Third-wave black metal band Marduk and legendary brutal Swedish death metal band Grave will be joining Death Wolf and Valkyrja on a European tour. Marduk, perhaps most famous for its fast melodic ode to the unknown Opus Nocturne, will headline all dates on the “Panzer Division Marduk 2013” tour.
For those who experienced early death metal, Grave is well-known for 1991’s Into the Grave, a dark and primitive Swedish death metal journey that straddled the line between dark death metal, brutal death metal and primal grindcore. Among metalheads of the day, not owning a copy of this seminal release was like not owning shoes.
This European tour sees these bands join forces for raw energy through intense speed and solemn but vicious riff attack, which is how each has distinguished itself in the past. European metal brothers and sisters are lucky to experience this unrestrained assault of sonic power.
The resurgence of early 90’s flavored death metal has been steadily picking up in recent years. Spain’s Oniricous attempts to jump aboard the same death-wagon, however by injecting a bit more bounce and melody to set themselves apart.
At first glance I was expecting something similar to Sadistic Intent, but as more riffs progressed I realized that the source material is very much akin to Death’s Leprosy/Spiritual Healing (occasional dabbling of progressive riffing) or Massacre’s From Beyond.
Most of the songs are done in the same format, thus tend to run together and have no song that stands out. After my first listen I felt as if I had just watched a reunited Massacre play on Telemundo. All of the aspects are here to mold into a worthwhile outfit, but there isn’t too much replay value if you judge Ritos Diabolicos based solely on the material that’s presented.
Despite the pitfalls, fans of early Tampa death metal will enjoy Oniricous for being a trip down memory lane. Most of the elements that popularized bands like Death and Massacre are present in Ritos Diabolicos.
Blackhearts is a new film about black metal after Norway in the 1990s, focusing on world black metal in the present day and how it is different from the original integral genre.
This is welcome news for those who were thinking “Aw, geez, do we need another film to tread ground well-covered by Lords of Chaos and Until the Light Takes Us?” You won’t have to suffer through a re-tread of the now-familiar early 1990s soap opera because it’s not mentioned in the movie, despite Blackhearts being the production of a Norwegian film crew.
Christian Falch, producer of Blackhearts, took the time to give us some answers to the burning questions that metal fans may have regarding this new movie.
You are the producer of the movie Blackhearts. Can you tell us what the movie is about?
I’m the producer and I co-write the script (documentaries actually do have scripts too…) with the director Fredrik Horn Akselsen. We both work for the Norwegian production company Gammaglimt AS.
Blackhearts is basically a feature length documentary about the profound impact that Norwegian black metal has had on the lives of fans and artists throughout the world. As you know, this genre has a lot of dedicated followers.
We have three main protagonists in the documentary. They are all really passionate and dedicated fans with their own black metal bands. One of them is a member of parliament in Greece, the other one is risking everything for the music because it is strictly forbidden where he lives: Iran. The third is a truly devoted Colombian Satanist. In the documentary we want to explore why black metal is so special to them and what the fascination is all about.
The story of black metal has been told a number of times, most notably through Lords of Chaos and Until the Light Takes Us. What is your documentary doing that these other sources have not?
First of all, our film will not deal with the events in the past, but rather look at the situation today. The storytelling in Blackhearts happens as the story of our different characters evolve, so this is not something retrospective, but we get do follow our three protagonists in several exciting episodes throughout the film.
I also want to mention that this documentary is being made for a wide, international audience, not only metal fans. Therefore we deal with universal topics like passion, politics, religion and dreams — of course everything still is about black metal. A great mix of everything a good documentary needs if you ask me.
Do you think it has taken us — Norway, the West and/or humanity in general — almost a generation to absorb what black metal was about?
In this documentary we will have a close look on how different cultures, religions, political situations and so on deals with the black metal phenomena. The fascinating thing is that it varies a lot! Here in Norway, the government pays black metal bands to record their albums and at the same time they would not mind flogging you for listening to Mayhem in Iran…
There are still a lot of different opinions around when it comes to what black metal is all about — and that is exactly what we want to explore and learn more about in this film.
Following up on the third question: what was black metal “about”? Do musical genres have ideals? Are those always clearly articulated? Is there a benefit in not articulating them like we articulate science and politics?
That’s a good but difficult question to answer. In my opinion black metal was about making atmospheric music with a hint of opposition to the society in general — the media (and some of the artists) made a great impact when it comes to defining the ideals behind it, but I believe that every individual had a personal, and therefore different, motivation to join the scene. I’m not a fan of putting the same ideological label on every individual or band just because they play black metal.
Speaking of politics, how are you going to deal with tricky subjects like Varg Vikernes and his political beliefs which I don’t trust myself to summarize, the murders of homosexuals by black metal musicians, the church burnings and the numerous statements of adoration for National Socialism and Stalinism by black metal musicians?
As I mentioned, we won’t go deep into the dark and difficult past of this genre, but of course we need to mention what happened and how it influenced the scene (and it still does). We would like to show that the black metal scene is more varied than most people think. We will do our best to deal with this subject as fairly as possible.
What do you think made black metal different from other forms of heavy metal, both musically and in idea?
For me, the difference is in the atmosphere, the way you feel when you listen to black metal, the images that appears in my mind…I don’t need to go into musical terms, it is the feeling of the music that makes black metal special. The idea of it all is of course to be more extreme than heavy metal and other subgenres. That’s really nothing I personally need to enjoy a good black metal band, but I have to admit that the myths surrounding some of the bands and artists attracted me in the first place, many years ago — and I still think it continues to attract new fans to this day.
Are you going to cover other extreme metal activity in Norway, like death metal bands such as Cadaver and Molested?
Unfortunately not. We simply don’t have the time to do that. Our focus will be more or less strictly on black metal. The only exception might be the appearance of Destructhor from Myrkskog and Morbid Angel.
You are apparently the metalhead among the production group. What got you into heavy metal? Do you still listen to it? Why do you like it, and what makes it relevant to you?
I’m the only metalhead in the crew…as with many fans of my generation it started with Guns ‘n Roses, hahaha, but it did not take long before I discovered other bands with more hard hitting music and once you start enjoying this kind of music it makes you start looking for the next band that takes it to a more extreme level and that’s how it goes I guess.
I still listen to all kinds of metal amongst other things, but I’m not very good at keeping up to date with all the new bands and releases. To me, music, and especially black metal is something personal and special. I don’t feel the need to share it with anyone else or even speak about it. Black metal is the little luxury I enjoy alone when there are no other distractions around. I should also mention that there is a lot of crappy black metal bands out there, guess I’m picky when it comes to this genre.
Where is Blackhearts in terms of production? When will we be able to see it? Will it be in theatres or online? How much interest does The Movie IndustryTM have in a film like this?
We have been working for two years with this documentary already and we have about 50% of the material shot. The timing of the release all depends on the financial situation of the project in the time to come, but for sure people would be able to see it sometime during 2015. We are planning a massive release on all platforms including cinema, festivals, TV and of course DVD and online.
To this day we have experienced an impressive amount of interest from distributors, international co-producers, TV broadcasters, film institutes and so on. I am really happy about this because it makes it possible for us to make this film on the level of quality I think it deserves. As far as I know, there is no documentary on black metal out there with the approach we are doing so there is a wide range of possible scenarios for the finalization and release of the finished film.
I guess the biggest question for all of us is “why”: why did black metal come about, why was it so violent, and why does it fascinate us today. Does your film address these whys?
This is the core of the film. It is a difficult question to answer, but this is why I wanted to do this film in the first place — to find out why this weird, hate promoting genre is so incredible fascinating. Hopefully we are able to understand it a bit more after seeing the finished film.
Can you tell us more about the format of the film? Is it interviews, or a narrative, or a mixture of both? Will you use black metal music in the film?
The film will be character driven. In other words, we will follow the people in real life situations and all of them have their own story that we are in the process of filming at the moment. There might be some interviews as well, but not like one would expect from a typical documentary. For example: in Blackhearts we meet an Iranian, Sina. He is the only black metal artist in his country. We first get to know him at home in Tehran, then we follow him to Norway as he is about to do his first ever live concert at the Inferno festival. Then comes the tricky part — can he ever go back home to Iran after promoting what some people consider to be blasphemy on stage?
Through following Sina’s story we will get to learn more about how strong the passion for black metal can be and how the music is still provoking authorities around the world. This is just one example and I can promise we have more fascinating stories too!
When it comes to the music in the film, people should not expect to hear lots of it, but of course it’s there when we show scenes from concerts etc. A treat for all black metal fans (and for me) is that the one and only Snorre Ruch has composed music specially for this documentary.
Last but not least, can you tell us about yourself, not necessarily as formal as a CV but a bit about film, how you came to love it, and how you came to be a movie producer.
I work as a full time documentary producer on several different films. Most of them are related to the second world war or religion and music. This is of course all topics that I am really interested in on a personal level. I never really loved films more than the next guy, but I ended up producing music videos and documentaries because it brought me to places and people that I never would have met under “normal” circumstances.
I have been doing it for the ten years now and I’m liking it more and more as time passes. One of the last documentaries I produced is called The Exorcist in the 21st Century and it has been doing quite well, specially in the US. We got unique access to one of the top exorcists in the Vatican and we followed him around the world as he was doing his thing. Therefore I have seen a about one dozen exorcism rituals being performed.
Since this interview will mostly be read by metal fans, I can reveal that the demon that reveals itself during the rituals we filmed sounded like Maniac from Mayhem at times, hahaha!
Do you remember Souper Salads? It was a buffet place where you could dump all the soup and salad ingredients you could eat into your bowl and then pig out. Black and Blood is sort of like that with various shades of death metal, speed metal and heavy metal riffs. In that, it more resembles the South American scene than Boston, where it’s putatively from.
The review cheat sheet for this album describes it as half old school death metal and half Norwegian black metal. That’s not quite correct: it’s mostly mid-period death metal in the Suffocation Pierced from Within and Death Symbolic model mixed with melodic death metal riffs from guitar-heavy bands like Carcariass, set to the song format of stadium heavy metal. The result is a tour through the years of heavy metal with a guide who clearly enjoys the process.
Soul Remnants songs stick together on pure gut feeling. No complex theory here but riffs tied together for maximum contrast when necessary, but otherwise, a feeling of organically interrelated pieces. Underneath that there’s intense blasting and strong linear basslines, giving this a feeling of power. Black and Blood borrows most intensely from stadium heavy metal of the 1980s, building up these songs like power ballads and giving them some emotional intensity.
Vocals are modern death metal as is the tendency to mix and match riffs, but within that format the heavy metal breathes through and takes over. What emerges from this ferment is a listening experience that evokes the greatness of metal in a humble but energetic way. The resulting product is a flow of interesting guitar work that, while often allusive to past metal genres, keeps enough of its own voice to carry its own songs.
The wizards of Profanatica/Havohej experiment extensively with their music in both form and content, and as a result, their releases are widely varied with differing degrees of success as listening (as opposed to “theoretical”) experiences.
Thy Kingdom Cum, the most recent offering which will be unleashed by Hells Headbangers Records on November 26, unifies the threads of Profanatica by being noisy and avantgarde in its blasphemy and song structures while keeping focus on fast-paced black metal with melodic undertones and creative riffing.
Like Impaled Nazarene’s Rapture, Thy Kingdom Cum re-interprets black metal in the late-1980s ideal of fast single-string riffs which combine hints of melody with unrelenting energy. The result is like a hybrid between industrial music, punk and Wagnerian classical: great towering themes emerge from riffs that resemble bent bits of wire or the symbols on schematic diagrams. You may notice similarities to proto-black metal like Sarcofago here.
Profanatica as usual do not shy away from blasphemy but unlike some past works, on Thy Kingdom Cum they’re not writing protest rock; they are here to enjoy the blasphemy and this demonic relish gives this album the playful sense that made 1991’s Dethrone the Son of God so thoroughly a forbidden pleasure. What you’re hearing is musicians having fun raising hell, even if underneath that humorous pleasure is a deadly serious message.
Like early Havohej, Thy Kingdom Cum is fast and simple and abrades the ears with intense riffs and unique but compressed song structures. Like the band’s musical peak in Profanatitas de Domonatia this newer work shows a dedication to producing depth of music in addition to pure noise and evocative rhythm from the ever-adroit Paul Ledney drumming.
Where Profanatica‘s last album, 2010’s Disgusting Blasphemies Against God, ventured into pure textural rhythm and a grinding atmosphere, this newer incarnation of the band shows more dedication to highly motivational ripping metal riffs and through periodic melody in a shorter version of the style on Profanatitas de Domonatia, an expansion of the relevance of riff structure beyond rhythm.
As the ongoing story of Profanatica/Havohej evolves, Thy Kingdom Cum will likely be remembered as a unification of their more cerebral esoteric black metal with a digestible and intense form that conveys their message like pastoral landscapes carved in flesh. As such, it may re-awakening blackmetal to its roots.
What do musicians do when the drive to create has vanished?
When the label is clamoring for something new, does the band bow down and fulfill the request, or do they uphold standards? Black metal in particular has struggled with these questions for over a decade, with a myriad of responses. Some have chosen to retreat completely, seeking refuge in the wild.
Some have become exasperated with the genre, turning to electronic music before returning in glory. Others have waged war on modernity, risking well-being in pursuit of these goals. However, the greatest number have bowed to the wishes of the crowd and released a product that was quickly forgotten, which is where Satyricon’s self-titled album falls.
Embodying all that is lazy and lethargic, Satyricon is an excellent example of modern black metal ethos. Black metal only on the surface, the album is musically a hard rock/heavy metal album designed for max promotional appeal. Simple riffs with obvious sequencing, simple implementation, and solid production produce a well-shaped package that undoubtedly will allow the band to increase its commercial influence.
Sounding like a tribute to Fallen-era Burzum‘s minor-chord noodling but lacking even what little sense of spirit that album possessed, the band chucks in references to pop and blues cliches as if the label funded a study aimed at producing the most cookie-cutter album conceivable, then shared the results to the band…and let’s not delve into the collaboration with Sivert Høyem.
There is nothing here for readers of this site to enjoy, except for the more morbid members among us. This album goes nowhere. It has nothing to impart. And perhaps most damning, it’s not even terrible. It is simply a non-entity.
Vic Records re-issues the first album of German death metal band Torchure, whose style of heavy metal infused thunderous death metal saw favorable comparison to early Therion, Morgoth and Miasma.
Formed in 1985, Torchure recorded three demo tapes and two full-length albums which were released on legendary German metal label 1MF. These albums, out of print for two decades, have been aggressively sought by collectors but nearly impossible to find.
Beyond the Veil re-issue contains two re-mastered unreleased tracks as bonus, new liner notes, rare pictures and the original album in its entirety without remaster. You can order it online from Vic Records for € 9,99 and thankfully it is not a digipak.
I remember when I first realized that it doesn’t matter if a band clones its style. I was listening to the first General Surgery and thinking that, while it was basically a Carcass clone, it was also good. Pathologist followed that.
Funeral Circle is an unabashed and faithful Candlemass clone that manages to extend this style in a new direction through the band’s personality, which is slightly less purely dark than Candlemass’s. As a result, we end up with a doom metal band that puts more of an emphasis on epic atmosphere than purely doom atmosphere.
While this release does not have the fully formed personality that Candlemass did, it creates a middle of the room entry point to epic doom. Melodies sometimes borrow from alternative rock, folk and country; riffs are brought from the past with a sensibility derived from power metal, just slowed down. Sometimes, as in power metal, we hear a melodic sense similar to that of religious music.
Funeral Circle as a result is an enjoyable venture into creativity where atmosphere is the goal instead of crushing riffs or catchy choruses. This makes for a listening experience that like ambient music, hopes to store itself in the background and color consciousness, not abruptly direct it.
Many in the metal community view genre names as special keys to secret clubs. The opposite is true: genre names are descriptions that help us explain how bands compose and thus, who will enjoy them.
The Wish is Father to the Thought shows us what is on the surface a death metal band, but which musically is mostly a speed metal band. Further, their choruses tend toward a doom metal pace and mood, which makes the speed/death portions more accessible.
Like other speed/death hybrids Kreator and Destruction, Eternal Solstice use mostly chromatic riffing with lots of muted-strum “chugging” to create a tension and energy. The verses of most of these songs incorporate variants of riffs that Exodus or Anthrax might have used if they were more vicious, like a version of Meshuggah with less technicality and more knowledge of everyday life.
Eternal Solstice creates highly energetic speed metal with occasional death metal riffs, but basically, this band comes to us straight out of the 1980s. Death vocals add a gruff intensity and the lengthy choruses prevent the percussive riffs from being overwhelming, but the real appeal here is in the speed thrills.
The Wish is Father to the Thought was originally released in 1994 and is now re-issued so that a new generation of fans can appreciate this Dutch band at their most intense.
If you can imagine an industrial band using metal riffs, but instead of relying on the Godflesh style of machine-like industrial restores in itself the older EBM style, you have a decent idea of what Slaves of God to the Gallows is like.
Ad Hominem make easily listened to industrial pop with metal riffs peeking out from beneath the sequenced keyboards, drums and samples, including vocals howling out distorted tempests of chorus. It is more repetitive than metal, and not atmospheric at all; like a pop song, it directs your attention at its focal point and then forces the dots to connect.
As a result, this is somewhat inarticulate compared to metal, despite being able to understand the vocals which I admit is a new experience. Imagine Nine Inch Nails but with more of ceremonial vibe to the keyboards, much as they’re used on a Rotting Christ album, and you have Slaves of the God to the Gallows.
While I’m not the world’s biggest industrial fan simply because it is closer to the repetitive trope function of rock and pop music, this is enjoyable material that hides its intensely repetitive nature as best it can. You may find yourself humming these songs as you go through life, wondering where your brain came up with such viral grooves.