Demoncy – Joined in Darkness re-issue on Forever Plagued Records

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This re-issue gives a classic black metal treatment to this underground powerhouse, which previously was heard as being more of a death metal album owing to its production more resembling that of the Incantation/Revenant vein of metal, in addition to many of its riffs fitting within the same form. With more spacious sound, the album sounds more distant and less loud which gives it a background resembling that of the Norse black metal which inspired the first wave of black metal. This more resonant sound brings out more of the tone in these songs and allows the melodic sense to shine, giving the album as a whole less abrasion but more atmosphere. As if to underscore this choice, the re-issue includes “The Ode to Eternal Darkness,” a nine-minute song which emphasizes the building of mood through repetition with internal melody in the style of black metal bands recognized more for their melodic sensibility. Although I am a sentimental bastard prone to like what I know, I prefer this mix to the original or the intermediate re-issue and hope the same treatment is given to other Demoncy albums which remain under-recognized despite their high quality.

With art by Chris Moyen and this powerful new sound, the Forever Plagued Records re-issue of Joined in Darkness stands poised to introduce a new generation of fans to one of the top handful of black metal releases to come from the New World.

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Ctulu – Sarkomand

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Cleverness — glib intelligence focused on past good results manipulating an existing system — serves as the enemy to innovation. Balancing that is the notion that what is older is usually better because, human conditions having never changed, that which serves well once will continue to do so until the situation changes (which usually means it is simply decaying and unstable). Ctulu takes us back to 1997 and combines Swedish melodic death metal, Greek black metal and the classic Iron Maiden style of melodic heavy metal for a satisfying listen that is nonetheless non-essential. In this case, “non-essential” means that you can go listen to the original albums for a more complete (less clever) view of the genre, but that Ctulu will be fun for weekend listening and the local or regional metal scene.

Now, the above seems strikingly unfair. After all, Ctulu is a good band, and the fact that they repeat trills and melodic progressions from sources as diverse as later Sacramentum, Necrophobic, Unanimated, Mayhem, Rotting Christ and Piece of Time seems irrelevant to their quality as a band; that is very much true. But what is being played here is not so much the instrument as the genre and the expectation of fans based on those older works, so what occurs is ultimately clever instead of innovative. This band has developed its own voice, but it is a voice that converses only in the context of these past acts. Without them, this band would appear strikingly different but also starkly empty. These well put together songs reflect not an interest in pushing an envelope but in gratifying a need that already exists, which is why by the sixth track the sensation of listening itself has become repetitive more than the music itself. We know what it conveys; it has found different ways of doing roughly the same thing and while most of us will grudgingly admit to adoring the melodic metal sound, it works best in service to a grand or epic vision as in the underrated later Sacramentum speed metal hybrid albums which Sarkomand frequently resembles. Here we have a local band holding the horns and beer stein high, keeping up the tradition, but this is the worst of conservative thinking in that it is creating this tradition from outward-in, not from some motivation within toward an end product, and as a result it trivializes what is here and what was there.

Expect flowing melodic passages which elevate the fill to central position so that riffs may reverse direction through the scale and achieve a sense of rapid motion. Mate that with highly proficient drumming that generally stays out of the focus but frames it expertly, mid-level death metal vocals and heavy metal choruses and you have the basic idea. While most of the riffing is death metal derived and would fit on a Sentenced or Dissection album, much of the underlying song motion more resembles black metal in its choice of atmosphere followed by saturation of that atmosphere and an angsty breakout. Like many bands influenced by this style, Ctulu know how to write a chorus that is both pleasing to the ear and yet carefully hides its addictive tendencies over just enough detachment to make it plausible instead of cloying. At this, Ctulu best the competition and it explains why they have risen above the utter horde of melodic retro death metal bands to be in the position they are in also. And yet, Sarkomand remains an album that is fun to listen to but when it departs, nothing feels missing.

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Cóndor – Duin

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Colombian band Cóndor presents an album which European Romantics might have undertaken had their tastes run to heavy metal, with an explicit influence from Bedřich Smetana and a more subtle yet pervasive inspiration from Jean Sibelius, manifested in a style of underground metal that sounds like Atheist covering Graveland. An organic, fluent and natural flow embodied in sweeping melodies and choking riffs that overcome and seem to grow out of each other independent of the composer, as if taking a hint from a young Friedrich Nietzsche, gives this music a childish and innocent Dionysian center driven by instinct. The result is an album that must be listened to as a whole experience to find the moments which strike us as stereotypically metal sharing space with entirely contrasting ideas which set up the emotional background to those moments of violent intensity.

Unlike modern-day posturing in black metal, Duin looks toward the older tradition of abstract Romantic 19th century Nationalism as expressed in classical music and folk art. Both betray their presence in the use of typically long, modal, easy-to-get melodies of the folk kind. Sibelius lives in that tendency to drift into very paused passages and quiet dynamics seemlessly which was so characteristic of Nadia. In this sense, we could say that while Nadia was a Sibelian album, Duin is more of a Smetana-Fudali-ean album. It exists in a type of magical music like that conceived in Marsilio Ficino’s mind, a form of sonic art which follow celestial designs with metaphor of the spirit such that its effect over us is as sure and profound as that of the Sun and the Moon on the creatures of a forest. These strong ‘authentic’ folk inclinations serve as converging points of most visible influences. There is both a sylvan spirit underlying the music and a warm home-welcoming one as opposed to a warlike and epic one. These last two characters are instead represented in the more energetic passages which do not override the greater scheme of things and instead contribute to a desire for adventure that does not quite reach epic proportions. This follows the general theme of this work as, in contrast to the Apollonian rigid order of Beethoven or Bach, a wandering organic Dionysian spirit which aims to be appreciate from the atmosphere it saturates with meaning instead of a linear narrative progressing toward the conclusion of a musical argument. Like the naturalistic music of Burzum, Duin follows the thought process that repetition of a riff does not end when the composer or audience wants it to, but when the nature of that riff in the context of the song indicates a need for change. A kind of musical “sixth sense” pervades this album.

The first track, “Río Frío” starts off by quoting the last track from the debut album, El Roble Será Mi Trono Eterno for a few measures only to quiet down and performing an adaptation of Smetana’s Vltava for overidden and distorted guitars and bass. The second track, “El Lamento de Penélope” will probably give the strongest impression of this relation to Absurd in its urgent and minimalistic rhythmic riffing. The way the following melodies are carried in triple time reinforce this view until Vltava‘s theme is used in the climax section of the song. The following song, “La Gran Laguna,” is a roller coaster ride which takes us again through vistas of minimalist folk metal with quasi-marching beats and prominent melancolic melodies alternationg with ambient-like sections with a picked clean guitar outlining chords over the roar of its distorted partner. An instance of this supports the song’s solo section, which show off how Cóndor has stepped up even in its melodic treatment of solos which when compared to Nadia display a more mature independence from guitar-scale blocks.

“Coeur-de-lion” starts the visible slowing down and gradual elongating of expression that the album manifests increasingly a step at a time. The riffs are given a different tone by both the change in pacing, along with the playful exchange and duple and triple times which in different inceptions point the music in different directions. With a 2/4 reciting inisting, childish urgency, a 4/4 allowing for settling feeling, a 3/4 for a more bouncy feeling which slowed down and seen differently can be a martial and/or swinging 6/4 or 6/8, depending on the note value. “Condordäle” takes us one step further in what is almost a dirge in the beginning but which allows smooth and sensuous transition between riffs forming layers of an idea, with clear vocals reminiscent of a classical chorus.

“Helle Gemundon in Mod-Sefan” begins with a clear, long and emotional melody line gradually introduced and repeated, but is always interrupted by chords which sound dissonant in the context so as to disrupt the final resolution that we might expect in the line. Each time the line is allowed more time and to soar higher and higher. In the last of these repetitions the song then turns to the riff styling of the aforementioned dissonance-inducing chords, and riff after riff is wrought from this idea until its natural duration is expired. A break is brought which leads into a more conventional metal section comes in which a series of solos in the same vein are played. Mid-paced, emotional, almost aloof and relaxed playing which would not seem out of place in urban underground styles of rock characteristic of Latin America.

“Adagio” is an interlude for bass and clean electric guitars which serves as a beautiful gasping point before the last track, named after the album, that serves as a closing for the album. After the slowing down and exploration of different influences towards the middle of the album, a bit of everything is brought back in this song with a slow beginning which blooms almost inperceptibly harsh, hammering riffs, slow, folk-song melodies in lullabying triple time, which again alternate into a bridge of descending chromatic notes in the classical style leading directly into melodic indulgence in solo and riff proper of that folk metal which displays the transparency of rock and the honeset simplicity of the folk melody.

This is an album in which each song feels “better” than the one before. But when listened to many times one discovers this is not really the case. It is just that the progression between songs and within songs makes it feel as if each new event in the music is reaching towards a new goal, new vistas, but always through the eye of the Cóndor. Just like the compositions of the young Sebastian Bach shortly before and after his visiting Dietrich Buxtehude in Lübeck betrayed the unmistakable mark of the old master in form and method but never bowed down to him so that the pieces were, nevertheless, stamped with the young genius’ name, so does the band manages yet again to sound like itself independently or in spite of its distinguishable inspirations. Sounding like a more seasoned band than on Nadia, the telling silhouette of the Cóndor comes out of the foggy shadows and into a golden Autumn light.

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War Master add drummer Dobber Beverly to their lineup

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Texas death metal revivalists War Master announce the addition of Dobber Beverly (Insect Warfare, Oceans of Slumber) to the lineup as they move forward toward recording a new cassette demo tentatively titled Primitive Evil slated for release in late winter.

Beverly formerly played with members Neal Dossey and Rahi Germifar in Insect Warfare, but now joins the band as both drummer and songwriter. “I ran into Rahi at a show and he asked me if I was interested in jamming some old school death metal, and at the time I didn’t have any space in my schedule for it,” said Beverly. “Fast forward a few months and they were still without a drummer. Neal and Rahi then talked to me about helping them write new material, I’m a guitarist too, and I said ‘hell yeah.'” He plans to co-engineer the new demo which will be recorded at Craig Douglas’ Origin Sound.

Primitive Evil will showcase a faster style from the band with better production. It follows War Master carving themselves a following from metal and grindcore fans for their Bolt Thrower-influenced type of classic grinding death metal with epic focus, as seen as their releases Pyramid of the Necropolis and Blood Dawn EP.

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Funerus – The Black Death

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Following up on its doom-death full-length Reduced to Sludge released in 2011, Funerus surges forth with three new tracks on a 7″ entitled The Black Death to be released on Dark Descent Records within the next few weeks. This short work shows that where Reduced to Sludge finalized the Funerus style, newer works further intensify the strong doom-death sound which has propelled this band for decades of enjoyment in the death metal underworld.

Sounding very much in company with widely varied acts such as Divine Eve, Cianide and Asphyx, Funerus writes grinding death metal riffs which develop over the course of a song with hints of melody and layers of texture, building an incrementally crushing atmosphere around a strong theme. On The Black Death, melodic elements serve a stronger role but entirely without becoming fluff or reducing the impact. Funerus uses melody in death metal correctly, which is to underscore the evocative vocal rhythm of a chorus and bring out variation in riffs so that repetition increases the crushing sense of morbid doom instead of adulterating it. These songs build like the experience of descending into a deep cave, with the heaviness of the air growing more oppressive and the fear surging with each foot further into the void that return from this abyss will be impossible. Where older Funerus relied on more varied technique and sometimes conflicted with the pure power of its doom-death riffs, this new incarnation clears out everything but the essentials and uses them to complement the fiery riffing to give it a further sense of oppressive hopeless violence.

In addition, vocals provided by bassist Jill McEntee, who shares instrumental duties with her husband John McEntee of Incantation, both through clarity of production and greater savagery produce an effect of urgent despair like chanted emergency messages broadcast by loudspeaker in the ruins of a dystopian city. Of the three tracks on this album, “The Black Death” grinds almost like a Bolt Thrower track but builds to a staggering sledgehammer doom-death riff instead of a melodic counterpoint to the abrasive chromatic dirge. The second track “The Minding” applies a melodic Swedish-style death metal riff much as might appear on a Carnage or Amorphis record but throws behind it a bulldozer of rhythmic momentum. Closing out the record, “On the Edge of Death” charges more like early Asphyx and keeps the intensity higher at a mid-paced speed with relentless vocals calling forth like battle command. Together these three tracks show a streamlined, stripped-down and more articulate Funerus that intends greater malice and achieves a sound competitive with the best of the underground that shows us this band at its greatest power yet.

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As in #metalgate, Islam finds metal has wrong opinions

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People do not want to admit that there is a war on for control of what you think. Some of this is what we consider innocuous, like the constant advertising on the roadsides, internet and in print. Other forms are more insidious, like people in your social group trying to bias you against people they do not like, or governments attempting to make certain ideas seem off-limits.

We know that in modern Western civilization, government both uses and allows Social Justice Warriors (SJWs) to enforce its strict taboos on un-democratic — the new term for “un-American” — thought. But other societies have not followed this same path and instead are limiting what people can say by excluding certain forms of music view religious decree. In particular, Malaysia has declared black metal and death metal off limits for its citizens:

All Muslims know pork, booze and premarital canoodling violates Islamic teachings. But in Malaysia, home to a rising tide of fundamentalist Islam, senior clerics are warning against more insidious dangers to the faith.

Such as death metal. And puppies. And Valentine’s Day.

“Black Metal” — Malaysian authorities have been fretting the influence of death metal since the 1990s. According to an official ruling against “Black Metal,” it’s powerful enough to force a Muslim to forsake his faith.

This approach is at least more honest than instead of banning a genre sending SJWs in to flood it with poor quality imitations of itself in the indie rock style, then taking over with a legion of *core fans who look like tattooed greebos who just stepped out of mental health treatment for low self-esteem. Speaking of which, recent research at Stanford suggests that people find “equality” a compelling goal in inverse proportion to how attractive and intelligent they feel. When you have low self-esteem, you make equality your life’s quest, and this explains why SJWs are moths drawn to that flame, in addition to their fundamentally hipster insincerity which has them using a political viewpoint to demand their own inclusion.

As we saw in #gamergate, #metalgate SJWs are not exactly competent. In fact, the only reason they talk about equality so much is that they could not advance themselves based on competence alone. This differentiates the SJW incursion from moral panics such as the Parents Music Resource Center (PMRC) in the 1980s in USA, or the type of fatwa issued in Malaysia, which seems to be a decree of general behavioral guidelines rather than an attempt to promote the fatwa-issuer based on how cool, hip and Pabst-swilling skinny-jeans wearing socially acceptable his opinions are. But the end result of both is the same: metal does not bow to their imaginary rules, and so they want metal destroyed.

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Sadistic Metal Reviews 01-06-14

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The music fan possesses limited resources to achieve the goal of an enjoyable listening experience: time, money and energy. Reviewers tend to write about how cool everything is, but they should be writing about how mediocre most albums are so they can focus on the few that can be enjoyed for the next few years at least. It is hard to be cruel, but it is kinder than kindness. With that I introduce our latest round of Sadistic Metal Reviews

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Villainy – Villainy I

This enjoyable little romp reminds the death metal listener of later Sentenced crossed with the Venom-worship of Nifelheim and other bands who, in the old school days, were simply referred to as Venom tributes. Heavy metal genre riffing, combining the best tropes of the late 1970s and early 1980s, meets a harsh Cronos-styled vocal and updated technique. Nothing sloppy here; the band are tight and the arrangements show no spurious detail. However, despite the somewhat harsh vocals, like Venom this is NWOBHM and 1970s heavy metal revivalism without any particular relevance beyond that era. It skips speed metal textures for a death/black metal styled fast strum and continuous drumming as if taking notes from Merciless, and injects melody, but mostly stays within verse-chorus with introductory and transitional riffs different. The riff forms will be familiar to fans of heavy metal from that era. Lead guitar strikes a pentatonic blitz that is both enjoyable and very much within form. Unlike Merciless however this album focuses on writing hard rocking tunes and does not develop an evolving mood or atmosphere beneath.

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Tenebrous – Arias Toward the Black Sun

Underground metal needs a new trope for a certain type of composition which appears frequently among our ranks. I dub this “80s situational comedy” after the movies where a character makes a bad decision, then to hide it chooses another bad option, then deceives and conceals in a string of events leading to absurdity and eventual plot collapse. Sitcom metal occurs when a band finds a riff they like and write other riffs to fit that riff without having an awareness of what the riff communicates emotionally to the listener, thus what the song is actually about, and so you end up with a cool riff and reactions to that riff which are designed to put it into context but ultimately have the opposite effect. Tenebrous fits this pattern through its work in a style that combines a whole lot of Graveland with some of the more aggressive strains of black metal. They have mastered the basic flowing riff, but not building a song around it, only building a song commenting on it. This is underscored by the cover of “Unpunished Herd” which ends the album and makes the rest of it look incoherent in contrast.

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Pagan Flames – Symbol de Vie et Lumiere

This atmospheric black metal band combines Burzum-styled lead folk melodies over sweeping guitar riffs. Its strength is its melodic composition; its weaknesses are its vocals, which focus on rhythms that are too obvious and thus trite, and its tendency to try to work slamming full-stop and bounce rhythms into what should be a more continuous architecture. Barring those two disadvantages, Symbol de Vie et Lumiere presents black metal that unlike most recent efforts tries for the ancient, melancholic and epic warlike sound that made this genre popular before idiots invaded with thinly-disguised rock music to keep the mouth-breathers occupied. Many of these songs verge on being folk music itself and like the Darkthrone sidepoject Storm, feature trudging rhythms over which pagan lyrics are chanted to volkisch-reminiscent melodies. The fractured aesthetic presented by the overly busy vocals and tendency toward self-interruption with choppier rhythms narrowly keeps this album from being top tier but it distinguishes itself on its essence — attempting to write actual music through melody — from the formless legions of tryhards, shoegazers and hard rockers trying to use black metal as a vehicle for their own failed prior attempts at other genres.

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Skrømt – Sjelebrann

Not since Disharmonic Orchestra Not to be Undimensional Conscious has a hybrid of this variety yet which retained its ability to express itself been cast among the metal minions. Skrømt combine alternative metal, post-metal, rough punk and older black metal influences (Ancient, Enslaved) into a form which keeps the catchy songwriting of indie rock bands but fleshes it out with a rich backdrop of shifting harmonic texture and, like metal, combines multiple riffs into chains to create a moveable part of a narrative. For the most part, songs stick to verse-chorus as augmented by background material and sometimes with a second instrumental chorus to expand upon the first loop. Like alternative metal, songs guide themselves through the vocals and the presentation of lyrics in a combination of shouted, sung and harsh vocals. Where this goes wrong is that rock and metal do not mix on an aesthetic and thus artistic level, and so the end result is rock gilded with metal riffs which are quickly absorbed, and some of the best work of this album exists in the shadow of the alternative rock tropes that it stands far superior to. This is unfortunate as clearly many good ideas and musical insights went into this album. Most inspiring in this release is the technical work applied to making the various riffs and styles fit together. It is rare for a band to understand how to connect different emotions together without following a blatant formula, but Skrømt stitches together multiple moods and styles into a coherent whole on a musical level, even if making it work on an aesthetic level seems difficult.

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Church of the Dead – Vol. 4 – Meet Me in the Tomb

The term “cultural appropriation” seems trendy these days but few realize what it means. Blatant theft of the cultural methods of another group is too easily detected, so people appropriate those cultural methods by translating them into a form that most will not recognize. In this case, while Church of the Dead clearly uses death metal riffs and death metal vocals, its vocal rhythms are influenced by rap and its riff rhythms are closer to Motown than standard issue death metal. Thus while this disc shows some musical promise, it remains a confused aberration that wants to be in one genre but keeps itself in another, losing the spirit and atmosphere of that genre. Each piece tends to feature both Cannibal Corpse style trope cadence rhythm vocals and sing-song jingle-style vocals, making these hard to listen to without a wincing cringe, but also internalizes groove to the point where riffs take a basis in Morbid Angel and Malevolent Creation and become closer to Pantera. As a result, despite the many positives for this album, the overall negative is that its overall presentation is bouncy, poppy, and very much “rock” and not metal in form.

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Deep Wound – Deep Wound EP

At some level all hardcore punk approximates the same thing because the genre solidified certain tropes and combined with the mathematical limitations on complexity, these defined the variety of punk songs. Deep Wound creates songs that sound either like Black Flag without the dissonance, or early Corrosion of Conformity without so many pauses. The vocals strikes a jaunty and sarcastic pause when they are not in full blur mode. As far as thrash goes, this is closer to the punk side like the first DRI LP, and its riffs are less metal than hardcore in minor key, but it beats the recent “crossover thrash” rebranding that verges too much on speed metal territory and becomes either tame or inanely jingle-y as a result. The hardcore spirit lives faithfully in this music but because of the vast similarity of hardcore, it also does not stand out in any particular way — riffs are not radically different, nor song forms, nor even vocals — so qualifies as a fun listen but not as definitive as the albums from DRI, Cryptic Slaughter and COC that defined thrash as a genre. However, this stands head and shoulders above the “party thrash” of recent years and by coming at the genre from the hardcore side, brings in an energetic simplicity that metal riffs make too complex to self-sustain.

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Nidsang – Into the World of Dissolving Flames

  • Basic black metal combined with Angelcorpse-style aggression, but leaning on the latter for songwriting. As a result, not much atmosphere but plentiful aggression. Melodic riffing adds some depth but consistent song form and intensity rob this album of much enduring power.

Aborted – The Necrotic Manifesto

  • Aborted took their high-intensity low-complexity grind and gave it the modern metal (a/k/a deathcore) treatment which made it more chaotic. The more elements you add, the more internal complexity (melody, structure, theme) you must have or you reduce your core complexity to nothing, which is what happens here. Catchy chorus + two grinding riffs + hard rock influences.

Abysmal Dawn – Obsolescence

  • Workable death metal with heavy metal influences in abundant lead soloing, melodic riffing and catchy choruses. Very paint-by-numbers however with not much of an intent to put anything into a song but energy and internal cohesion. Good riffs give it strength but do not make it compelling; modern-metal-style chanted choruses ahead of the riff also increase frustration.

Cemetery Fog – Towards the Gates

  • This attempt at Paradise Lost-styled doom metal is both well-composed and artistically relevant, but highly cheesy from the use of melodies that directly gratify pop instincts to the occasional female vocals which aesthetically create the type of cheese that Motley Crue could only dream of. Songs are well-written and express a unique form and content for each, even though they drone on through a series of heavy metal riffs slowed down and are united by a melodic lead shadowed by vocals. While not bad, this makes the album as a whole somewhat sentimental in the sort of obvious Thomas Kinkade calendar way that drives away people like me, but it would be remiss to not notice the quality of songwriting here.

Abigor – Leytmotif Lucifer

  • Black metal needs to stay black metal. Abigor try to work in late Gorgoroth through early Deathspell Omega influences and it makes their already spotty music more spotty. Some good melodies, no continuity, too much style.

Aevangelist – Writhes in the Murk

  • Imagine Teitanblood with melodic riffing and slowed down to fast mid-paced death metal. The one cool effect here is the use of abrupt transitions to create a theatrical effect, but the lack of underlying riff and song consistency makes even this seem hollow.

Bethlehem – Hexakosioihexekontahexaphobia

  • Most will notice the creeping Rammstein influence: clean vocals, more dance-able beats, more pronounced use of German lyrics. However, a good deal of this sounds like recent Absurd as well with more of a folk influence creeping in and while the rhythms are more popular music friendly, they are far from industrial, and what appears instead more resembles NWOBHM with more groove than the quasi-modernist sound of Rammstein. Otherwise, the riff wizardry remains but is muted, with more emphasis on vocals and repetitive choruses, but generally these songs fit together well musically and develop an internal melodic sense that produces a multifacted atmosphere.

Agatus – Dawn of Martyrdom (re-issue)

  • Sort of like a cross between Legion of Doom and old Rotting Christ, Agatus uses the full punk style of even strumming speed creating droning riffs. These are pleasurable in themselves, and fit together well in songs, but they are both too obvious as melodies/phrases and too similar as rhythm riffs to make this work. In addition, many of the melodic choices here are simply rudimentary crossing into bad. This could have been an epic album if a more critical eye had been applied during composition.

Acheron – Kultes des Hasses

  • The challenge to Acheron has always been to overcome their cadenced rhythm that comes to a full stop in perfect symmetry, sounding a bit like a child’s song. On this latest album they work up the usual assortment of great riffs in bad rhythm and occasional disorganized order.

Baphometh – In the Beginning

  • Essentially speed metal with plenty of repetition, catchy choruses and circular song structure, this band nonetheless adopts death metal vocals. However, it is better for fans of B-rated Metallica and Exodus clones than anything newer. While none of this is incompetent, songs have no center around any kind of conflict, so the general mode is repetition and circularity.

Authorize – The Source of Dominion

  • Thudding, predictable, circular and confused, Authorize are Swedish death metal in the style of Suffer but with none of what holds songs together or makes them anything but basic guitar practice. Lead guitars totally incongruous, other elements equally out of place. Should have stayed unreleased.

Aurora Borealis – Worldshaper

  • The melodic death metal band works Absu-style jaunty vocals into the mix, but they take over composition too much. Riffs follow the vocal lead which dominants rhythm and creates a kind of circus atmosphere with the MC describing each act and then the trained bears of the riffs, clowns of the background vocals and highwire dancers of guitars take over. Sounds a lot like Warfather but more melody.
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Atriarch – An Unending Pathway

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Generic post-metal with bassier distorted power chords and doom metal pacing, Atriarch would like you to think that they are ” a living entity comprised of four parts, offering catharsis through sonic ritual. Our aim is to tear a hole in the veil that blinds us from our true selves. We are bombarded with ideals of a superficial shallow lifestyle, that we are enslaved to maintain.”

Even more, their press release states that Atriarch is “a mesmerizing death/doom metal force encompassing haunting atmospheres and droning avalanches of ritualistic sludge, a living entity comprised of four parts, offering catharsis through sonic ritual.” It then mentions their two “critically adored” previous records. Then the band adds: “Our aim is to tear a hole in the veil that blinds us from our true selves. We are bombarded with ideals of a superficial shallow lifestyle, that we are enslaved to maintain. This veil has become so powerful and overwhelming that we ignore our spirits to worship our shells, as money stokes the fires that burns our immortal souls. Greed corruption fear and hate is the true face of this Self Serving way of life that we have come to call ‘normal.’ While we believe in opening our minds and expanding our spirits we cannot forget our ability to fight. The spiritual battle for freedom of mind and body can be fought on all levels and violence is in our nature. There is no god there is no devil there is an All Encompassing force that connects all living things. Embrace the ritual and the veil will come crashing down…”

While we do not want to commmit the post hoc ergo propter hoc fallacy, it seems that critical adoration increases the closer a band approximates the mainstream norm, which in this age is indie rock. If you take indie rock, slow it down and play it in power chords instead of open chords, then add a ton of screaming in an “emotional” way, you get something like Atriarch. While no individual part of this is offensive, the album adds up to a heap of boredom. You have heard these chord progressions before in a similar context. These rhythms you have also heard fit together in similar ways. It is just slower, bassier and with more screaming. Perhaps if they added a dying hyena it would get even more critical acclaim.

http://www.youtube.com/watch?v=n-cHgrC4q7s

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Remains – Angels Burned

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If there is ever a death metal album to break your heart, it is Remains Angels Burned: a collection of excellent riffs and ideas which never fully make it to realization, resulting in an album with filler and disorganization predominating over concepts that should stand on their own.

Many of these riffs show a detailed study of the past three decades of death metal and picking up on patterns which had potential to be developed in other ways, and doing so, but the songs feel like sketches where great riffs form the center but much of the rest is filled-in with junker riffs, e.g. bounce on the same chord a few times or a chromatic fill with no shape. Inevitably it will be compared to Suffocation Breeding the Spawn, which similarly created a “hasty” feel with many good ideas suspended in technique alone. With more time to think through these songs, Remains could have isolated the point they wanted listeners to get to as a culmination, instead of repeating it and then patching together a song.

Two basic conditions destroy death metal albums: being predictable and being disorganized. This falls under the latter, with as a consequence of its disorganization, a tendency to fill in song form without content. This is a crushing shame since there are so many amazing riffs and fertile ideas which get lost in the flood. If I had a wish for the new year, it would be that Remains get back in the practice room — not the studio — and rework this album until its brilliance outshines its disadvantages.

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How music reviews are made

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If you must (“must”) watch television, probably the best thing on continues to be the Canadian program How It’s Made which shows the process by which everyday objects are manufactured. A similar program for the music industry might attract fewer watchers but be similarly informative.

The basics of the industry are that labels produce records, media write about those records, and artists — a pretentious term for musicians and bands — try to get chosen by either or both. Most records produce almost all of the profit they will create within a relatively short duration of their release. Labels need to constantly produce output so that they stay in the news, and media needs to constantly produce favorites (or drama) to sell news. Artists, on the other hand, are trying to create long-term audiences, but only if the artist believes they can produce quality material for a long period. Otherwise, their goal is to cash in and drop out, so they can go back to being the cool barista in a seaside town known for having put out that edgy metalcore album back in ’06.

When labels send out promotional packages, their goal is to ensure the reviewer spends as little time on the music as possible. They would prefer that the reviewer spend most of her time on the press release and biography, writing about the “unique” background to the band and how their album release is a news event, not a musical event. Ideally, the writer will focus on production and style more than substance, since new variations in production and style are easily produced while quality music is limited to a certain percentage of artists and striving for quality makes artists more valuable and labels/media less valuable.

The gig as a music reviewer is to say as little as possibly that is not blindingly obvious about the music while working in as many details as possible. The most successful reviews talk mostly about the biography, then about production, then style, and only finally in passing about the music itself. By the music itself I mean the composition, such that if you transferred it to midi or kazoo you would still recognize the song(s) but all of the production values from guitar sound through effects would be removed and you would see the composition as it is. If you have ever listened to someone playing acoustic guitar and realized the music sounds familiar, then figured out which song they are playing, you have had the experience of connecting with the music itself. The music itself however is the one part of music as a commodity that cannot be easily quantified and reproduced through systematic means (think of a recipe or instruction book). As a result, the music itself makes no one any money during the short period in which most albums generate profit.

You may see familiar names when you switch between your favorite magazines and your favorite music labels and the promotion companies that service them. The goal of most music reviewers is to get promoted within the industry, either as workers at the labels or writers in the media. They do this by making personal contacts, which generally happens when they are helpful to those people and promote whatever release they are working at the time. Very few people stay in the industry for long because it rewards a certain type of highly sociable person who writes whatever is needed to promote a record. This is why when you read record reviews, they normally take on a breathless tone that borders on praise. The goal of the reviewer is as a marketer, not a writer. Their job is to make you want to buy the album, but in such a way that you think it is your own idea, and so you blame no one when two weeks later you stop listening to it.

Most people are not words-people. They operate by gut feel, which is how their brains make a synopsis of all of the impulses they have in response to something. They tend to respond enthusiastically to new things but as time goes on, they respond less to them. For this reason, very few fans are aware of bad albums versus good ones. They know only that they bought something, they were excited about it, and then… it just sort of faded out of their consciousness. It became less interesting. The methods of art and music are well-known after centuries of exploration and what makes an album stay with us is no mystery. A good album is both musically adept, even if primitive, in that it is organized and produces something pleasing and non-obvious out of what it has to work with, and evocative, or representative of some feeling in ourselves or experience we have had in the world. Very few albums do this, but lots of albums can hit us with the pure physical sensation of listening to them, like acrobatic guitars, intense production, a bizarre or fresh style or even pure sonic intensity. These fascinate for a short while and then fade from our awareness.

As a reader, you must now be thinking this article is somewhat apocalyptic. I have just told you that the music industry has interests contrary to your own; they want to pump out formulaic stuff with new style/production, and you want to listen to music that stretches your time, money and energy by rewarding your listening minutes over many years. Actually I consider myself on the side of the music industry, because without labels to concentrate money that they can invest in production and promotion, good bands would remain unheard and without the budget to bring their promising music to a point where it is both pleasant as composition and pleasant to be heard. Few would listen to Beethoven if the only albums were played on kazoos and recorded on iPhones in subway restrooms. The music industry represents its own worst enemy because whenever something new — a band, an idea, a genre — makes a fan base, industry grows in response to it and produces more stuff “like” it that does not deliver the punch of the original. They thus ride trends for profit and then self-destruct when the trend is over, excepting a few labels who rise above the rest on the basis of having more profit, thus more money to put out new releases. The industry would be healthier if it could stop riding trends and instead focus on what makes bands and labels wealthy, which is the long tail or long-term relationship with fands.

The archetypal long tail band is Metallica. When …And Justice For All broke into the top 200, it brought every previous album of the band with it. During its classic era, when Metallica put out a new album and made a new fan, that fan tended to go out and buy everything else the band did, plus tshirts and concert tickets. It is the same way with massively successful acts in every genre — they cultivate a dedicated fanbase — but metal is a standout in how clearly it is defined in this way. The labels that dominate are the ones who get behind a band that cultivates a long-term audience. However, these bands are few and far between so labels make do with what they have. Unfortunately for them, the market is contracting as online availability of music reduces the power of novelty (“newness” + unique production/style). People can simply listen to the new fascination online for two weeks and then move on without having bought it.

To counter this, I propose a new model for the music industry: licensing. Under this model, bands would retain their copyright in an album and take out a license from the label, which would have the right to retain the album as long as they kept it in print. Big labels would license this content from smaller labels, creating a pyramid where the top reflects the bands with the best long-term audience potential and the bottom reflects new entries who are trying to build that audience. This would put more of a burden on the bands, who would be essentially taking a loan from the labels to produce their albums in exchange for that extensive promotion, but would enable labels to focus on the true breadwinners with their long-tail artists. In addition, because artists would be forced to assume direction of their efforts, there would be less of the kind of childish behavior of superstars in the 1970s and 1980s that caused labels to become strict in how they control their artists. This model also fits with the de facto standard of online music sales as they will become, which is the granting of a license to “own” the music regardless of form to the consumer. When physical form is no longer as important, we switch from a “goods” model to a “services” model, and the sooner labels do this the sooner they escape the overhead of defending a past business model and can move on to the future.

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