Infinitum Obscure “Arrival Of The Black – Vinland Tour 2013”

Mexican death metal legion Infinitum Obscure and U.S. death metal fixture Sorcery will tour together in 2013. The following dates will be on the map:

Apr 12 – The Black Castle – Los Angeles, CA
Apr 13 – Oakland Metro Operahouse – Oakland, CA
Apr 14 – Rotture – Portland, OR
Apr 15 – Studio Seven – Seattle, WA
Apr 16 – Burt’s Tiki Lounge – Salt Lake City, UT
Apr 17 – Sokol Underground – Omaha, NE
Apr 18 – Ultra Lounge – Chicago, IL
Apr 19 – The Foundry – Lakewood, OH
Apr 20 – Sergio’s Place – Silver Spring, MD
Apr 21 – Freddies Tavern – Bristol, PA
Apr 22 – Swayze’s – Marietta, GA
Apr 23 – Matthews Bar and Grill – Birmingham, AL
Apr 24 – Walter’s Downtown – Houston, TX
Apr 26 – Til-Two Club – San Diego, CA
Apr 27 – Cheyenne Saloon – Las Vegas, NV

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Interview: Karl Spracklen of the International Society of Metal Music Studies

karl_spracklen-international_society_for_metal_music_studiesAcademic acceptance of metal accelerates through conferences dedicated to studying metal, professors teaching about heavy metal, investigations of links between heavy metal and religion, and the launch of an international journal for studying metal.

While the metal community may not have found a position on this change as of yet, the very fact of its existence is startling to those of us who experienced metal in the 1980s or 1990s, when society viewed us as outcasts of a likely deranged, intoxicated, criminal and Satanic nature. From the censorship battles of the 1980s, when the Parent’s Music Resource Center (PMRC) attempted to prevent younger people from acquiring metal in record stores and tried to legislate a requirement for lyrical content warning stickers on metal records, to the 1990s bourgeois bohemians wrinkling upper lips at the impolitic and feral nature of metal, society hasn’t liked us.

Luckily, academics don’t see it that way and have forged ahead with metal study, coinciding with a massive “hipness” of metal in the mainstream press and hipster underground. Metalheads might find this interesting because academic study can balance out what social pressures amplify.

We are fortunate to have Dr. Karl Spracklen, Professor of Leisure Studies at Leeds Beckett University, here to tell us more about his projects, the International Society for Metal Music Studies, its conference, and its journal.

Why study heavy metal?

Heavy metal is an important part of modern culture and everyday life, so studying heavy metal enables us to understand both of those things. For me, the interesting thing about heavy metal is the tension between metal’s strong sense of being part of a non-mainstream subculture, and metal’s place in the industry of modern pop and rock music. That’s because I’m essentially a sociologist. Other heavy metal scholars might be interested in the way the music is constructed, or the meaning behind song lyrics, or the history of the scene, or the use of heavy metal as a philosophy or ideology of life. Heavy metal is just a subject field, a lens, through which we can think about problems in other academic disciplines.

You’ve created Metal Music Studies to in part serve as “a bridge between the Academy and the wider genre of metal music writing.” What is the wider genre of metal music writing?

People like you — we want the journal to be read and used by journalists and writers who are fans and critics of heavy metal. We want people from outside the university system, non-academics, to read the academic papers but also get involved in writing articles for the journal themselves. There will be a separate section in the journal for shorter pieces that are not written in the standard, academic style: articles that are more polemical, or articles that respond to key issues in the metal scene,

Do you think academia has been hostile to metal in the past, or simply seen it as being part of the amorphous cloud of “rock” without an identity of its own?

I think there have been academics who have been very dismissive of heavy metal in the past, people who have seen the music as serving no good purpose in everyday life. I think for many of these critics, their own prejudices and tastes have got in the way: metal has always had that blue-collar association, and some cultural academics still can’t bring themselves to acknowledge the diversity and depth of the genre. There are also some academics who think heavy metal is a great evil, and we still see some papers written that claim metal fans are more likely to be criminals and so on. This is just bad science, but every time someone publishes these crude generalisations the press picks up the story. This journal is the journal of the International Society for Metal Music Studies. This learned society is partly for academics who have a professional interest in metal, but also those in the industry who want to be a part of Metal Music Studies, including musicians and journalists, and fans. You should join up. When you do, you will get a subscription to the journal. And all your readers should join! (Advert over.)

You’re taking an inter-disciplinary approach as opposed to a pure musicological one. What are the advantages of this approach, and does metal uniquely require them?

Inter-disciplinarity is the only way you can create a subject field such as metal music studies. If all you do is focus on one discipline you miss half the interest, half the story, and half the explanation. Just think about how and why death metal appeared on the scene in the 1980s. Part of it was technological, such as the practice of certain producers and studios; part of it was musicological, such as the evolution of certain vocal styles, riffs and beats; and part of it was social, a reaction by bands and fans against the mainstream metal of the day. Heavy metal is not unique in requiring inter-disciplinarity to explore it: sport and leisure are other possible subjects of this kind of work, and there are many others.

When you speak of the journal publishing “high-quality, world-class research, theory,” what do you mean by “theory”?

When we mention theory we are suggesting we will publish academic papers that develop new theories about heavy metal, or that use heavy metal to develop new theories in their parent disciplines. A lot of academic work is research (investigating stuff), but not all of it, and we’d like to see papers on theory as well as papers based on new research.

What sort of topics would one research in metal? Does this include statistical approaches?

There are hundreds of possible research topics in metal! In Metal Music Studies, we will be interested in research about the music itself, the industry, the fans, the spaces, the lyrics, the metal media, metal in wider society, metal in different countries, genres, philosophies, histories, ideologies, the politics of metal, metal events, metal and globalisation, just to list a few obvious research topics that come to mind. My own academic interest in heavy metal is the local extreme metal scene in the north of England, elitism in black metal and the ways in which the Norwegian BM scene of the early 1990s has been mythologised.

How important do you think it is to study the history of metal? Does this include the context in which these musicians formulated their music?

The history of metal is a crucial part of metal music studies — and yes, this is musicological history as well as social or cultural history.

Do you think it is appropriate to view metal as a form of deliberate and purposeful art, or more as an entertainment product which reflects community attitudes?

Heavy metal is both of those things, sometimes at the same time, but not always. That’s the reason why it is an interesting subject of study. People in the scene, musicians and fans, talk about heavy metal being something artistically important and culturally authentic, something that stands against everything we dislike about mainstream pop music. But so much of heavy metal is part of that mainstream, and even death and black metal are shaped by the forces of commerce.

What, in your view, is the dividing line between “metal” and “rock”?

Metal is one louder. Actually, there isn’t a clear dividing line, and for many people I think there is a smooth transition. For the purposes of the journal, we will allow histories of rock music as they shed light on metal’s evolution. We will probably also allow in scene studies where there is a connection between rock and metal fans, in the same way we will publish research on the intersections between metal and punk, or metal and goth music.

Do you personally listen to heavy metal? Does study of metal require enjoying metal, and/or does enjoying metal lend anything to the study?

Yes, I listen to a lot of heavy metal, mainly black metal and doom, and local bands from the north of England. I try to get out to gigs when something comes around worth travelling for: the last gig I was at was Enslaved in Manchester, England, with the mighty Winterfylleth in support. I think being a metalhead myself allows me to understand the nuances of the scene, its history and the music. I think that makes my research have a certain depth to it. But I do think it’s quite possible to do research on heavy metal and not personally like it.

Many people view metal fans as people who are social outcasts who are unlikely to pursue education. Why do you think metal fans are so alienated? Do you think your research will bridge this gulf as well?

I think that stereotype about the average metal fans is out-dated. I think metal fans tend to be very intelligent people, and that’s why they are drawn to the music. I’m hoping the journal and the International Society for Metal Music Studies will prove that there are metal fans who are able to articulate their passion for the music while remaining critical and measured.

Are there any sources in the metal community who are doing what you are doing?

None that I know about.

Who are your forebears in this field? What is the history of academic involvement in metal?

Robert Walser and Deena Weinstein were the key academics who first proved that heavy metal was worthy of serious academic study. Keith Kahn-Harris has been important in championing the field.

Prof. Martin Jacobsen is teaching an English class at WTAMU about metal lyrics, and Prof. Josef Hanson is teaching a metal musicological course at University of Rochester. Are you aware of these? How would this type of activity fit in with what you’re doing, and vice-versa?

I wasn’t aware of these, but I’m not surprised. I use metal in my own classes on the sociology of leisure.

Can you tell us more about the upcoming journal, including when it will be available, and what sorts of things to expect in it?

The new journal’s first issue will be out at the end of 2014. The content of the journal will demonstrate the range of metal music studies, so an ideal issue would include perhaps some of the following (these are just ideas, and this is not an actual list of contents):

  • research published by a range of established names, early career researchers and those from parent disciplines;
  • research on the performance and production of metal;
  • research on the analysis of metal lyrics;
  • research on new sub-genres and fandom;
  • research on the evolution of heavy metal from rock music;
  • ethnographic research on a metal scene in Kenya;
  • research on the aesthetics of metal;
  • research on the social psychology of death metal growling;
  • and smaller pieces discussing whether black metal is dead or alive, written by a print journalist and a blogger.
  • The bulk of the content will be original research and theory papers (6-10k size), alongside smaller articles/opinion pieces (1-3k) devoted to discussion of metal by ‘serious’ non-academics (journalists, fans and industry insiders).
  • There will also be book reviews.

How does one join the ISMMS?

At the moment ISMMS does not have membership, as it is not yet set up officially and legally with the authorities in the States. Amber Clifford is the Treasurer so her email contact should be used for anyone who wants to join the Society. When the paperwork is finalised membership details will be confirmed via the ISMMS web-site, the Metpol mailing list, the ISMMS Facebook page and other channels.

Do you accept submissions from people who are not academics, merely metalheads or metal journalists?

The journal will accept submissions from independent scholars and non-academics, and the society will accept such people as members. There will be a separate section in the journal for shorter papers that will allow non-academics to contribute, but there is nothing to stop independent scholars submitting full papers – all full papers will be subject to peer review against the usual standards of academic writing. We want to encourage such contributions.

What can a metal band do to make it easier for them to be studied? Is there a place, for example, where well-known metal bands can sign up to be part of a study, or to put their stamp of approval on the project?

There isn’t a place where metal bands can sign up to be part of research studies — sounds like a great idea, actually! In terms of endorsements, we are hoping some high-profile musicians and band will sign up to the Society and support its aims, and maybe even write in the journal.

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The relationship between black metal, ambient and neoclassical music

nordic_dark_ambient_neoclassical_black_metalIn the mainstream press, black metal has a reputation for being solely misanthropic, heavily distorted anthems of aggression and despair that are defined by their primitive minimalism.

While this may hold true for the majority of contemporary bands, this view overlooks the foundational bands of the genre, who possessed a deft sense of melody and the focus to create longer compositions that allowed for more introspection.

Just as black metal musicians created a more minimalistic form of death metal, some were able to apply the same approach to the ambient and neoclassical genres, crafting tracks that through the use of repetition, stirring melodies, and tonal variation reveal the genre’s primal elegance without need of layers of distortion.

Given the news that Neptune Towers is being released on vinyl and Burzum is releasing an album comprised entirely of electronic music, now seems a fitting time to investigate this interesting subgenre and how it arose from black metal in several instances.

Burzum

Favoring simple but expansive compositions, contemplative melodies soar over mild arpeggios; in addition to a few tracks of industrial nihilistic deconstruction. Through the utilization of modern technology, Burzum makes narrative and meditative music that like its inspiration Tolkien, takes the participant on an internal journey to another realm.


http://www.youtube.com/watch?v=BajdtSD0eWk
http://www.youtube.com/watch?v=30lt14WQ1w0

Neptune Towers

A side project of Darkthrone‘s Fenriz, in Neptune Towers haunting melodies glide over dark drones while otherworldly noises color the backdrop. Evocative tracks signal the coming to Earth of a yet-unknown alien species or perhaps the future evolution of humanity, the soundtrack to the future.


Beherit

This band fuses its earlier black metal style with the industrial, pop, and ambient genres, featuring melodies that would not be out of place on a metal album, but pairs them with repetitive trance-like drums, synths, and found sounds that coalesce into epic moments before fading away like the rays of a burned out sun. Fans of multiple genres should appreciate this one.


Ildjarn

Elegant and skillfully composed tracks celebrating the beauty of nature in their simplicity reveal a greater depth of expression than would be possible with over-produced tracks. Just as he did with black metal, Ildjarn with compatriot Nidhogg reduces neoclassical music to its most basic form and builds from it an enchanting structure.


Lord Wind

A side project of Graveland, with Lord Wind martial drumming and heroic melodies bring to mind the battles of old, while synths and choruses expand the project’s horizons, providing reach to contrast with the grounded and earthy rhythms. Well-crafted neoclassic folk music, this is the further continuation of Graveland‘s second stage.


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Sinistrous Diabolous – Total Doom // Desecration

sinistrous_diabolous-total_doom_desecrationSinistrous Diabolous creates funeral doom metal from the fragments of death metal. It uses the rapid strumming of slow chording that made Incantation so thunderous, merged with the abrupt tempo changes of Autopsy, and the mixed sounds and dynamic variation of Winter.

Total Doom // Desecration is as a result both shockingly absent of any of the trimmings of civilization or what we recognize as music, and also momentarily beautiful, like a ship emerging from the fog only to be lost again. Its primitive production and dark chromatic riffs enhance this sense of naturalism emerging against the hopeless mental muddle of humanity.

The atmosphere of murky ambiguity that enshrouds this album also grants it a resonant sense of purpose. Between power chorded riffs, interludes of pure sound or lighter instruments pervade, creating a sensation like slowly poling a raft through a dense swamp, looking for enemies.

Of note are the vocals, which deliberately abstract themselves into an uncivilized and primitive growl that calls alongside the music like a pack of dogs howling at a kill. Percussion fits the Autopsy model, being both alert and intense and knowing when to fade out into the drone.

Sinistrous Diabolous use heavy sustain not only on their guitars, but in the way riffs are sliced into these songs. Notes of doubt and ambiguity hang over every change, waiting for the song to roll over again and from the relentless ferment of its imagination, pull forth another riff.

While many doom albums come and go, and most either slide into the 1970s style or death-doom, this album cleanly integrates the last two decades of the variation in the latter styles, and comes up with something that is not only bone-crushingly weighty in sound and meaning, but also brings forth a beautiful melancholic isolation at sensing what has been lost.

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Hessian Studies becomes real: hate-crime protection for metalheads

heavy_metal_subcultureAccording to UPI, the police in Manchester, UK have decided to extend hate crime protection to “subcultures such as punk rockers, Goths and heavy metal fans.”

This is the realization of one aspect of Hessian Studies, the concept dreamed up during the PC early 1990s to give the metal subculture the same respect, study and attention given to other cultures. Recent years have seen acceptance of metal as a religion, as a disability and as a topic for academic study.

Now, with recognition of metal as a sub-culture becoming formalized, metal faces both the greatest success and greatest risk of its 40-year lifespan. The success is that mainstream society has adopted it and legitimized its viewpoint; the danger is that modern society will project its own viewpoint onto metal as a pre-requisite to adopting it. As we all know, the easiest way to accept something strange is to make it into a version of the same old stuff we see everyday, like Chinese Take-Out and Italian Microwave Dinners.

“We are able to officially recognize that people who wish to express their alternative subculture identity freely should not have to tolerate hate crime — something that many people have to endure on a daily basis,” said Assistant Chief Constable Garry Shewan.

Apparently, this act was spurred by the assaults on Sophie Lancaster, a 20-year-old Goth who was attacked as she walked through a park and never regained consciousness. As a result, the courts and police are expanding the list of protected groups from “religion, ethnicity, disability and sexual orientation” to also include subculture status such as that experienced by metallers, punkers and Goths.

Hessian Studies, a movement begun in 1994 and thriving throughout the 1990s, hoped to achieve this kind of recognition for metal and acceptance of its validity as a subculture. Apparently, the dream is coming true.

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Hellbastard – Sons of Bitches EP

hellbastard-sons_of_bitchesThe limitation of metal is that it has such a strong identity that it can easily become repetitive. The danger of going the opposite direction is that with no sense of identity music loses its own character in an effort to be open-minded.

Hellbastard hover on the lintel of that conundrum. Famous for their mid-1980s crustcore (and possibly for coining the name of that genre) the band detoured into metal on 1990’s Natural Order, but return here in a blur of distorted power chords and hoarse vocals.

The first four songs are relatively straightforward Amebix-style crust with interesting time changes. Vocals are searing and impressively aggressive. In addition to some ideas borrowed from rock, many riffs bear the stamp of middle-period Slayer.

Sons of Bitches mixes in the jaunty rhythms of late speed metal, conveyed mainly through the vocals but causing all of the music to be pulled by the catchy, repetitive chorus phrases. If you can imagine later Destruction fused with Pantera, embedded into a crust band, that’s the rough idea.

There are two outlier tracks. “We Had Evidence” starts a metal-styled instrumental that acquits itself quite well and then veers off into jazz fusion technique while recorded loudspeaker voices play in the background; then becomes a chanty metal-crust hybrid. Then “Throw the Petrol Bomb” comes on, which is some form of reggae lite with lyrics taunting the anger and frustration of political protesters.

The strength of this EP is its pure crust orientation. While the Slayer-style riffs give some power to the underlying material, the speed metal chant-vocals and assorted odds ‘n’ ends tossed in from rock and metal distract from the power of these songs. Perhaps on a full-length the band will focus more on its strength and slash out a slew of crust anthems.

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Interview with Mike Browning (Ex-Morbid Angel, Ex-Nocturnus)

Mike - CropWe previously posted an article about Mike Browning being disgruntled over some happenings with David Vincent and his wife. DeathMetal.org has offered to give Mr. Browning an outlet to shed some light on the happenings of the early days of Morbid Angel, as well as clear up any confusion that may be encircling the metal underground.

Not many people have such an extensive resume when it comes to being involved with innovative bands in Death Metal. Mike Browning helped mold Morbid Angel, then he helped to create Nocturnus. He has also played and recorded with Incubus, Acheron and After Death.

We are fortunate that Mr. Browning has given us his time to answer these questions.

Hi Mike. Thank you for your time. I have often thought of early Morbid Angel as Slayer on steroids. Why did you guys decide to take the music in such an extreme manner?

It was really what was just coming out of us naturally. Back then we weren’t trying to do or be anything other than an evil chaotic band that was real. We literally did Necronomicon rituals before we played invoking the Ancient Ones and then with that energy we would start playing. We even did it for rehearsals as well as live shows.

There have been confusing recounts of the Abominations of Desolation recording session. Was this Morbid Angel’s first official album? If so, why has the band referred to it as a demo?

Abominations of Desolation was the first Morbid Angel album recorded. We signed to David Vincent’s label Goreque Records and we went to North Carolina to record and David even hired the legendary Bill Metoyer to engineer the record. So even though it was not released until later, it really is the first Morbid Angel record and not a demo.

I don’t know why the band says it’s only a demo. You would have to ask them that. They also claim that Sterling Scarborough played bass on the recording, which is not true either. It was John Ortega.

After Abominations of Desolation was recorded you returned to Florida and Trey stayed with David Vincent in North Carolina. Why did he stay there?

Yes the rest of the band went back to Tampa after we recorded while Trey stayed alone with David to do the mixing. It was told to us that it would be cheaper to just keep Trey there for the mixing, but when Trey came back he acted like a completely different person. He said we had to fire John Ortega and that David had found a new bass player for us which was Sterling Scarborough.

What was the actual reason for your departure from Morbid Angel? I heard that there was a physical fight with you and Trey.

Yes that is what happened. I stopped by his house one afternoon on my lunch hour from work and saw my girlfriends car there so I kicked the door in and found them on the couch kissing and I beat up Trey pretty bad. We were all pretty young back then so that is how I handled it by kicking his ass, but by doing that it caused the band to split up and that is when Richard and Trey moved to North Carolina and started playing with David, Wayne Hartsell and Sterling. I got Gino Marino and reformed Sterling’s old band Incubus.

Morbid Angel appear to be twirling into Skrillex influences more than Death Metal. Their last album Illud Divinum Insanus has been mocked by fans from all over the world. Why do you think they recorded such a weird album?

Well from what I heard that most of the music was written by Trey and he let David do all the lyrics. I’m not really sure if that is the truth, but it came from a pretty reliable source.

David Vincent has signed on to be in a film about pornstar Vaness Del Rio. What are your thoughts on this?

I don’t even want to have any thoughts about it!!! Seriously though I think it will only damage his reputation with Morbid Angel, but hey I am sure all he cares about is that he will make money and maybe turn it into a new career for himself.

Gen Vincent (David Vincent’s wife) has gotten you banned from the nightclub ‘The Castle’ in Ybor City. Why has she gone to such measures?

It’s because I made fun of David and their last album, but of course I didn’t start it all. There were so many people already making fun of it before it even came out that when I finally heard some of it I started making fun of it too. But I guess since I live in the same town and actually just a few blocks away from his house and that I was actually in the band that it was me that started all the jokes about him and the last album. So I guess Gen thought she would try to get back at me by having me banned from the local Gothic club because Gen is very personal friends with the owner of the club. I rarely go there anymore. Just once or twice a year when they have the bigger yearly events there, so it’s no big deal being banned. It was more about the point of it.

Thank you for clearing up some of the confusion that has been encircling the metal community. What are your plans for the near future?

Just staying busy doing both After Death and some live Nocturnus shows. There has been so much interest in people wanting to see the old Nocturnus stuff live that my band After Death has learned the whole The Key album and we are doing these shows and playing the entire album straight through. Then we’re throwing in some old Morbid Angel songs from Abominations of Desolation versions for the encores.

I also want to say THANKS to everyone who has supported all the music I have done over all these years and hopefully I will be able to continue the chaos for many more!

http://youtu.be/zCP-No1DcQI

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Absu North American Tour 2013

absu-north-america-tour-2013

Many know Absu as the band that transitioned from mythological death metal to heavy-metal tinged black metal to finally a progressive, jazzy, and eclectic blend of metal, Celtic folk and psychedelic fusion styles.

According to percussionist/vocalist Proscriptor, “We’re attempting to divide the concerts into two sections: the first act will showcase songs spanning from our entire discography, as the second act will focus on Phase Two from the album Tara: The Cythrául Klan’s Scrutiny. For the past couple of years, many of ABSU’s followers have requested specified songs from this chapter of Tara, so it is our aspiration to give the people what they want.”

The tour covers North America in the blood of the righteous, and gives Absu a chance to show off their psychedelic rock-metal fusion trilogy: Absu, Abzu and the upcoming Apsu. As always, it is expected that the tour will showcase fantastic musicianship, chaotic pits and manic scrambling of residents for talisman artifacts of protection against the summoned evil.

  • 4/05/2013 Millcreek Tavern – Philadelphia, PA
  • 4/06/2013 Roger’s – Chesapeake, VA
  • 4/07/2013 Strange Matter – Richmond, VA
  • 4/08/2013 The Windup Space – Baltimore, MD
  • 4/09/2013 Middle East upstairs – Cambridge, MA
  • 4/10/2013 St. Vitus – Brooklyn, NY
  • 4/11/2013 St. Vitus – Brooklyn, NY
  • 4/12/2013 El N Gee – Hartford, CA
  • 4/13/2013 Theatre Plaza – Montreal, QC
  • 4/14/2013 L’Agitte – Quebec City, QC
  • 4/15/2013 Wreck Room – Toronto, ON
  • 4/16/2013 Ace of Cups – Columbus, OH
  • 4/17/2013 Mojoe’s – Joliet, IL
  • 4/18/2013 Rocco’s – Milwaukee, WI
  • 4/19/2013 Station 4 – St. Paul, MN
  • 4/20/2013 Zoo Cabaret – Winnipeg, MT
  • 4/22/2013 Dickens Pub – Calgary, AB
  • 4/24/2013 Biltmore Cabaret – Vancouver, BC
  • 4/25/2013 Highline – Seattle, WA
  • 4/26/2013 Ash Street Saloon – Portland, OR
  • 4/27/2013 Shinneybrook Creek Cabins @ Festum Carnis – Soda Springs, CA
  • 4/28/2013 DNA Lounge – San Francisco, CA
  • 4/30/2013 The Vex – Los Angeles, CA
  • 5/01/2013 Ruby Room – San Diego, CA
  • 5/02/2013 Rocky Point Cantina – Tempe, AZ
  • 5/04/2013 The Boiler Room – Dallas, TX

For more information, check the Absu web coven.

absu-sigil

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Interview with Remains

remains-of_deathA promising recent entry into the old school death metal world is a new band from Mexico named Remains.

We recently had a chance to hear and review their most recent EP, …Of Death, which is available for free download on the band’s Facebook homepage.

Burly, basic, and uncompromisingly fit together like ancient stonework in the war room of occult martial artists, the old school death metal of Remains is casually minimalistic but smoothly fit together into a series of visions of dark passages through life. Instrumentalism is good, composition is promising, and we’d like to hear more from this band.

Luckily, we were able to catch these up-and-coming metal wizards for a brief interview…

Hail Remains!

First of all, thank you to the support to our band; we are very happy to know that the EP has been well received.

Now, the questions…

Can you give us a brief history of the band? How did you start, how did you meet, how long have you been a band and what other projects do you have?

Miguel, Emmanuel and Leonardo knew each other because they are studying at the same university. On the other hand, Edoardo and Miguel know each other because they were in an old project some time ago.

Remains was originally proposed by Miguel and the project was born at the beginning of 2011 with a different line-up, but it wasn’t until of the middle of 2012 that it stopped being a project and became a band. With the present lineup Remains recorded the demo “The True Essence” and then in 2013 the EP …Of Death.

About other projects… Leonardo and Miguel have a melodic death metal project called “Fractal Entropy.” Emmanuel plays in two more bands which are “Sinister Mind” (black metal) and “The Light Of Dark” (brutal death metal) and Edoardo has a black metal project named “Fog of Chasm.”

This is a two-part question: (a) what bands influenced you most in your composition and songwriting; and (b) what bands do you think you sound like, even if you think you sound a little bit like more than one band?

a – Death Metal in general, bands like: Grave, Carnage, Dismember, Autopsy, Edge Of Sanity, Vomitory, etc.

b – Maybe something of Grave and Edge of Sanity, you know… old school bands, someone said that Remains sounds a little bit like Master.

Why did you decide to make old school death metal in a time when most of metal has gone on to newer styles, or just given up and become nu-metal?

The principal idea has been never been fashion; we don’t try to follow every new tendency. In my own opinion (Miguel) I grew listening to death metal because of my father (Miguel Angeles – Darkcreed, Pyphomhertum, Foeticide) I mean … death metal is my forte.

So… Remains was born as a tribute to the bands that gave origin to the Death Metal.

Do you think there is a metal “sound” for Mexico? How do you think of yourselves in the lineage of bands such as Cenotaph, Transmetal, Mortuary, Toxodeth and Xibalba?

Maybe there are features which distinguish a Mexican band from others, but is difficult to say that there’s a pure Mexican sound. Those bands are the best we have had in Mexico and we would like to continue that lineage and not lose it with the birth of new bands and styles.

We believe we can do something so the scene grows and doesn’t forget with the passage of time.

You decided to release your first EP, “…Of Death,” online as MP3 files in a downloadable zip archive. What made you decide to do this? How do you think it will help you? Are you worried that people will just pirate the MP3s and not buy the EP? Do you think musicians can make money even if they give away their MP3s? Does it matter?

The idea of the band has never been to get money. When we put out the EP we decided that it would be in the free MP3 format because someone who really likes what he hears will go looking for the CD or tape. (Now we do not have a label) If you want to buy or download our music… whatever, you are listening us and… that’s good for us.

What’s next on your agenda? Are you going to write more material, go on tour, or do something else?

Right now we are working in our first LP and we hope it will be ready in September of this year (of course, when we finish it, we would like that you listen to it).

These songs (on “…Of Death”) are well put-together, where every riff has its place and they fit together well. How did you compose these songs? Did you spend a lot of time after you wrote them, going over them to get the details right and make sure all the riffs fit together?

Every song came to its moment. When Miguel composes a song he always has a clear idea of what he is looking for in every riff and the way to adjust and mix them; then, every member of the group put their personal stamp on Miguel’s composition. We don’t spend too much time in details; if something doesn’t work, it stays out.

What do you think are the origins of death metal? Is it still relevant as a style of music today? What do you think motivates people to want to enjoy and eventually create death metal?

Since the metal was born, the trend always has been to be more aggressive. Bands like Possessed or Mantas gave us the guideline for this style; it continues being relevant since more bands of Death Metal are born every day, maybe what motivates people to listen to it is the aggression, the force that has death metal’s song as well as the theme of the lyrics of every band or the technique that is necessary to make it possible.

If someone wanted to hear some death metal bands from 2013, what newer bands would you recommend to them?

From México you have to listen to “Demonic Manifestation” and “Elemental Extinction”.

Maybe not bands but releases of Lie in ruins, Corpsessed, Massacre, Entrails, Hail Of bullets, Necronomicon and/or Carcass.

“…Of Death” has a very professional sound. How did you record this album, and how long did it take from songwriting to finished product?

It was recorded in MAT STUDIO under Miguel’s production, trying to respect the sound of the old school keeping the essence of the aforetime recordings. It took us approximately 4 or 5 months in total.

    Remains

  • Miguel Angel – Voice & Guitars
  • Leonardo Valdez – Guitars
  • Emmanuel Guerrero – Bass
  • Edoardo Gascon – Drums

Thanks for the support, Death Metal!!!

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Hautakammio – Kukaan Ei Opasta Teitä Pimeässä

hautakammio-kukaan_ei_opasta_teita_pimeassaDuring the early days of black metal, it was acknowledged that punk had been a major musical influence on the genre. In particular, Discharge was cited as a foundation for seminal black metal band Hellhammer which later inspired a generation in the form of Celtic Frost.

The descendants of that heritage were the legendary Darkthrone, who fused punk energy, powerful riffs, and the searing bleakness of black metal into a musical maelstrom that had never before been heard.

Two decades later, Finland’s Hautakammio emerge with an even more intense attack. Sounding like a black metal crossover band, Hautakammio fuses the punk style with a black metal sound similar to Gorgoroth, producing a blistering aural assault. Riffs organically transition from dashing powerchord riffing to rapid tremolo picking while decidedly black metal vocals occupy the background.

Unlike Darkthrone however, Hautakammio does not sound greater than than the sum of its parts. While powerful music, it does not invoke a landscape of sound, remaining confined with linear production and direction. Nevertheless, this track is a solid composition with a unique take on a genre often stagnate.

For those interested in hearing more, the album Kukaan Ei Opasta Teitä Pimeässä will be released later this year through Darker than Black Records.

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