David Vincent leaves Morbid Angel

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On the heels of much conjecture, and his own denials that an expulsion had taken place, David Vincent has announced his departure from Morbid Angel with a softly-worded press announcement:

Austin, TX – June 19, 2015

DAVID VINCENT Encourages
Fans To Stay Morbid

I had good communication with Trey yesterday and we agree that there are incompatibilities with regards to us working together.

Trey and I have accomplished amazing things together over the past 30 years and I wish him the best with his future projects. Out of respect for the legacy of these accomplishments, I encourage Morbid Angel fans to not take sides because, I am not.

I look forward to sharing my new endeavors with all of you in the near future. Until then, stay Morbid! ~David Vincent

While this may be disappointing to many, it represents new ground for Morbid Angel, which just hired Steven Tucker again, lost drummer Tim Yeung and guitarist Destructhor, and appears to be re-organizing itself more toward its last good material produced, 1998’s Formulas Fatal to the Flesh. Given the immense dissatisfaction with the most recent Morbid Angel album which took the band in a more Rammstein/nu-metal direction under Vincent’s guidance, this re-organization looks like the band orienting itself more toward metal material.

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In League With Satan and Blaspherian split 7″ goes to press

blaspherian_-_in_league_with_satan_-_split

Blasphemous Arts Records has announced that the split 7″ EP from Texas apostate cavernous death metal band Blaspherian and Italian black metal act In League With Satan has gone to press and will be available shortly. The label issued the following statement:

We are proud to announce that IN LEAGUE WITH SATAN / BLASPHERIAN (Italy/U.S.A.) Split 7” EP went to press today.

Exclusive and Unreleased tracks by both Bands.
The EP will come with Insert, in a limited run of 500 copies on black vinyl.
Unleashed through Blasphemous Art Prod. & Iron Bonehead Prod.

Infos very soon. Watch Out!

MORBID METAL OF DEATH!!!

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Heavy metal channels aggression into inspiration

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In contrast to previous studies showing that aggressive music boosted aggressive responses, a new study shows that instead heavy metal channels aggression into inspiration. While this goes against appearance by making it appear that one can “fight fire with fire,” it makes sense that the expression of a sensation will reduce that sensation and leave the logic behind the emotion.

One article summarized the situation through statements from the researchers:

“We found the music regulated sadness and enhanced positive emotions,” Ms Sharman said.

“When experiencing anger, extreme music fans liked to listen to music that could match their anger.

“The music helped them explore the full gamut of emotion they felt, but also left them feeling more active and inspired.

“Results showed levels of hostility, irritability and stress decreased after music was introduced, and the most significant change reported was the level of inspiration they felt.”

In other words, people who are stressed out, when they listen to aggressive music, discover the reasons for those emotions and feel inspired in turning to address them. This viewpoint seems consistent with the attraction of heavy metal for high-intensity personalities who are often very effective at what they do, but equally appalled by what is around them.

Perhaps this will not lead to blasting of heavy metal in shopping malls, since this effect only works with those who are already feeling stress, anger and aggression. The music helps them channel and understand those emotions, which is consistent with how books and other forms of music solidify wild impressions into clear calls to action.

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Majestic Downfall – When Dead (2015)

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Majestic Downfall plays something that is like doom metal but comes off as some sort of mainstream-ish hard rock. Using riffs to have something for the vocals to ride on and war metal sort of riffs interspersed here and there, it seems as if the band is just trying to get by. The fact that the focus of this plague is doom metal only makes it slightly more difficult to see, it is less obvious. More people will welcome this as authentic doom metal just because it is harder or people with short attention spans (yes, even fans of crappy doom have short attention spans) to notice the relation between sections in the long run as they revel in the “heaviness” and “feel” of each part. It is the focus of this music on this moment-based satisfaction of a heavy feeling that give us a hint of a hard-rock-like idea behind this.

This imitative and momentary-feeling-based approach to doom metal lies in the confusion as to what doom metal exactly is, or what it consists off. I assume this comes from the Saint Vitus crowd that don’t realize that that band is only “doom metal” in name and is only slow heavy metal. If nothing is done differently except play the music slower, do not bother changing genre names. A whole vision at a “spiritual” level, has to be different for the methodology to change naturally after it.

When Dead tries hard to be doom metal. The vocals even resemble those by Paradise Lost and even resort to some of their trademark moves in some riffs and corresponding vocal patterns. The crowd-pleasing collection of slow heavy metal, war metal and Paradise Lost that Majestic Downfall presents can be deceiving for those with a shaky (“open-minded”) idea of music, but its vacuity and gimmick will be evident for those with a center.

 

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Wombbath – Downfall Rising (2015)

Downfall Rising Cover

Upon reviewing a comeback album from a band that has been out of action for more than a decade (more than two, in this case) we are given two options. The first is to approach the album in the context of the band’s past work. This is the traditional approach in metal, where bands with more experience are expected to improve while younger bands are judged with more leniency . The second is to see the album as a separate work and judge it by its own merits and the apparent goals it sets for itself from the musical point of view (avoiding ridiculous and absurd logical objections of the “and what if it was there intention to make a piece of shit of an album?” sort). Either way, Downfall Rising is as nonsensical as its cliche and meaningless title.

Generic beyond recognition, the effacing of the band’s voice comes as no surprise as the paper-thin music that Wombbath made as a younger band went little further beyond sticking genre cliches one after another without taking the music anywhere at all. It was a parade of Swedeath groove riffs that sound and feel good as background but that fail under closer inspection. The new album sees the band taking on some aspects from the so-called symphonic metal  (best referred to as metal-like pop) to fill in interludes or intros and a certain variety of retro-isms of the current nostalgia death metal scene. While Internal Caustic Torments was an empty husk made from death metal cliches at all levels (riff style, guitar tone, trademark vocals) that made it the perfect superficial representation of death metal without a voice of its own and without having any actual logical content, Downfall Rising represents an even wider collection of cliches of the new retro death metal scene.

At least the band is consistent in the type of mediocrity that constitutes their music. Sounding not only generic, derivative and content-less but far more tired than in their earlier fiasco, Wombbath come back riding the wave of come-back albums by “classic” bands that extends to any band from back in the day that was part of a scene and that is made possible by the ability of internet marketing and sales to close in the long tail in the distribution of fans of particular kinds of music. Rather than wasting any of your time in a collection of cliches being paraded without any purpose, I suggest spending some time watching adorable Wombat videos.

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Ogotay to release new album

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Comprised of bassist/vocalist Marcin Świerczyński (Yattering), drummer Szymon Andryszczak (Pandemonium), and guitarists Artur Piotrowski (Mess Age) and Andrzej Peszel, death metal band Ogotay recorded eight brand new songs at G Studio sometime in 2014. The next album is set for August 1st, 2015 release via Selfmadegod Records on CD/digital.

Dead God’s Prophet Track Listing:

  1. Dead God’s Prophet
  2. Antiseptic Hell
  3. Axis Mundi
  4. Entering The Void
  5. Bastards And Orphans
  6. Kneel And Die
  7. The Wasteland
  8. Huge Fucking Nothing

http://www.facebook.com/ogotay666

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Forseen HKI prepares for U.S. tour

Forseen HKI band

Finland’s hardcore crossover thrash quintet, Forseen HKI, has announced the band’s very first American tour, as the band prepares to attend This Is Hardcore Fest. Leading off Forseen HKI’s upcoming US tour in support of their Helsinki Savagery debut LP, the band will hit the stage at the mighty annual This Is Hardcore in Philadelphia on Sunday, July 26th, set to play alongside The Exploited, H20, Negative Approach, All Out War, Power Trip, Rival Mob, Slapshot, Twitching Tongues and many others. Directly after the fest appearance, the band will hit the East Coast alongside Power Trip and Red Death for a week of dates, after which they’ll split off on their own ongoing rogue mission into the Upper Midwest states and back to the East Coast, ending the trek in Baltimore on August 9th, with a total of sixteen shows confirmed.
Forseen HKI Helsinki Savagery Over America Tour Dates:

  1. 7/26/2015 Electric Factory – Philadelphia, PA @ This Is Hardcore Fest
  2. 7/27/2015 Strange Matter – Richmond, VA w/ Power Trip, Red Death, Barge
  3. 7/28/2015 Kings – Raleigh, NC w/ Power Trip, Red Death [info]
  4. 7/29/2015 Rock N Roll Hotel – Washington, DC w/ Power Trip, Red Death, Protestor
  5. 7/30/2015 Cuisine en Locale – Boston, MA w/ Power Trip, Red Death, Boston Strangler, Fury, Freedom Intent
  6. 7/31/2015 Warren American Legion – Warren, NJ w/ Power Trip, Red Death, Razorheads
  7. 8/01/2015 Palisades – Brooklyn, NY w/ Power Trip, Red Death
  8. 8/02/2015 Amityville Music Hall – Amityville, NY w/ Power Trip, Red Death
  9. 8/03/2015 Bug Jar – Rochester, NY
  10. 8/04/2015 Zenith – Detroit, MI
  11. 8/05/2015 Mt. Happy – Chicago, IL
  12. 8/06/2015 Indiana City Brewing Co. – Indianapolis, IN
  13. 8/07/2015 The Foundry – Lakewood, OH
  14. 8/08/2015 Mr. Roboto Project – Pittsburgh, PA [matinee]
  15. 8/08/2015 The Rock Room – Pittsburgh, PA [night]
  16. 8/09/2015 Charm City Art Space – Baltimore, MD [matinee]

http://www.facebook.com/Foreseen

http://foreseen.bandcamp.com

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Serpent Ascending – The Enigma Unsettled (2011)

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Showing up on the metal radar somewhere between the third Therion album and the single release that Winterwolf put out, The Enigma Unsettled combines Scandinavian death metal with the more nuanced paces of doom metal and the subtler harmonies of instrumentally adept heavy metal. The result creates an atmosphere like a more listener-friendly version of Darkthrone Goatlord, building rhythmic intensity that it discharges through the unraveling of several threads of melody into a final statement of clarity and purpose. Guitars vary between death metal styled tremolo riffing and heavy metal style percussive offbeat riffs, creating a tension like a feral beast racing over land and through water, but these integrate similar rhythmic purpose and avoid the disintegration of song into component parts. Vocals take the hoarse and chanted approach, sounding like the calls of a demonic entity through a wall of distortion; these are probably the immediately recognizable weakest link. Inventive song structures, familiar riffs in new styles, and a tendency to have all parts of the song relate to each other and through multiple layers at the same time make this a well-sought listening experience for underground metal fans.

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Pilgrim’s progress

death_metal_murders
I thoroughly enjoyed William Pilgrim’s “The postmodern Gorguts” for its list of metal attributes. For many years, writers have attempted to categorize metal and most commonly have ended up with a list of surface traits such as loud distortion, screaming, fast drums and occult lyrics. Pilgrim’s list looks at the compositional tendencies of metal that are consistent from proto-metal through black metal, and bears another analysis as separated from the topic of Gorguts, which is only ancillary to the question of metal itself. Thus follows his list:

The original idea, as metal goes, is as much structural as it is ideological. There are a few qualities that are common to how all true metal should be constructed.

  1. Melodic contiguity: All forms of metal, even the harshest strains, are inherently and recognizably melodic in nature. This means that the individual phrases that make up a metal song obey cohesiveness, as tenuous as it may seem at times. Though individual phrases are often in different keys, it is paramount that they share the same musical space.
  2. Movement towards a discernible and logical conclusion: This is the will to motion previously outlined in these pages. Metal’s roots in traditional story-telling with a beginning, a middle, and an end, are not to be forgotten in eager exchange of a need to experiment. There has to be a gradual ascent, or a plummet as it were, towards an ultimate punctuation. Though various approaches can be used towards achieving this, playing for time in false hope of creating mood, while using ideas containing little intrinsic worth, is anathema to metal.
  3. Rhythm section to assume a strong yet only supporting role: Metal is a predominantly lead-melody oriented form of music. Bass and drums are integral to creating a fuller sound but should only be viewed as swells on an ocean on top of which riffs and songs float. Often, swells rise and raise their load with them, but this hierarchy in relations is crucial and is to be preserved.
  4. Atmosphere created not through textural embellishments and quirks but as a by product of composition: All claim to that shady word “atmosphere” should come from immanent qualities in the way the music is written. Metal does not need overt experimentation with harmonics or tone if these asides are incapable of holding together on isolated inspection.
  5. Awareness that all forms of groove play to a far baser inclination in the mind’s analytical apparatus. They can be enjoyed on a case-by-case basis but are not something to be eagerly sought out or encouraged in metal.
  6. A keen comprehension of repetition as device: Repetition is to be used as steadily outward-growing eddies that take a song to a different place, yes, but one that maintains a tangible relation to the place left behind. Individual components within the repeating phrase should have some emotional consonance and not serve as mere padding.
  7. Conscious realization that metal is in fact composed music and not free jazz.

To insert a minor quibble, I disagree that metal is “ideological.” If anything, it is anti-ideological, being based in a harsh realism rather than a set of platitudes about Utopia, which seems to be the basis of all ideology to me. Metal is intensely artistic, and artists tend to have strong opinions, and from a distance this may look like ideology or even count as an ideology of sorts, but not in the modern sense, which means a series of appealing thoughts designed to mobilize mass approval and thus, political power. If metal has an ideology, it is an artistic outlook of a very general nature and not directed toward specific manipulations resulting in immediate real-world changes; rather, it hopes to condition the outlook of those who participate in it with the most general philosophies toward life itself.

By the same token, metal seems to me to less succumb to lists than a spirit which reflects this philosophy. Technique is a means to that end, and that we now live in an age when power chords and heavy distortion create a sense of foreboding of doom and insurgent power determines that these become the primal technique that unites all the others, like a drawstring bag around otherwise random artistic implements. Metal focuses on the union of harsh realism and intense mythology, because metal is fundamentally a worship of power and these are the greatest powers in human life. Only death is real, and yet people follow religions and hail the ancient stories. If metal has a goal, it is making realism into a kind of poetry, and it uses a series of techniques to that end that form its most visible component, but they are not in and of themselves the goal of the genre.

Let me then add my components of metal:

  1. Nihilism. The music must use the simplest and most gutter-level techniques possible when they are powerful.
  2. Through-composed. From Black Sabbath onward, metal bands have been stacking riffs to explode melodies.
  3. Guitar is lead rhythm. Songs are advanced by guitars, with drums/bass/vocals in supporting role.
  4. Phrasal riffs. Riffs use fills as main body of riff in order to create shapes which interact across key, time and form.
  5. Immanent meaning. No riff or part is the meaning, but the progression of the whole “reveals” meaning.

Any sensible observer will note that the above are simply less specific and more distilled versions of Pilgrim’s seven points above. His focus is more on specificity; mine more on spirit. And yet the two overlap and somehow hash out the same realistic truths about heavy metal. Metal is fundamentally anti-social music, in that it rejects “what everyone thinks” and experiences a downfall instead as it reverts to a nihilistic, literal, organic, materialistic and naturalistic level of reality. It rejects human society and all of its ideas, which are essentially pretense, in favor of harsh realism and mythological aims like beauty, truth, eternal love and eternal hate. I would argue that metal is conservative except for its constant forward focus, not toward “progress” but adventure.

As a result, I would argue that metal is impervious to both ideology and trends, since it consists solely of spirit and the aforementioned method. In fact, it takes no particular point of view, since its method must appear in all that it does. Thus metal is “spirit,” and will adapt to any developments in music, but since there have been none, it howevers around the intersection of the best humanity has produced so far — classical, modernist and baroque — using the techniques available to four guys, guitars, microphone and drums. This then leads us to a more vital question when examining metal, which is whether a band adopts this outlook and method through the question of what an adaptation of that method to the particular style of the band would look like. With post-metal, nu-metal, tech-death, metalcore and other modern metal, we find that missing and its opposite principle, the looping narrative of rock, instead.

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MoshKing Southern California metal concerts site returning

moshking
Southern California institution MoshKing.com, which has faithfully reported the metal concert events in that region since 1997, went on hiatus some time ago, but now has announced plans to return. Last year, the personality known as MoshKing posted the following notice:

Greetings Southern California Metalheads,

I want to wish everyone an outstanding new year.

As you may have noticed, Moshking.com has not been updated in some time.

I have decided to take a break from the site to pursue other interests.

I intend to start up the site again sometime in the future, bringing back an improved version of Moshking.com.

For now, I bid you all the best and thank you much for the support throughout the years.

Denis P. Recendez (Owner & Chief Editor)
Moshking.com
For The Southern California Metal Scene

Many of us were saddened, having relied on the site for years and appreciated Dennis’ editorial judgment. Luckily, the site appears to be returning, as indicated by a Twitter message (tweets are for birds) posted on July 14:

The phoenix to be resurrected soon. What features would you like to see on http://Moshking.com v.3 ?

To encourage him devilspeed in this endeavor, hop on over to MoshKing.com to see what a “for metal, by metals” concert listing site looks like.

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