lead guitar and use of multiple riffs to create a puzzle-piece feel.

Without Halford, Priest might have accomplished this role but not in such an iconic sense or perhaps with such amazingly flexible vocals. Halford joins Ronnie James Dio, Ozzy Osbourne and Tom Arya among others in the category of legendary heavy metal vocalists. Happy Birthday!

Sadistic Metal Reviews 08-18-14

August 18, 2014 –

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What are Sadistic Metal Reviews? People engage in the pretense that they are gods who can determine what is true because they want it to be true, instead of what is obvious. They deny reality to make themselves seem important like the pointless egotists they are. Instead, we put the metal before our personal needs and pick the best. Those who cannot handle this, leave the hall!

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Morbid Slaughter – Wicca

Comprising two tracks of punkish early black metal tinged with the energy of a Motorhead or Impaled Nazarene, Morbid Slaughter aim to make music within the 1980s style of catchy simple music that also calls to mind Necrosanct and Slaughter Lord. Songs invoke melody for choruses and guide themselves with necrotic gasped vocals that sound like invective of an evil overlord conveying his legions to covert and merciless deeds. Songs fit the format of most proto-death bands in that there is verse, chorus and then a transitional or conclusive detour which returns to the immensely catchy chorus. This band will find its toughest competition is itself, and when they do a full-length will find themselves challenged by the need for songs to be distinct enough from each other to develop a personality to the album and each song. Clearly this band knows the early works of the years before death metal and black metal finalized themselves and can exploit that riff lexicon to great effect, albeit simplified by the punkish forward drive to simplicity.

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Ramhorn – Lykophobos

With one foot firmly in past and present, Ramhorn attempts to integrate 1980s sounds like those of Kreator and Metallica with modern metal styled vocals, but manages to retain the sentimentality and passion of the earlier form and use it to constrain the otherwise more linear tendencies of current metal. Like Kreator, this band is chorus-heavy with emphasis on interlocking vocal rhythms to propel the sound forward, and borrowing from a wide riff lexicon it mixes a punkish sound with melodic speed metal riffing to contrast its more rigidly rhythmic hooks that underscore choruses. Vocals tend toward the black metal shriek with more clarity of enunciation and while certain riffs embrace a more modern sense of rhythm molded around the vocals, a strong old school influence mediates them. Much of the album centers around mid-paced tempi to accommodate this sound but varies riff form enough that the similarity contributes to the overall emotional atmosphere of the music. The old school parts, ranging from Iron Maiden through death metal at its peak, resonate well with this approach but the black metal-ish vocals seem out of place. On the whole, this album puts forth a solid if not dramatically exciting effort that has more integrity and consequent actual musical enjoyment than most of its contemporaries.

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Hod – Book of the Worm

The Texas horde return with another assault of high-intensity multi-genre metal. On its surface, this band resembles Angelcorpse hybridized with Watain using some of the riff tendencies of the newer post-Nile/Behemoth charging death metal and blackened death metal bands. Underneath this however a wide variety of riffs simmer, quoting from and expanding upon speed metal, heavy metal, punk and early proto-black metal bands. The constant charging blast, reminiscent of Fallen Christ, allows the guitars to change riffs regularly in the rotational style that Behemoth perfected. Where Hod has really improved is in the vocals which take the whispered spoken style to a new extreme, borrowing the internal rhythmic variation of modern metal styles and giving it a more sinister air. The vocals guide the song and riffs change to accent those words with atmosphere. If anything, this band could benefit from both more variation and less; it would be great to see some of these death metal riffs explore different riff forms than the 4-5 the band has nailed, and it would help focus the music for it to pick a genre and grow more specifically in that direction, even expanding it as these musicians do with contemporary forms. While internal riff complementary behavior could be better, the randomness that plagues most local bands has not visited Hod. Of note also are the early-Deicide-ish chaotic but rhythmically varied leads which add depth to the songs.

Obscure Oracle – Roots of Existence

Obscure Oracle homebrews metal that combines liberally from many influences but keeps a focus on a NWOBHM/progressive metal hybrid enriched with late speed metal and some death metal technique. The band faces a challenge in trying to wrap these influences into a compositional voice that is consistent enough to communicate. Vocals chase the death metal style rasp with higher and lower register versions accompanying one another. Lead guitars explore not only diverse styles of music but the harmonization that NWOBHM made famous, which in addition to numerous classic riff archetypes places this band firmly within that zone. In addition, the band borrows and expands upon tropes from speed metal, notably Testament and Metallica. Much of Roots of Existence verges more toward melodic metal that avoids the Scandinavian style and instead uses complex song structures and the rhythms of 1970s progressive bands to flesh out the parts of guitar melody, but transitions between passages with death metal-styled tremolo riffing. The band could work on integrating its different styles more smoothly into a voice so that oil-on-water separation does not occur, and with some of its detours into progressive and blues territory might make sure that it avoids all known templates, including progressive ones. On the whole this album shows the creativity and idiosyncratic combination of styles that fueled the early years of death metal, but packed into a power metal infused style that keeps the band both current and coherent with the traditional spirit of metal.

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Blood Urn – Unchain the Abhorrent

Creating within the old school death metal that favors vast internal contrast, Blood Urn craft songs which culminate in musical vistas composed of riffs leading up to decisive moments of conflict and differentiation. Riffs use extensive chromatic fills but not exclusively so as wrappers for rock rhythm as most of the nu-death post-Nile bands, and songs achieve enough internal variety to suggest purpose. The high degree of internal balance results in collections of riffs that are picked for their place in the song, not a song made of the riffs, for the most part, with an internal process of equalization bringing highly disparate riffs together. Vocals take on the older style of deep chanting independent of the rhythms of drums or guitar that gives an arch feel to the material. The sense of otherworldly power and removal from the mundane is borne out by the higher density of this demo than most contemporary metal albums because although the newer material has more detail, it also has less internal communication, and thus the detail appears as on the surface only, like a form of adornment and not structure. Like other newer old school bands such as Herpes, Blood Urn focuses on atmosphere, in this case enhanced by its competent and somewhat more rock-star guitar than older school bands tried. If these adventurers are able to keep up the underground spirit of distrust for all things that pacify and satiate the thundering herd, the solid groundwork of this demo could blossom into a potent style.

Krieg releases single from new album Transient

August 12, 2014 –

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Post-metal/black metal hybrid Krieg unleashed the first single from its new album Transient in the form of “Order of the Solitary Road.” This track shows Krieg begin with a standard post-metal introduction, then segue into Taake-era black metal, then ride out most of the track in a Motorhead-inspired road riff. The result is notably better than most of this genre but the introduction of post-metal elements somehow fractures its message and leaves the black metal portions seeming isolated in an oil-on-water mix. Perhaps the direction for this band is to ditch what various music magazines think is a good idea and also discard the black metal, and focus on these Motorhead-style riffs that seem to fit its persona.

The first release from Krieg in over four years, Transient will be released on September 2, 2014 by CandleLight Records. It includes a guest appearance from Thurston Moore of seminal indie band Sonic Youth, and also features a cover of “Winter” by founding crust-punk act Amebix.

The tracklisting is as follows:

1. Order Of the Solitary Road
2. Circling the Drain
3. Return Fire
4. To Speak With Ghosts
5. Atlas With A Broken Arm
6. Time
7. Winter
8. Walk With Them Unnoticed
9. Ruin Our Lives
10. Home
11. Gospel Hand