It is our regrettable duty to report that Frank Dancsecs, founder of the legendary ACES Records in Tampa, Florida, has passed away on June 29, 2015. ACES was a gathering point for the early Florida death metal scene and invested support and belief in the early genre when it was rejected by most others.1 Comment
Necrotic dungeon synth/cosmic ambient band Khand plans to release two upcoming albums. The band issued the following statement:
This hasn’t been announced yet, but there will be two albums released right around the same time: the aforementioned space/Mars concept album, and also one with Medieval/Fantasy elements. I have been working on both at the same time; recording the Mars album slowed down as I had to purchase some new equipment and and a new rig. But alas, I hope to have both of them out soon. As always, thanks for the support. There are still cassettes available as well, please contact me here if you would like some.
Album arts and/or newer track to be released soon.
Still available from us:
Arches of Entropy CD 10 €
The Doom Skeptron CD 10 €
The Doom Skeptron LP 15 €
Chasmic Transcendence CD 10 €
and the last Arches of Entropy t-shirt 15 €
Shipping will be added to the price
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It is our sad duty to report that Jaime Gonzalez, manager at San Antonio, Texas, metal record cavern Hogwild Records has passed away on July 4, 2015 after a long battle with cancer. For those who remember Jaime, he was an affable man who adored heavy metal and did not hesitate to extend a kind word to fellow metalheads. He will be missed.1 Comment
Following up on Brett Steven’s review of Kaeck’s Stormkult, the present review starts off where he left off: the fusion of styles in Stormkult that are brought together under one unifying banner. The truth is that trying to split this album into its influences is almost pointless as it broke them down to such atomic and almost indivisible parts to build something that is completely their own. We may hear a trace of what Sammath or Kjeld sounds like almost only because we were told that members from these bands participate here. Otherwise, we would be hard pressed to find concrete influences.The previously mentioned review does a very good job at describing the album both in an evocative way, as in describing a picture and by summoning the presence of other bands as to give the reader some idea of how Kaeck goes about building their music, but in no moment does this imply that Kaeck actually sounds like any of them (except, of course, for the fact that they are all black metal).
Kaeck’s “sound” can be broken down into the layered functions that the instruments fill. First we have the drums at the bottom. These are used more like a heartbeat rather than a metronome. A typical background black metal drum pattern will keep the beat with standard beats, but here the drum patterns are reduced in such an intentional manner to something that can only be described as primitive battle drums whose sole function is to drive deep and resounding vibrations in the martial host’s body. Guitars distorted to the poing of disfugurement provide the thickness of the sound, notes and chords themselves being barely recognizable through the fuzz and chaos of frequencies bent to the whims of an unfathomable will. Riding the maelstrom of riffs comes a coarse voice which simultaneously commands us out of lethargic inaction and commends us to embrace the defying and righteous — though heretical — mission of the Angel of Light. A luminescence that, contrary to what the waylayer Paul would have us believe, is in all truth the true essence of that entity shrouded in damned robes of exhile. A garb worn as camouflage to avoid the tyrannical embrace that paralyzes thought from within in exchange for blissful mental atrophy. Echoing across the catacombs that serve as an imaginable setting for Stormkult we can hear a keyboard that outlines short melodic motifs counterpointing and delineating the whole in a loop, only changing with the tempestuous guitar and arising from within its bowels only to go back to them as a lost, desperate soul attempting to escape imminent destiny only be pulled back by a reality that admits no denial.
What we have now, is a static picture of Kaeck. But the enduring power of Stormkult resides in the living movement through temporal dimension that music is. Affirming dominance over the elements of music, bending them in an abuse characteristic of a necromancer trespassing the bounds set by divine order, we hear the violent plight of Godless Arrogance coming to fruition in the reining in of a beast of unnatural origin. The experience through which Kaeck hauls our terrified soul appears at first as an indistinguishable blur. It is only after our eyes have time to adjust in the dim light pushed into corners by an overpowering darkness that we see a pattern emerge in the frescoes on the walls splattered by blood old and new. And from the synchronized layers of sound we hear subtle transformations that a moment ago seemed to comprise only one motif in repetition. Once we latch on to the combat-inciting beats, and the voice guides us over the patterns of the riffs as the melodies produced in the keyboard and a soloing guitar move in and out of our field of view, we start to envisage this humble temple in all the dimensions conceived by its creator: the evolving motifs on the timeline as well as the entities represented in the melodies existing as reflections of the riff itself on parallel worlds.
While any music can rightfully pronounce themselves as comprising all necessary dimensions, seldom do creators actually think fully in all of them. It is usually the case that the whole is forgone to give prominence to one of the elements, no matter what is claimed. When the goal is the whole, all the parts are cared for in an obsessive manner in attention to how they affect the whole and not according to how they stand on their own which often leads to an imbalance in the relation of the parts that obstructs communication, for what is intended by the whole is either distorted or fades into the background to give way to the prominence of egos. These considerations must include the temporal relations of things, it is not just how the instruments in the present riff interact, but how they interact with different parts throughout the song. Balance, then, does not imply a static situation where everything is still as a result of equating forces pulling in different directions, rather, a stable condition is attained without which a clear direction would be very difficult to follow. And although one should also keep in mind that there is no one singular formula to approach composition, each tradition has its guidelines based on conventions without which music would only be what modern popular music wants it to be: personalized pleasure fountains.
Kaeck approach this ideal of balance in all dimensions from the particular filter of minimalist and raging black metal. In Stormkult the tempered voices of the outward chaos of late Sammath and the adventurous impulse of Kjeld are not just channeled but fused and distilled to the point where only the most basic of essentials remains. This is why although we cannot actually hear Sammath or Kjeld in the music (apart from predictable superficial observations like “the vocalist is the same” or “it’s also aggressive black metal”), their approaches to music construction — from the naturalistic violence of Sammath that defines consistent yet distinct riff-writing to the refined delicacy of movement of Kjeld provided by a melding of sections through simple yet perspicacious rhythmic and melodic devices that makes such changes almost imperceptible, Stormkult is the titan born of a god and a primordial monster.7 Comments
I’ve been meaning to write a review on Nadia for some time but even though, emotionally, I am deeply touched by this album, it has been impossible to bring myself to do so for this very reason: the overwhelming impression this music makes on me makes it difficult to develop an unbiased and piece-wise discussion. Listening to Nadia each time feels like falling in love once and again; one’s brain so full of endorphins that any effort to produce coherent verbal expression is rendered futile. I readily recognized this latent danger with Cóndor’s second album, Duin, and rather than try and present a crippled analysis, I embraced my impressions and came up with a description using everything that was on my mind at that point in time. The result was a mish-mash of philosophical and historical references, amateur attempts at designing metaphors and contradiction-based descriptions in the manner of mystics that pleased few people apart from myself and those in tune with that expression. More than a review, it was a picture of disjunct images. With Nadia, I have been afraid of not being able to give her everything she deserves. Just as we may shy away from a platonic love, a stalling of a well overdue caress whose occurrence suddenly becomes reality, inducing irreparable shock.
But now, the time has come to take on the undeferrable task of examining this portrait of romantic idealism and longing for a land and people that is not far from illusory. An admittedly Heideggerean notion of respect and admiration for an invisible essence or spirit that is found in all things yet in no single one at all. The related idea of technologies (techniques, approaches) as means to an end as the ungraspable static-immanent essence of things shone through in a sequence of truths that continually come into view and recede into the past permeates this album in its methodology.
First impressions of Cóndor’s debut invariably surround its stylistic menagerie and maudlin character. A basic technical analysis of an album like Nadia should be easy enough for most musicians to carry out successfully. Even without it, we can easily sight its modest means, perceive an almost too-sincere humility that becomes the target of disdain by those who have learned enough musicianship to play an instrument proficiently (and perhaps even developed the basic and undeniably necessary imitation-based creation skills) but not enough about music to grasp its essence, which they confuse with their own emotional reactions alone. One must not only become the receptacle of this essence, but one must also be equipped by experience, insight and meditations with a referential awareness that can connect the music to both its intentionality and context, judging its balance in accordance with its musical premises and contextual relations.
Here, I choose to avoid the incursions behind the the scenes of the music that a good review would normally entail, in fear of causing unnecessary degradation of the illusion that this artwork is in my eyes. This is not to say that there is a lack solid musical substance at the level of structures here. On the contrary, it is a sparse and opaque painting that transmits a story that flows from within the pigments in an ethereal stream of experiences that fade in and out of focus. We could go step by step in each song and show on a score (for a reference to patterns and structural framework) and with the recording (for references to dynamics and other performance-produced factors) how this occurs musically.
Many, many listens and a familiarity from the audience’s (rather than from the analyst’s) perspective with it may still reveal these ‘secrets’, but in a natural way and in due time.It is rather because of the modesty of the individual elements in the music that focusing on them would be an insult to the grand work that is produced from them. Furthermore, a too-detailed acquaintance with every implementation detail also runs the risk of causing the inability in the listener to properly distinguish the living spirit of the music: the unified whole. Deep familiarity with every gesture of the music from the functional point of view becomes an obstacle to perceiving it as ecstatic experience instead of as a collection of contraptions in a device. We must preserve the unified and spiritual dimension of art in mind first before diving further, which is precisely why it is paramount to go about analyzing music in a top-down manner.
In Nadia, Cóndor musically mirrored what the American continent represented for Europeans and other Old World immigrants after South American independence: a new vision, a new path that started at the meeting point of many other paths of distinct origins. This very nature that leaves undeniable traces in the structural dimension of its music, is what lies at the heart of my decision to not dwell in the minuteness of a melody or a riff. It is, nevertheless, worthy of our attention pointing out that the album is full of powerful and memorable such tributaries to its main current. In time the album reveals itself as unified in meaning and style, the erroneous perception of disalignment receding from perspective and displaying the mosaic that makes up the condor’s own featureless figure.
While the special acknowledgement to Felix Mendelssohn in the credits of Nadia may puzzle some and amuse most, the key lies in understanding the album’s relation to the romantic composer’s Violin Concerto in E Minor, Op. 64. Alas, contrary to what one may expect, Nadia is more dependent on the concerto by Mendelssohn than even Duin is on Smetana’s Die Moldau. But the dependence manifests itself in a different dimension. In Duin we find a band that is differentiating itself, its expression becoming more and more distinct. It is a metal oeuvre utilizing and manipulating Smetana’s melodic themes for its purposes. The first album, on the other hand, took a hint from the Mendelssohn’s concerto as a seed for a physically (structurally) deeper motivation in the music: it learned from it a way to build and structure music, its way of carrying music through. In fact, like a concerto, Nadia is replete with solos that for very long spans of time are actually the music itself while the rest of the instrumentation plays the role of emphasizing and coloring in a sparse and laid-back manner to the point of being strongly reminiscent of the classical way of going about this which reduces accompaniment in many middle sections to almost complete silence.
But Cóndor is careful enough as to not mar its spirit in search of a foreign inspiration and template for structure. Despite all the interludes which are the backbone of the album, the importance of riff sections as tutti sections in a concerto is still prominent and on equal ground as the solos themselves (differentiating itself from both the concerto and from traditional metal methodology). In this and many other ways, Nadia thus remains decidedly a metal album that wisely and inspiredly uses metal and rock techniques with a classical approach to structure within a metal framework and use of texture.3 Comments
Kaeck — a collaboration between members of Sammath, Kjeld and Noordelingen — introduces itself to black metal at a time when the genre has lost the momentum of two decades ago and replaced it with primitive but mostly uninspired, very similar music. Of that music, the clear forerunner is war metal, which takes the extremity of black metal to new heights but simultaneously reduces it to sawing high-speed chromatic riffs like later hardcore punk. Gone are the epic melodies and entrancing adaptive song structures. Through this, the techniques of black metal outlive the genre.
Combining the raw intensity of black metal, the odd vocals of pagan metal, and the melodic understructure of early 1990s black metal, Kaeck produces a high-intensity blast that resembles a more technical version of Blasphemy fused with early Immortal and Isengard. Where Zyklon-B created high-intensity black metal around simple melodies, and Dawn used constant melody over raging war-drums, or even Impaled Nazarene shaped songs from simple riffs rounding out into melodies over high-powered percussion, Kaeck keeps the melodic center to songs and uses it as a flavoring to otherwise savage riffs, but lets songs structure themselves to fit the melody. On top of this, vocalist Oovenmeester layers epic vocals that resemble those of Isengard, Storm or Mayhem “Life Eternal,” using these to produce both texture and melody to complement the raging guitars and resonant melody.
With that as the basis of its style, Kaeck varies the formula across the album, with each song being its own chapter with a different approach, but crafted admirably within the same consistent style to give the band a unified voice. Fast mid-range power chord melodies over blasting drums, in the Immortal Pure Holocaust style, give Stormkult an otherworldly feel that quickly descends into untamed rushing chaos and then emerges on the other side as a complementary melody. Keeping energy high, and using bass and guitars as a lead phrasal instrument over drums which frame them with less chaos than Immortal but a more flexible structure than most black metal bands short of Sarcófago can handle, Kaeck slashes out anthems of the abyss with a silver lining which suggests a divinity of thought in animalistic, irrational and feral assertion of the nature within. The result takes the best from war metal and fuses it with the best of classic black metal, creating the album we might have wished for when desiring Zyklon-B to be more complex or Dawn to be less drenched in melody as a technique.
Coming from a merger of the New Wave of Dutch Black Metal bands such as Kjeld, whose Skym roared up the black metal charts but features less internal variation in the style of Dawn with more varied riffing, and Sammath whose Godless Arrogance paid tribute to both Immortal and the most savage members of the black and death metal pantheon, this approach develops a consistent sound for these bands: old world melody, new world violence, and a fusion of the two that delivers both emotional and visceral satisfaction. Stormkult creates a world of its own and then soars above it like an avenging spirit crossing through the clouds before the sun, then allows its inner being to expand without indulging in any extraneous material. With this approach, and songwriting that taps into the melancholic rage and alienation coupled with a warlike desire to set the world right that defined early black metal, Kaeck stands poised to conquer much of the black metal world.9 Comments
Today, Svart Records announces September 18th as the international release date for Skepticism’s highly anticipated new album, Ordeal. A legendary name in metal circles, Skepticism are widely hailed as one of the originators of funeral doom. Their first album for Svart and fifth overall, Ordeal is also the first Skepticism full-length since 2008’s Alloy. But instead of going the usual recording-in-the-studio route, the band decided to record this new album live before an audience on January 24th at Klubi in Turku, Finland, with the event also captured on film. A truly unique experience for a truly unique band, Ordealis a honest and accurate summary of what Skepticism is in 2015.
Keyboardist Eero Pöyry commented:
Recording the album live was a positive experience. I’ve come to think of Skepticism being at its best live, and the Ordeal session proved it for me. Having a whole day to concentrate in one shot at a perfect performance brought in a good pressure – and a bit of an ordeal, as well.
Adds drummer Lasse Pelkonen,
Recording live made the album sound a bit rough and dirty, which is suitable for us in any case.
The album will be available as a CD/DVD bundle and also as a LP/DVD set, featuring visual documentation of the whole Ordeal performance.
It is hard to think of a more street-credible approach to recording an album
I think metal is good only if one can recognize it as such by sound and arrangement. This happens on Ordeal. I am personally very happy with the new songs. They contain a lot of atmospheric changes and layering but still sound like Skepticism.
Guitarist Jani Kekarainen explains,
Life is an ordeal, the album is about ordeal, and making the album was an ordeal. To me, the music of Skepticism is essentially dynamic and atmospheric. These qualities in music are best presented live. Hence, recording live made it possible to capture the most authentic result for the album.
Finally, vocalist Matti concluded
It is difficult not to be and difficult to be; Ordeal is what music is – genuine without further explanation.
Tracklisting for Skepticism’s Ordeal
3. The Departure
4. March Incomplete
5. The Road
6. Closing Music
8. The March and the Stream
A supergroup comprised of members of Amebix and Voivod among other bands, Tau Cross emerged just a few years after Amebix returned with a radio heavy metal album named Sonic Mass in 2011 that used the Iron Maiden styled epic take on heavy metal to deliver a traditional Amebix point of view. That album also revisited the second album from the band back in 1987, Monolith, which showed a Motorhead influence repurposing the raw energy of the crust punk from earlier albums. Together, those two albums from after the “pure” crust era of Amebix demonstrate a direction toward heavy metal that combines the best of the early 1980s with the energy and concrete focus of punk. Tau Cross picks up from that point with a more varied approach, spanning from quality indie rock (non-emo) through modern metal like Filter with a host of minor influences as varied as Killing Joke, Metallica, Celtic folk music and Oi punk. This intensely varied album manages the best form of emotion, which is subtly built and keyed by a shift in the entire song, and not just vocals, creating an avalanche effect once it hits its trigger point and all of the previous material starts making sense in that context. Much of this will appeal to fans of Queenrÿche and other bands who specialize in taking mainstream styles, recombining them, and then dominating them with an ethos that originates in underground punk or metal but thrives in a more listenable form. Vocals are often reminiscent of Nirvana crossed with Minor Threat applied by Motorhead at a later Discharge pace, while guitars alternate between high-speed punk in the style of Cro-Mags but with more on-beat energy, but songwriting comes from the same intensely visual style that appeared on Sonic Mass, as if designed for an epic video that leaves the listener wondering for the next few days if they correctly interpreted the song. Song structures are formed of roughly verse-chorus patterning that is interrupted and redirected at key points, with interludes and pauses. Paranoid and cynical, lyrics seem to reflect a sense of total frustration with the modern condition converted into a bittersweet discovery of meaning in opposing it and going another way. First listen to this album let it be written off as hard rock, much like Monolith at first, but Tau Cross shows the benefit of years of experience in songwriting and working with melody, in addition to more flexible tempo changes and supporting instrumentals, and so takes that style in a more powerful direction. In many ways, this album picks up where the modern mainstream metal like Filter should have gone, which is to take the emotionality of alternative rock, the energy of hardcore and the epic structures of early 80s metal and blend them together into something terrifying and beautiful.