Category Archives: Article

Did Accept invent speed metal with “Fast as a Shark” on Restless and Wild?

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Wolf Hoffmann asserts that Accept wrote the first speed metal song ever with “Fast as a Shark” from Restless and Wild way back in 1982. While the debate rages across the internet, now the equivalent of 1980s daytime television, the question can be answered by looking to what speed metal is.

Speed metal — as distinct from thrash a genre popularized by Thrasher magazine devotees and skaters making hardcore/metal crossover such as Dirty Rotten Imbeciles and Cryptic Slaughter — originated in the use of a single technique: the muted strummed downpicked power chord. This technique combined the repetitive downpicking of punk with palm muting, previously used only to emphasize specific notes. Much of its appeal came from the changes in amplification and production since the previous decade which allowed louder music to exist. Much like the 1980s itself, the muted strum conveyed a sound of clashing absolutes and decreased the amount of harmony heard in each chord, making the music more purely percussive like techno and early industrial. Even more, it gained the volume punks had always aspired to with its explosive and uncompromising sound. In the process, it inspired more use of accidentals leading to more chromatic fills, which in the next generation with death metal became a form of riffs themselves, where speed metal relied more on the NWOBHM song form and harmony.

Generally regarded as starting in 1983 with Metallica Kill ‘Em All, speed metal presented a radically new sound which had precursors in extreme (for the time) bands like Motorhead, Judas Priest, Blitzkrieg, Tank and Satan. However, no bands had fully adopted the new technique as the basis of their composition until the early cluster of Metallica, Exodus, Mercyful Fate, Nuclear Assault, Anthrax and Megadeth. During the 1980s these bands were the most extreme metal that most people could find in their local record stores, which were how most people got music back then, with the exception of Slayer which was a speed/death hybrid and Venom which was a punk-influenced form of NWOBHM. Accept does not measure up to this standard on the basis of technique, since its song fits within older heavy metal format and does not use the muted strum.

This statement does not decrease the importance of Accept in the creation of speed metal. A long line of innovations occurred leading to speed metal, starting with the incredibly rough sound of Motorhead in 1976 but aided by progressive bands like King Crimson and Greenslade as well as a chain of punk acts who pushed the envelope such as Discharge, The Exploited, Amebix and the Cro-Mags. Below you can hear “Fast as a Shark” and see this heritage for yourself, contrasted with the archetypal speed metal song, “Creeping Death” from the second Metallica work Ride the Lightning and Blitzkrieg’s self-titled track from their 1981 EP Buried and Alive.

Sympathy for the Hipster

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I write a lot about hipsters because I am fascinated by subcultures and how they attempt to find meaning independent of the center. You can join the ska kids, Goths, rivetheads, wi-fi hobos, ecolos or channers. You might have a thedic identity, a de facto tribe combined of ethnic pride and politics, or an outright political group like the earth firsters, crypto-coms or far-right. In a time of no actual commonality to our deconstructed societies, you know you will be a cog in the machine: working a job, paying taxes and housing, and doing all the day-to-day stuff like shopping at Costco that is about as romantic as math homework. To counter-balance that, people seek an identity which shows why their lives are important. All of these are extensions of the original “keeping up with the Joneses” that saw people trying to out-consume each other, but now we are consuming the image of ideas instead of pure product.

Modern life represents at its core a long slow grinding compromise. Any idea is taken from where it is found and made into a product by simplifying it, exaggerating its surface features, and then presenting it for mass consumption. Joining an identity first involves a shopping trip for music, books, clothing and personal accessories including tattoos, piercings, scarification and hitting the gym. Through this process, unique identities are gradually “assimilated,” or made into variants of the mainstream. Every ideation operator declares the gradual entry of those who perpetuate this process into their chosen identity — the falses, the poseurs, the day-trippers, scenesters and imitators — because when enough of them arrive, the unique group becomes overwhelmed and as happens in democracy, what is popular and easily understood wins out over the original idea, which then fades into a distant memory and a cartoon of itself.

Hipsters represent those who have given up on the idea of idea itself. They realize early on that this society is a kicked clip, empty of ammunition and fit only to be returned to the pocket and another retrieved, starting over. But discovering what we want for a future represents a good deal more ambiguity and risk than knowing simply what we detest, and in the meantime, people need an identity to distinguish themselves from the faceless mass. The hipster was born out of this situation by Generation X, who combined slacker culture with counter-culture and added the suburban desperation of their parents, who were only to happen to discuss in detail how the world was going to hell, in front of their children. As a result a new identity formed based on those who have dropped out of society but still seek a way to distinguish themselves, and instead of doing so through strong group identity, they base their concept of self on self-image alone. Thus the hipster opposes the idea itself, and instead seeks a different kind of center: what everyone else is doing, but with some unique conceit for the individual itself. Hipsters are bog-standard people who have hobbies in craft beer, tattooing, making artisanal objects, odd collections, activities chosen for their apparent randomness, and of course art, art and more art, because nothing makes a person look profound like the boho artist lifestyle.

As the definitive article on this topic says:

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.

People who seek an idea loathe hipsters because hipsters are the anti-idea. They reject the notion that we can have purpose outside of ourselves, and instead make their time by adorning the self with new fascinating attributes which are always bizarre because their sole goal is to distinguish themselves from the rest, and so whatever is sensible and normal is verboten. The hipster seeks to be unique, individual and different (UID) so that they do not get mistaken for the rest. Part of this is a counter-culture style protest saying that they do not endorse or enjoy the mainstream, and in fact oppose it so should not be held accountable for its failings; the rest comes from the simple need to distinguish oneself in a social scene flooded with people who are all trying to be noticed. Where in the 1920s doing stunts on the lawn might have worked, and in the 1980s it was enough to join an indie band, for the people who come after the reunion of right and left in the 1990s there is no longer an obvious majority culture to oppose. There is only the gradual compromise, and trying to stand out in its midst.

Hipsters suffer for the time into which they were born and the lack of easy and safe ways to rebel against it. Smoking weed and living in a VW van involved relatively few risks; at worst, an arrest occurred in some random little town in Ohio and dear old Dad had to dispatch money and lawyers to fix it. But opposing the conglomeration of democracy, capitalism, liberalism, consumerism and patriotism takes some guts and some time on the thinking couch, because it is not like The Establishment an easy thing to identify. Who can blame these people for laboring as poor cogs just trying to have normal lives? They can laugh at them but not indict them as the problem itself. The focus of the hipster becomes not reform of a society that is already lost, but saving oneself by at least being socially competitive through appearance and having a life independent from concern about the inward collapse — an idea — which might obligate one to sacrifice time otherwise spent on self toward some purpose.

That tendency reveals the problem with hipsters: they are perpetual entryists. Their only idea is the self, so any identity they discover they will turn into a product just as surely as their grandfathers did back in the 1950s. In essence, hipsters are the same consumers that people have always been, except now they are casting around for an appearance of having an idea and thus always sacrifice the idea itself because they are fundamentally opposed to ideas. Subcultures fear the hipster because to admit the hipster is to abolish the subculture and allow it to live on in zombie form as another branch of the great compromise but now as an adornment, like the “French bread” flavoring in the industrial-processed bread aisle or the “exotic scales” used in bog-ordinary rock music to dress it up and disguise its ordinariness. The hipster is indeed the dead end not of just Western civilization, but all civilization, because civilization requires an idea and with hipsterdom, all ideas have been sacrificed to the self.

At the same time, hipsters deserve our sympathy. They are the people on the deck of the Titanic, watching the unstoppable disaster that will inevitably compose them, choosing to get another pint from the bar and bum another cigarillo while bravely chatting about the inconsequential. The water grows incrementally closer and the lifeboats are long gone. Nothing remains except to live it up a little, stand out from the crowd and have your fun, before the darkness inexorably takes over. If you wonder why hipsters look as stressed and miserable as their parents, even when they have trust funds (and an alarming number of them do) and hip indie bands with the flavoring of metal, it is because they too see the approaching disaster and have found nothing to do about it.

How to make a digital promo kit (DPK) or electronic promo kit (EPK)

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Bands: if you want to get signed, you will need to send promos. First you will send them to labels, which will sign you eventually. Then you will send them to media, including record reviewers. Labels: you will do the same. Promoters: ditto. So how do you send a promo in this day and age?

The current standard, which thankfully does away with piles of physical promos, is to send an Electronic Press Kit (EPK) or Digital Promotions Kit (DPK) which mean roughly the same thing. Your EPK will be a zip archive containing your release in MP3, photos and a press release/biography. Each of these parts offers its own challenge.

MP3s should be of a decent bitrate, usually 256k or Variable Bit Rate (VBS) equivalent, and should be tagged appropriately with band name, album name and track name correct and consistent. The MP3s themselves should be in a folder within the archive named Band Name – Album Name. This enables writers to extract it completely and view the files as they write. If you are using Exact Audio Copy or a similar program, settings allow you to specific correct tagging by default. I also recommend installing Windows Media Player 11 and using the Fraunhofer MP3 codec which is superior to the LaME codec which tends to make heavily distorted music sound plastic. I use the following naming scheme in EAC:

Individual artist:

%artist%\%artist% - %albumtitle%\%artist% - %tracknr2% - %title%

Various artists:

various\%albumtitle%\%albumtitle% - %tracknr2% - %artist% - %title%

Press releases should fit standard format, which is an entirely different article, and include full contact information for the label and promotions agency. If you include band contact information, people will contact the band; if the band does not reply, do not include this information and have them contact the band through the promotions agency. Include the biography in here, generally a paragraph or two but not more. Also useful to include are all band public sites such as Facebook where the band might post more images or information as needed.

Images should include at least the cover art and a band photo, but many bands include logos as well for use as headers. These pictures should all be large (800px+) and in a format such as JPG or ideally PNG, which is not lossy like JPG.

Once you do all of the above, put the files into a zip archive and make it available to reviewers. Many use services like Haulix to make it easy to limit downloads to specific reviewers, and to embed codes in the work which identify who each package went to in case it gets leaked. In my view, labels should worry less about piracy from this angle because the release will inevitably be pirated and your only real recourse is to DMCA search engines to keep it out of the listings so that people are encouraged to buy it or stream it through a licensed streaming service like Spotify, Pandora or Last.fm. For this reason, lately more labels have simply been linking to their DropBox folders in acknowledgement of the impossibility of stopping all leaks, and it takes just one to spread it everywhere — or someone at a record store who drops the album into a computer for ten minutes to rip and upload it, as seems to happen in Russia and Latin America much to the delight of downloaders worldwide.

The above is written in the hopes of receiving fewer incomplete or botched promo packages. As stated elsewhere, most labels spend little time on getting these right because they want reviewers to spend as little time on the music as possible, and because the people who write the reviews the labels will republish are those who are making a personal connection with staff at the label in hopes of future hiring or collaboration. But for a starting band or label this advice may be helpful.

As in #metalgate, Islam finds metal has wrong opinions

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People do not want to admit that there is a war on for control of what you think. Some of this is what we consider innocuous, like the constant advertising on the roadsides, internet and in print. Other forms are more insidious, like people in your social group trying to bias you against people they do not like, or governments attempting to make certain ideas seem off-limits.

We know that in modern Western civilization, government both uses and allows Social Justice Warriors (SJWs) to enforce its strict taboos on un-democratic — the new term for “un-American” — thought. But other societies have not followed this same path and instead are limiting what people can say by excluding certain forms of music view religious decree. In particular, Malaysia has declared black metal and death metal off limits for its citizens:

All Muslims know pork, booze and premarital canoodling violates Islamic teachings. But in Malaysia, home to a rising tide of fundamentalist Islam, senior clerics are warning against more insidious dangers to the faith.

Such as death metal. And puppies. And Valentine’s Day.

“Black Metal” — Malaysian authorities have been fretting the influence of death metal since the 1990s. According to an official ruling against “Black Metal,” it’s powerful enough to force a Muslim to forsake his faith.

This approach is at least more honest than instead of banning a genre sending SJWs in to flood it with poor quality imitations of itself in the indie rock style, then taking over with a legion of *core fans who look like tattooed greebos who just stepped out of mental health treatment for low self-esteem. Speaking of which, recent research at Stanford suggests that people find “equality” a compelling goal in inverse proportion to how attractive and intelligent they feel. When you have low self-esteem, you make equality your life’s quest, and this explains why SJWs are moths drawn to that flame, in addition to their fundamentally hipster insincerity which has them using a political viewpoint to demand their own inclusion.

As we saw in #gamergate, #metalgate SJWs are not exactly competent. In fact, the only reason they talk about equality so much is that they could not advance themselves based on competence alone. This differentiates the SJW incursion from moral panics such as the Parents Music Resource Center (PMRC) in the 1980s in USA, or the type of fatwa issued in Malaysia, which seems to be a decree of general behavioral guidelines rather than an attempt to promote the fatwa-issuer based on how cool, hip and Pabst-swilling skinny-jeans wearing socially acceptable his opinions are. But the end result of both is the same: metal does not bow to their imaginary rules, and so they want metal destroyed.

How music reviews are made

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If you must (“must”) watch television, probably the best thing on continues to be the Canadian program How It’s Made which shows the process by which everyday objects are manufactured. A similar program for the music industry might attract fewer watchers but be similarly informative.

The basics of the industry are that labels produce records, media write about those records, and artists — a pretentious term for musicians and bands — try to get chosen by either or both. Most records produce almost all of the profit they will create within a relatively short duration of their release. Labels need to constantly produce output so that they stay in the news, and media needs to constantly produce favorites (or drama) to sell news. Artists, on the other hand, are trying to create long-term audiences, but only if the artist believes they can produce quality material for a long period. Otherwise, their goal is to cash in and drop out, so they can go back to being the cool barista in a seaside town known for having put out that edgy metalcore album back in ’06.

When labels send out promotional packages, their goal is to ensure the reviewer spends as little time on the music as possible. They would prefer that the reviewer spend most of her time on the press release and biography, writing about the “unique” background to the band and how their album release is a news event, not a musical event. Ideally, the writer will focus on production and style more than substance, since new variations in production and style are easily produced while quality music is limited to a certain percentage of artists and striving for quality makes artists more valuable and labels/media less valuable.

The gig as a music reviewer is to say as little as possibly that is not blindingly obvious about the music while working in as many details as possible. The most successful reviews talk mostly about the biography, then about production, then style, and only finally in passing about the music itself. By the music itself I mean the composition, such that if you transferred it to midi or kazoo you would still recognize the song(s) but all of the production values from guitar sound through effects would be removed and you would see the composition as it is. If you have ever listened to someone playing acoustic guitar and realized the music sounds familiar, then figured out which song they are playing, you have had the experience of connecting with the music itself. The music itself however is the one part of music as a commodity that cannot be easily quantified and reproduced through systematic means (think of a recipe or instruction book). As a result, the music itself makes no one any money during the short period in which most albums generate profit.

You may see familiar names when you switch between your favorite magazines and your favorite music labels and the promotion companies that service them. The goal of most music reviewers is to get promoted within the industry, either as workers at the labels or writers in the media. They do this by making personal contacts, which generally happens when they are helpful to those people and promote whatever release they are working at the time. Very few people stay in the industry for long because it rewards a certain type of highly sociable person who writes whatever is needed to promote a record. This is why when you read record reviews, they normally take on a breathless tone that borders on praise. The goal of the reviewer is as a marketer, not a writer. Their job is to make you want to buy the album, but in such a way that you think it is your own idea, and so you blame no one when two weeks later you stop listening to it.

Most people are not words-people. They operate by gut feel, which is how their brains make a synopsis of all of the impulses they have in response to something. They tend to respond enthusiastically to new things but as time goes on, they respond less to them. For this reason, very few fans are aware of bad albums versus good ones. They know only that they bought something, they were excited about it, and then… it just sort of faded out of their consciousness. It became less interesting. The methods of art and music are well-known after centuries of exploration and what makes an album stay with us is no mystery. A good album is both musically adept, even if primitive, in that it is organized and produces something pleasing and non-obvious out of what it has to work with, and evocative, or representative of some feeling in ourselves or experience we have had in the world. Very few albums do this, but lots of albums can hit us with the pure physical sensation of listening to them, like acrobatic guitars, intense production, a bizarre or fresh style or even pure sonic intensity. These fascinate for a short while and then fade from our awareness.

As a reader, you must now be thinking this article is somewhat apocalyptic. I have just told you that the music industry has interests contrary to your own; they want to pump out formulaic stuff with new style/production, and you want to listen to music that stretches your time, money and energy by rewarding your listening minutes over many years. Actually I consider myself on the side of the music industry, because without labels to concentrate money that they can invest in production and promotion, good bands would remain unheard and without the budget to bring their promising music to a point where it is both pleasant as composition and pleasant to be heard. Few would listen to Beethoven if the only albums were played on kazoos and recorded on iPhones in subway restrooms. The music industry represents its own worst enemy because whenever something new — a band, an idea, a genre — makes a fan base, industry grows in response to it and produces more stuff “like” it that does not deliver the punch of the original. They thus ride trends for profit and then self-destruct when the trend is over, excepting a few labels who rise above the rest on the basis of having more profit, thus more money to put out new releases. The industry would be healthier if it could stop riding trends and instead focus on what makes bands and labels wealthy, which is the long tail or long-term relationship with fands.

The archetypal long tail band is Metallica. When …And Justice For All broke into the top 200, it brought every previous album of the band with it. During its classic era, when Metallica put out a new album and made a new fan, that fan tended to go out and buy everything else the band did, plus tshirts and concert tickets. It is the same way with massively successful acts in every genre — they cultivate a dedicated fanbase — but metal is a standout in how clearly it is defined in this way. The labels that dominate are the ones who get behind a band that cultivates a long-term audience. However, these bands are few and far between so labels make do with what they have. Unfortunately for them, the market is contracting as online availability of music reduces the power of novelty (“newness” + unique production/style). People can simply listen to the new fascination online for two weeks and then move on without having bought it.

To counter this, I propose a new model for the music industry: licensing. Under this model, bands would retain their copyright in an album and take out a license from the label, which would have the right to retain the album as long as they kept it in print. Big labels would license this content from smaller labels, creating a pyramid where the top reflects the bands with the best long-term audience potential and the bottom reflects new entries who are trying to build that audience. This would put more of a burden on the bands, who would be essentially taking a loan from the labels to produce their albums in exchange for that extensive promotion, but would enable labels to focus on the true breadwinners with their long-tail artists. In addition, because artists would be forced to assume direction of their efforts, there would be less of the kind of childish behavior of superstars in the 1970s and 1980s that caused labels to become strict in how they control their artists. This model also fits with the de facto standard of online music sales as they will become, which is the granting of a license to “own” the music regardless of form to the consumer. When physical form is no longer as important, we switch from a “goods” model to a “services” model, and the sooner labels do this the sooner they escape the overhead of defending a past business model and can move on to the future.

The History Of Black Metal

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As detailed in The Heavy Metal FAQ, heavy metal developed through parallels found between several musical traditions both inside and outside of the developing genre. Black Sabbath emerged from the intersection between heavy rock, nascent punk and progressive rock; black metal emerged from proto-underground metal and hardcore punk, taking the most intense aspects of each and fusing them together.

The Until the Light Takes Us crew filmed a lengthy interview with Fenriz in which he outlines the roots of black metal in several stages, from its rise in heavy metal with Black Sabbath, Motorhead and Mercyful Fate through the expansion out of speed metal (via hardcore and thrash) through Slayer and finally, the proliferation of bands inspired by NWOBHM band Venom such as Sodom, Hellhammer and Destruction from which much of the modern sound emerged, finalized (in his view) with Bathory Under the Sign of the Black Mark.

As black metal rotates around the same carcass that stopped artistically expanding 22 years ago, understanding its roots becomes even more important as it is necessary to drive away the ghouls, parasites and grave-robbers desperate for some of its legend through imitation and pandering to a new audience. The two videos add up to about fifty minutes of air time and worth watching for the black metal fan, historian or curious bystander.

How to kick metal into overdrive

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In a saner world, all children approaching the age of purchasing their own music would be given the 2-disc set of Andres Segovia entitled The Art of Segovia and made to listen and understand it before moving on. This collection of songs reveals not just how good music can be, but how to think about music both as technical musicianship and as art.

A collection of songs arranged and performed by Andres Segovia, this set shows instrumental prowess at its best where it seems more controlled. Most of these pieces came from composers who originally wrote either for guitar or small ensembles, and Segovia laid them out so he could play multiple melody lines on guitar over the length of each song. As a result, these songs are dense in a way that most popular music is not, in that each part relates to the previous material in the piece but seeks to not just complement but expand upon what is there. Melodies grow from a few notes to a full-fledged expression and then modify themselves with material from contrasting voices in each song, creating an effect like reading a great book where every character changes over the course of their adventures while simultaneously influencing the course of that journey. What at first sound like fills and turn-arounds are not spurious material but continuation of the song, with every note played serving some purpose and nothing extraneous or for the sake of showing off. This alone puts the lie to technical music of the current time, where a simplistic song if dressed up in recognized “hard” techniques becomes “technical,” even if those adornments contribute nothing to the song itself. The technical art here is in the writing and arrangement of the music in addition to the performance.

In addition, The Art of Segovia forces us to look at what makes a song — one medium among several for the mental process we call “art” — strike us as great instead of simply adequate plus novel. Each of these songs evokes a feeling that is both unique to the song and can be found in life itself, not a subjective sense but more a subjective perception of the objective translated into a form that any logical mind can process. This transcends the limitations of not only the medium but the human mind itself, creating a commonality based on an accurate view of reality that is nonetheless interpretive, instead of pandering to the lowest common denominator that a crowd would find pleasing. All of the tools of art — rhythm, melody, harmony and phrase — apply themselves to revealing the inner essence of a complex experience, not so much distilling it to a simple statement as walking us through its evolution and reaching a moment of clarity, then allowing it to fade away as we absorb what we have sensed.

Very few people who listen to rock, metal, jazz or blues have sat down to listen to a great work, understand it, and understand outside of its medium what makes it great. As with a great book, a great piece of music reveals something in life that we have not discovered or denied. It shows us the truth within, not creating another surface category, and in doing so makes us consider how this experience is universal to those who invest the time in understanding it. Truth meets us halfway between our perspective and the world. Great art lifts us out of the subjective, transforms the objective through not just the power of personality but the insight of talent, and delivers it to us in a form that re-discovers life with freshness through a vividly accurate portrayal that shows the hidden possibility lurking even within the mundane. When we have that level of expectation for art, the trivial novelty and diehard pandering to comfortingly familiar sounds fades away and instead we seek something of greater clarity, power and ultimately meaning. Naturally this is not popular with record labels, for whom discovering a Segovia each month is impossible, but for those who value their time and want to listen to music that shows the best of what humanity can do, The Art of Segovia gives us a yardstick against which all great albums must compare.

Not all of these will be as technical as Segovia’s playing or the writing of the composers he arranges. They do not need to be. If they uphold the same spirit of discovery and revelation that makes this art so profound, they can do so with fewer musical techniques. But if they do not live up to that understanding of what art and by extension music can be, they sound hollow in comparison to Segovia and stand no chance of comparison. The best of metal lives up to this standard and it refuses to be controlled by those who wish to dumb it down so they can sell more of it or use it to push a message. As we go into a new year, and the second half of a dubious decade, demanding metal that live up to this standard ensures that we will have less to listen to, but enjoy it more.

Hippies fail at metal because metal hates hippies

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Hippies can’t play metal. Black Sabbath kicked off the metal movement because they wanted to make dark rock in contrast to the “peace, love and happiness” movement that had swept rock music into conformity. In this they joined other acts, like The Doors and Jethro Tull, who warned that good intentions would not save the world.

Since the 1990s, hippies are no longer the opposition to our evil conservative overlords… hippies are the Establishment, and they have become just as conservative and evil as anything before, except that now that have a mantle of moral superiority to use as a weapon like grandmothers use guilt. Not only have the hippies aged into their 60s, but they have adopted the view that they are right and anyone who deviates must be quashed. So much for the summer of love.

For that reason it’s natural that much as metal fought the suburban mom censors and Christian fundamentalists back in the 1980s, from the 1990s onward it has been fighting hippie fundamentalists who believe that peace, love, inclusiveness, happiness and political correctness are the only topics one can sing about, and if not, one is the enemy. This follows the path other ideological fanatics took, as in the Soviet Union, where their revolution for equality ended in mass executions.

This is a turf war. Hippies have wanted to take over metal since we challenged them (and their insipid rock) in the 1960s. They took over hardcore in the 1980s and songs went from rants about the imminent decline of our society to cute ditties about how the singer is outraged that people are not more accepting of everyone and everything. They transferred all that boring late hardcore into metal and threw some metal and jazz riffs on the top and called it a new genre, “modern metal.” The problem with it is that it is boring. Every single band of this type is random because the message it endorses is the anti-message: stand for nothing except going along with the hippies. This means writing transparent songs about SJW-topics that never really go anywhere since they all have the same meaning, “join the revolution!”

If you listen to enough modern metal, you will notice a pattern emerges. On the surface, this music is diverse and exciting. Jazz riffs, metal riffs, punk riffs and indie rock tropes compete for surface space. But then if you look at the heart of it, these songs really do not have much going for them. There is no melody or theme uniting them, just a loop of verse-chorus to which the band tacks on the randomness. This is because these are not songs about anything but are new and not very exciting ways of saying the exact same thing over and over again. Like a loudspeaker blaring in Moscow square, SJW-metal repeats the same propaganda in lockstep in hopes of reducing your brain to sludge so you go along with it. There is a reason it is all boring, and it relates to the purpose behind the music. Just like pop is annoying because its only purpose is to be catchy and vapid, SJW-metal is boring because its only purpose is to bleat propaganda while trying to be “unique” by making new surface variations of the same tired 1960s-1980s rock.

When hippies invaded rock, they destroyed it. When they invaded punk, they neutered it. If they successfully invade heavy metal, they will turn the last comfort of the rebellious soul into the dogma of the boring 1960s revolutionary left. SJWs are zombies who preach the same stuff that baby boomers were wailing on about in the 1960s, forgetting that all that stuff got debunked when the USSR fell in ruins and we got to see the SJW paradise: everyone was equal, and anyone who disagreed got shot, so no one did much of anything and it all fell apart. Hippies would bring us to the same end. They are essentially apologists for the decay of our society. Where metalheads want to look at reality and come up with solutions, hippies want us to space out with happy feelings and ignore the fact that we are in free fall as a society and soon to bottom out. This is why industry and government eventually embraced hippies: they do not threaten the power structure. Metal does, and that is why today’s hippies are trying to invade it, and why we must refute, resist and reject them.

Num Skull – Ritually Abused re-issue has fatal flaws

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The late 80s were an extremely volatile time for metal music. The speed metal movement that had started a handful of years prior was simultaneously peaking and sounding its death rattle. The noises coming from Europe and developing in New England were firing warning shots across the bow of metal as it had been known in full-out, transformational revolution. 1988 saw the release of Bathory Blood Fire Death, Bolt Thrower In Battle There Is No Law, Napalm Death From Enslavement To Obliteration, Carcass Reek Of Putrefaction, and demos from Paradise Lost, Samael, Rotting Christ, Rigor Mortis (pre-Immolation) and Exmortis, just to name a few. One can only imagine that this must have placed tremendous pressure on fledgling speed metal bands as the music world they thought they knew crumbled around them.

Very few of them escaped this period intact. Bands that had issued one or two great albums seemed to perceive that they could not continue as they had been. They saw a fork in the road: either trying to emulate one of the “big four” or struggling to “get harder” to keep up with the tectonic shift death and black metal were creating. Either move alienated the fan base they had built and universally failed as a result. This writer cannot think of one band that consciously changed vocalists and/or styles that got better because of said shift at that time.

This is not a lesson in music history or an album review, but it is important to understand the context of a given release. It is easy today to call up a band, a song, an album, and sample it immediately, piece by piece. Consuming historical output in a vacuum, outside of the understanding of the environment in which it was produced and unleashed, is simply folly. The timeline of modern metal, now at over three solid decades, conveys the idea that there were obvious plateaus and curves, slow and deliberate. However, focusing in closer reveals that there were a great many peaks and valleys along the way, some single high points among a lot of noisy low points.

Focusing on the US, 1988 saw some fine thrash releases from Nuclear Assault, Rigor Mortis, Vio-Lence, Wehrmächt, Wasted Youth, Wargasm, and the subject of this writing, Num Skull. Num Skull’s release of Ritually Abused, while not a game-changer, was significant. It toed the line of death metal; one can hear some hints of Immolation in some of the riffs on this album. The spitting delivery and effects on the vocals were very unique and helped set them apart. And, perhaps most importantly, it remains one of the very few releases from a midwestern-US band at that time. The midwest had the proto-death stylings of Macabre and Impetigo, the progressive metal of Anacrusis, the punk of Life Sentence, and the thrash of Zoetrope, but for thrash that edged closely to death metal, Num Skull were it. Ritually Abused caught them at their peak, before they decided they needed to be yet another poor-to-mediocre “brutal” death metal band to be discarded as also-rans. They were extremely talented, high-energy, and unique in a musical world filling up with same-ness.

Fast-forward to 2014. The original Ritually Abused is criminally difficult to find, with the lone CD pressing fetching triple-digits on eBay and in trading circles. When Relapse announced that finally, after much pleading, they were going to reissue it, complete with bonus track, it seemed time to rejoice. A limited-run of 300 units, pressed on purple vinyl, was promised, along with a CD and new apparel. This was an opportunity for younger listeners to hear what was a peak during the swan song of the US thrash movement with some proto-death metal tendencies, and for the label to pay respect to one of their deceased children, Medusa Records, with a release that helped put them on the map.

Upon inspection, the colors on the cover appear richer and the back cover has a new layout. Opening it, there is a basic lyrics sheet and plain sleeve. OK, so it’s not a deluxe reissue — this is not ideal but it is forgivable. After all, at least this piece of history was unearthed and given new life. Dropping the needle, fond memories of youth are replaced with jarring incongruity and disjointedness. What was originally a quick, seductive and declarative introduction of “The End” (“The end is near…”) followed by the huge, rhythmic hook of the title track was now the machine gun blast of “Death And Innocence”. Confused, a listener might consult the track listing again. As written, it shows the familiar order with the addition of a bonus track originally written for one of their demos:

  1. The End
  2. Ritually Abused
  3. Death And Innocence
  4. No Morals
  5. Friday’s Child
  6. Off with Your Head
  7. The Henchman
  8. Pirate’s Night
  9. Turn of a Screw
  10. Kiss Me, Kill Me
  11. Rigor Mortis
  12. Murder By The Minister (Bonus Track)

However, the lists of tracks as present on the disc is as follows:

    Side A

  1. Death And Innocence
  2. No Morals
  3. Friday’s Child
  4. Off With Your Head
  5. The Henchman
  6. Pirate’s Night
  7. Side B

  8. Turn Of A Screw
  9. Kiss Me, Kill Me
  10. Rigor Mortis
  11. Murder By The Minister (Bonus Track)
  12. The End
  13. Ritually Abused

The CD is also thus plagued. Such a clear display of “no fucks given” from the label dismantles the flow and intent of the original album and leaves the listener with a much less effective product. The lack of even basic quality control on this, after over a quarter of a century of waiting, demonstrates the fact that Relapse had no respect for this band or this release, a piece of its history. Relapse passed up an opportunity to finally give this release some deserved love and perhaps atone in some small way for the massive ignoring and lack of promotion payed to this upon its original release in favor of a quick cash-grab from their back catalog.

One wonders what little effort it may have taken to reach out to the band and seek their input and involvement on such a reissue. This has been done repeatedly lately to a high degree of success and satisfaction from fans; albums from Sacrifice, Darkthrone, and Bl’ast are prime examples of how to do proper reissues. Alternately, a few sentences from label leaders or peers about what the band meant to them at the time, initial reactions to hearing the album, etc. — anything — would have been a nice inclusion. At absolute minimum, a simple CD-to-vinyl rip using the 2002 disc as source material, while not giving a proper vinyl sound, would have resulted in a correct track listing and required exactly zero effort. It seems Relapse went out of their way to fuck this up, as though they gave the pressing plant some idea that there was a band called Num Skull that once upon a time had an album entitled Ritually Abused and let them figure out how to press it, never once checking any test pressings prior to collecting money and shipping another product about which they are ambivalent.

At their genesis, one likes to think that most record labels start with the idea of giving voice to deserving artists that would otherwise go unheard and unnoticed by other labels. In the mind of the listener, a label also bears the responsibility of curator of a slice of music history. Dear reader, what is the half life of such a fantasy? At what point does a label simply become a business with no artistic integrity left in their empty souls? At what point does churning out album after album of whatever flavor of the day fits best into the accepted formula that will sell enough product to turn a profit become more attractive than unleashing quality, moving music? Some rhetorical questions without answers, but one would think re-issuing a “lost” gem that requires minimal investment of money or time would be a simple feat if the label had one cell of shit-giving left.

The Best Underground Metal of 2014

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William Burroughs often wrote about the “edge,” or the liminal threshold between states. The last real edge year for underground metal was 2009 when strong contenders and new voices united to defend extreme metal against the onslaught of imitators making Potemkin village metal from hipster flair and lite-jazz fireworks but underneath it, nothing but disorganized songwriting and an absence of something to express. As the underground has come back with a vengeance, it has begun to displace the imitators because their music simply does not measure up. This has created a backlash as the hipsters defend their territory with guilt, ostentation, pretense and surface-level novelty. On the other hand, the underground has produced some strong contenders. And so we move forward through the past to the future, remembering that what is true is eternal, and trends, novelties, fads, hipsters and other transient moments pass quickly away…

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Blaspherian – Demos (Compilation of Death)

Compilation of Death Records has re-issued the a classic demo and rehearsal from a band of recent vintage but oldschool origins, Blaspherian. Their thunderous death metal sounds like Incantation and Obituary covering Deicide but has a voice of its own and unique perspective. It also carries forward the old school sensibility of building intensity and contrast in a morbid mood that is not self-echoing and redundant. Songwriter Wes Weaver (Imprecation, Infernal Dominion) avoids solos and other adornments to focus on tunneling riffs that are distinctive and create interplay with others in each song to give every song a unique feel within the lexicon of symbol and emotion that death metal addresses. Like the bands that inspire it, Blaspherian aims to create an immersive atmosphere of doom and morbidity in which it can bring forth other emotions in layers, such that the “mixed emotions” feel common to much music is not something achieved at the peak of a song, but is a constant in which the emotions mixed vary like a texture, revealing new combinations under the shifting striations of darkness.

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Blood Urn – …of Gory Sorcery and Death (Terrorghoul)

Death metal of the classic style fascinates this young band who write music much like the early years of death metal but with more of an emphasis on melodic bridging material, avoiding the pitfall of using melody as essentially a production technique and instead causing it to highlight songs that come alive with a ferment of conflicting riffs. Vocals use the old-school method of shadowing riffs and the salad of phrases itself fits together and creates a deepening mood. While on the heavier and slower side of death metal, this demo is varied enough to touch on all areas of the genre, assembling rich textures as a means to develop depth to the emotions in each part of the song. Unlike many newer bands, Blood Urn decided not to follow a single identifiable influence but instead sound like a study of European and American death metal rendered by someone approaching it with a fresh vision.

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Cenotaph – Riding Our Black Oceans (Chaos, re-issue)

A re-issue of this album restores it to its rightful place in the death metal canon. After the immensely powerful Gloomy Reflections of Our Hidden Sorrows, the thunderous Mexican death metal band Cenotaph changed their style to an airier and more intense high-speed melodic death metal sound. Unlike contemporary “melodic death metal” this style embraced the vigor of death metal by expressing it through sequences of tones that added melody without obscuring structure and darker moods, and Cenotaph displayed its customary acumen for songwriting by keeping each track centered around an idea that came forth not only in the whole but in the shape of its riffs. In the years following Sentenced North From Here and At the Gates The Red in the Sky is Ours, many bands attempted this newer style but few made it as vicious and uncompromising as Cenotaph.

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Conquering Dystopia – Conquering Dystopia

Conquering Dystopia creates instrumental mental that hybridizes death metal styles with progressive heavy metal and some of the newer progressive styles like that of At War With Self. The result often sounds a lot like Joe Satriani’s older works in that clear theme is expressed and highly repeated, but varied with other instrumental detours which strengthen it as the song progresses and all the pieces fit together more an in interrupted linear way than the geometries of pure death metal. While this is like most commercial rock indulgently emotional, the underlying music is good and the technique interesting without leaving service to what each song needs, which keeps it not only topical but interesting.

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Dead Congregation – Promulgation of the Fall (Martyrdoom)

Although this band gets mentioned as the foremost in the “Incantclone” series of bands inspired by streaming columnar detuned tremolo underground metal in the style of Incantation, Demoncy and Havohej, Dead Congregation draws influence as well from the subtler structuring of older Immolation in its use of melody to underscore is otherwise a thunderous series of chromatic rhythm riffs needing a center. Although songs vary in completeness throughout the album, generally these storming high-intensity dirges fit together well and produce an encompassing atmosphere which both crushes and awes the listener. If anything, this band could let up on the classic technique and float more of their own aesthetic ideas now that they are established.

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Demilich – 20th Adversary of Emptiness (Svart, re-issue)

Back when death metal was viewed by just about everyone as an incompetent genre of malcontent losers who would go nowhere and who were complaining about our new consumer+hippie paradise, a few bands emerged who saw the emerging genre not as a style but as an artistic voice with unlimited possibilities. One of these, Finland’s Demilich, created an album so circuitous and bizarre that the metal press basically dropped it and ran in fear, as did many fans. For those who discovered it however, Nespithe presented unlimited potential as to how death metal could adopt technicality and yet not be mastered by it and forced into the type of generic jazz-blues-rock theory that served to actually limit what musicians could conceive of and execute. With its twisted passages and seemingly erratic rhythms, Nespithe resembled a strange machine risen from the bowels of earth to conquer humankind. Instead, it inspired generations of fans and musicians to visualize death metal as a broader language than many wanted it to be. This re-issue pairs up older works with a handful of newer songs to make for a complete experience of this distinct voice and its concept.

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Desecresy – Chasmic Transcendence (Xtreem)

Desecresy combine Swedish death metal, doom-death metal and atmospheric influences from black metal to create towerlike scenes of dark moods in collision. With Chasmic Transcendence, the band update the formula with more easily separable rhythms to riffs and use of melodic transitions to intensify the building sense of doom. It builds grinding tension and discharges it in lengthy melodic passages which expand beyond their origins into new landscapes. Add to this a tendency to use lead melodic rhythm guitars over its power chord riffs and this makes for a haunting listen that resembles a descent into the underworld. With this third album, the band shows not only its staying power but the depths of the well of its creativity in not just re-inventing older styles but finding a new combination of them and using that to express a perspective which elaborates upon the basics of the genre and gives them new elegance and power.

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Enthroned – Sovereigns (Agonia)

Famed for their high-speed melodic black metal, Enthroned take the populist approach of middle-period Dimmu Borgir — before it went into its final stage as warmed-over hard rock — and craft it with greater urgency and the instrumental approach of older black metal. The result more resembles the later Bathory albums where heavy metal, proto-black metal and post-Slayer death metal influences merged to create a potent ferment. Sovereigns does not achieve the vast contrasts and epic sense of loss of earlier black metal, but upholds a battle-spirit and pushes it into song with strong melodies that do not lapse into the cloying saccharine world of “feelings” — personal observations based on personal perspective — but instead appeal to emotions, or the shared sense of importance and value to certain things which might be eternal. This album breaks up the formula slightly with slower songs as the album expands, in the style of Hypocrisy Penetralia.

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Entrench – Violent Procreation (War Anthem)

Following in the steps of Merciless, who could be seen as the stylistic ancestor of this band, Entrench craft speed/death metal with melodic underpinnings and a frantic but strident voice which guides riffs much in the way Dio narrated his own songs. To the Merciless formula of adroit ripping riffs concluding in both ambiguity and alignment, Entrench adds a Kreator style of finality to both vocal and guitar phrase, making these songs less emotional but more solidly violent. While speed/death hybridization usually ends badly, here the essence is speed metal riffs played as if by a death metal band in the context of a rhythm more like that of death metal. The result is satisfyingly impact-oriented but for it to take the next step to where Merciless is, it will have to coordinate its melodies and cultivate ambiguity both for it to resolve and preserve to keep the dark sensation produced by the riff-style of death metal, minor key melodies and mentalities outside those of the herd.

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Heresiarch – Wælwulf (EP, Dark Descent)

Attempting to forge a niche for itself in the Incantation/Blasphemy inspired style that has become a de facto underground currency during the past few years, Heresiarch create a muddier and more obscure version of their previous works, focusing less on tunneling riffs and more on simple two-chord riffs introducing songs that expand to greater degrees of structure with the slightest hints of melody. The band, in hoping to take war metal to the next dimension, probably consider their work to be unstudied and arising on impulse, but these songs show a clear pattern of development from the grinding to the structural and as a result, take the listeners with them on a journey of finding beauty in darkness and coherence in chaos. The violent slamming intensity remains but by lessening its consistency the band achieves a greater sense of contrast, like raising a sacred object higher above the marble floor to ensure that when it shatters the pieces are irreducible.

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Kever – Eon of Cycling Death (Dark Descent)

Perhaps one of the most inspiring releases this year, Eon of Cycling Death wears its old school influences in Suffocation and Morbid Angel on its sleeve but without imitating them in pale imprint of their technique without understanding their essence. Instead this band forges on with a kind of fantasy death metal that shows them living an alternative and parallel timeline to these bands, developing the basics they innovated with a voice specific to these individuals regardless of what time they are born into. Percussive riffs give way to an ensemble of death metal styles united by rhythm and space which convincingly outline the ideas of each song and then give them depth through internal dialogue. On top of it, an abrupt and croaking vocal gives new life to a very familiar technique with its guttural but carefully sculpted sonic enunciation.

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Massacra – Enjoy the Violence (Century Media, re-issue)

One of the great classics of death metal, long passed-over for more dramatic acts, gained new life with this re-issue. Massacra created their early music in the style which stretches from Slayer through Morbid Angel and emphasizes fast strumming of rapidly-colliding riffs which emphasize ambiguity and openness over the kind of certainty that works well with more percussive styles. Enjoy the Violence is like a rollercoaster between extremes where all things lead back to the same point, but the experience is changing enough that it is almost unrecognizable as the same. With the remaster, some of the weaker sound from the earlier recording is corrected and bonus tracks are added, giving new life to this under-recognized classic of the genre that was more highly influential among musicians than fans, and took on new life in the bands it influenced.

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Massacra – Final Holocaust (Century Media, re-issue)

This foundational album of death metal by Massacra has been re-issued by Century Media with bonus tracks and a booklet rich in information. That provides a good introduction to this view of the death metal style, which instead of attempting to be “heavy” aimed for shock and awe with fast riffs and convoluted songs that somehow emerged into an almost peaceful calm after chaos and combat. Massacra derive their strength from the ability to write fast-fingered riffs that capture the thrill and terror of being alive into a single moment and use this to make basic clashes within life into a mythology of trying to conquer empty spaces with the will and sensibility of a warrior wandering a dystopian wasteland. While this album was forgotten in the day mostly due to its mids-heavy (in contrast to bass-heavy) production and relative availability through distribution contracts more circuitous than its riffs, it rides again in new form.

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Massacra – Day of the Massacra (Century Media)

Century Media compiled several early Massacra demos into a single disc, paired it with extensive liner notes and pictures, and remastered everything for an insight into the rise of the Massacra sound while it was recognizable as what would emerge on the first two and most influential Massacra albums. These recordings show the band merging its early influences into a style and then finding its own voice within that beast, allowing it to compose distinctive and evocative songs immediately including several pre-album tracks with some duct tape still visible. While this might appeal most to Massacra maniacs, it also serves as a useful introduction to new fans who may appreciate the heavier production and more aggressive primitive approach here as a means of transitioning to the albums that follow, which focused not so much on slamming impact as a kind of sky architecture of riffery.

CD Booklet

Nausea – Condemned to the System (Willowtip)

Straddling the line between grindcore, crust and old-fashioned hardcore — which are inches apart as it is — Nausea return with this recording of older and newer tracks alike. Carefully pared down to incorporate only necessary elements and keep energy high, Condemned to the System demonstrates the simpler style of punk composition with all of the riff power of early grindcore, including several tracks (and pieces thereof) that later made it to the first Terrorizer album, World Downfall. The listener who can forget that heritage however will discover merely a crushing, efficient and streamlined album of enjoyable but hard-hitting punkish music that will not win awards for extremity or technicality, but shows care applied to songwriting so that a listener does not feel lost in a sea of riffs or drone, but can isolate each song in the mind and appreciate its individual attack.

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Nunslaughter – Angelic Dread (Hells Headbangers)

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. 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.

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Oppression – Sociopathie & Gloire (Preposterous Creations)

Merging Oi!-style punk with some enhancements from black metal, tracks are short (2-3 minute) affairs. Melodies are catchy, yet wistful lines grounded in simple guitar and bass riffs, with vocal alternating between manic shrieks and an idiosyncratic, youthful attempt at melodic singing. Using the more linear style composition of punk, as opposed to the riff-stacking song construction used by much of black metal, each song contributes a sense of motion that builds the album up over successive tracks. Production values are what one would expect for this style of music; clear enough to make out each instrument, but raw enough to preserve low-budget ethos. This is a release that is not attempting to invent a new genre, but rather one which seeks to renew genres that had collapsed under their own entropy. The strange aesthetics may be off-putting to some, but if those can be sublimated into the spirit of this album, a refreshingly honest work will open itself for enjoyment.

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Personal Device – Microorganismos del Mal

First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range.

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Ripper – Raising the Corpse (Underground Defenders)

Much like Merciless, Ripper know to invoke a melodic hook with a rhythmic hook and gradually bring a song into unity, at which point they hammer home the infectious chorus until the audience is ready to carve it into their own flesh. While some may point out that little new occurs here stylistically, and many of these riff forms can be traced back to Slayer or Destruction, what Ripper does well is keep this music high-intensity without falling into sameness and to streamline into an effective delivery mechanism that outgrows the confused collision of styles that was the mid to late 1980s. This approach fits within the early speed metal model that formed the basis of great hook-laden German bands like Destruction and Sodom, and this tradition continues with Ripper. Where Ripper succeeds is in removing extraneous material and cutting to the core of its music, eliminating some of the distraction and randomness that blighted later work from the German bands.

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Sorcier Des Glaces – Ritual Of The End (Obscure Abhorrence)

Flowing dark melodic forest black metal band Sorcier des Glaces burst onto the scene as any appreciation for this style of Graveland and Immortal influenced black metal fully waned as the initial loss of momentum in the genre caught up with its inertia. Since that time, the band has continued its path of making naturalistic long-melody black metal with the distinctive wandering tempo and phrasal development that many of the French bands also explored. With Ritual of the End, Sorcier des Glaces present their vision in a more focused style that nonetheless preserves the inconclusive nature of their earlier music, becoming like a vision of the woods at twilight equal parts promise and ambiguity, revealing the continuous nature of life through its inability to achieve finite endpoints. When metal mistakenly went toward faster/more extreme variants of the past, it lost the majestic beauty which inspired imagination as well as aggression, and Sorcier des Glaces return it.

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Varathron – Untrodden Corridors Of Hades (Agonia)

One of the original Greek black metal bands, Varathron returns with higher speed and more dominant melody in a style that approximates what Borknagar and other later black metal bands tried to do, with some nods to music since but fundamentally a sensibility closer to Rotting Christ Thy Mighty Contract. Keeping energy high with frequent changes but return to theme and focus on a melody or progression at the heart of each song, Varathron expand their repertoie and craft an album that speaks enough of a contemporary language to dominate that style with the vocabulary of the older era, invoking both a return to and a continuation of the past. While the influence of the present time makes itself known, it remains under control of the guiding forces behind this band that seek to open the imagination instead of gratify self-image, and as a result more possibility emerges here than in other contemporary works.

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Witchblood – Hail to Lyderhorn (Aurora Australis)

Attempting to uphold the values of classic black metal while introducing to them some of the more recent developments in tradfolk-inspired music, Witchblood combines the catchy attack of Venom with riff technique from mid-90s black metal and adds its own voice, which consists of equal part narrative bardic style and an idiosyncratic ability to make memory-haunting tunes. The result features a range of techniques from the history of metal, including NWOBHM-inspired riffing right alongside streaming tremolo picked melodic riffs, but this band makes it work by keeping focus on an essential melody in each song paired to a vocal rhythm designed to deliver a foot-tapping chorus, as bands like Sodom or Destruction did years ago. The result takes the Venom school of metal, upgrades it with black metal, and restores it to a 1980s delivery that is both clear and dark and then infuses that with the type of ancestral identity and epic sensation of purpose that arises from folk music. Through this, Witchblood creates its own form of metal that shows clear roots in much older traditions.

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Woodtemple – Forgotten Pride (Sacrilege)

Showing more of an influence from Following the Voice of Blood era Graveland, Woodtemple return with a more focused version of their flowing black metal. In the past, the music more resembled flowing hills in a landscape of vast breadth, but now greater internal contrast makes what is portrayed closer to a mountain range with ragged crags over deep valleys. The addition of floating female vocals and gentle keyboards allow the band to put more aggression into guitars and bass, keeping vocals semi-backgrounded which produces the effect of reducing the “human” feel to the music. As a result, songs come together with more focus, making this the clearest statement from Woodtemple yet made. Like most metal in this style, Forgotten Pride creates an effect of distance from the human world, isolation and a focus on the larger picture through a lens of large leaps in time, but now creates another hypnotic effect in a distancing from humanity itself. This band, while not a Graveland side project, features Graveland composer Rob Darken on bass.

Album of the Year 2014

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Sammath – Godless Arrogance (Hammerheart)

Godless Arrogance features nearly constant high-intensity rhythmic riffing and finally has a production to match which emphasizes internal harmony but projects vocals and guitars to the forefront, creating an enveloping wall of sound. Drumming is violent martial battery without the happy kickbeat tendencies of overly rock-trained drummer; percussion here is more like punk, hard-driving intensity to channel the guitars, which alternate between abrupt chromatic confrontation in the Demoncy style to gentle unfolding melodies much like were found on Strijd. Bass folds into the guitar, and vocals are the high-volume bluster that reduces distorted vocals to a sound like a whisper spoken close to a microphone in high wind. The result is incessant and unrelenting but also has an inner life of melody that gives it depth and allows it to manipulate riff context like a death metal band while evoking ambient atmosphere in the best tradition of black metal. For resurrecting the black metal spirit of great beauty hidden within massive aggression and alienation, Godless Arrogance deserves to be seen as the best album of 2014.

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