Profile: Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay

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When we first heard about Industrial Soundtrack For The Urban Decay, the upcoming documentary about industrial music and its origins, it struck us as relevant for a death metal site.

In the landscape of popular music, there are obvious “pop” genres on the surface next to accepted forms like jazz and classical, but underneath that are the surly and dangerous types of music that are underground because they don’t place nice with the contemporary mythos and ideology of our society.

That group includes metal, hardcore punk (not pop punk, which belongs under rock/pop) and industrial. These genres just refuse to play by the same rules as everyone else who wants mainstream acceptance, mainly because they flirt with or outright endorse ideas that the mainstream has decided are unpalatable.

We were fortunate to get a brief Q&A with Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay.

Industrial Soundtrack For The Urban Decay as a title seems to suggest both a documentary on industrial music, and some sense of the motivations behind industrial artists. What made you choose this approach?

Industrial Soundtrack For The Urban Decay is the first film to document the history of industrial music, featuring interviews from the genre’s most influential bands, artists, labels and fanzines.

I was motivated to make this documentary as I felt this genre and these artists deserve to be exposed to a broader audience. This film is about more than just industrial music, it also reflects on art, politics and social issues, post­industrialisation and urban decay.

Are you and your fellow filmmaker industrial fans? If so, what first got you into the genre?

Amélie: ­ I came across industrial music while directing my first documentary Paris/Berlin: 20 years of underground techno. I’ve always enjoyed the harsher and darker side of music. Throbbing Gristle’s song “Convincing People” is one of the first industrial songs I remember hearing. I was immediately attracted to Genesis’s monotonous British voice and the hypnotic repetitiveness of the song. This led me on a path to discovering more industrial, post punk and dark ambient, as well as beautiful crossovers bands like Coil or In The Nursery. As I dug deeper into the industrial genre, I realized that I shared a lot common influences and preoccupations with those artists, even though they were from a different generation. From a really young age I read books by Burroughs, Ballard etc and became interested in art movements like the dadaist or the futurists, so I felt an instant connection to this music.

Travis: Working in a record store from a young age, I discovered techno and experimental music and was immediately appealed by the rawness of this sound. While living in Perth, Western Australia I had the opportunity to meet and collaborate with Cabaret Voltaire’s Stephen Malinder on a radio program and had him DJ at a club night I hosted. Mal and I became friends over the years and he was the first industrial band I fell in love with. I also got into bands like Throbbing Gristle, Meat Beat Manifesto, Silver Apples, Renegade Soundwave and others through my favourite DJ at the time, Andrew Weatherall. I met Amélie while traveling Europe and we decided that this film needed to be made.

I am no expert, but it seems that metal, punk and industrial come from a similar root, which is a rejection of the social impulse of mutual tolerance. Why do you think this is, and how do you think it relates to social decay?

All bands and collaborations bring different influences to the music they make and the environment and social context of the musicians also plays an important role. Most of the early industrial bands we interviewed grew up in turbulent times, where unemployment, high­rise living and cultural oppression were all part of the decaying environment in which this music blossomed.

When the history of humanity is written, how do you think industrial music will be recorded? Do you consider it a historically ­important musical movement?

Industrial bands have been influential in many ways inspiring art forms, using tape loops and edits that pre dated sample music and these days you can hear noise and industrial elements in all forms of music from, electronic music, pop through to classical music.

Industrial musicians are educated, artistically minded and politically aware artists. They found inspiration in the avant­garde movements from the early 20th century like the Futurists, Dadaists or Surrealists, as well as contemporary writers William Burroughs and Brion Gysin. They were also influenced by early science fiction movies, Krautrock artists Kraftwerk, Can and Faust, The Velvet Underground and the DIY ethos of punk music. These artists rejected major labels, mass media and mainstream culture to invent a culture of their own.

When will Industrial Soundtrack For The Urban Decay be released and how can people watch it?

We’re still editing the film, licensing music and applying for funding, but we’re hoping to release the film in 2014. You can follow the film’s progress on the Industrial Soundtrack For The Urban Decay Facebook page.

It’s been a great experience working on this film. We look forward to sharing our work and hope people will enjoy it as much as we do!

Amélie Ravalec
Travis Collins

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Heavy metal study purports to identify psychological traits of metalheads

typical_metalheadHere’s the fundamental problem with metal: it’s outsider music. We don’t play by the socially mediated rules that control most of society.

In our society, in particular, these rules are created and enforced through self-image. Want to appear to be a good person? Follow the rules. When you step outside of that, two problems occur.

First, the rest of the herd doesn’t trust you. Second, the people around you may be drawn to you not because of what you do, but because they want no rules. Those who object to some rules join those who reject all rules.

However, this means that you’re valuable. Because you don’t obey the rules, and because rules produce resentments, people want to take what you have and use it for their own purposes.

Specifically, they’re either going to use you as an example of what goes wrong when you don’t follow the rules (subtext: follow the rules, citizen) or they’re going to try to use your “cachet of authentic rebellion” to dress up their bog-standard product so people can feel “edgy” without actually taking any risk.

From the first category, a new study purports to list psychological characteristics of metalheads:

By matching music preference to the personality traits, Professor Swami found that ‘openness to experience’ was a major factor in enjoying heavy metal.

Perhaps more surprising however, was the fact that those with a strong preference for metal were more likely to have lower self-esteem.

Metal heads also had a higher-than-average need for uniqueness, and lower-than-average levels of religiosity.

‘It is possible that this association is driven by underlying attitudes towards authority, which may include religious authorities,’ said the authors of the study.

If this study is like other scientific studies, it’s a laboratory analysis. That means that it is designed to prove a point by using factors that wouldn’t apply in the world. It anticipates an audience for this point of view, meaning that they already agree with it.

For example, this study came from giving a form to fill out to 400 people who had to listen to 10 heavy metal tracks. Usually this means people who needed money paid out by researchers.

Further, we have no idea what the questions were like. For example, a second study found that:

A separate study by Heriot-Watt University in Edinburgh found that lovers of heavy metal and classical music have very similar personality traits.

Unlike the Westminster University study, it found that both types tend to be creative, at ease with themselves and introverted.

If self-esteem is measured by extroversion, then introverted people won’t score highly on it.

Furthermore, The Downing/Dunning-Kruger effect suggests that smart people underestimate their abilities, a trait that could be confused with low self-esteem.

My own experience of metalheads is that, much as Black Sabbath wanted to rain darkness and horror upon the “all you need is love” hippie movement, metalheads are realists who distrust the social proposition that social propositions like pacifism, tolerance, love, individualism and buying stuff at Wal-mart will solve our problems.

Society’s social people offer us the idea of Utopia, of a world of love and trust, of peace and equality where everyone’s quirks are tolerated, but metal shows us the darker side of reality where war is our destiny, there is no peace, people are not just judged but ranked by their abilities and degree of realistic behavior, and nothing is tolerated except to be manipulated. It’s the grim realist camp.

On the other hand, metal posits an “other side” to these realizations. When one accepts the nature of reality, one no longer must put up with the obligatory praising of everyone and approval of everything. If metal is a literary character, it’s Jane Austen’s Mr. Darcy (as well as his eventual wife, Elizabeth Bennett, who notes in one poignant scene that neither of them perform — a metaphor for act toward social approval — for others).

For these reasons, I wouldn’t get worked up about this study. It’s not nonsense, merely a selective sampling and interpretation. For all we know, they found 400 college students and took out the 20 Slipknot fans and asked them if they saw themselves as winners, would rather be at a party than home with a whole pizza, how often they go to church and whether they consider themselves individuals or “just one of the sheep.” It’s pretty easy to provoke the response you want under such conditions.

On the other hand, this second study unleashes interesting possibilities. Metalheads are like classical fans, and both groups tend to be “creative, at ease with themselves and introverted”? This is more like the reality I’ve experienced.

The article also gently hints that there may be a bit of detail-obsessiveness and tendency toward over-analytical approaches in fans of both genres, name-checking metal’s tendency to subdivide into genres.

Unlike the other study, this Scottish study — which used a broader range of data — found that indie rock fans, not metalheads, lacked self-esteem.

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Interview with MM of Emit/Hammemit

mm-emit-hammemitSome years have passed since Emit was first featured in these pages, but the UK dark ambient/noise/black metal-influenced project returns in the coming year with the newest edition of its most recent work.

MM, the creator of Emit and Hammemit, took the time to answer a few of our questions. Not only is he an underground musician, but he is also a zine publisher, having produced three issues of the Anti-Art Manifesto zine during the later years of underground black metal.

Emit claims influence from a number of sources, including its constitutent genres of black metal, dark ambient, electro-acoustic music and noise. However, there are extra-musical influences as well, such as a rumored connection to the Order of Nine Angles and other mystical groups.

As metal seeks new influences and directions in which it can go without losing its essential metal-ness, it makes sense to observe how others are navigating paths through the chaos. Thus we are very proud to present an interview with MM of Emit/Hammemit.

So… Emit’s back. What made you decide to resurrect this project?

Typically, Emit resurrected itself because it began to irritatingly manifest unbidden within recording sessions for Hammemit. Rather than contaminate the pure spring waters of my youngest son with the angry attentions of the estranged eldest, something had to be done with it. They are of the same blood, but are of different temperaments. I now create music as Dr. Jekyll might.

What have you been doing in the intervening years between Emit’s cessation and resurrection? Do you view these as similar activities in spirit, even if not in sound?

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Well, there is Hammemit. To inaccurately quote myself from an unpublished interview: in varying shades of subtly dark sound I have raised again to their former use and gestalt such structures of worship and diligent study as may currently be found ruined or in state of repair within a certain radius of my guitar, in spectral form. These existing in an ancient realm quite recently known as England that I understand from books and hearsay actually once existed and is become resurrect via such musics as mine own. It is the spirit of a dead realm I still sadly bear living memory to.

Of course they are similar in spirit as I speak with one voice, searching for the ultimate expression, faltering with words yet more fluent in music to express the mysteries I am bound to darkly perceive yet struggle to grasp since earliest memory.

What motivates you to make music? Is there a philosophy to your life?

The motivation is a sudden urgent and painful desire to attempt a capturing of the essence of mysterious elements of existence, because mere words fail me as already explained. Music fails me too, but comes closer to describing that experienced than any other medium I might think of using for such means.

My most fervent hope is to capture perfectly, like ancient insect in amber, this unexplainable inexplicable. I perhaps came closest to doing so with a Hammemit piece called “The Trod of the Darklie Faye,” but yet still remains so distant from the core of the thing.

If there is a philosophy to my life it would surely be the cause of many a smile in the Greek underworld, in the unlikely event they bothered to peer up from their dice games to take notice.

Your CD is coming out on Crucial Blast Records in 2014. Can you tell us what the new Emit will be like? What’s the title?

It has already been available on cassette from a label called Glorious North, originally a demo. However, such is its apparent accomplishment that it deserves releasing again with full album status, expanded tastefully where necessary (I mean no bonus tracks).

mm-ikon-777-emitThe title is not quite borrowed from a compendium of M.R. James short stories, Spectre Music of an Antiquary. The cover (for the CD) is a photographically recorded arrangement of what “might” be called necrotic artifacts, of varying degrees of relevance to the music in question. Items with history and spectres of their own tied to them. In any case, not just some accidental collection of random rubbish as can often be seen elsewhere on album covers belonging to profane Public House crawling musicians with time and nothing else to kill.

It is musically comprised of bio-mechanically haunted vignettes, with a subtle 1980s film soundtrack aftertaste.

How do you think the metal community has changed between the last Emit and the next?

My connection to and interaction with any kind of music community or movement was always minimal. This not being by choice and I sometimes in the past regretted that fact. However I realise now in the light of maturity I was happier that way. I remain a writer of letters (and emails), mostly to people I have known a long while. Most of these people, if not all, bear the same opinion as myself, namely that there is little that such a community can offer people like us and increasingly so. The majority of those comprising these communities have no spirit or panache and wish for acceptance.

What’s next for Emit, and for you as a musician, after this album? Tour? More recordings?

A tour is unlikely to say the least. But some more live examples should be made where possible. More recordings are not out of the question, but only if there be a violent urge to do so. I never record anything for the sake of making a “new” recording. Especially as everything I have ever committed to tape (or .WAV file nowadays) has already been given birth in some form or other many hundred years previous. Even if it took the shape of a church or priest hole rather than unpopular song.

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Underground Never Dies! album stream

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This review includes a streaming audio of the tracks on Side B of the accompanying LP of underground metal rarities. Side A can be found in the first part of this review.

Our ongoing coverage of Underground Never Dies! by Andrés Padilla continues with this review of the accompanying LP. As you may recall, this LP of early death metal classics comes with 500 copies of the book and boxsets, but will also be able to be ordered separately on CD/LP.

Underground Never Dies! is a look at the nascent death metal movement through the eyes of zine editors, musicians and writers from the mid 1980s-mid 1990s era when the genre was birthed. For more information about its genesis and content, you might want to check out our interview with Andrés Padilla and read the other half of this review, which includes a 3-page sampler of the book itself.

What makes Underground Never Dies! exceptional is that it does not attempt to be anything but a subjective and in-depth exploration of what the author and those he knew found to be meaningful in the death metal underground. It explores what the term “underground” itself means, and what motivated these musicians and other creative people to set up an underground and nurture the music in it.

The book itself is a crown jewel, with glossy pages reproducing the original flyers, zines, band photos, demo covers and other artifacts of the age, plus extensive commentary by people who were active in that time, with big names appearing alongside obscure but insightful contributors. Visually, it is overwhelming to the point where it must be digested over many days with appreciation for all of the details, much like one used to peruse Mad Magazine for the Antonio Prohias cartoons in the margins.

The accompanying LP is also a masterwork of old school underground extreme metal joy. Side B begins with the most famous track by Necrovore, the band who in 1986-87 took the raw ideas of early death metal and gave them an aesthetic of apocalyptic rage that was later influential to Morbid Angel. Invocator and Armoros follow with tracks that show us the speed metal roots of many of the most popular riff themes in death metal. Sadism contributes an older school track that shows the mentality shifting from speed metal’s logicality to death metal’s feral rage and structural obsession. Finally, Poison and Mental Decay reveal some of the more hardcore punk-influenced work in the underground, showing us both the weirdness and commonality of purpose between the two genres in their original form.

In addition to the tracks streamed here and on Side A, the CD/MC version of the accompanying music contains a bonus side with more tracks from famous, infamous and obscure bands.

Streaming MP3s of Underground Never Dies! LP/CD – Side B

1. Necrovore – “Mutilated Death” (4:25)

2. Sadism – “Psychomental Storm” (2:57)

3. Invocator – “The Persistence from Memorial Chasm” (4:14)

4. Armoros – “Euphoria” (3:23)

5. Poison – “Black Death” (3:14)

6. Mental Decay – “The Final Scar” (3:27)

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Industrial Soundtrack For The Urban Decay documentary explores origins of industrial music

industrial_soundtrack_for_the_urban_decayIndustrial Soundtrack For The Urban Decay explores the history of industrial music, featuring interviews from the genre’s most influential bands, artists, labels and fanzines.

The documentary film by filmmakers Amélie Ravalec and Travis Collins is currently in post-production. Its topic is industrial music, meaning the noise-based variety more than the post-EBM variety, defined as “an experimental music genre inspired by a wide spectrum of ideologies and interests” which “combines improvisation and performance with avant-garde, provocative, political and taboo themes alongside harsh noise and environmental sound recordings.”

According to the filmmakers, industrial was a DIY genre that rejected mainstream society — much like the original hardcore punk and metal — and “found inspiration in the avant-garde movements from the early 20th century like the Futurists, Dadaists or Surrealists, as well as contemporary writers William Burroughs and Brion Gysin. They were also influenced by early science fiction movies, Krautrock artists Kraftwerk, Can and Faust, The Velvet Underground and the DIY ethos of punk music.”

What follows is a list of the interviewees for this film:

  • Throbbing Gristle
  • Cabaret Voltaire
  • NON / Boyd Rice
  • SPK
  • Click Click
  • Test Dept
  • Clock DVA
  • Re/Search
  • Z’EV
  • Sordide Sentimental
  • Hula
  • In the Nursery
  • Hands Production
  • Klinik
  • Ant Zen
  • Orphx
  • Prima Linea

For more information, check out the group’s Facebook page.

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Blitzkrieg – Back From Hell

blitzkrieg-back_from_hellBritish NWOBHM band Blitzkrieg have returned with a new album, entitled Back From Hell. Melodic while still retaining structure, this album will appeal to fans of 80s era heavy metal, as well as those who prefer death/black metal but can appreciate skillfully constructed metal whatever form it may take.

Back From Hell has the band mostly keeping true to the traditional NWOBHM sound, with a few elements of further-developed speed metal present. Songs are expertly arranged, with each track featuring a clearly developed concept that never loses focus. This allows immersion within the verse-chorus structure and quickly illuminates the theme present within each. Verse and chorus are linked together with skillful transitions that makes the distinction between them organic, rather than artificial. Ornaments such as solos and fills are executed tastefully, with an eye towards shaping them into the song rather than the reverse.

Tracks are a mixture between heavier material and those that have more in common with 90s radio hard-rock and seem placed solely for commercial exposure. On these tracks the band forgoes thematic development in favor of repetition. Fortunately, those are the exception and not the rule; and while they do interrupt the album’s narrative to an extent, are still competently conceived.

Exuberant and honest in a way rarely seen among contemporary metal releases, in its best moments Back From Hell transports the listener back to a time when heavy metal was still exciting, and for that reason will be present on many best-of lists for 2013, even if it is marred by some concessions.

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Cryptopsy – Ungentle Exhumation re-issued

cryptopsy-ungentle_exhumationHigh speed percussive death metal band Cryptopsy — or at least they were in the mid-1990s — has re-issued its demos compilation, Ungentle Exhumation, containing the demo of the same name.

Cryptopsy rose to prominence in the mid-1990s with None So Vile, an album of blasting terror which utilized the style created by New York’s Suffocation to make simpler and more direct songs incorporating a rock/blues influence.

Although the band’s last decade or so has been spent trying to pursue modern metal styles, the “Ungentle Exhumation” demo showed them in the style of their first album (Blasphemies Made Flesh) but with the manic intensity of None So Vile.

It is thus considered by many Canadian death metal watchers to be the definitive Cryptopsy work. It can be purchased from the Cryptopsy bandcamp page for $8 CAD.

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Sadistic Metal Reviews: Crush the Skull

What does any band deserve? A fair review. If the band is good, it should be said so, to what degree. If it just sucks, it also needs to be said. And that’s why we’re here with the latest edition of Sadistic Metal Reviews.

weekend_nachos-stillWeekend Nachos – Still

If their stupid name didn’t already clue you in, the atrocity that is Weekend Nachos represents a lesser acknowledged evil in the underground music scene: nu-grind, or powerviolence played by MTV2 jockcore fans. Similar to other Relapse bands like Benümb, except all the fast strummed “anger” is a holdover for later day “tough guy” or straight-edge 90s hardcore “everyone mosh on the dancefloor” gimmickry that preys on low IQs who don’t listen to music beyond “breakdowns.”

hate_forest-ildjarn-those_once_mighty_fallenHate Forest / Ildjarn – Those Once Mighty Fallen

The title on this may be ironic because it can apply only to Ildjarn, and only if the band ships something bad. This isn’t bad, but it’s an entirely different form of music. Where older Ildjarn was an idiosyncratic expression in equal parts ambient black metal, drone hardcore and forest Oi/Rac-influenced metal like Absurd, this new material is clearly designed to sound like black metal. Its songs use typical black metal intervals, develop according to the pattern, and even use vocals in the same rhythms as early Dimmu Borgir or other first-and-a-half wave bands. If you’re tuning in to Ildjarn, you expect something at least as lawless and feral as his later work on keyboards; this will be a problem for many listeners. As far as quality, it’s not bad at all and in fact is very natural-sounding, sort of like the first Dimmu Borgir or Graveland albums. Some have hypothesized that Ildjarn did not write the material, and the production changes and incorporation of additional instrumentation, in addition to the stylistic changes, suggest either a casual interest in this as a project to “stay in the game” or delegation of many musical tasks to a new team. Production sounds more recent than the early 1990s Ildjarn material. Use of background keyboards, faster bass riffing, textural discontinuities and other distinguishing effects show an interesting set of musical tools emerging, but the band may need to rediscover its voice. Hate Forest never struck me as being all that significant, but they make a very credible effort here, with production that matches the Ildjarn but is very carefully adjusted to sound as distinctive as possible. Their songs are fairly regulation black metal with an attempt to insert complex fills and transitions, and then to balance that, simplify the chorus riffs. The result is not atmospheric per se but achieves a relaxed atmosphere in which the focal point becomes the interruption, like a sunny sky with an intriguing cloud cluster. None of it is particularly distinctive but it’s not bad either. Songs maintain atmosphere well but there’s not a huge amount of development here, so the band sensibly rely on circularity to keep from appearing jagged. A rumored Ildjarn interview claims that this release was an early 1990s project between himself and Ihsahn of Emperor, which could explain the resemblance to post-Reverence Emperor material.

melvins-bullheadMelvins – Bullhead

Entropy embodied, this is the band that provided inspiration for Southern Lord’s entire catalogue of musical abortions. Deconstructive, linear riffs that seek to express nothing except ennui, combined with faux-crooning self-pitying lyrics ensure that this will continue to be a favorite band of mentally vacant children for decades to come. This is the mentality of grunge in a different form.

code-augur_noxCode – Augur Nox

For a brief while, power metal (speed metal w/death metal drums) looked like it would save True Metal. The problem is, however, anytime you walk back up the metal family tree, you get back toward the stuff metal was formed to run away from. As I listened to the first tracks on this, I thought, they’ve got some interesting riff ideas — let’s see how long it last — however, they sound like they want to be a rock band that’s primarily about vocal performance and personal identification with the vocalist. About half-way through the album, they shifted to tap-dance rhythm riffs and soaring vocals, the combination meaning no ideas but how to rip through some 1960s material. Eventually it got so bad it sounded like Queensryche on a bad day as a disco combo covering old CCR B-sides. If you don’t have an idea, by definition, you are an imitator recycling the old in a new form, and we have a word for that: stagnation.

immolation-kingdom_of_conspiracyImmolation – Kingdom of Conspiracy

Continuing their decline, Immolation return to the bouncy simplicity of Harnessing Ruin, only this time they downplay the “nu” sounds and try to make it sound more aesthetically in line with their old sound. This doesn’t change it from being a predictable verse-chorus version of NYDM and shows Immolation in their most neutered form yet, trying to pander to a metalcore audience whilst retaining their trademark sound. After the last album, I reckon the only reason people see these guys tour anymore is to get a Failures for Gods longsleeve. Linear, predictable, and disappointing considering this group’s potential.

izegrim-congress_of_the_insaneIzegrim – Congress of the Insane

After a few brave people direction-find their way to a new genre, in come the people who want to partake. They often bring superior skills but they don’t understand what they’re doing. Izegrim is a fine example. It’s chanty metal. When metal gets chanty, which is the nerdy equivalent of rapping, you know that a central narrative has been replaced by adherence to appearance and where that doesn’t work, filling in the gaps with the same old stuff. While this band is instrumentally superior to your average metal band, they don’t know what to do with the odd bits and ends they’ve assembled as songs, so they tie it all together with the simplest elements possible. That meants chants, crowd-pleaser but repetitive riffs, and lots of bombast to cover up for the big void within.

nachtmystium-silencing_machineNachtmystium – Silencing Machine

When a band wishes to play black metal without embodying any of its spirit, this is what’s produced. Lethargic, tremolo-strummed droning with ANGRY MAN vocals and uninspired drumming produces an album of tracks that are indistinguishable. Albums like these would be better off as hard rock, because at their heart that is what these musicians are aiming to create…though at least it’s not as bad as the the latest Satyricon abortion.

broken_hope-omen_of_diseaseBroken Hope – Omen of Disease

After failing to become “Oppressor meets Deeds of Flesh” with their last couple albums, Broken Hope return after a long hiatus and have churned out what can best be described as a Unique Leader band covering mainstream hip hop tracks in double speed. Considering their “beefs” with death metal bands and Source Awards concert turn outs, it should be no surprise that this has more in common with Tupac than it does Suffocation, approaching death metal from the same “gangster” outlook that Six Feet Under did in the 90s.

secrets_of_the_moon-seven_bellsSecrets of the Moon – Seven Bells

“Artistic” black metal, otherwise known as black metal watered down with fruity “post-rock” produces a product that is post-art. Designed for a generation that believes interrupting narration with pointless deviations is artistically viable, in form this shares for more in common with modern metal than with relevant black metal bands. Listen to this only if you enjoy consuming pumpkin spice lo-fat frappuccinos.

laibach-sLaibach – S

These three tracks — “Eurovision,” “No History” and “Resistance is Futile” — comprise 2/3 of the EP S (which can be streamed here) released in advance of the new Laibach album to show where the band is at this point. Some might think it odd to review industrial music on a metal blog, but Laibach has been supportive of metal in the past, including the notorious Morbid Angel remixes and positive statements made in public. Further, industrial and metal share a root, which is that we deny the happy vision that came about in the 1960s of love, peace and uniformity that would save us from the horrors of the modern time. Our vision is to point out that the beast is within, and as long as humans refuse to discipline their minds, they will end up re-inventing the horror, futility and self-destruction of the near past and the ancient past, before civilization evolved. Both genres also point to a path outside of what is acknowledged as “higher values” or “the right thing to do,” seeing morality as confining and misinterpreted. That being said, it seems that industrial hasn’t changed much since the EBM days of the 1980s. In fact, much as Nine Inch Nails basically made a more pop form of that genre with added guitars, Laibach have simply made a more stern form, albeit a self-mocking one. What you will find: compelling beats, blasts of static, sampled voices, a surly European-accented voice almost chewing out the lyrics in a conversational growl, and even bits of other musics woven through the material. Ultimately, what makes industrial different than metal is that it knows how to pull off a good pop song and make it sound good, even with machine-ish touches, where metal tries to make something beyond what people consider music. As a result, these songs have heavy dead-beat grooves and build up to a compelling motion. There isn’t as much internal development as metal so there’s some question of whether a metal fan would enjoy hearing these repeatedly, but it’s hard to ignore the sheer pop power and terrifying view of the world brought up by this assault of music and (if you go to the site) imagery.

sepultura-the_mediator_between_the_head_and_hands_must_be_the_heartSepultura – The Mediator Between Head and Hands Must Be the Heart

Claiming to be inspired by the old science-fiction movie Metropolis, Sepultura collaborate with tone deaf AIDS guru Ross Robinson to create an album that, much like recent Sepultura, is high in pretension and low in musical payoff. Death metal sounds are utilized here but only serve as what sounds like Pantera or later Sacred Reich occasionally lapsing into a parody of Slowly We Rot at its simplest than anything from their 80s output. A guest appearance by Dave Lombardo doing a “tribal” drumming outro feels more like a marketing gimmick, lacking any of the imagination found in his instrumental track for Grip Inc. (incidentally, their only good song). Most of the songs devolve into effects laden meandering, which is to be expected considering the producer. Even then, nothing is gained or lost on this album. Sepultura is still like a fish out of water, churning out another vapid reiteration of their 1998 album that will piss off old fans and make no new ones.

cattle_decapitation-monolith_of_inhumanityCattle Decapitation – Your Disposal

The first riff sounds like screamo, then clean vocals played over what sounds like a “post-black” abomination, then the breakdown with “eerie arpeggios”… this is metalcore. Looking past the “shocking” image stolen from early Carcass made to appeal to self-loathing Starbucks regulars, Cattle Decapitation now seem to be in direct contact with the same focus group Gojira employ when coming up with their gimmick ridden, indie rock friendly vapidity, eschewing the F-grade death/grind of their past for metalcore acceptance. Beyond the aesthetic drape of underground metal, this is nothing more than a random collage of parts “EXTREME” bands play for mainstream appeal under the pretense of having “matured” as “artists.”

twilight-monument_to_time_endTwilight – Monument to Time End

The “supergroup” of a bunch of hipsters that convinced Thurston Moore of Sonic Youth to ruin the genre alongside them, Twilight perverts black metal by using the treble guitar tone and anguished vocal styling to dress up what is middle of the road “post-sludge”. Members pool their collective inability to write metal into one product that comes off like a brain washing tool Scion would use to convince Gojira fans to purchase SUVs, all the while looking “edgy.”

cromlech-ave_mortisCromlech – Ave Mortis

This imaginative release explores the world of Iron Maiden-tinged power metal with an epic metal mindset, preferring extensive clean vocals, lengthy melodic parts and high-speed pickup riffs of the Maiden style. However, it also works in a fair amount of newer technique, sounding sometimes at the edge of later At the Gates. This is interesting material and an ambitious offering. However, this band has a few things it needs to work on. First, the vocalist is too present both in the composition and the approach to songwriting, and needs to go back to being one of the instruments. Second, this CD weighs in at 1:10 and is a B- album at that length, where if they boiled it down to 35 minutes would be closer to an A. (Note to bands: if you can’t listen to your own CD, while doing nothing else, on repeat for several times in a row, make changes). It has genre confusion problems that need to be resolved by getting more comfortable with its own style. Finally, Cromlech should learn from Iron Maiden and focus on making song structures clear: one intro, a theme, a countertheme, and some kind of developmental area where the melody grows before returning to the more predictable parts of songs. This is about their approach anyway, but it’s muddled by uneven application of technique. In addition, it wouldn’t kill them to look through for repetitive themes and excise or consolidate them. All in all, a great first effort, and I tack on all these suggestions because starting bands often need a push to fully develop.

gojira-l_enfant_sauvageGojira – L’enfant sauvage

The biggest sham in metal to this day. Being a propaganda tool used by hippies to turn metal into rock music, Gojira continue what they’ve done since the beginning: making “heavy” parts out of rhythmic chugging with pick scraping sounds before playing “soft” parts that sound lifted from A Perfect Circle. Rock made for angry menstruating Deepak Chopra reading faux-guru hippies. Add the cringe worthy “deep” lyrics and it’s no wonder people thought the world was going to end in 2012 when both this album came out and a new record was set the world over in dolphins beaching themselves.

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Death Invoker – “Demo 2010”

death_invoker-demo_2010This demo offers a new name to remember for the old school fans. Coming from South America, and having a Sarcófago cover as a hidden track on the Polish version, the inevitable comparison for Death Invoker’s “Demo 2010” will be Sarcófago‘s I.N.R.I..

There’s a lot more than that going on here however. Death Invoker incorporate older speed metal material, including rhythms that develop ideas Metallica used, and death metal from the period after Sarcófago. These songs tend to be short and of relatively circular development that builds off of verse-chorus songs with a few deviations and transitions, but this band really know how to set the stage for a song.

Each song has a clear development and doesn’t get lost in the confusion. If anything, some disappear into similar riff patterns that end up creating ambiguity, and a few more distinctive tempo changes would improve this, but on the whole, each expresses itself as its own entity. If the band refines these songs for an album, the biggest area of improvement could be in making each song have a distinctive structure and approach (“angle”) relative to the rest.

That doesn’t limit the power of this demo release, and it is a demo, so deserves more leeway. With choruses following more of the “speed metal” pattern, and being very catchy, and verses speeding along in more of the “death metal” style, this band unites the two in a potent variant on these styles. It will be interesting to watch these guys develop.

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Interview with filmmaker Ryan Oliver

deathblow

Continuing our coverage about the corresponding nature of horror movies and metal, as well as our continuing content of the Housecore Horror Film Festival, we present an interview with metal enthusiast and filmmaker Ryan Oliver from Deathblow Productions.

What initiated your interest in making films?

It’s a long chain of events starting with me watching the Son of Svenghoulie (local horror host) as a little kid, then making some backyard movies with the neighbor kids to theatre studies in college. At around age 30, I was an actor/writer/FX artist who had moved from Chicago to LA, and become immediately disenchanted with acting. I hung it up and got a job in a film vault at Technicolor, FX freelance work, and I wrote a shit-ton of scripts. Eventually I landed back in my hometown and was determined to stay connected to the industry and adapt the ‘big fish/small pond’ attitude towards things. I decided to start directing my own material, never looked back.

How would you compare your work with mainstream Hollywood types of productions? Are mainstream movies too predictable? If so, how do you overcome this hurdle?

Yes, a great many of them are quite predictable. But I suppose that’s a symptom of having millions of dollars at stake, making ‘safe’ choices. I don’t have to deal with that, so I’m not the best one to ask. When it comes to Deathblow, I can pretty much do anything I want/afford to do. I have no one to answer to. So, I try to write to my instincts and from my gut while keeping things as interesting and unique as possible. As a director who’s still trying to fight his way into the club, I have my own unique set of obstacles. I think it’s wasteful of my time to consider what others have going for them where I should be focusing on my own future. I will say this, I got tired of complaining about movies when I hadn’t gone through the process myself. It’s fucking hard to make a movie and to have people want to watch it, it’s double hard. So many things can go wrong from the music, talent, edit, fx, to your own idea sucking. So now that I made one and people seem to dig it, I don’t feel like the fat guy yelling at athletes from the grandstands anymore.

Being that you were featured at the Housecore Horror Film Fest, which featured both metal and horror movies, how does metal correlate to your tastes in music? Which bands have stuck with you throughout the years?

It’s not the only genre I listen to, but it’s ahead by a land-mile. Since you brought up Housecore, I’ll start with all Phil Anselmo projects. He’s an incredible frontman and I’ve bought everything he’s put out since ‘Cowboys’ I like a lot of Doom- Yob,Electric Wizard type stuff. Naturally, I’m drawn to a lot of Chicago bands like Plague Bringer, Harpoon, Witchbanger, The Atlas Moth, Indian, Pelican, Wolvhammer, Lair of the Minotaur, Bongripper, Weekend Nachos, Sweet Cobra, etc. I seek out a lot of soundtrack/soundscape stuff that is great to write or create to- Karl Sanders’ (Nile) solo albums are terrific. If I have to pick an ultimate inspiration it’s The Misfits, I know they’re not metal, but I really latched onto them from the moment I heard them. I was obsessed with these songs, the lyrics were both brutal and poetically divine and I began to see their discography (77-83) was an audible blueprint of the way I felt about the horror genre in general. For me, it was magical to discover those songs.

Do you think it’s significant that Black Sabbath chose the name of a horror movie for their band? What about that their statement in the past that they saw people enjoyed horror movies, and figured they might enjoy music with the same mood?

Sounds pretty significant to me. I don’t want to question the series of fragile events that led to Black Sabbath’s ‘sound’. I’m just glad it worked out the way it did. They’re so overly associated for pioneering metal that it feels too obvious to even bring up at times. I guess it explains their absence from my response to the last question.

Has horror movie music influenced metal? In what ways? Are there any specific instances you can think of?

I’m not a musician. I can’t play a lick of anything, so I may be totally full of shit, but when I think of, I guess you could say, stereotypical horror movie music I think of brooding moments punctuated by ‘stingers’. You know, slow strings or piano keys before a jarring ‘startle’. I hear that in metal often, bands that utilize a ‘slow to fast’ structure. Organs are another one. When I hear a pipe organ I think of two things: Classic monster movies and King Diamond. It’s a tough question, I guess I feel clumsy answering it.

Are there any similar emotions between metal and horror movies?

You know what’s interesting to me is how tough it is to fit metal into a horror film without overdoing it. You’d think it’d be like peanut butter and jelly but I personally don’t think metal compliments horror that easily. For example, John Carpenter and Allan Howarth composed the music for those early films masterfully, but I didn’t care for the metal score/soundtrack in Ghosts of Mars or JC’s Vampires. I like Carpenter on the Casio Keyboard. All those riffs chewed up the scenery for me. Now, my favorite use of metal in a film is probably Sleep in “Gummo” when the young cat hunters are first introduced tearing ass down that hill on their Mongoose bikes. Gummo isn’t exactly horror…but pretty close!

What other similarities have you found between horror movies and metal?

I have found that, for the most part, the overlapping fan bases are a collective of intelligent, well-balanced people that enjoy their lives and are easy to get along with. At least the ones I hang out with are.

Which horror flicks would you claim have had the biggest impact on your creativity?

Lots of Carpenter, Cronenberg, Exorcist 1&3, Texas Chainsaw 1&2, Everything Argento, Early Romero, Hammer Films, Troma Films, Universal Monsters.

Outside of horror I’m crazy for The Dark Crystal, 70’s cinema, Kubrick, Westerns, lots of Kung Fu & Samuari, Mad Max Trilogy, Cohen Brothers, 50’s Sci Fi, & anything weird or bizarro.

Do you derive inspiration from creating a sort of puzzle, then have the pieces fall together as the story progresses? More than just gore, but something that will stick with the viewer long after they’ve watched?

You said it! Gore, in my opinion, is best used as punctuation to a scene. It shouldn’t be the core content. I mean, it can, but I don’t think that’s wholly effective or the most interesting choice all the time. Situations, story and characters should dictate the terror. The audience will always think of something more twisted than what you can show them. It’s been said a million times, but look at the blood content of Halloween and TCM -a spatter or two at best. But everyone swears they saw it! I subscribe to that, for me it works. Tell a compelling story first, then strategically place your gore. That being said, there are some real blood-bath movies that I’m crazy about, Dead Alive, for me, is the crown jewel.

Thank you for your time. What’s ahead in the near future for Deathblow Productions?

We are in post for a new mid-length film called, “Restoration”. It’s a car culture ghost story about the spirit of a little kid who gets relocated from the prairie to a custom car & motorcycle garage. The place is loud, dirty and not to her taste so she throws a temper-tantrum one night. If you want to see a little girl spree-kill a bunch of Rockabillys then this is the movie for you!

Check out Ryan’s film “Air Conditions”:

“Air Conditions” Full Film from Ryan Oliver on Vimeo.

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