Media “autoerotic circle” confirms own bias against metal


We are all familiar with the term: a group of males in a circle, each masturbating, with the collective approval of the act protecting the individual from criticism by others. In theory, this act originated in the days when masturbation was taboo and boys wanted to ensure that others would not inform on them, so got together a gang to self-stimulate together and attack any informers as a group.

For the purposes of this article, such events will be referred to as “autoerotic circles.”

Most metalheads pay no attention to the Grammy awards but for some unknown reason, much of the population seems to attend to these with regularity despite their being the result of a few hundred insiders and their opinions about what we should buy, not what is actually good. Watching the Grammys is like turning on your television to watch a 30-minute commercial (except that many infomercials were actually interesting in comparison).

For decades the Grammys have slighted heavy metal. This is because the media elites do not want you to like or purchase heavy metal. Heavy metal does not play by the rules, which is that every band must make basically the same music but differ in production and surface aspects, so that the great money circle can continue. The record industry makes its money by pumping out the same stuff again and again, having its lapdog “journalists” praise it, and then the clueless audience buy it because it is new and exciting on the surface. Then repeat. Watch money show up like spring rains. The “autoerotic circle” of media and industry became self-referential long ago, approving whatever was put out as a jobs program for journalists, studios, labels, promotions, and bands themselves. Just keep the money flowing, keep the scam going, don’t tell the secret.

Heavy metal breaks this model. It is riff-based, and requires bands to come up with not just killer riffs but the song structures to support them. It does not follow the denialist trend in lyrics, which has two prongs: a “protest song” prong that demands we pursue surrogate activities in lieu of noticing our society is decaying, and a “bohemian” prong which suggests ignoring all problems and focusing on your own pleasure, importance and drama at this one moment. Heavy metal tries to be heavy, both in lyrics and music, which is everything the music industry finds both unprofitable and threatening to its business model.

As a result, the music media elites view the Grammys as a chance to bash metal by mis-identifying it, putting non-metal bands in the category every time. As VH1 notes:

Yesterday in our breakdown of what’s right and wrong about this year’s ‘Best Metal Performance’ Grammy nominees we said musical comedy duo Tenacious D would win. Not should, but would. Why? Because since 1989, the first year they recognized the genre and Jethro Tull infamously beat Metallica, the Grammys have shown time and time again they have no clue and one can only assume little respect for heavy metal music. Nothing against The D, who are without a doubt talented, funny and truly love hard rock and metal, but to award them for ‘Best Metal Performance’ is to fundamentally misunderstand the genre and what makes it great.

Things seemed to have started well enough, as legendary hard rockers AC/DC began the festivities with their high decibel opening performance. But that’s only because most people didn’t know about Tenacious D’s win, since the Grammys don’t even feel the award merits inclusion in their primetime telecast. As word spread of their victory, outrage traveled throughout the metal community. Veterans however reacted with ambivalence, as the slight is just the latest in a history of heavy metal Grammy fails.

Hint to metalheads: the music industry hates you and always has. It tried to replace you with hard rock, then with rap-rock, and now with indie/shoegaze. It is your enemy. This is why metal went underground in the first place, and why it should not only never rely on mainstream media like the Grammys, but also actively reject them. It is not that we do not need these media elite awards, but that they are pretenders to the throne and should be torn down and sent back to the world of hipster posing where they belong.

The destruction of metal has not gone unnoticed. As Guitar World‘s Will Wallner notes, heavy metal is not heavy metal any longer because it has become rock music. Rock music assimilates anything in its path, adopting it first as a “new” style and then dumbing it down until it fits within the rock paradigm, at which point in its neutered form it becomes normed.

Heavy metal has lost all form of legitimacy as musical genre.

I believe it has evolved, or devolved, to the point where it has become something so different from what it once was, that it now is a different genre all together.

People could argue that music trends change constantly with new generations that influence what is popular. However, jazz is still jazz, blues is still blues, but metal is no longer metal. Traditional forms of music such as the ones I mentioned have changed over time, but not as quickly or as drastically as metal. In fact, the only other genre that seems to change so often and with such extremes is pop music.

While the rest of his post makes some assumptions that over-simplify metal, his point is essentially thus: the drive for jazz/progressive overtones in metal has abolished the genre itself, leaving in its place an aggregate of styles that ends up creating an average of them all. The more different elements you put in the pot, the more the result tastes like just plain stew, because the radical extremes balance each other out to the point of negation. If you melt all of your crayons together, you get a grayish-brown. When you dump every trendy music style into metal, you end up with rock that has a few metal riffs.

The music industry has been trying very hard since the 1970s to replace metal with rock. Rock pretends to be rebellious, but its secret is that it is easily controlled. It is all very musically similar, so new favorites can be quickly produced, and while none of them are as good as the founding acts of the genre, the audience cannot tell the difference. And they keep buying and buying. But with metal, the bar is raised and the domination of rock over the airwaves is threatened. That upsets the old hippies, media barons and neurotic journalists who make up the music industry elite, and they will always try to destroy metal for this original sin.


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Tau Cross forms with Voivod, Amebix members


Members of Amebix and Voivod have joined with other experienced underground musicians to launch Tau Cross, a new project already signed to Relapse Records and planning to release its debut album in 2015.

Recorded in three different countries over several months in 2014, the Tau Cross album will see release in spring. According to the official press release, Tau Cross formed in 2013.

Rob Miller (Amebix) spoke of the new band: “The music that evolved over this time is difficult to categorize, as there is clearly a lot of Amebix in the songwriting as well as some elements of gothic, Joy Division, Pink Floyd, Black Sabbath, Industrial and hard fucking old-school punk rock. This is an entirely original work that is the organic fusion of four unique people. We decided to let the songs form themselves around the original demos and allow people to bring themselves into the mix, to allow the bark to grow around the tree.”


  • Rob ‘The Baron’ Miller – Bass and Vocals (Amebix)
  • Michel ‘Away’ Langevin – Drums (Voivod)
  • Andy Lefton – Guitar (War//Plague)
  • Jon Misery – Guitar (Misery)
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Gorguts re-issues Obscura and From Wisdom to Hate on Century Media


Death metal band turned prog-core act Gorguts has re-issued the latter two albums from its classic period, Gorguts and From Wisdom to Hate, on industry powerhouse Century Media Records. The re-issues — on jewelcase CD, 2LP and limited edition 2LP — will be available in pre-order starting March 9, 2015.

Says guitarist/composer Luc Lemay: “I’m proud to announce that our 1998 record Obscura and 2001’s From Wisdom To Hate will finally be re-released! …For this re-issue, I decided to include liner notes that tell the story behind each record. How we got together as musicians, what was the composition process that made this sound possible and that made us grow as artists…I decided to change the logo because, with a step back, I realized that I never really like the original one on Obscura and I wanted to give the record a fresh look. I kept the same logo for From Wisdom To Hate, because it was created for this record…Thanks again to all our fans for their unconditional support through all those years.”

The re-issues see official release on April 6, 2015 in Europe and April 7, 2015 in North America. Both are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002). While Gorguts has deviated into progressive-themed *core territory with their latest, Colored Sands, this band helped forge the sound of technical death metal back when that term simply referred to death metal which required technical ability to play. While Obscura has often been imitated in style, those who have tried to imitate it have generally done so on the basis of style alone and missed the sublime composition within which made this album a classic independent of style.


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Vader to re-issue early demos “Morbid Reich,” “Necrolust” and “Live in Decay”


Ripping death metal band Vader, who gained stature in the field of Morbid Angel/Slayer-influenced fast tremolo death metal, plan to re-issue three early demos on CD, cassette and LP via Witching Hour Records starting on April 3, 2015.

The three demos — “Live in Decay” (1986), “Necrolust” (1989), adn “Morbid Reich” (1990) — will see separate releases unlike the last collection of Vader demo material, 1996’s Reborn in Chaos which remains a sought-after release for its Pavement Records version which contains better sound than other variants. These capture the transition of Vader from aspiring speed metal/death metal hybrid to catching on to the new death metal style and picking a fast but explosive style that graced their first album, The Ultimate Incantation and subsequent albums De Profundis and Sothis EP.

As Vader continue to release material in a fast although simplified and more hookish style, these retrospectives may provide insight into the origins of this band back in the days of the Soviet bloc. It will be interesting to see what bonus tracks, if any, Witching Hour Records adds to pad these releases up to full-length duration.



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Carbonized – For the Security re-issue


Vic Records plans to issue the first album from Stockholm death/grind experimentalists Carbonized, For the Security. The album will be re-issued on LP and CD on Vic Records, early 2015 including its original artwork, liner notes from Christoffer Johansson (Therion) and Piotr Wawrzeniuk (Therion) and two bonus tracks.

Carbonized was formed in 1988 by Lars Rosenberg as an early death metal band from Sweden. Many musicians to later go on to fame in the Swedish death metal underground participated at various times in Carbonized, including Matti Karki (Dismember / Carnage), Richard Cabeza (Unanimated / Dismember). Carbonized recorded two demos and one EP from 1989-1990. Shortly before recording its debut album, the band finalized the lineup that would last for all three albums: Lars Rosenberg (Entombed / Therion), Piotr Wawrzeniuk (Therion) and Christoffer Johansson (Therion).

For the Security was recorded at famous Sunlight Studios with Tomas Skogsberg but features more of a primitive angular grindcore sound, like Blood or Terrorizer, than the flowing and often too rock ‘n rolly for its own good Swedish death metal to follow. A classic of the early underground metal years, this album was previously re-issued on Nuclear Hell but without its iconic artwork and follows the Carbonized demos collection that came out two years ago.


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Desecresy – Arches of Entropy


Unlike many bands, Desecresy — the product of experienced musicians a decade after their first entry into the scene — formed with a full concept that manifests on the first album as a slow form of death metal. Peeling back the layers, influences can be seen at many levels here, but the most prominent are Bolt Thrower for the sense of rhythm, Carnage for riff transitions, Therion for use of synchronized strumming to adjust rhythm, and Paradise Lost for the use of lead-picked melodies evoking harmony in the riff below for a resonant, haunting sound. The result more approximates the moods and sensations to the listener of a funeral doom metal band, but at varieties of middle pace instead of extremes, creating the feeling of a descent into a subterranean world populated by non-verbal creatures.

The important distinction between death metal and doom metal that appears in this work is the tendency of death metal toward wonder, and a Lovecraftian obsession with the workings of the universe, where doom metal focuses on a despairing, passive and self-focused mood that makes no such commentary and in fact symbolizes fatalism. Desecresy keeps that outlook, and shears from it any sense of real-world issues such as the crusade against Christianity or need for social justice, replacing those with a mythological view of existence in which darkness is not self-pity but an outlook reflecting the red in tooth and claw essence of nature, itself a logical response to the need to avoid stagnation and mediocrity. Like Bolt Thrower, Desecresy envisions a world of constant warfare, but in this case the warfare emerges from the clashes of biological and mystical entities rather than modern political forces. All of this emerges from the music itself — the lyrics could as well be ingredients written on soup cans — which uses its riffs in a constant grinding which slowly grows into articulation of dual principles, ending without resolution into a singularity but a fragmentation followed by evolution which more reflects the state of nature in which conflict creates speciation instead of singularity. Riffs start as two chords colliding, then through the slowly equalizing rhythms of downstroked chords reach equilibrium, at which point they mutate into something else. The intense similarity of many of these riffs, built of the same few chords, puts emphasis on their form and its mutation and development from a microbial state to that of full of organism.

Over this flow the type of chanted vocals that adorned the first Therion album, using the death shout not as a rhythm to impart urgency to the guitars, but in a timekeeping role that counterbalances that of the drums which serve more as a texture of rhythm to allow internal motion to have reference points. In the midst of this sonic landscape the reverb heavy lead picking of melody creates a sheet of sound against which the power chorded rhythm guitars can develop, allowing songs to slide forward under this cover and develop what are essentially background riffs into rhythms that pick up additional internal variation and thus command more complex riffs. Desecresy generally keep it simple and grinding in the style of middle-period Bolt Thrower, but at crucial moments intervene with complex riffs and elegant transitions. This completes the cycle of this album, moving from serene but conflicted stability to complex and ambiguous change, a repeating pattern which creates the impression of lawless growth and beauty appearing from nothingness that lingers in the mind of a listener like a nearly-forgotten hope.


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Perdition Temple – The Tempter’s Victorious


Perdition Temple’s sophomore album is one of riffs written and dispersed as discrete packages. These are sewn together into short, explosive bundles extremely dense in content but not always boasting the smoothest of transitions.

Often the tonal shift between adjoining bars is far too drastic to convey any sense of uniform texture, giving the impression of an album constructed from a granular, low-level perspective rather than a more holistic, top-down approach. Meaning that the band came up with a whole bunch of riffs first, before cobbling them together into songs. Performed at near-always breakneck speed, songs pass by in a whirlwind of intense activity that isn’t always easy to discern. This is blistering and warring death metal displaying none of the stalling tactics practiced by modern death metal bands, and for that much it deserves credit.

There is interesting micro-play within individual parts but the whole doesn’t foster or even attempt to put much store in memorability. The addition of Bill Taylor as guitar foil has given Gene Palubicki free rein to indulge himself as he never had chance to on past efforts in Angelcorpse or even the Perdition Temple debut. The role of rhythm is sometimes completely dispensed with, the two guitars intertwining like Hermes’ serpents about a support of hyperactive drumming, sniping and spitting out angular phrases that, in surface aspect, wouldn’t be unseemly on a tech-death album. But this act’s pedigree being firmly rooted in death metal, the constant barrage of information never loses its essence of violence. A return to themes familiar from older works, primarily through the use of groove as introductory and relaxation device, is in greater evidence during the second half of the album.

As always, incendiary solos faithfully modeled after Trey Azagthoth find space on a Palubicki album. Azagthoth’s best work was unparalleled, however, because it was the original extension of its creator’s will and personality, much like the eternal consciousness standing outside of time and space, before the birth of time and space, that Eastern monism proposes, willing all creation into existence from within itself. Palubicki’s solos are the finest replicas of Trey Azagthoth that death metal has seen but ultimately they fall on, and should be judged by, the sword of rote inspiration that created them in the first place.


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Burzum releases new track “Mythic Dawn”


Burzum mastermind Varg Vikernes demonstrates a long history of crossing over between worlds. With Burzum, he crossed black metal with the cosmic space ambient music (RIP Edgar Froese) that defined the best of the previous decade, and now with his newer folk/ambient work he crosses over between the world of role-playing games, philosophies that get bast the postmodern thought-loop which has stalled humanity for the past century, and the inspiration in warfare, wizardry and medievalism that distinguished the aesthetics of his black metal.

In releasing the new track “Mythic Dawn,” Vikernes shows us a work in progress with a somewhat sparse but distinct track in the style of the second half of The Ways of Yore, specifically “Autumn Leaves” for the shimmery distorted background guitar effect and “The Lady of the Lake” for the plodding slightly offtime loop of neo-tribal drums over a simple bidirectional chord progression. As a work in progress, the new track is naturally sparser, but the chord progression seems very basic and song structure less integrated with its own purpose, which suggests this is a very early conceptualization of this track without the traditional Burzum “magic” being added. As musicians age, they often retreat into the realm of techniques and textures such as specific samples or types of melody, and this can adulterate the material that in their younger years they would have agonized over until all of it had an intensity of its own and none fit within a template, even if of their own making. With some luck and gumption Burzum will not avoid that fate.

As part of the video, Vikernes reveals pages of his Myfarog role-playing game (similar to Dungeons and Dragons, usually abbreviated “D&D”) and in the text on the background image of the video describes its appeal to those who, like Vikernes, have rejected modernity not just as an experience but as a concept entirely and seek alternatives outside of the realm of what modernity can describe. The game looks complex, and the song is promising for its initial stages although it looks like it will require some work, and so the audience looks on with interest at this evolving event and hopes for more.

Codex Obscurum – Issue Six


Underground metal zine Codex Obscurum gained an audience for its focus on music of an underground nature without the associated fetishism of image and product obsession that blights most zines no matter how underground. In that sense, it was a regression to the healthier times of the 1990s, when fanzines were fan-oriented instead of label-oriented, and both old and new audiences have delighted in it for five issues.

Contemplating Issue Six of this magazine shows how far it has come and how it has not lost any of the delight in the music that marks a good fanzine. Over the past several issues the focus of the magazine has shifted to interviews and reviews, and this shows in the much wider coverage that Codex Obscurum achieves with Issue Six. More bands see print in this issue and, through greater experience of interviewers, questions cover a wider range. The issue starts with an interview with War Master, whose albums regularly feature in our best-of lists around here. While this interview is short, it provides the vital news that this band is working on a second album and an EP, and talks about touring and general attitude of the band after switching vocalists. After this follows a thoughtful and probing interview with (the New) Mayhem guitarist Teloch, which contains mostly striking revelations about the black metal scene and its relationship to political correctness. For those of us more inclined to avoid newer versions of once-classic bands, this shows insight into the thought process behind the current “scene.” Further interviews with Anatomia, Lantern, Obliteration, Rottrevore, Symptom, Acid Witch, Castle Freak, Impaled Nazarene, Fister, Hecate Enthroned and Ritual Decay. The interviewers in all of these approach the subject with knowledge and tailor their questions to the subject’s personality, which brings out more of the people behind the bands.

One of the bigger changes since the last issue appears in the abundance of reviews that Issue Six has to offer. These take two forms: mid-length descriptive and personalitied reviews, and semi-dismissive Haiku form reviews that often tell more than a few pages of labored, assiduous writing. The descriptive reviews offer a practical assessment of how a metal listener might approach an album in a compact package. Witness the review of Cruxiter Cruxiter:

Cruxiter – S/T (2013 – PrismaticO Records)

Wow, what a surprise this album was. Cruxiter are not a well-known band, as this is their first full-length and they’ve only been around for a couple of years. But it sounds like they’ve been around since the ’80s. In fact, this whole album sounds like it’s from the ’80s. Cruxiter are traditional heavy metal from the wastelands of Texas and will not disappoint one bit. It’s as if early Mercyful Fate had a ménage à trois with Manilla Road and early Iron Maiden, all while listening to ’70s guitar-driven rock. The musicianship on this album is fantastic; each song is a classic metal anthem with soaring vocals and impressive guitar riffs. Miggy Ramirez’s vocals are high-pitched and remain steady throughout — he certainly pulls off the style perfectly. The highlight of the album is “The Devils of Heavy Metal” and is one of the best songs of this style I’ve heard in quite some time. The one thing that may dissuade some listeners (and it’s a shame, at that) is the production of the album. There are no crystal-clear sounds on this album, everything is produced in a way that makes sounds like it was recorded in 1984. It adds to the retro-feel of this album, and is part of what makes this album a great listen. The album is streaming on their bandcamp page, I’d highly recommend you check it out if traditional heavy metal is your thing. Keep an eye out for this band. — James Doyle

Ten pages of reviews of this type help inform the listener on the cutting edge of underground metal, skipping the numu/indie/post gibberish, and then detour into two pages of Haiku form reviews which cut to the core of each album from a listener’s standpoint. While these are more dismissive, oftentimes they utterly nail why an album is irrelevant or why we the audience should look past style and appreciate what makes it great. These offer a counterpoint to the desire for articulation that motivates the descriptive reviews, and give a quick synopsis where that is all that is needed. They are more motivational than merely reporting the facts; this style might be useful in dismissing some of the recent material that labels pump out which requires no more than a few minutes to recognize as an archetype of fail and dismiss.

As has been the trend with the last few issues of Codex Obscurum, the editors struggle to balance a gory old-school art-driven layout with a postmodern format that is easy to read in the age of computers, tablets and whatever “et cetera” will soon encompass. An abundance of great artwork appears throughout Issue Six, with more use of graphics inserted in the text stream or offset to one side. The Acid Witch, Fister and Ritual Decay interviews could fit in either a glossy pro-printed magazine or a contraband underground zine and show an optimization of this layout style. One thing that could improve is the differentiation between interviewer and interviewee, which is currently done with the industry standard of the speaker’s initials at the start of the line. An ideal layout of this format has proved elusive, with some zines bolding the comments by the interviewee, but this like most other solutions burns more page real estate. On this site, we put the interviewer’s comments in bold because that makes them easy to skip, but also requires more paragraph space which is at a premium in a zine that has to render itself to paper instead of the limitless scrolling of modern society’s replacement for daytime television, the internet. An ideal answer may conceal itself on this issue but it is the only area where this zine proved difficult to read at a glance, which is otherwise facilitated by its clean layout with clearly separated art and well-signaled interviews with band logo at the top of each.

Issue Six continues what seems to be becoming a section in Codex Obscurum, which is an unboxing and review of Dungeons & Dragons gaming sets and lines of books. While many in the metal community seek to isolate themselves from the inner nerd inherent to all metal, a more realistic assessment shows that many metalheads are in fact nerds “in the closet” who enjoy many activities which stimulate the imagination and analytical thought process simultaneously much as D&D does. This feature goes beyond the knowledge of the casual attendee at D&D games and could stand on its own in any lifestyle or technical magazine. Among the thoughtful interviews and carefully articulated reviews, the role-playing game material fits hand in glove, and adds to the feeling of this zine as well-rounded in the underground sense, covering music and lifestyle without drifting into the product fetishism that shears mainstream magazines off from the flow of what fulfills people both as metal fans and individuals. Looking forward to seeing this zine continue to grow and develop.


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