History reveals little about Nidhogg, the musician known for his contributions to Ildjarn, Sort Vokter and Ildjarn–Nidhogg. These projects, while initially rejected by an increasingly faddish black metal “scene,” quickly gained fans for their use of elegant short melodies within ambient songs of abrasive noise fused with aggressive Oi rhythms and black metal riffs.
Helvete: A Journal of Black Metal Theory occupies a distinct niche in the publishing world. Inspired by academia, it nonetheless attempts to construct theory around the motivations of black metal, instead of trying to fit metal into existing academic theories as most publications tend to do. While it missteps somewhat by included adulterated post-collapse black metal in the genre such as Wolves in the Throne Room and Liturgy, the journal digs into topics that neither metal underworld nor academic hierarchy can address.
Anticipating its third and fourth issues, Helvete: A Journal of Black Metal Theory calls for papers and art for those forthcoming issues. You can download the first issue of Helvete: A Journal of Black Metal Theory from the Punctum Books website; a donation is optional. The journal seeks the following:
- This third issue of Helvete focuses on the sonic aspects of black metal, specifically noise music’s interactions with black metal—the interruptions, creations, and destructions of signals as black metal. Proposals are welcomed that discuss and experimentally demonstrate not only musical feedback but conceptual feedback as well, and the way that black metal works through feedback as a process. Experimentation, fiction, and speculation in contributions are encouraged, including writing and art that resonates as a background hum, drone, or cascades in a foregrounded scream. Preference will be given to proposals that move beyond a position of reflecting black metal towards creating black metal noise themselves.
- Issue 4 is tentatively titled Black Metal and Politics, and seeks to give a concentrated platform to the conversations that have been happening alongside our theoretical work, regarding black metal’s complicated and diverse relationships to politics. The complex subject of politics and black metal, directly and para-musically, has long been brushed up against within black metal theory work, but rarely unfolded at length. We would like to reserve this issue of Helvete as a forum to begin to address and perhaps even articulate some of these discussions. While some may insist that black metal (as a diverse field of culture and music) exists outside of politics or cannot be described politically, it frequently sparks political repercussions, and its history courts political controversy. These include headline grabbing moments such as Varg Vikernes’s arrest in 2013 by the French government on accounts of suspicion of planning a terrorist attack; Norway’s implementation in 2011 of black metal education within its foreign diplomats; Nachtmystium’s forced cancellation in 2009 of a concert at Scion Rock Fest in Atlanta, Georgia; Inquisition’s forced cancellation in 2014 of their Vienna, Austria concert due to alleged connections to NSBM; and the complete ban on black metal in Malaysia in 2006. Most recently, Behemoth‘s recent encounter with Polish and Russian authorities has been well documented in the mainstream press. It may seem that the proposition that black metal is apolitical is itself a (privileged) political position. The editors of Helvete are accepting proposals for essays that focus on politics and black metal. Contributors are encouraged to suggest topics such as Black Metal’s interactions with nation, race, linguistic, gender, religion, and culture. Special consideration will be given to the explorations of the negotiations that the individual makes within the city or community, using black metal as a verb rather than a noun.
For more information, see the website for Helvete: A Journal of Black Metal Theory. The deadline for both proposals is August 1, 2014 but may be extended to accommodate late notice for many people of this call for papers. The next two issues will be edited by Amelia Ishmael and Niall Scott.
Even back in the early 1990s, people referred to Num Skull as “old school death metal” for its plodding, dark cadences and thudding primitive riffs. Now the most famous artifact of this band, Ritually Abused, will terrorize your living room thanks to a re-issue through Relapse Records on September 16, 2014.
Famous for engaging but highly basic music, Num Skull reduced death metal to its simplest elements and tied them to a groove which replaced rhythmic expectation with a pounding certainty like the march of undead armies across a wasteland. Songs followed much of the format of those of early death metal innovators Possessed but did so at a slow dreadnought pace alternating with high-speed violence, mulching listeners into paste with militant power chords.
The Relapse re-issue of Ritually Abused will include a bonus track from the ’86 demo “Num’s the Word” to commemorate the original release of the album 25 years ago. You can pre-order Ritually Abused in LP or CD format with or without a t-shirt bundle at http://www.relapse.com/numskull.
International news contains few joys and even fewer for those of us who see the State as a criminal enterprise and morality as human pretense. And yet we read it out of a hazy sense of duty to be informed or maybe just boredom with the other half of news, which seems to focus on a race of people from Star Trek (Kardassians) and their sartorial difficulties.
Recently one story in international news caught my eye. In a search for metaphor to describe the tendencies of the diffierent political parties, our tea-drinking cousins overseas produced an interesting reference to the nature of heavy metal yesterday:
Tory “extremists” – or “head bangers” – had won out over moderates like Ken Clarke and Dominic Grieve, sacked in this week’s reshuffle, he claimed.
Depending on who you talk to the Tory party are either liberals, conservatives or anarchists. The idea of “extremists” and “head bangers” sharing a definition however stimulates the imagination. Are metalheads extremists? And if so are we extremists against what is de rigeur now in politics and society, or are we pushing it further?
In my view, metal is post-political or meta-political. Few metalheads I know believe that human answers come from voting for the right party or having safe opinions. Equally few trust a group of people assembled — usually referred to as “the herd” — to come up with anything but self-flattering answers based in self-pleasing pretense. Politics is to metal a dead issue.
But philosophy and the question of human futures still lives. We read H.P. Lovecraft and J.R.R. Tolkien; we watch Conan and Apocalypse Now. Metalheads tend to ignore school with slightly more attention paid in history class and often literature class. We see our society as a ruin, a failed empire like Rome. But we aspire to more, like medievalists dreaming of Viking battle and English jousting competitions.
If you scratch a metalhead, you might find a different kind of extremist. He or she is not a political extremist, but someone who totally rejects society as it is now. We dream of days when life is significant again instead of a competition to see how many hours you can attend your utilitarian job or indoctrination school without going postal and murdering your family. We long for a life of significance, an epic battle of good versus evil, and something to actually stand for.
So by the lights of the article mentioned, no, head bangers are not extremists. That was just one group of vote-collecting rent-seekers beating up on the other. But in the metalhead soul, there is something more extreme than extreme: we want to make this society perish in fire because it has no spirit and no purpose, and we want to encounter instead a life of meaning, purpose and conflict. We are more Nietzscheans than Tories, more Lovecraftians than moralists, and we see honor as more important than money or flattery.
Does this make us extremists? Probably not; we are simply off the scale. Unlike most extremists, we do not spent our days launching rockets at civilians or blowing up works of antiquity because they are from the wrong religion. We do not form little cults. But we are united in our dislike of society and our realization that it is a dead man walking because it lacks any feelings real enough to be extreme, or motivate it to save itself.
We reviewed Personal Device Microorganismos del Mal in Sadistic Metal Reviews 05-19-14 and found this to be an excellent late thrash album inspired by some of the more technical hardcore punk out there. At that point, we wanted to learn more, so wrote to the band with a short interview some months later. They were generous with their time and able to share their answers about music, life, micro-organisms, thrash and world destruction.
When did Personal Device start, and what bands or ideas inspired you at the time? What does the name “Personal Device” signify?
We go way back as a band.
We started up in 2006 as UNHEILBAR (German: incurable), playing what you may call “classic thrash.” At that point we were looking up to the Bay Area scene, trying to mix it up with some German influences: we were trying to capture the essence of such bands as Metallica, Anthrax, Exodus, Slayer, Sacred Reich, Testament, and so on. Then, circa 2009, we started exploring a fresher sound with crossover: Suicidal Tendencies, Nuclear Assault, Ratos de Porao, Billy Milano’s S.O.D and M.O.D. At that point, we made a switch from a purely thrash project to a more comprehensible one: mixing both old school thrash with some 80s hardcore punk (Minor Threat, Black Flag, Bad Brains, Batallion of Saints). With this new approach came along our changing the name of the band to Personal Device in 2013. To us it means the constant struggle to find oneself, one’s tools to get by. Plus, it sounds like something about to explode.
Are you a metal band? A punk band? A crossover thrash band?
Our music is based on Metal but we incorporate elements of hardcore punk sounds, which kinda makes us a crossover thrash band. We often refer to ourselves as thrash-punk, but we don’t care much about labeling us in a certain way. We are comfortable being refered to as a Thrash Band. If you want to Mosh, if you are looking forward to heavy riff-orientated, fast pace, songs, then Personal Device is for you.
Much of your sound seems like a better-played vision of what people were doing in the 1980s. What made you pick up this banner? Have you added anything to it that’s new? What have you added that’s all your own?
While it’s true that we draw heavy influences from the so called old-school 80s scenes of thrash and punk, we don’t consider Personal Device to be a mere “revival band.” You could that we are not nostalgic, we aim to produce our own sound, though we can’t deny our great debt to the old school. Even so, we also like the New Wave of Thrash Metal bands, it’s just that we find it somehow pointless if your entire music is devoted to yell BRING 80s THRASH BACK.
What inspires your lyrics, and is this important in the style of music that you’re making?
Our lyrics deal with the condition of modern circumstances, living in big dehumanized cities. Nonetheless, you may find some sporadic nonesense as well as constant references to Colombia. We also have one or two jams dedicated to thrash music, a couple of thrash-party anthems if you will.
Where did you record Microorganismos del Mal, and were these new songs or a collection of songs? Did you use any special techniques to get the very crisp sound on the recording?
After signing with our friends at the independent label Gomorrah Records, we went to the 4Cuartos studio in Bogotá D.C. We recorded our first full-length album Microorganismos del Mal (Spanish for Microorganisms of Evil) which is the consecration of eight years worth of work. There are 10 tracks in it: five of them are re-recordings of songs we had already recorded as Unheilbar, the other five are original compositions. The recording was pretty standard for a heavy metal band; we worked with two great sound engineers, Juan Carlos Bravo and Alejandro Veloza.
Can you tell us something about the concept behind the album?
The concept behind Microorganismos del Mal deals with our city, Bogotá, and with the meaning of Thrash and Punk.: a reflection on how important it is for us to live the whole experience of making music.
When did you sign to Gomorrah Records, and what made you choose this label?
We signed with Gomorrah around November 2013, and it was not much of a deal at the time of doing it since there was, and still there is, a friendship in between. So they just told us that they wanted us to release an album produced by them and we never doubted it.
Are you going to go on tour now, record more material, or both?
For sure we are planning to go on tour. There is the possibility to self manage a tour around the US more specifically in Florida. And also we have been looking for rock venues around South America where we could play. All this under a “do it yourself” philosophy. About new recordings, right now we are working on new material, and some of those songs were recorded in collaboration with sound engineering and visual arts students, with the idea of launching a live session
Do you think it’s hard for a band to get recognized in the underground now? How do you think people will find you?
It is definitely hard to get recognition when you play Thrash. Especially when you live in Colombia, but we think it is a matter of time and hard work. We have been playing together for around eight years and you can see how things start to happen when you are consistent. So in this moment the best way to be recognized its playing and having approaches with different people and all the movements that are concerned about music and keeping the scene alive.
What’s the most important aspect of a song for you, lyrics, riffs, structure or imagery?
For us, all those aspects are important. We like to come up with songs that have coherence between sound and lyrics, and that involves off course, structure and imagery.
If people want to learn more about Personal Device, how can they do so?
There is no doubt the best way to learn about a band is going to their concerts, buying their albums, reading the interviews, reviews and all that stuff. So taking into account we are a band…well people just can start by doing it. A good place to go first would be our bandcamp page, personaldevice.bandcamp.com.
Furious melodic black metal band Sammath, who meld elegant melodies with unrelenting aggression in the style of Immortal Battles in the North, will release its most recent album Godless Arrogance on pro-tape in the USA through Sylvan Screams Analog. Starting next week, copies of this legendary black metal revivalist album will make their way into stores and mailboxes across the New World.
Comments Sammath mastermind Jan Kruitwagen: “Three months after the CD and vinyl release via Hammerheart and a few weeks after the European tape release, Sammath proudly anounces Godless Arrogance on tape in the USA via Sylvan Screams Analog.” For more information about Sammath, visit the Sammath website.
Sammath first battered its way into black metal with the 1999 album Strijd which immediately turned heads for its archly inhuman beauty and crashing violence. This album expanded upon demos from several years before which were slowly refined before release, leading to a fully mature first album, which Sammath followed with three more albums before perfecting the fusion of its progressive, melodic and primal aggressive elements in Godless Arrogance.
Sometimes great albums happen. Multiple forces converge — influences, musicians, leaders, ideas, opportunities — and everyone involved becomes more than they are. They rise above their mortal lives and create something profound enough to live in, a musical world we want to inhabit and take up its struggles and make it turn into the full potential we see nascent within its objects.
Streetcleaner falls into this category. After a stylistically-inspiring but somewhat deconstructive first EP that never really created a direction of its own except aesthetically, the three individuals who comprise Godflesh returned with a new energy. They combined influences from their fledgling industrial grindcore, indie rock and death metal, and came up with an album resonant with layers of potential. Instead of aiming to destroy melody, they built it from the smallest elements so that it could only be seen when those overlapped and only then often by implication, creating a haunting album like an ancient mansion full of unexplored pathways and secret rooms.
Slowing down their attack, Godflesh carved time into a space through the selective introduction of sounds which then received an ecosystem of other sonic fragments with which to interact, creating an atmosphere that also had form and narrative. From indie rock they borrowed melancholic but affectionate melodies, from death metal complex song structures, and from industrial the sound that genre had always desired to express, namely a machine crushing human hope like a Charles Dickens novel. Together these influences formed a sound like Killing Joke accelerated into apocalyptic nihilism with the raw sonic experimentation of death metal.
Streetcleaner came together like an impossible dream. It borrowed from many musical traditions but the band kept both its own voice and a style specific to the album. What really distinguishes this album however is the content. Streetcleaner captures a range of human emotions in response to the disaster of human emotions that creates our modern world: individualistic selfishness leading to herd behavior empowering vast evils. In putting this into sound, Godflesh opened a dialogue with the darkest parts of our souls and the reason those souls are dark, which is that we know the possibility of light.
The band never concentrated its energy in such a way again. The following album, Pure, went back to a higher concept version of their first EP, but never managed the emotional intensity that the interwoven melodic streams of Streetcleaner brought out among the crushing noise and abrasive battle robot rhythms. They swung back the other way toward indie rock for a few more albums, but those went too far into face-value emotion and lost both intensity and honesty. Eventually the band faded out into a series of projects pursuing influences as most senior underground efforts do. However Streetcleaner remains as the apex of industrial music and the album every dark topics band wishes they could make, as well as a profound influence on the rising black metal movement and the second wave of death metal.
Back in the chaotic early 1990s, most death metal bands were racing to catch up with albums like Morbid Angel Blessed Are the Sick and Deicide Legion. Bands increasingly experimented with complex rhythms and riffs but eschewed the radio-friendly sound of the last generations of metal, including the melodic harmonized guitar attack of Iron Maiden.
Enter Sentenced. Like At the Gates before them, this Finnish band decided to work with melody in addition to complex riffs, and to do so began to work with lead-picked single-string melodies. After their first album of Swedish-inspired primal death metal called Shadows of the Past, Sentenced improved musically and artistically and took the leap into melodic metal. At this point, almost no bands would touch this style as it seemed an anachronism held over from the 1980s where death metal was forging ahead with chromatic riffs and difficult tempi.
Sentenced took the Slayer approach to songwriting with verse-chorus songs interrupted by transitional riffs for emphasis wrapped around a lyrical concept and added to it the Iron Maiden style harmonized guitars producing a melodic effect. Following a lead from At the Gates, the band also allowed melodies to evolve over the course of a song, creating an immersion in similar sound in which slight textural and phrasal changes could take on greater effect. Along with other bands like Unanimated and Cemetary, Sentenced forged a different path which succeeded because it kept the alienated and dark sound of death metal.
Just a few years later, this sound would explode as bands like Dissection mixed more of the NWOBHM melody and even more abrasive death metal and black metal technique into the mix. After that, clone bands like Dark Tranquillity and In Flames took this style further toward radio metal, but for a few years, this small group of melodic death metal bands revealed the potential of this style. North From Here much like its iconic cover transports the listener to a consciousness beyond the everyday in which union with the empty cosmos and the potential of transcendence of the everyday propels the mind through not only darkness but into a sense of magical light which rediscovers life as a visionary journey. Without losing any of the intensity of their earlier album, Sentenced layered emotion on top of aggression and produced a lasting and unsurpassed testament to the power of this genre.
Twenty-one years after the Fuck Christ tour ravaged North America, the Fuck Cancer 2 fest will hit Houston, Texas. On August 23 and 24th a passel of death metal bands descend to tear out eardrums and possibly other body parts with the proceeds going to medical costs for cancer patient Calan Cazares.
10:00 CEREBRAL ROT
9:00 Entrenched Defilement
8:15 Desecrate The Faith
6:45 Sever the Silence
6:00 Eviscerate the Proletariat
5:15 Irreconcilable Suffering
3:45 Malignant Rot
The metalcore explosion — djent, math metal, ultra-jocky tech-death, post-black metal, smooth melodeath — pushed itself to the forefront of most American scenes holding the false banner of metal.
Adolf Hitler’s minister of propaganda Joseph Goebbels said that “if you tell a lie big enough and keep repeating it, people will eventually come to believe it.” Rock bands that borrow a few aesthetic metal stylings and graft them on to punk songs can proclaim themselves as metal and tell the press which repeats the Big Lie until it becomes so in the minds of most people. Songs shifted their focus from the mythological-historical narrative of metal and like all other rock, became obsessed with the individual, teenage angst, and narcissism. By this method the genetic coding and spirit of metal was wrecked and replaced with just another commercialized product.
Why? Because the spirit that metal music exemplified didn’t appeal to the self-obsessed mainstream crowd. They do not seek intellectual and spiritual challenge in the music they listen to. They want quick, easy, disposable background music that reflects and validates the one-dimensionality of the personas they have adopted. Most contemporary metal consumers consider metal to be just another form of entertainment like a football game, superhero movie or reality television. Because of the large number of people that hold that sentiment, the message (and the music as a result) suffers and gets confused.
Heavy metal represents a brave and inquisitive spirit diving into the unknown to find meaning and beauty. It challenges dogma and stasis and rejects conformity and inaction. Its very foundations are based in horror, grim Nietzschean realism, darkness, and the occult. Instead of fearing these dark forces metal admires them a necessary aspect of a full and intense life. It de-emphasizes the individual, reminds us of death, and praises the power of the natural world. The unsafe tendencies of the metal spirit forces the mainstream acts who want to assimilate it to pick-and-choose surface styles that would appeal to mainstream audiences (distorted guitars, fast drumming, etc) and incorporate those alone into their style. At its core this new music is the same as rock, pop and television: no structure, all surface appearance.
The spirit of metal gives meaning to music and forces the aspects of its surface appearance to reflect its inner organization. Without that spirit, what metal communicates to the listener is lost and the aesthetic elements that make up metal become meaningless. That meaningless was the goal of those who would assimilate it, because if they take the core out of the metal, they can turn it into a product for their own purposes. Celebrate the metal spirit and keep it alive through supporting or creating quality metal, because its wisdom and dark splendor is eternal.