Speed metal legends Megadeth have released the title track from their upcoming album Super Collider. Sounding similar to the late 90s albums which found Megadeth exploring a more commercial direction, the new work features the standard hard rock structure designed for maximum radio exposure.
Although fans of their older material may not appreciate the return to that style of music, it will almost assuredly increase awareness of the Megadeth brand. Along with Metallica and Slayer, Megadeth was one of the foundational pillars of speed metal.
Mixing a blend of bursts of aggression in among longer songwriting narratives, the bands created an organic presentation of death, war, and other dark subjects; not simply to glorify the carnage but to break free of the politically correct time in which they were conceived and to present an alternative.
For those that are unaware of the Toba catastrophe theory – it’s based on a supervolcanic event in present-day Indonesia that changed the world. Around 75,000 years ago one volcanic eruption bottle-necked the human species and put the Earth into a decade-long volcanic winter. The human species was rendered to less than 10,000 breeding pairs and the planet was cooled. These volcanic events are nature’s way of bringing a balance back to the planet; something that modern civilization doesn’t pay any heed to because most people pigeonhole themselves in mundane routines.
How do volcanoes transpose to metal? Well aside from their “bad” nature, the Earth reclaims its shell by cutting out the fat on its crust. This is something that needs to happen in the metal community.
How often do you find yourself at a show and every band on the bill are generic rehashes of the past or common variations of pop formulas? The scene is infested with hundreds and hundreds of boredom inducing clones that mimic their favorite bands – not extending upon the concepts that were previously founded. They are imitations. The prolegomenon of mediocre bands doesn’t leave much room for more quality music to thrive. Perhaps a metaphorical influx of lava and ash clouds would keep the weak at bay and let true metal flourish.
Burzum composer Varg Vikernes has posted a “goodbye” to his old self as a metal composer and in a sentimental posting, announced his retirement from metal and his intent to pursue ambient music alone.
Burzum appeared from nowhere in 1991 with a demo tape made up of a dozen guitars-and-bass-only tracks in rehearsal quality. I made a few more or less successful metal albums, but they all always included at least some ambient music. With time I moved further and further away from metal, and today only the ambient music remains. Today (2013) I think I am done playing metal music for good.
Many of you followed Burzum through the years, some even from the beginning, and I think metal-Burzum deserves a proper “good bye”. So, just like I started out I will finish metal-Burzum with a guitars-and-bass-only track in rehearsal quality. “Back to the Shadows” is made up of the last metal riffs I ever made (in 2012). It was never released in any way, or recorded (beyond what you hear here), and it will not either — beyond this short “video”.
Take it for what it is; a sentimental good bye to metal-Burzum.
The music is playing with an image of the 17 year-old me, taken from the time when some of the first Burzum tracks were made. You can see this track as a good bye to that fellow too.
For those of us who have been watching Burzum and Vikernes over the years, this is a welcome development. Heavy metal is beautiful but it will always be attached to popular conceptions of entertainment. Ambient music, especially complex material, gets treated as culture.
While we hope to change that perception of metal and to have it be studied as art and part of culture, that’s an uphill battle when the fans routinely rush to gimmick bands and depthless clones in a hope to be part of the next popular trend.
Either way, this bodes well for more interesting compositions in Burzum’s future.
Century Media Records will release all demos of Finnish death metallers Necropsy on June 3rd in a compilation containing three CDs, all songs remastered from the original tapes. CMR promote it thus:
The result is mindblowing: Without ever destroying the analog charm of the old tapes, all songs sound fresh, just like they have been recorded just a few years ago.
Tomb Of The Forgotten – The Complete Demo Recordings will start anno 1989 and end in 1993, a time period in which the band, frankly, only recorded demos, with the exception of an EP and a split with Demigod in 1992. The band’s first full-length, Bloodwork, arrived as late as in 2011, after a 17 year long hiatus.
Zombiefication incorporate many styles into their old school styled death metal but their ultimate forte is melodic death metal in the style made popular by early Necrophobic or Unanimated.
This band contributed a track to the Cenotaph tribute album and it’s hard not to think of the second and third Cenotaph albums which used the stylistic span between At the Gates and Therion’s Lepaca Kliffoth. In addition, Zombiefication use riffs much like early Amorphis, if Amorphis were interested in single-string picking of quick melodies.
Not all is old school however. At the Caves of Eternal features vocals that might be more at place on later At the Gates or The Haunted albums. They are nearly monotonic and do not vary style or inflection between songs, which gives them a consistency that breaks from the death metal tradition that all instruments labor toward the same effect. Drumming is more modern as well, with a jazz-fusion influence that is understated but prevalent. In addition, many of the leads follow more of a rock sense of theme and balance than the metal goal of high intensity chaos forming order despite itself.
At the Caves of Eternal uses the melodic death metal style effectively across this album, with the songs clustered near beginning and end having the most punch. If it has a fault, it is not stylistic, but in substance; the emotions and approach do not seem to vary between songs, making them variations on a theme that may be entirely musical. However, if you want to revive the old school melodic style, this album presents a potent option.
The latest album from Norwegian one-man black metal/dark ambient band Burzum will be entitled Sôl austan, Mâni vestan (East of the Sun, West of the Moon) and will be released in coming months on the Peaceville sub-label Byelobog.
Sôl austan, Mâni vestan is near release but as of this morning samples were released, and the following teaser video combines visual and sound to reveal what to expect on this forthcoming work. Like the previous Burzum albums, it features use layered sampled sounds and keyboards, including some tribal drums, but without the constant percussion of modern pop.
Comparing it to Tangerine Dream, Vikernes described the new album as “relaxing, slow-paced, contemplative and very much original.” The topic on this one is said to be the “Pagan religious-spiritual concept of a descent into darkness and the follwoing ascend back into the light; the Pagan initiation, the elevation of man to the divine, the enlightenment of the mind, the feeding of the elven light in man.”
The semi-reclusive Varg Vikernes, sole composer of Burzum, has announced his plans to release a film and a new role-playing game (RPG). As part of the film project, he has revealed a new track designed to act as part of a soundtrack for the film.
As if influenced by some of the non-black-metal soundtrack material from the film Until the Light Takes Us in which Vikernes, as in Lords of Chaos, the most in-depth story of black metal before it, Vikernes opts for a down-tempo single guitar track with no distortion.
The result utilizes a slow and gentle sweeping arpeggio behind which lower notes direct the evolution of the track, much as happened with the countertheme in “Rundgang um die transzendentale Säule Der Singularität” from Filosofem. As the song goes on, these layers interact to push change into the main theme, not in the electronica method of circular layers, but the metal one of a narrative expanding from within itself.
It is hard to tell if this is the type of material that will be on the forthcoming Burzum album Sôl austan, Mâni vestan. While many consider the “keyboard albums” among the band’s best output, a mixed-medium album could be interesting. While this new track has one foot in that world, it also has one foot in the more audience-geared world of the last few Burzum black metal albums.
Jeff Sprague is a Canadian politician who is also a heavy metal musician. By day, he works in private security and is a member of the Conservative Party of Canada. By night he fronts a Metallica tribute band titled Damage Inc.
This may seem an unusual marriage, but consider: if we recognize that heavy metal expresses eternal values that are worth spreading; in the age of democracy, politics can be an effective method of achieving this. Rather than dismissing politics, Hessians should strive to get in and turn it in a more positive direction, as this not only improves political discourse, it also increases awareness of the Hessian community.
Unfortunately for Mr. Sprague, last Thursday he initiated a late night drunk driving incident. As reported by The Province, he decided to suspend his candidacy. A disappointing end, but one that offers a theme to reflect upon: politics requires a high degree of public professional behavior, something Hessians striving to achieve political change should take note of.