Chilean old-school underground metal zine Compilation of Death prepares to release its third issue, a book-bound assorted of interviews, reviews and features on underground death metal and black metal music.
Under the ministrations of editor Gabriel Andres Gatica Kretschmer, Compilation of Death has steadily gained audience and notable writers like Daryl Kahan of Disma fame. Its first two editions now being completely sold out, the zine looks forward to a new audience with this professionally packaged and ornately laid out content.
For years our media saw heavy metal as a kind of deviation from normal pop, which was presumed to be innocent and healthy. Metal, on the other hand, embraced the dark and obscure, the labyrinthine and the terrifying, and — unlike most pop — failed to condemn war, conflict, murder and occultism as “evil.”
As time goes on, it becomes clear that the terms “good” and “evil” are frequently inverted, with each taking the meaning of the other. For example, totalitarian dictators have a tendency to portray normal life as evil in order to make their systems of control seem “good”; conversely, pop music and other products like to pretend they are good and metal “evil” in order to infiltrate your headphones.
Increasingly, however, research shows that pop music is instead the siren call of a civilization collapsing into idiocracy, or rule by morons for idiots. As portrayed in the movie Idiocracy, this state occurs when the thoughtless and incompetent outbreed the intelligent and insightful, resulting in the ultimate consumer society of know-nothing, apathetic people.
Research proves what our parents have been saying all along: Modern pop music really is worse than older generations of pop music. Not only that, it has negative effects on your brain, too — if you’re chiefly a pop music fan, you’re likely to be less creative than any other kind of music lover.
In 2008, Adrian North of Scotland’s Heriot-Watt University published the largest study yet of musical taste, involving 36,000 people, 60 countries and three years of work. He asked each participant to rank their favorite genres of music. He discovered that the most common characteristic among all genre listeners was creativity. However, one group of listeners showed a genuine and significant lack of creativity: pop music lovers.
This suggests what metalheads have said for years is in fact true: metal embraces not just forbidden topics, but acts out the forbidden idea that some music is indeed brain-dead and should be avoided. Wimps and poseurs leave the hall!
Further, heavy metal — by the complexity of its composition, the intricacy of its thought and lyrics, and the technicality of its instrumentalism — acts as a counter-force to this great dumbing down. Unlike music which tries to be popular by challenging no one and making sugar-laden over-processed musical junk food for the inattentive, heavy metal engages its audience and speaks forth social taboos in order to expand the mind and challenge the intellectually sedentary.
It is unlikely that the mainstream media will take note of this. It only takes note of metal when it is “socially conscious,” or flattering our current pretenses of being an upward society moving toward Utopia, instead of a dying civilization creating dystopia through oblivion toward reality as a result of popular narcissism. But parents might take note as they see their children become glazed-eye zombies in the hands of media designed to support idiocracy, not challenge it.
With all of the unanswered questions behind Sepultura lurking in the minds of metal fans, it makes sense that Max Cavalera would launch a guided autobiography like My Bloody Roots: From Sepultura to Soulfly and Beyond. Together with metal writer Joel McIver, Cavalera pens a work that fits within the genre of rock ‘n’ roll confessional-biographies but underneath the surface, a careful hand edited this narrative into a smoothly-flowing storyline that hits the points of interest to Sepultura fans.
Since the fragmentation of Sepultura, fan rumors and lore have obscured the complex dynamic of interacting personalities that made up the Sepultura camp and led to the consequent splintering off of Soulfly and other related projects. McIver shows his prowess in debunking lore by tracing it back to its origins and exploring the context of the time, which tends to show the lore as anomalous, and then making suggestions as to what was more likely to have happened. Cavalera seems amenable to this process.
My Bloody Roots: From Sepultura to Soulfly and Beyond reads like McIver accompanied Cavalera for months asking him questions about the past and then stitched together the chaotic responses into a single line of thought. The result is both genial and informative, since with multiple choices for any data point, McIver picked the one that was most thoughtful. As a result the text tends to frequently read as a pleasant narrative that suddenly gets serious in tone and detailed when an important point arises but does not, like most rock bios, leave fundamental questions unanswered by glossing over them with a trivial acknowledgment or anecdote.
The result knits together many complex threads in a narrative that has been both shrouded in mystery and inundated in propaganda from multiple warring points of view during the later years of Cavalera’s career. McIver makes the text flow so that the whole book resembles a campfire conversation. He brings out the texture in Cavalera’s voice by allowing as much as possible of his original statements to persist but seems to have re-ordered them and edited them to make them more efficient and thus intense than your average rock interview.
I started using only four strings on my guitar right after Bestial Devastation. My B-string broke at a practice, and we had a roadie, Silvio, who ended up singing for a band called Mutilator. He said, ‘We have a bit of money left, so we can buy a new string or booze,’ and I was like, ‘Fuck the strings, I never use that one anyway, so let’s get drunk.’ He said, ‘Why don’t you take the top E-string off as well and make it four?’ and I was like, ‘Why not?’
I got used to it, and it became my trademark. I never learned to play lead guitar, and I still can’t, to this day.I could learn if I worked really hard on it, and if I just did a simple, slow solo, but I always wanted to be rhythm only. I wanted to take riff-making to a new level. (61)
From this approach comes a wealth of information about the early days of Sepultura, but it is best read in its full form without an attempt at summary here which would miss the richness of detail and character it reveals. Over half of the book focuses on the post-Sepultura years, which for those of us whose interest in this band died with Arise seems like it would be extraneous, but surprisingly was not. I started reading this like any other story and found Max Cavalera a compelling subject as presented by McIver, and was curious to see how the story fully developed. As the story of a musician trying to find his path, it was ultimately satisfying to see Cavalera achieve the commercial success he has desired for years.
While many metalheads shudder at the mention of Soulfly or Cavalera’s extensive projects after that time, My Bloody Roots: From Sepultura to Soulfly and Beyond correctly identifies the origin of this tendency in Chaos A.D. and also shows how this was the fulfillment of Cavalera’s original intent. For him, death metal was a transition toward what he liked, which was the simple roots rock and early punk in which a catchy riff and chorus made the song. Through careful storytelling, this fact emerges fully-documented by the backstory of Cavalera’s early life and musical inspirations, and changes what seems like a sinister sell-out to a quiet disagreement. Similarly, seeing the narrative leading up to the Cavalera brothers Igor and Max feuding in the post-Sepultura landscape explains many of the mysteries and lore that surround them to this day.
Although rock biography is not known for its depth and is generally assumed to be more of a public relations exercise than historical fact-based mission, My Bloody Roots: From Sepultura to Soulfly and Beyond does its best to balance the two and let Max tell the stories as he sees them, while uncovering a factual framework that puts his words in context. Thanks to some inspired interviewing and editing, it is now easy to delve into the fascinating history of the Sepultura experience and how it shaped metal.
As the Ebola virus continues to ravage Africa and spreads into America and Europe, it may be time to get over our squeamishness and explore the wealth of death metal that can be played as we all get headaches, have flu-like symptoms, and finally pass out in pools of blood expelled from our various orifices.
With the help of our readers, we’ve assembled an all-star death metal, grindcore and black metal playlist for Ebola fanatics:
Baphomet – “Infection of Death” (The Dead Shall Inherit)
Carcass – “Vomited Anal Tract” (Reek of Putrefaction)
While many metalheads remain skeptical of academic study of society, the prospect of having orderly study applied to metal carries some benefits in understanding for both metalheads and society at large. So long as this study interprets metal and then develops theories about it, instead of cramming metal into existing theories, it should provide benefits.
In this respect, metal studies walks the same line as commercialism. When bands make music that is both good and popular, few complain; when bands make popular music, and cover it in a skin and aesthetic of metal without adopting the core of what it is to be metal, even the surliest wimps and poseurs begin to feel uncomfortable with the arrangement. Opeth, Cradle of Filth and Pantera, we’re looking at you.
Serbian black metal band Zloslut will unleash its second album U Transu Sa Nepoznatim Siluetama in spring 2015 on Dark Chants Productions. To prepare audiences for the new work, Zloslut have released a sample track “Ukleta” (below).
We first reviewed ZloslutZloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti, which combines black and death metal styles into a unique voice expressing an idea and atmosphere specific to this band, back in February. Since that time, the band has composed and recorded the new full album which will be released on CD and LP early next year.
Zloslut composer Utvara answered our questions for a brief profile as follows describing the new direction this band is taking and how it affects their distinctive sound.
How is the second album different from the first?
It is a completely new album, unlike the first album which was still quite linked to the older material.
First of all, we have made a step forward when it comes to production. It is not crystal clear, but it is not raw either, so expect something in between. The album is around 40 minutes in duration and comprised of 8 all-new tracks, with less instrumental composition than we had on Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti. This time you can expect something new in our music in the form of sampled chants and clean vocals here and there. But it is still Zloslut, primitive, ominous, dark in my own way.
Where did you record it, with whom as engineer and who on mixing deck, and how long did it take?
The album writing started a little bit before the recording of the first (well, this precisely concerns only one track), but the recording phase was a question of only a few days. But all in all, it took me two months for getting everything ready from music to design.
It was produced, engineered, mastered and mixed by Nemanja Krneta (a.k.a. Zlorog), I worked with him already back in 2012 for the EP Pustoš i prevare izgubljenih duša. This guy knows what I want, so that’s why I contacted him. And I’m very happy about how everything turned out, from the recording to the final phases of the whole album.
The recording itself occured in Belgrade, Serbia, at various studios.
What are the topics of these song-titles? I don’t think “Google translate” will work on these.
“U transu sa nepoznatim siluetama” means “In trance with the unkown silhouettes”.
The tracklist is (with translations in parentheses):
Odjeci Ezoteričnih Misli (Echoes of Esoteric Thoughts)
Kletva Ožalošćenog (Curse of the Grieved)
Crni Um (Black Mind)
Transcendentalni Ples Ludila (Transcendental Dance of Madness)
Ukleta (The Haunted One)
Budućnost Smrću Blista (The Future Shines of Death)
Istinska Odanost (True Devotion)
Poslednji San (Last Dream)
The lyrics are quit poetic, if I can say that despite not considering myself a poet. All lyrics deal with occultism, death, delusion of life and mankind.
The University of Victoria English Department and the Heavy Metal department at the University of Victoria invite paper submissions for their upcoming conference, Tribe & Rite: A Heavy Metal Student Conference. The conference will be held at the University of Victoria, Vancouver Island, British Columbia, Canada on November 8-9, 2014.
According to the organizers, “Metal culture celebrates the wild, the grotesque, and the forbidden. We invite papers on these themes from across the humanities, social sciences, fine arts, and related disciplines. Papers can draw on lyrics, musical technique, aesthetics (music, fashion, album art), innovations in metal, regional and historical metal movements, and more.”
The organizers suggest the following possible topics:
The makings and markers of a metalhead
Metal as genre, subculture, counterculture, or tribe
Rites and rituals of regional/historical metal movements
The transformation of metal by academia and vice versa
Generational differences in metal
The influence of metal on other cultural movements (e.g. punk, hippy), and vice versa
Comparison of metal with other cultural movements
Comparison of subcultures within metal (e.g. the radical politics of crust, the Satanism, neo-paganism, and occultism of black metal)
The future and fate of metal
Inclusive and exclusive behavior among metalheads
The relationship between metal music and memorabilia
Including former Asphyx drummer Bob Bagchus and original Asphyx guitarist Eric Daniels, Soulburn — known to many as the “off-brand” version of Asphyx during personnel shakeups — returns with a 2014 album entitled The Suffocating Darkness to be released via Century Media on November 17th in Europe and November 18th in North America.
As Asphyx continues its drive in parallel with Hail of Bullets to make a modernized form of its pounding abrasive death metal, those who are less committed to playing as a professional band have shifted to Soulburn where they can keep normal lives and still produce music. For Asphyx fans, this move provides two benefits, namely the more commercial version of Asphyx dominating the airwaves while the more underground version can more flexibly explore its style.
Bagchus and Daniels add Twan van Geel (Flesh Made Sin, Legion of the Damned) as vocalist/bassist and Remco Kreft (Grand Supreme Blood Court, Nailgun Massacre, Xenomorph) as a second guitarist. The album was recorded with Harry Wijering (Harrow Productions), mixed and mastered by Dan Swanö (Unisound Recordings) with artwork from Timo Ketola and Roberto Toderico.
“Bringing Soulburn back to life was a natural thing to do since the inspiration was huge, more than ever before. Playing the old songs as well as the new incantations is a blessing. The riffs and thus the songs kept coming and coming and we knew we were on the right track. The new deal with our longtime label Century Media Records was the next logical step,” said Bagchus.
Twan van Geel – vocals/bass
Remco Kreft – guitar
Eric Daniels – guitar
Bob Bagchus – drums
First observation from the newest At the Gates track is encouraging. This is clearly better than the sing-song candy-pop that blighted Slaughter of the Soul and ventures tentatively into the land of darker melodies and stark contrasts that defines the death metal approach to mood.
Approximating the descending chord progressions from Terminal Spirit Disease, “At War With Reality” reveals At the Gates applying the more popular aspects of their sound as a means of intensifying older-style tremolo riffs. The solo comes straight from modern death metal and incorporates many elements of older heavy metal and hard rock, and the song builds itself out of a strict verse-chorus loop with overlays and internal melodies via lead rhythm guitar. As such, “At War With Reality” does not return to the good old days, but mixes the later days of the formative period of this band with newer styles and produces a song with more depth and power than the singalong material of Slaughter of the Soul.
As far as those hoping for the complex arrangements and internal melodic dialogue of the first At the Gates album, “At War With Reality” does not go that far. It is however only one track from the album, albeit the title track, so the rest remains an unknown quantity. But this shows the band moving closer to a form of music which has greater intensity, and in the process tempering the lite jazz and post-hardcore/emo influences of recent death metal hybrids, and so takes a positive step for At the Gates and death metal as a whole.
Greek black metal founders Varathron return with a new album that takes the band in a modernized melodic metal direction but does so without losing the unique balance of heavy metal hooks and dark atmosphere that defined the debut, His Majesty at the Swamp.
Untrodden Corridors of Hades, which will see release via Agonia Records on November 21 in Europe and December 9 for the rest of the world, veers away from the old school doom metal sound of the debut but picks up with a version of the melodic metal of Walpurgisnacht but in a modernized style. This new style adopts the frenetic pace and compressed song structure of contemporary metal, but within that style, the ear for melodic composition and atmosphere of the original band makes itself audible.
With a cover by famed metal artist Mark Riddick, Untrodden Corridors of Hades was recorded, mixed and engineered by Kostas Kalampokas at Infinite Loop Music Studio in Greece and mastered by Tom Kvålsvoll at Strype Audio in Norway. The new album resembles 2009 release Stygian Forces of Scorn but with new energy and louder sound, as the embedded sample below reveals.
Kabalistic Invocation of Solomon
Realm of Obscure
The Bright Trapezium
Delve Into the Past
Stefan Necroabyssious – vocals
Achilleas C – guitars
Sotiris – guitars
Stratos – bass
Haris – drums