Kjeld – Skym (2015)

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Kjeld tackles black metal by drawing a line through all of the bands to capture the concept through history and then pulling out the best and adapting it to a local sound, producing a band that alternates between mid-paced and high speed melodic black metal that balances its pleasant sounds with savage primitive riffing. The result introduces enough variation that melody serves as a technique within a palette, and brings out the implications of the phrases of the more chromatic riffing, allowing songs to mature into a clear perspective rising above the chaos.

The closest comparison to this band may come from second-wave bands like Kvist and Setherial, who shortened the longer melodies of Emperor and Burzum and focused on longer songs that brought forth the full melody later in it, more like the cosmic ambient music that inspired much of black metal. Similarly, Kjeld like to begin songs with a theme that develops in clash with more brutally straightforward riffing, then let it develop in order to be obliterated, then be reborn in its final form leading to re-interpretation of the initial theme. This effect works remarkably well as it allows songs to have the intensity of Zyklon-B (the band) with an endpoint like the flowing moments from Eucharist or Ancient, albeit in a style of melody that fits more in the local area from which this band came, much as the Sinister Diabolical Summoning brought forth a sense of if not ancestral at least familiar melody.

Skym maintains its intensity throughout the album mostly by varying tension internally in songs so that despite the high rate of fire the music never falls into a sonic wallpaper of uniform consistency that, even if intense, loses its power by becoming predictably so and relegating itself to a kind of drone. Instead, these songs develop as their own creations, and song structure varies moderately as a result, producing a series of listening experiences that put together create a power greater than the mere sum of their parts. Without putting itself in a camp or time period, Kjeld upholds the strength of black metal in both savagery and beauty, making this album the rare uncompromising listening experience that voices itself in a style fitting both its own experience and the ideal of the genre.

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Uncreation – The Great Delusion (2014)

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Australia band Uncreation combines several underground metal styles: trudging death metal in the Immolation style, bursting speed metal like Artillery, and technical death metal for transitions. Avoiding explicit hard rock, it cycles between different ideas compatible with death metal, but focuses too much on trudging beats like the Suffocation clones of the late 1990s. Technically adept, with highly proficient drumming, the band makes good work of these many styles and throws in some excellent riffs with an eye for transitions that increase emotional momentum even when slowing down. Vocals are of the raspy chihuahua-on-meth variety interpersed with the basement toad guttural that paces the beat during trudging parts. Within The Great Delusion is a promising album, buried under too much trope, with not enough emphasis placed on cultivating a mood and developing it instead of using it as a conduit to return to the trudge. Apparently the band has disbanded after the untimely death of their drummer Rowley Hill, and has made this album available for free and legal download.

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Members of Demilich, Jess and the Ancient Ones, Winterwolf and Deathchain form The Exploding Eyes Orchestra

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Formed of five of seven Jess and the Ancient Ones members including Deathchain/Winterwolf guitarist Thomas Corpse as primary songwriter, The Exploding Eyes Orchestra explores a different side of garage rock which merges the nightclub chanteuse sound of the 1940s with the expansive atmospheric sound of 1970s heavy rock. The result has high emotional intensity, compelling vocals, and much of the darkness that keyboard-assisted bands like The Doors wrought from rock music.

The Exploding Eyes Orchestra launches its debut album, simply titled I, on June 12th via Svart Records. According to Thomas Corpse, the band channels material which was incompatible with the Jess and the Ancient Ones concept. Lengthy recording sessions in Kuopio, Finland during the winters of 2013 and 2014 produced two albums of material, the second half of which will be released as II in 2016, also via Svart Records.

The band prides itself on its “strong, carefully planned compositions” with classic rock influences and strong female vocals. The Exploding Eyes Orchestra has released a first track, “My Father the Wolf,” streaming below. For more information, seek out the band at the The Exploding Eyes Orchestra Facebook page.

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Paradise Lost releases “No Hope In Sight” from The Plague Within

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Seminal heavy metal/doom metal band Paradise Lost will release The Plague Within on June 1, 2015 in Europe (June 2 in USA) through Century Media Records. During the early 1990s, this band inspired death metal and black metal bands to experiment with layered melodic lead rhythm guitar over distorted power chords, and to this day holds a position both close to popular music and using underground technique.

Paradise Lost comments: “Check out the first track from our new album ‘The Plague Within’. ‘No Hope In Sight’ was one of the first tracks we wrote and it reflects a blend of styles. From death metal to gothic to classic rock. It’s like all eras of PL wrapped up into one track. We hope you all like it!”

“No Hope in Sight” follows a familiar format, which is as much Iron Maiden as Black Sabbath, using melodic hooks contrasted by slow bass-heavy chord progressions in an extended pop song format that made its debut back in the early days of MTV. The result is infectious and on the lighter side, but dark enough in spirit to attract Gothic and metal fans alike who enjoy well-composed straightforward music.

PARADISE LOST live:
29/05/2015 – Rockavaria – Munich – Germany
30/05/2015 – Rock im Revier – Gelsenkirchen – Germany
18/07/2015 – Castle Party Festival – Bolkow – Poland
15/08/2015 – Summer Breeze – Dinkelsbuhl – Germany

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Century Media re-issues Gorguts Obscura and From Wisdom to Hate

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Century Media Records has recently re-issued the death metal classics Obscura and From Wisdom to Hate by Canadian band Gorguts. The 2015 editions of these records were created in close cooperation with guitarist and songwriter Luc Lemay, who describes the history and context of these releases in accompanying liner notes. The re-issues are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002).

GORGUTS Obscura (Re-Issue 2015)

  • Gatefold black 2LP
  • Gatefold mint 2LP – limited to 200 copies (only available via CMDistro.com / Europe only – sold out in the US)
  • Gatefold lilac 2LP – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Gatefold transparent blue 2LP – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)
  • Standard Jewelcase CD (offered at mid-price)

GORGUTS From Wisdom To Hate (Re-Issue 2015)

  • Black LP+CD
  • Silver LP+CD – limited to 200 copies (only available via CMDistro.com / European & US webshop)
  • Transparent red LP+CD – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Clear vinyl LP+CD – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)

To order:

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The historical background of MetalGate

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From a recent interview with our editor:

You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?

These metal albums have stayed in weekly rotation over the years:

  1. Massacra – Final Holocaust
  2. Slayer – Show No Mercy
  3. Incantation – Onward to Golgotha
  4. Sepultura – Morbid Visions/Bestial Devastation
  5. Deicide – Legion
  6. Beherit – Drawing Down the Moon
  7. Cianide – A Descent Into Hell
  8. Atheist – Unquestionable Presence
  9. Demilich – Nespithe
  10. Demoncy – Joined in Darkness

The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.

I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.

What contemporary bands should we be paying attention to?

In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.

Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?

SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.

Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.

Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.

When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.

Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.

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Grotesque In the Embrace of Evil plus At the Gates Gardens of Grief re-issue

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Hammerheart Records will re-issue Swedish black/heavy/death metal band Grotesque In the Embrace of Evil plus the first release of the band which shortly succeeded it, At the Gates Gardens of Grief. These will be released on vinyl on August 21, 2015.

Grotesque, like Merciless, Morbid, Slaughter Lord, Tormentor (Hungary) and Sarcofago, represented an interstitial state in black metal where bands still in the style of older speed/death like Possessed moved into a sound that approximated black metal without the musical developments of the full genre as came bursting out of Norway shortly afterwards.

When members of Grotesque moved on to form At the Gates, they took their music more in a direction of melodic black metal, starting with their first EP, Gardens of Grief, which showcases their unconventional approach to songwriting and solid melodic development.

http://www.youtube.com/watch?v=xp2bxLeUABs

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Should metal be a hobby or a career?

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A recent article on Gene Simmons observed the following:

Rock star Gene Simmons says that when it comes to making money he is like a great white shark.

And that despite being worth more than $300m (£200m), he will never stop wanting to make more.

…”I’ll never stop hunting more money, I’ll never have enough.”

On the other hand, many excellent metal bands are probably clearing $300/month in royalties or less. At that point, we tend to call the making of metal a hobby and talk about their day jobs. The advantage to that approach is that the metal can remain un-tainted by commerce and with consumerism, the need to appeal to an audience by jumping on trend bandwagons or otherwise showing them what they already know they like, sort of like how baby food is ground-up vegetables.

Looking at the other side, it must be nice to be worth $300m and to have the power to do great things with that. Maybe Mr. Simmons has done so. But one might think that at some point, the money becomes more important than the music, which turns metal away from its mission of brutal realism and makes it a friendly, happy, warm and fuzzy product like your average American beer or hamburger.

Perhaps a middle ground exists, where fewer metal bands make $300m but also fewer worthy metal bands subsist on $300. Most metal musicians would be very happy with $60-80,000 a year. They tend not to be materialistic, except for collecting vinyl and guitars, but in the grand scheme of things those aren’t very expensive.

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#metalgate: SJW-controlled Metal-Archives.com censors realist reviewers

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SJW-controlled site Metal-Archives.com, famous for its desire to regulate what is “metal” and exclude non-leftist viewpoints from the site, has deleted user “bitterman” who gained notoriety for his realistic, masculinized reviews which expressed extreme intolerance of insincere, manipulative and mediocre metal. All of the writings of this person are now removed with no chance for the user to recover the hours of effort he put into the site.

Bitterman made a name for himself for thoughtfully but viciously reviewing the excess and stupor of contemporary metal, using a somewhat tongue-in-cheek “metal warrior” style as he skewered perpetrators of false metal like Watain. According to one commentator, “he paid the price for holding for-profit poseurs to the same standards as Onward to Golgotha and early Burzum” because of his vicious attacks on all that pretended to be underground metal and failed. Many of Metal-Archives.com’s staff are gamers who undoubtedly are aware of the SJW incursion into gaming that prompted #gamergate as well.

Wherever SJWs go, they censor all that is natural and right: masculinity, warfare, conflict, elitism, quality and excellence. Then they replace these with twee indie-rock metal hybrids and a policy of “acceptance” that rejects quality bands under the same excuse that Wikipedia uses, “notability,” while promoting the kind of hybrid dreck that 90s underground metallers would have thought belonged in the bin with Sonic Youth and Rites of Spring, not raging death metal and black metal.

Again we see the problem of allowing SJWs to infiltrate metal through media as, using that power, they change what it means to be “metal” while trying to purge metal of what makes it unique. At the end of this agenda, they will create a neutered form of metal-rock that will promptly collapse because it lacks all of what makes metal appeal to its audience, and the genre will collapse like the Soviet Union or Pol Pot’s regime. The SJWs will not care, because they got their 15 minutes of fame.

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Thantifaxath – Sacred White Noise (2014)

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The audience for this album are the same people who are fooled by magic shows at carnivals, speak in tongues at revivals, buy the latest iGadget sight unseen, and smoke in bed. If you claim to like this album, you are either not paying attention or merely a fool. Like every sell out, it is designed to cater to the lowest common denominator, which generally recruits idiots.
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