Category Archives: News

Zloslut to unleash U Transu Sa Nepoznatim Siluetama in spring 2015

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Serbian black metal band Zloslut will unleash its second album U Transu Sa Nepoznatim Siluetama in spring 2015 on Dark Chants Productions. To prepare audiences for the new work, Zloslut have released a sample track “Ukleta” (below).

We first reviewed Zloslut Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti, which combines black and death metal styles into a unique voice expressing an idea and atmosphere specific to this band, back in February. Since that time, the band has composed and recorded the new full album which will be released on CD and LP early next year.

Zloslut composer Utvara answered our questions for a brief profile as follows describing the new direction this band is taking and how it affects their distinctive sound.

How is the second album different from the first?

It is a completely new album, unlike the first album which was still quite linked to the older material.

First of all, we have made a step forward when it comes to production. It is not crystal clear, but it is not raw either, so expect something in between. The album is around 40 minutes in duration and comprised of 8 all-new tracks, with less instrumental composition than we had on Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti. This time you can expect something new in our music in the form of sampled chants and clean vocals here and there. But it is still Zloslut, primitive, ominous, dark in my own way.

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Where did you record it, with whom as engineer and who on mixing deck, and how long did it take?

The album writing started a little bit before the recording of the first (well, this precisely concerns only one track), but the recording phase was a question of only a few days. But all in all, it took me two months for getting everything ready from music to design.

It was produced, engineered, mastered and mixed by Nemanja Krneta (a.k.a. Zlorog), I worked with him already back in 2012 for the EP Pustoš i prevare izgubljenih duša. This guy knows what I want, so that’s why I contacted him. And I’m very happy about how everything turned out, from the recording to the final phases of the whole album.

The recording itself occured in Belgrade, Serbia, at various studios.

What are the topics of these song-titles? I don’t think “Google translate” will work on these.

“U transu sa nepoznatim siluetama” means “In trance with the unkown silhouettes”.

The tracklist is (with translations in parentheses):

  1. Odjeci Ezoteričnih Misli (Echoes of Esoteric Thoughts)
  2. Kletva Ožalošćenog (Curse of the Grieved)
  3. Crni Um (Black Mind)
  4. Transcendentalni Ples Ludila (Transcendental Dance of Madness)
  5. Ukleta (The Haunted One)
  6. Budućnost Smrću Blista (The Future Shines of Death)
  7. Istinska Odanost (True Devotion)
  8. Poslednji San (Last Dream)

The lyrics are quit poetic, if I can say that despite not considering myself a poet. All lyrics deal with occultism, death, delusion of life and mankind.

Tribe & Rite: A Heavy Metal Student Conference issues call for papers

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The University of Victoria English Department and the Heavy Metal department at the University of Victoria invite paper submissions for their upcoming conference, Tribe & Rite: A Heavy Metal Student Conference. The conference will be held at the University of Victoria, Vancouver Island, British Columbia, Canada on November 8-9, 2014.

According to the organizers, “Metal culture celebrates the wild, the grotesque, and the forbidden. We invite papers on these themes from across the humanities, social sciences, fine arts, and related disciplines. Papers can draw on lyrics, musical technique, aesthetics (music, fashion, album art), innovations in metal, regional and historical metal movements, and more.”

The organizers suggest the following possible topics:

  • The makings and markers of a metalhead
  • Metal as genre, subculture, counterculture, or tribe
  • Rites and rituals of regional/historical metal movements
  • The transformation of metal by academia and vice versa
  • Generational differences in metal
  • The influence of metal on other cultural movements (e.g. punk, hippy), and vice versa
  • Comparison of metal with other cultural movements
  • Comparison of subcultures within metal (e.g. the radical politics of crust, the Satanism, neo-paganism, and occultism of black metal)
  • The future and fate of metal
  • Inclusive and exclusive behavior among metalheads
  • The relationship between metal music and memorabilia

Submissions must be send in Microsoft Word format to metalcon@uvic.ca by October 3, 2014. For more information, see the Tribe & Rite: A Heavy Metal Student Conference homepage.

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Soulburn to release The Suffocating Darkness

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Including former Asphyx drummer Bob Bagchus and original Asphyx guitarist Eric Daniels, Soulburn — known to many as the “off-brand” version of Asphyx during personnel shakeups — returns with a 2014 album entitled The Suffocating Darkness to be released via Century Media on November 17th in Europe and November 18th in North America.

As Asphyx continues its drive in parallel with Hail of Bullets to make a modernized form of its pounding abrasive death metal, those who are less committed to playing as a professional band have shifted to Soulburn where they can keep normal lives and still produce music. For Asphyx fans, this move provides two benefits, namely the more commercial version of Asphyx dominating the airwaves while the more underground version can more flexibly explore its style.

Bagchus and Daniels add Twan van Geel (Flesh Made Sin, Legion of the Damned) as vocalist/bassist and Remco Kreft (Grand Supreme Blood Court, Nailgun Massacre, Xenomorph) as a second guitarist. The album was recorded with Harry Wijering (Harrow Productions), mixed and mastered by Dan Swanö (Unisound Recordings) with artwork from Timo Ketola and Roberto Toderico.

“Bringing Soulburn back to life was a natural thing to do since the inspiration was huge, more than ever before. Playing the old songs as well as the new incantations is a blessing. The riffs and thus the songs kept coming and coming and we knew we were on the right track. The new deal with our longtime label Century Media Records was the next logical step,” said Bagchus.

SOULBURN line-up:
Twan van Geel – vocals/bass
Remco Kreft – guitar
Eric Daniels – guitar
Bob Bagchus – drums

SOULBURN tour:
21.09.2014 – Bremen (Germany) – Schlachthof *sold out*
22.09.2014 – Essen (Germany) – Weststadthalle *sold out*
23.09.2014 – Berlin (Germany) – SO36 *sold out*
17-19.04.2015 – Tilburg (The Netherlands) – 013 / Neurotic Deathfest

At the Gates releases title track from At War With Reality

First observation from the newest At the Gates track is encouraging. This is clearly better than the sing-song candy-pop that blighted Slaughter of the Soul and ventures tentatively into the land of darker melodies and stark contrasts that defines the death metal approach to mood.

Approximating the descending chord progressions from Terminal Spirit Disease, “At War With Reality” reveals At the Gates applying the more popular aspects of their sound as a means of intensifying older-style tremolo riffs. The solo comes straight from modern death metal and incorporates many elements of older heavy metal and hard rock, and the song builds itself out of a strict verse-chorus loop with overlays and internal melodies via lead rhythm guitar. As such, “At War With Reality” does not return to the good old days, but mixes the later days of the formative period of this band with newer styles and produces a song with more depth and power than the singalong material of Slaughter of the Soul.

As far as those hoping for the complex arrangements and internal melodic dialogue of the first At the Gates album, “At War With Reality” does not go that far. It is however only one track from the album, albeit the title track, so the rest remains an unknown quantity. But this shows the band moving closer to a form of music which has greater intensity, and in the process tempering the lite jazz and post-hardcore/emo influences of recent death metal hybrids, and so takes a positive step for At the Gates and death metal as a whole.

Varathron to unleash Untrodden Corridors of Hades

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Greek black metal founders Varathron return with a new album that takes the band in a modernized melodic metal direction but does so without losing the unique balance of heavy metal hooks and dark atmosphere that defined the debut, His Majesty at the Swamp.

Untrodden Corridors of Hades, which will see release via Agonia Records on November 21 in Europe and December 9 for the rest of the world, veers away from the old school doom metal sound of the debut but picks up with a version of the melodic metal of Walpurgisnacht but in a modernized style. This new style adopts the frenetic pace and compressed song structure of contemporary metal, but within that style, the ear for melodic composition and atmosphere of the original band makes itself audible.

With a cover by famed metal artist Mark Riddick, Untrodden Corridors of Hades was recorded, mixed and engineered by Kostas Kalampokas at Infinite Loop Music Studio in Greece and mastered by Tom Kvålsvoll at Strype Audio in Norway. The new album resembles 2009 release Stygian Forces of Scorn but with new energy and louder sound, as the embedded sample below reveals.

Tracklist:

  1. Kabalistic Invocation of Solomon
  2. Realm of Obscure
  3. Arcane Conjuring
  4. Leprocious Lord
  5. The Bright Trapezium
  6. Death Chant
  7. Delve Into the Past

Line-up:
Stefan Necroabyssious – vocals
Achilleas C – guitars
Sotiris – guitars
Stratos – bass
Haris – drums

Why Thurston Moore is right about black metal

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Most people believe that “trolling” happens on the internet and that trolls are a group like organized crime. Instead trolling is a method and trolls are any who troll, such as when Sonic Youth guitarist Thurston Moore trolled black metal fans recently.

Having been around media and rock fans alike — two groups heavily invested in the pretense of self-styled self-image — Moore spotted a good mark for a brutal troll when he saw one. Thus with an offhanded comment, he lit the rage-fires of ten thousand fedora-blessed basements.

Black Metal is music made by pussies of the lowest order, and we felt it was necessary to investigate this aberrant anti-music behavior. We feel like the sound and attitude of black metal is a loss of self, life, light and desire in a way where it becomes so negative that a whole new bliss arrives where we become super pussy.

The guitarist elaborated later:

Black metal, it doesn’t even consider itself music. In fact, it doesn’t want to be confused with any kind of music because it’s something else entirely. It’s a voided concept from its start [laughs]. It’s all about complete disintegration of existence. It’s a music that uses the elements of rock instrumentation but it’s so anti-everything that, for me, it doesn’t matter what you say about it because it doesn’t exist. I figured I would just write something ridiculous about it. And boy, did black-metal devotees get really upset by it. You’re not supposed to be alive, so why are you getting upset?

We know that his first statement is a troll because it was the only statement included in the press release, and more importantly, it makes us of a dual meaning in the term “pussy” to wind up the angry denizens of vans down by the river. Moore has been around the alternative rock scene too long to be anything but scrupulously politically correct, so it is dubious he would ever use the term “pussy” in a sexist manner, but that does not prohibit him from playing off the common usage of the term in the metal community to mean (roughly) wimp or weenie.

It seems to me that Moore is having a bit of fun with the term and is distilling it back to its more Victorian usage where it refers to housecats as distinctive from street cats. Meaning that black metal fans are sleek, well-fed, pampered and most likely neutered. Domesticated. Not a threat to anything, probably not even mice, despite the face paint.

Black metal deserves this attack in 2014. From 1989-1994, the genre thrived amidst murder, politically incorrect statements and church arsons, but also some really excellent music. Since that time, much like modern Western civilization, black metal has been cruising on the wealth of the past. With a few exceptions like Demoncy, Beherit and Sammath black metal has fallen so far short of its historical peak that it resembles a collapsed civilization. Among the ruins of an ancient past of greatness, the remnants of a broken social experiment play and achieve nothing of any importance, but when challenged in a pub, they are quick to remind us all that they were Romans, once.

The usual crowd of poseur wannabes at the FMP and NWN forums have been cruising on the reputation of black metal for two decades now. They act like the worst street toughs ever and remind us that not only were they Romans, but once they burned churches and murdered people. However, they are most likely to come home from their jobs as Facebook consultants and hang around their loft apartments drinking craft beer and arguing over the minutiae of which indistinguishably bland “black metal” band has more “atmosphere” than the others, when in fact all post-1994 black metal sounds the same because none of it is written about anything. It is all variants on an aesthetic, and nothing more. The guts of it are gone; it has abolished itself.

Black metal was born as a reaction — both to and against death metal, which was experiencing a rare period of commercial success in the early ’90s — and thus, it had a rigid definition before it even had a body….Euronymous’s Helvete was to Norwegian black metal what MacDougal Street was to the ’60s Greenwich Village folk scene, and his views were considered gospel. Death metal was “trendy” and “fun,” said Euronymous; well, black metal rejected trends and fun…For Euronymous, the primary essential element for music to be defined as “black metal” was Satanism. “If a band cultivates and worships Satan, it’s black metal,” he said. “What’s important is that it’s Satanic; that’s what makes it black metal.”

Moore keyed into this pointlessness. When a genre can easily merge with indie rock and heroin and form a “supergroup” like Twilight, and when droning nobodies like Deafheaven and Wolves in the Throne Room are accepted as normal parts of the genre, it is dead and buried. It has lost its sense of “genre,” or having artistic purpose, and now is just another shade of wallpaper in which we can drape the usual thoughtless rock music so that it can be sold to a new generation of domesticated rebels.

Black metal had relevance when it was a movement of artists who felt Western civilization had gone down a bad path and had a suggestion of how to reform it: remove its morality of protecting the individual, which translated into protecting the vast herd of anonymous people who fear that someone might wake up and discover that all of society built on morality is a shame. It rejected all that was “good,” and embraced all that was functional yet “bad,” building on 300 years of Romanticism which encouraged the same. As an artistic movement, it had purpose, which meant that not everyone could participate. As soon as they could, the Hot Topic generation seized hold of this music and turned it into a neutered, tame and compliant version of itself so that it would not offend their personal pretense or make them actually controversial, although they gladly accepted the appearance of the same.

As guitarist for Sonic Youth, Moore knows this well. He made his career by dressing up the dissonant protest rock of the 1960s in the veil of distortion inspired by the Ramones, and essentially carries on every trait of the most-played out decade of music ever in a new form. Like a salesman, he finds a way to make you buy the same ugly vacuum cleaner in a new color because now it has a gizmo that winds up the cord faster. But he also knows music, and he is right to bash black metal. It is a pussycat, fat and perched on a luxuriant sofa, which hisses and holds out a trembling claw as we approach, reminding us that it was a tiger, once.

h/t I.O. Kirkwood / Metal Descent

Sadistic Metal Reviews 09-18-14

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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.

Satanist group allows Florida children to explore alternative religion

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Religion and its opposition exist in uneasy tension in our democracy. Some years ago, it was decided that instead of making religion mandatory in schools, government should allow religious organizations to submit materials for use by students.

Recently, someone called their bluff. In particular, The Satanic Temple wants to supply religious pamphlets about Satanism to students, much as other religions do for their respective beliefs. According to the organization, they are trying to stay competitive with other religions:

“If a public school board is going to allow religious pamphlets and full Bibles to be distributed to students — as is the case in Orange County, Florida — we think the responsible thing to do is to ensure that these students are given access to a variety of differing religious opinions,” Greaves said.

The Satanic Temple is best known for their ongoing attempts to erect a Satanic monument at the Oklahoma State Capitol where a 10 Commandments monument is displayed.

While we avert our eyes from the ongoing attempts of humans to govern themselves, we encourage you to view the book The Satanic Childrens Big Book of Activities in PDF format and perhaps spread it to children in your area.

International Journal of Community Music releases its heavy metal special

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Image from The Musical Autist.

The International Journal of Community Music recently released its June 2014 issue which focuses on heavy metal through writings by the heavy metal studies academic community which explore heavy metal and its social effects in many different forms.

Centered around the concept of “community music,” the journal investigates interactions between music and the surrounding community, but peers most deeply into how music can be a voice for events, values or changes in a community. Its general list of topics includes:

  • Music and informal educational settings
  • Music in areas of conflict and former conflict
  • Music and the youth service
  • Music in prisons and probation services
  • Music in health settings / Music and cultural policy
  • Music and Life-long learning
  • Genres and musical styles e.g. music-making of all kinds and all styles, listening, music technology
  • Philosophy of Community Music
  • Music, faith and spirituality

The “heavy metal special” issue concentrates its analysis on some of the more controversial areas of the interaction between heavy metal and culture. The topics of these essays seem ready to dig into the type of conflict that would make a good basis for a shredding album of brutally intense music.

International Journal of Community Music June 2014 issue contains the following contents:

  • Raising the horns: Heavy metal communities and community heavy metal music

    Authors: Gabby Riches And Karl Spracklen
  • Kami semua headbangers: Heavy metal as multiethnic community builder in Penang Island, Malaysia

    Authors: Marco Ferrarese
  • Reconceptualizing hard rock and metal fans as a group: Imaginary community

    Authors: Rosemary Lucy Hill
  • ‘Ons is saam’ – Afrikaans metal and rebuilding whiteness in the Rainbow Nation

    Authors: Catherine Hoad
  • Metal made me who I am: Seven adult men reflect on their engagement with metal music during adolescence

    Authors: Michelle Hines And Katrina Skewes McFerran
  • Mapping the underground: An ethnographic cartography of the Leeds extreme metal scene

    Authors: Gabby Riches And Brett Lashua
  • On your knees and pray! The role of religion in the development of a metal scene in the Caribbean island of Puerto Rico

    Authors: Nelson Varas-Díaz And Eliut Rivera-Segarra And Sigrid Mendoza And Osvaldo González-Sepúlveda
  • Hamburgers of Devastation: The pleasures and politics of heavy metal cooking

    Authors: Michelle Phillipov
  • ‘The Black Sheep of the Family’: Bogans, borders and New Zealand society

    Authors: Dave Snell

The journal can be purchased at this location.

Cannibal Corpse: Bible of Butchery by Joel McIver

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Derided mostly by casual noticers of their cover art, Cannibal Corpse created a public face for death metal by becoming the most popular death metal band in history. Outselling the rest of the genre, they have kept on tour and pushing out albums for two and a half decades and now have unleashed their thirteenth album. Veteran music journalist and metal writer Joel McIver caught up with the band and wrote a history and explanation of Cannibal Corpse.

Intelligently, McIver opted not to try to make a narrative of his own. Instead he took a Glorious Times approach and let the band speak for itself for the most part, then knitting the disparate statements together into single narratives. The first two thirds of the book consists of statements from the band members which come across as unedited although their length suggests they were assembled from multiple interviews. The last third of the book contains a history of the band as a whole told through excerpts from interviews with the band, managers and other members of the underground community. The entire book is interspersed with song lyrics with brief explanations from the band. As a result, this book becomes easily readable and very personal, avoiding the pitfalls of trying to become overly formal or over-analytical with a band that does not want to be taken overly seriously.

In our twenties, we weren’t thinking too seriously about this stuff. Chris wrote the lyrics and we gave him free rein to be as offensive and disturbing as he thought necessary. Nowadays we probably think a little more about the subject matter of our songs, and the end result can be lyrics that are still horrifying but less overtly offensive. I think that sometimes a more subtle approach can be more effective for horror fiction anyway—‘subtle’ being a very relative term in our case, maybe the difference between a hatchet to the genitals and a hatchet to the head. But that’s what our band is doing really: putting horror fiction to music. We don’t back what the characters in our songs are doing: they’re just evil characters who are appropriate for stories like these. – Alex Webster (121-122)

If the book has a theme, it can be found in the normalcy of Cannibal Corpse. The band member biographies detail their early interest in heavy metal, then in musicianship, and their desire to be part of the new movement of harder and heavier music coming out after Metallica and later, after the first nascent death metal. They mention the classics of proto-underground metal like Sodom and Slayer, but focus on not the extremity of lyrics but the music itself. These men wanted to make music that did what their musical heroes did, but took it to a new level of intensity. They also wanted to have a sense of humor about it. And, going back to their earliest influences, they found idols who had also made it big on a commercial level: the 1970s hard rock and heavy metal acts that shocked the uptight citizenry but delighted mischievous and alienated kids everywhere. The comedic lyrics of torture, sadism, butchery, gore and mass killing arise not from a fascination with the dark and morbid, but a joy in disturbing social pretense that has more in common with Kiss or Judas Priest on the big stage, gyrating away as church ladies gasped.

When assembling the narrative of the band, McIver stacked statements from band members in such a way to tell the narrative through its strongest voices, inserting summaries of major events so that the least specific material is told from a third-person perspective. This gives more space to the band to speak about their own intentions and analysis, which enables this book to move along at a fast pace and never wind down into the kind of rambling anecdotes that blighted rock journalism in the 1970s and 1980s. As a result, it is both a short book and complete in its recounting of the Cannibal Corpse story. Through skillful editing, McIver avoids having the history drag or become tangential, and with the voices of the band members he brings up every essential topic in short, readable fashion. We also hear from band members and crucial actors like label boss Brian Slagel whose voices are not normally heard in the telling of this history.

In my downtime, I shoot guns. I’ve been interested in them since I was a kid. It’s the other thing I’m interested in apart from guitars, and it’s a great way to let off aggression. I go to ranges and shoot targets. Playing loud music is another good way to release stress. I like to go to the gym and work out, and I like to go out and drink and have fun with my buddies. Luckily, I’ve always been able to go anywhere and make friends. I live day by day. I would never have guessed that I’d still be doing this after all this time… — Pat O’Brien (46)

In the history of metal, Cannibal Corpse: Bible of Butchery will be remembered as a book that started a debate instead of ended one. Most analysis of Cannibal Corpse so far has focused on the reactions of others and has been unable to get around the disturbing imagery and lyrics. By mixing lyrics with histories, and looking at the motivation of band members for personal and artistic goals instead of reading the band as an advocate of what is described in its lyrics, Cannibal Corpse: Bible of Butchery reveals the commonality of Cannibal Corpse with heavy metal bands since the dawning of the genre. Instead of serving as a kind of unpaid advocate for serial killers everywhere, this band acted as a continuation of the heavy metal tradition of upsetting parents and delighting kids. By getting past the elephant in the outsider viewpoint room, McIver shows us Cannibal Corpse as they are, and lets their story tell itself and reveal the undiscovered history behind what for most people is the public face of death metal.