Former black metal, now heavy metal band Darkthrone have announced the upcoming release of a triptych analog release via Peaceville, featuring a retrospective from each stage of the band’s career. Entitled Black, Death, and Beyond, the tracklist is as follows:
2. Sunrise over Locus Mortis
3. Soulside Journey
4. Neptune Towers
5. Nor the Silent Whispers
1. Iconoclasm Sweeps Cappadocia (NRK version)
2. Sadomasochistic Rites
3. In his Lovely Kingdom
4. Black Daimon
5. Paragon Belial
1. In the Shadow of the Horns
2. Inn I De Dype Skogers Favn
3. Under a Funeral Moon
4. I en Hall Med Flesk og Mjod
1. The Hordes of Nebulah
2. The Claws of Time
3. Fucked Up & Ready to Die
4. Hate is the Law
5. The Cult of Goliath
1. Graveyard Slut
2. Forebyggende Krig
3. These Shores are Damned
4. Pervertor of the 7 Gates
5. Wisdom of the Dead
1. The Winds they called the Dungeon Shaker
2. Grizzly Trade
3. Those Treasures Will Never Befall You
4. Stylized Corpse
5. The Ones You Left Behind
Additionally, the release will be accompanied by a book detailing the history of the band’s career, with input from Fenriz, Nocturno Culto, and former bassist Dag Nilsen, in addition to archival photos and commentary from associated artists and conspirators.
On choosing which tracks to be included on the release, Fenriz described his method, which he calls the “Fenrizolator”:
I never quit my day job; one of the reasons being that I can listen to music on headphones there all the time. To the extent that I rarely listen to music at home anymore, and if I do it’s like I can’t hear it PROPERLY. At work with headphones is where the details reveal themselves and also which songs I can and can’t use in compilations or dj’ing appear quite clearly.
Every time I get/buy a cassette or vinyl I have to transfer them to wav files via a computer programme, then I write a little note to accompany the final burnt disc. But the note first swings by my workplace where I can rate the various songs with a clever underlining-system called THE FENRIZOLATOR. And so passes the days.
He went on to state that following his system, Hans Siste Vinter was the band’s worst track, and The Cult is Alive received the highest score.
As part of our exploration of academia in metal, we meet all sorts of interesting academics with different relationships to metal. Some are more on the academic side, some on the musical, and some in-between. Ross Hagen straddles both extremes by being both a musician and an academic with a focus on teaching metal. As a result, he brings both personal experience and delight in the genre to the otherwise more abstract academic view. We were lucky to get in a few questions with this interesting person and teacher.
You’ve got two degrees in music and one in musicology. What launched you along this direction? Did you intend to become an academic, or did the music lead you there?
I think this career path resulted from my love of music coupled with the fact that I didn’t really have the discipline for seriously practicing a musical instrument so I could play professionally. I’d much rather spend six hours a day in the library. Graduate school was also a nice way to extend my adolescence and avoid adult responsibilities for a few years after college. But when I think about it, I suppose that academia was always an intention of mine, whether I thought about it consciously or not. Both of my parents were educators, so I guess I’m something of a poster child for following the path laid out by my upbringing.
What got you involved with heavy metal? Were you a fan before you studied it? What appeals about it to you, both as a research subject and as a personal listening experience?
I was definitely a fan before I began pursuing it as a topic of study. My father was a college professor and his students would occasionally loan him tapes and CDs so I was listening to a lot of college rock and industrial music (well, NIN anyway) in my early teens. At one point he had a student who loaned him some of the early albums by Amorphis, Samael, Tiamat, and My Dying Bride and I dug them a lot. It wasn’t until college that I found other people who liked that kind of stuff and expanded my listening though. I feel like I’m still playing catch-up on a lot of older material from the 70s and 80s especially. I also got into musicology as an undergraduate and began including metal in my studies there.
…blast beats and tremolo picking seem to suspend rhythmic momentum and time in black metal when coupled with more slowly changing harmonies and hazy-sounding production. I also related the use of full chord voicings and the use of parallel minor 3rds and 6ths (in Emperor’s music especially) to an interest in chaotic sorts of sounds…
From a personal standpoint, I suppose I find it empowering in some respects, but I also like that black metal especially is a style where it’s easy to just get lost in the sound. As a bassist and composer I like that metal is challenging to perform and that it’s a style that is quite malleable in some respects even as its fundamental ingredients remain relatively stable. I think that’s part of what I like about it as a researcher as well; the tension between the metal’s core attributes and its desire to evolve and change.
You’ve contributed a piece, “Musical Style, Ideology, and Mythology in Norwegian Black Metal,” in the compilation Metal Rules the Globe. Can you tell us about this writing, and what your thesis generally was?
This was a version of my 2005 Master’s degree thesis where I wrote about some of the key elements of the “second wave” black metal musical style and related them to the genre’s interest in the supernatural and mythical. In particular I looked into the way that blast beats and tremolo picking seem to suspend rhythmic momentum and time in black metal when coupled with more slowly changing harmonies and hazy-sounding production.
I also related the use of full chord voicings and the use of parallel minor 3rds and 6ths (in Emperor’s music especially) to an interest in chaotic sorts of sounds since those types of chords are much less focused and resonant than the typical metal power chord when played with lots of distortion. I considered these musical conventions as evocations of trance experiences because they create a sense of stasis and timelessness (in a literal sense) by obscuring rhythmic propulsion and harmonic clarity.
I was at the time interested in connecting these musical devices to the sort of Norse revivalist rhetoric that was regularly coming from people like Varg Vikernes and that also underpins Michael Moynihan’s Lords of Chaos, especially mythical figures like the berserker…that black metal seems to reward an ideal of virtuosity based on physical endurance rather than dexterity and nimbleness, things like that. I do think that there was a certain aesthetic affinity with these mythical ideals for some black metallers, that they envisioned themselves as warriors or as part of a charivari tradition trying to bring back a romanticized ideal of pre-modern Europe. However, I think that the chapter’s main contribution is the articulation of the musical style…or at least when I go back and read it those are the parts that I think hold up the best.
You teach courses on popular music, music appreciation, and music history at Utah Valley University. Does this include metal? How do students respond to it? Does their response change depending on whether they are metalheads or not?
Most of them seem to respond fairly positively to it when I do teach it, which usually only happens in the course specifically centered around popular music. I do include bits of Eddie Van Halen and Yngwie Malmsteen in my schtick on musical virtuosity in the music appreciation classes, but more as a side comparison. Students in the popular music courses seem to respond well to it even if they aren’t fans, since by the time we get into it most of the students understand that “liking” a genre of music is not a prerequisite for investigating its musical style and influence. Metalheads or former metalheads (I actually hear that a lot here…metal is something they used to like as teenagers) tend get a little more into it, but I’m often pleasantly surprised as well when students who have no personal affinity with the style offer thoughtful considerations of it.
I find it interesting that you’ve composed music for the production of two ancient Greek plays at UVU. Are these going to be released? Is there any overlap between ancient Greco-Roman music and heavy metal?
Actually only one of them (Antigone) was an ancient Greek play. The other one, Eurydice, was a modern play by Sarah Ruhl that is built around the myth but definitely takes its own path (and was directed by my very talented and lovely wife Lisa). Oddly enough, my music cues for Eurydice actually did include a bit of Rammstein-ish heavy metal…the script called for it when the Lord of the Underworld enters dressed like a child and riding a tricycle.
I’m not planning to release recordings of Eurydice‘s music cues themselves since they wouldn’t make a whole lot of sense on their own (15 seconds of heavy metal, 45 seconds of lounge music, etc.) but I did put together a suite of sorts called gravity is very compelling out of the soundscapes from Eurydice. The Antigone score is likewise kind of boring out of context, but I’ve repurposed parts of it in other works here and there.
Regarding ancient Greek and Roman music, I can say with some certainty (even though ancient music isn’t a specialty of mine) that there’s not any overlap with heavy metal in terms of musical content. A lot of the theoretical ideas and writings helped lay the foundations for the European art music tradition in the medieval period, though. Plato’s famous concerns about the dangerous moral and social effects of “disordered” music also echo through the centuries to inform the various moral panics around heavy metal and other musical styles.
According to your biography, you’ve participated in more than a dozen album releases on various American and European labels, and perform in the ambient bands encomiast and Schrei aus Stein as well as two local metal bands. Can you tell us a bit about your musical history?
I started making ambient music with encomiast in the late 1990s, when I had access to a proper electronic music studio at college. That sort of whetted my appetite for it and I’ve continued recording stuff like it ever since, often drawing my friends into the mix as well. Most of the catalog from that project is available at encomiast.bandcamp.com, although I think my favorite is the 139 Nevada 2xCD that grew out of an attempt to record ghostly voices at a haunted theater. I started Schrei aus Stein when I wanted to do something that mixed drones and noise with more of a black metal aesthetic. Beyond those projects, in the last decade I’ve played in the absurdist metal duo Spawn of the Matriarch, the stoner metal band Governors, a krautrock/free jazz trio, a one-off Mortician-worship solo project named Immensite, and a couple of cover bands.
Currently I play bass in Burn Your World, a band that mixes extreme metal styles with some hardcore punk influence. We also have a side project called Curseworship in which I play bass and compose a lot of harsh noise and analog synth freakouts. Both of those bands have recordings coming out soonish.
What do you think is the role of music? Is it to communicate ideas, express emotions, or make an aesthetic object for others to appreciate? Or none of the above?
I’d probably say it’s more like all of the above in my view, depending on the context and the person who is experiencing it. Your last role (aesthetic object) is probably closest to the way I think about the music I create — I tend to think structurally rather than in emotional or rhetorical terms.
Do you think metal is a subject that should be taught in schools? There’s two viewpoints to this: from academia’s point of view, and from metal’s point of view.
I think that from an academic point of view it’s as valid a subject as any, and to my mind it provides a rich musical and cultural well for all sorts of areas of study. I’d also be lying if I denied that it gives me a lot of pleasure to teach and write about music I love, so there’s a selfish end too I guess! I certainly also understand why some metalheads might not appreciate it because sometimes it does seem like once something has the stamp of approval from the ivory tower it loses a lot of its countercultural credentials.
Some might see it (possibly correctly!) as a misguided attempt to validate metal as an art form…or perhaps to validate academia by borrowing some of metal’s coolness. I personally try to avoid giving that impression in my classes, but my position as an academic may make it impossible for me dodge those bullets entirely. So I suppose my ultimate answer is “yes,” but with acknowledgement of some pitfalls.
You taught a couple of metal-centric classes at CU-Boulder while you were finishing your degree. What were these like? How did you “teach metal”?
One of them was a single Saturday course done through Continuing Education that was sort of a quick trip through some various issues (musical style, censorship, etc.). The longer course was a version of a course on Rock Music that I team-taught with Joel Burcham. In that one my idea was to use metal as a way to explore various aspects of popular music, including recording, performance, fandom, authenticity, etc. My goal was less to teach metal and more to allow metal to teach us, if that makes sense.
You’re an ethnomusicologist; those seem like a cross between music historian and music analyst. How does understanding metal at a musical level help you understand it at a culture level? Are there correlations between the two dimensions of metal?
I sometimes feel like the primary thing my musical training provides me with is a vocabulary with which to work. I do find it helpful in terms of articulating aspects of metal music and production that encourage particular responses and experiences among listeners. As I mentioned in my summary of the “Metal Rules the Globe” article, I do think that some musical ideas can evoke particular experiences and reflect certain values. I would stop short of saying that they necessarily correspond to the values of the performer and the audience though. Sometimes that might certainly be the case, but I’ve come to be skeptical of sweeping correlations, mostly because I want to avoid misrepresenting the culture of metal as a monolithic entity. The more time I spend with metal and with other metalheads, the more I appreciate the diversity of experience within it.
One of your research interests is ritualism. Are there ritual aspects to heavy metal, especially the black metal variety?
I tend to think that almost every musical activity has some sort of a ritual component to it, using the term broadly. With black metal, though, I’m particularly interested in the deployment of Ritual “with a capital R” as a conscious effort to connect the music and performance with some archaic imagined past. In some respects, I think the past black metal invokes is the past of black metal itself, a retro recycling and recreation that is common to all music in some degree, but which has perhaps increased lately (Simon Reynold’s recent book deals with this better than I).
Rather than celebrating the protean side of 21st century identity, metal seems to demand a higher level of “identity essentialism” in that respect. It promises some measure of stability.
Invoking ritual also feels like an appeal to an authoritative kind of authenticity, an assertion that black metal is not entertainment or theater, but instead that it is a stable and “timeless” tradition and (importantly) not beholden to the vagaries of taste or fashion. The use of a fairly standard and narrow set of musical gestures and sounds, deindividualizing costumes and pseudonyms, and staged evocations of sacrificial death all work to this end. Of course, the “appeal to ritual” is also in some ways merely a marketing term and a performance conceit. It might go hand-in-hand with the increased visibility of black metal over the past decade or so.
I’m currently working with these ideas as part of a research project on musical ritualism as an authenticating tactic in popular music…possibly with a parallel trajectory in musical representations of monstrosity and supernatural forces. I’m still gathering my dogs together to see if they hunt though.
How important do you think heavy metal is as a cultural indicator? What does it tell us about our society?
I think it certainly has a role there, although I think that what it says varies a lot depending on who is involved in it. Actually, I think that if we look at metal around the globe, I might consider a lack of metal in a society to be more significant. It seems to be an almost ubiquitous presence, even under circumstances of war and deprivation.
I do think that the value so much metal discourse seems to place on trueness and authenticity is perhaps symptomatic of a larger sense of uprootedness in (American?) society. Rather than celebrating the protean side of 21st century identity, metal seems to demand a higher level of “identity essentialism” in that respect. It promises some measure of stability.
In your view, why is metal such a distinctive genre, with such strong rules and boundaries (trueness, cultness)?
It seems that being embattled or marginalized is an integral part of the way metal views itself, even if in some cases we might consider that metalheads doth protest too much. This sense of being outside the mainstream probably creates this sense of cohesion and belonging, as well as a bit of suspicion and distrust of outsiders and “un-metal” musical influences.
I think that the boundaries have actually gotten more stringent over the past decade or so in underground metal, although it’s probably more likely that I’ve just become more aware of them. I might suggest that as the artifacts and symbols of insider-ness in metal have become more readily available, the concern with maintaining boundaries has risen accordingly. As it becomes easier and easier to amass knowledge about the most obscure bands, along with their recordings, that obscurity loses its power.
Patch jackets don’t seem to carry the same weight if you can purchase a whole collection of rare kvlt “merit badges” in 20 minutes on eBay. This situation makes metal’s system of cultural signifiers less trustworthy in terms of judging someone’s commitment to the genre, so it seems like the boundaries need more strict enforcement. It’s only exacerbated in cyberspace. But of course the best way to be kvlt is to deny that it matters if you’re kvlt or not…it’s square to be hip, right?
You’re on the editorial board of the journal Metal Music Studies. How has metal in academia expanded during the time you’ve been observing, and where do you see it going in the future?
To be totally accurate, I’m actually just on the editorial advisory board, which just means I’ll be on-call as a peer reviewer once we’re totally underway. I hope to continue my involvement in the future, however.
When I first began writing about heavy metal as a graduate student in the early/mid 2000s, it seemed that there was precious little academic writing about metal beyond Walser, Weinstein, and sociological studies beating the dead horse connecting metal and crime/delinquency. Over the following decade it’s just blossomed as a field of study, and I think it’s impressively diverse. I mean, we’ve got people from sociology, ethnomusicology, historical musicology, fan studies, philosophy, and interested practitioners all in the mix. I’ve been trying (and failing) to keep up with all the publications. It’s an exciting and inspiring field.
I think that we’re going to see more studies that question the conceptions of locality and place in metal, since the increasing digital networks around the world are making physical geography less relevant in some respects. I know some scholars are working on the exoticism in metal, which seems especially interesting because it binds together questions of intent (patriotism? parody?) with issues of reception. It also seems that Metal Studies has focused a lot on the more extreme and underground subgenres, so I hope we might see more people begin to explore the intersections between metal and mainstream pop culture, both currently and in the past.
Former Dying Fetus member Jason Netherton, now proprietor Send Back My Stamps!, releases his latest creation in the form of a 480-page book of interview with figures in the death metal underground called Extremity Retained: Notes from the Death Metal Underground. The product of over 100 interviews over a three-year period, the book is comprised entirely of first-hand stories, anecdotes, memories and opinions.
The book attempts to “explore the scene through the voices of those who helped create it” and thus focuses its questions on zines, tape-trading and other rituals of the underground. These lengthy narratives are complemented by original cover and section art by Matt “Putrid Gore” Carr, incidental art by Gary Ronaldson, with design and typography from Tilmann Benninghaus, and title page by Timo Ketola.
Contributors to Extremity Retained: Notes from the Death Metal Underground include (but are not limited to): Luc Lemay (Gorguts), Alex Webster (Cannibal Corpse), King Fowley (Deceased), Stephan Gebidi (Thanatos, Hail of Bullets), Dan Swanö (Edge of Sanity), Doug Cerrito (Suffocation), John McEntee (Incantation, Funerus), Marc Grewe (Morgoth), Ola Lindgren (Grave), Paul Ryan (Origin), Kam Lee (ex-Massacre, ex-Death), Tomas Lindberg (At the Gates, Lock Up), Travis Ryan (Cattle Decapitation), Robert Vigna and Ross Dolan (Immolation), Jacob Schmidt (Defeated Sanity), Esa Linden (Demigod), Dan Seagrave (Artist), Rick Rozz (ex-Death, Massacre), Steve Asheim (Deicide), Jim Morris (Morrisound Studios), Terry Butler (Obituary, Massacre, ex-Death), Mitch Harris (Napalm Death, Righteous Pigs), Scott Hull (Pig Destroyer), John Gallagher (Dying Fetus), Robin Mazen (Derketa, Demonomacy), George Fisher (Cannibal Corpse), Ed Warby (Gorefest, Hail of Bullets), Rob Barrett (Cannibal Corpse, ex-Solstice), Donald Tardy (Obituary), Moyses Kolesne (Krisiun), Takaaki Ohkuma (Necrophile), Paul Speckmann (Master, Abomination), Anders Jacobson (Nasum, Necrony), Carl Fulli (Epidemic), Matt Harvey (Exhumed), Steve Goldberg (Cephalic Carnage), Ben Falgoust (Soilent Green, Goatwhore), Phil Fasciana (Malevolent Creation), Tony Laureno (ex-Nile, ex-Angelcorpse), Alan Averill (Primordial, Twilight of the Gods), Jason Fuller (Blood Duster), Alex Okendo (Masacre), Dave Witte (Municipal Waste, Human Remains), Lee Harrison (Monstrosity) and many more
Former black metal, now modern metal band Mayhem have announced further details about their upcoming album via Season of Mist. Entitled Esoteric Warfare, the track list can be viewed below:
Throne of Time
Corpse of Care
The album is set to be released on May 23, with a US release date on May 27. It will be available for pre-order next Wednesday, March 26.
Additionally, the band has planned a European tour to support the album’s release, with two festival dates currently scheduled later in the year:
14 May 14 Hamburg (DE) Markthalle
16 May 14 Bochum (DE) Matrix
17 May 14 Köln (DE) Essigfabrik
18 May 14 Eindhoven (NL) Effenaar
20 May 14 Bruxelles (BE) AB
21 May 14 London (GB) Electric Ballroom
22 May 14 Paris (FR) Le Divan du Monde
23 May 14 Winterthur (CH) Gaswerk
24 May 14 Milan (IT) Factory
26 May 14 Bratislava (SK) Randal
27 May 14 München (DE) Backstage Club
28 May 14 Berlin (DE) C-Club
29 May 14 Warsaw (PL) Proxima
30 May 14 Plzen (CZ) Metalfest Open Air Festival
31 May 14 København (DK) Pumpehuset
28 Jun 14 Lausanne (CH) Les Docks (Inferno Festival)
08 Aug 14 Øya (NO) Tøyenparken (Øya Festival)
The album’s first single, entitled Psywar is scheduled for release on April 26. It contains of an alternate mastering of the titular track (our review can be found here), in addition to a track entitled “From Beyond the Event Horizon”, taken from the scrapped 2012 Budapest Sessions.
Alternative metal band Machine Head frontman Rob Flynn recently launched a blog-based tirade in which he excoriates the current music industry for being too industrial in its approach to music. In his view, as soon as something succeeds and lots of people show up to make money off of it, creativity is crushed.
His specific beef is the twofold: the focus on quick sales as a means of determining the value of a band, and on the high charges passed on to bands through union rules for playing past eleven at night. However, Flynn also hits on some ideas that parallel those expressed by underground metal musicians.
The music business has sucked the life out of creativity. No one is encouraged to take risks, no one is encouraged to push the envelope, because it’s all about first-week sales! It’s about pointless radio play and how good your last tour went. How venues and promoters are squeezing the last drop of spontaneity out of your soul by not ‘allowing’ you to playing past curfew and not drawing outside the line.
When we play that game, we essentially applaud mediocrity.
There’s nothing dangerous about music these days, there’s nothing surprising about it either. There can’t be.
His complex rant (mainstream media would say “rambling”) ranges from topics such as how social media disconnects us and a loathing of requisite patriotism in music to the glory days of rock ‘n’ roll in the 1970s, but his point is clear: the more we formalize, make profitable and regulate the process of music, the more we convert it from being a passion into another blockhead industry.
Flynn concludes with a voice of some desperation. “Someone has to stir the pot. Something needs to come along and wake us up out of the slumber.” As underground metal observers, we note that any time a new genre becomes popular, it soon gets mobbed by imitators and marketers who drag it down and turn it into the same old “safe” but “edgy” stuff that in fact has no value to anyone. These people are apparently blind to the fact that they have crushed the value of a genre they pursued specifically because it had that value. Then, having polluted something else, they look for the next big thing to latch on to and parasitize, dragging it down as well.
Advertising agencies would like us to believe that Twilight is a “black metal supergroup”; but looking at the list of musicians involved, there isn’t much to do with black metal, let alone a noteworthy record within that genre. If there was a desire to be accurate, the band would be billed as “a group of musicians without much in common, to whom we rented a studio and told them to make something that we could promote”. It’s here the band succeeds…but not anywhere else.
The only thing (fit for print) in my mind while listening to this was: “How long does it take for something experimental to become established and lethargic?” Really, there is nothing new on this album. Noise rock was done in the 80s, stoner rock spawned as well, caveman moshcore flourished in the 90s, and linear, monotonous, American “black metal” has insulted eardrums for over a decade. We all know what these genres sound like. Mashing them together and adding constipated vocals does not constitute a new art form. It is not experimental or new. Nor is it worth releasing.
The most disheartening aspect of this release is that most of the musicians involved are talented to above-average degrees. Unfortunately, none of it comes through on this release. They (and us) would be better served heightening their unique take on their own art form, instead of limply moving to this unremarkable, bland middle-ground…but that doesn’t pay the bills.
After black metal collapsed, fans went looking for the next great genre to fill the void. Unfortunately, the only “new” developments post-1996 have been of retrogression. Whether combining metal with vapidity (“post-black metal”), commercialism ((Watain, Satyricon)), or frequently both; fans were left without any direction to look to. After reviewing the situation, some honest people realized that “progression” was a sham and the solution was to take metal back to its earlier underground roots in death and speed metal.
First, it must be mentioned that this band has a great many features pulling it ahead of 98% of contemporary death and black metal bands. Most importantly, the band is actually metal. It is not pop, grunge, or Japanese videogame music masked with metal aesthetics. Second, the music is competently organized in a manner which facilitates quick understanding of what the band is trying to achieve. Tracks are chaotic bursts of energy which merge the frenetic, kinetic mayhem of black metal with the lucidity of structure offered by death metal. Stream of consciousness motion stays grounded by the relatively consistent vocals, which serve as an anchor between the listener and the assault.
However, this type of composition is not without its pitfalls: due to its nature, songs end up sounding relatively uniform. This is not unheard of in the realm of death metal; however, the band seems to be discomfited by this and thus inserts disruptive moments which share more in common with modern black metal than is comfortable. These consist of slower, “ritualistic” meditations, which in reality is merely minor chord noodling over constipated rantings. Presumably this is supposed to compensate the direct audial rampage offered by the higher-energy sections with a darker mood, but it ends up sounding like a gimmick.
For Teitanblood to progress, it needs to learn how to unify these tendencies into a coherent presentation. If it achieves this, it will deserve all the praise heaped upon it now, but genuinely – as of now, the universal praise of this band reveals the general starvation of the underground metal community for quality releases.
Adramelech, long viewed as a younger brother to legendary Finnish death metal band Demigod, ride again with the re-issue of their classic Psychostasia on Xtreem Records. Revered for their ability to mix subtle melody with mid-paced death metal rhythms to produce an enveloping sense of pervasive darkness, Adramelech like Demigod found their way into many death metal collections but remained out of the spotlight that favored more dramatic bands.
The new version of Psychostasia features three live tracks, two taken from the Seven EP, and remastering of the original album. According to those who have heard it, this produces a louder but more even sound while preserving the nocturnal atmosphere and menacing ambiguity of the original.
Xtreem Music, a continuation of Repulse Records, continues a long tradition of putting out quality underground releases and now augments that tradition by adding quality re-issues such as this one to its catalog. A new generation of fans — being of the personality type too alert to be fooled by the circus music of metalcore or bore-drone of shoegaze black metal — may discover the majestic power and infernal might of classic Finnish death metal with this release.
Former lead singer of Warlock and full-time metalhead Jerry Warden seeks 501(c)(3) status for a Metal Hall of Fame to go in his home town of Arlington, TX. He has trademarked the name and plans to showcase the memorabilia he has collected over the years of his involvement in North Texas metal.
“We’re just waiting on the nonprofit status,” Warden said, “and then we’ll have a full tank of gas.” Among other exhibits, he plans a display of the “big three” of DFW area metal: Gammacide, Rigor Mortis and Pantera.
Our only caution here at DMU is that “heavy metal” is a much-abused term. Metal-Archives took a sensible position on allowing only metal bands, but then bent that position to include the post-punk hybrid modern metal bands; MIT’s “Heavy Metal 101″ takes a similar line-drawing approach. It’s harder for a public display to do that when people are going to come there to spend money based on the expectation of seeing their favorite “heavy metal” bands, whether those have any relation to metal or not.
Tom G. Warrior is a relentless innovator and amazing composer. As he details in his book Only Death is Real: An Illustrated History of Hellhammer he grew up in an abusive, uncertain environment within a broken home. He also grew up in “perfect” Switzerland, a place that has more rules than people. These events shaped his personality or rather, the limitations that are still imposed upon it.
What happened was that young Tom G’s ego was crushed and doubt was introduced into his mind. Doubt about the purpose of life, or even his own life. Doubt of self-worth. Fear that at any moment he might find himself without a justification for existing, and be truly discarded and alone. That’s a heavy load for a young person to carry, but the sequential success of Hellhammer and then Celtic Frost lifted Tom out of it. It also pushed aside a healing process.
When Celtic Frost evaporated, Tom launched on a series of attempts to find popularity again, but on his own terms. First, his highly inventive industrial music, and later, attempts to be contemporary. The latest two are below, and they are marked by a duality: a great underlying talent, desperately attempting to ingratiate itself with newer metal audiences. Like all things that do not take a clear direction, they are thus lost on both fronts.
This is not a hit piece on Tom G Warrior. Like many metalheads, I hold him in the highest regard. He is one of the great innovators and farseeing minds in metal. However, his tendency to try to adapt to what is current shows what is currently happening in metal: in a dearth of ideas, the genre is recombining past successes that represent the culmination of earlier genres, and is trying to recapture its lead by offering a buffet of different influences. But alas, like the music of Triptykon, these forays are lost causes.
Currently a morass of subgenre names exist. We can call it metalcore, or modern metal, or math metal, or tech-deth, or even djent, but all of it converges on a single goal: to make a form of that great 1980s speed metal — Metallica, Anthrax, Testament, Exodus, Nuclear Assault — that used choppy riffs made up of muted chords to encode complex rhythms into energetic songs. To that, the modern metal bands have added the carnival music tendency to pick entirely unrelated riffs to add variety, the grooves of later speed metal, and the vocals and chord voicings of late hardcore and its transition into emo.
What this represents is not a direction, but lack of one. By combining all known successes from late in these subgenres, modern metal is picking up where the past left off before death metal and black metal blew through and rewrote the book. The problem is that making music that is intense like those underground genres is difficult, and even more, unmarketable. It approaches the issues in life that most of us fear, like mortality and failure in the context of powerlessness and meaninglessness, and thus presents a dark and obscure sound that makes us uncertain about life itself. Like Tom G Warrior living through a shattered marriage of his parents and a society too concerned with order to notice its own boredom and misery, black metal and death metal shatter stability and replace it with alienated existential wandering.
On the other hand, late punk offered ideological certainty and heavy doses of emotion. Late speed metal, which Pantera cooked up out of heaping doses of Exhorder, Prong and Exodus, offers a groove and a sense of a party on the wild side. Inserting bits of death metal, especially its technical parts, and some of the frenetic riffing of Discordance Axis allows these bands to create a new kind of sound. But at its heart, this music is still speed metal. Where death metal played riff Jenga and put it all together in a sense that told a story, modern metal is based in variety and distraction. It exists to jar the mind, explore a thousand directions, and without coming to a conclusion ride out in the comforting emulation of the chaos of society around it.
But at its heart, these bands are speed metal. Like Triptykon who revitalize the E-string noodling and riff texture of more aggressive speed metal bands, with the bounce of Exodus and the groove of Pantera, these bands offer a smorgasbord combined into one. They mix in melodic metal, derived from what Sentenced and later Dissection made popular, to give it a popular edge. However, what they’re really doing is regressing to a mean. This has happened in metal before, when mid-1970s bands recombined Led Zeppelin and Black Sabbath into rock-style metal, and in the mid-1980s when glam metal did the same thing but mixed in the gentler sounds of late 1970s guitar rock bands. When metal loses direction, it recombines and comes up with a mellower, less threatening version of itself.
All of this is well and good if we do one single but difficult thing: recognize that what we’re listening to now is a dressed-up version of what metal and punk were doing in the late 1980s. We’re walking backward in history, away from that scary underground death metal and black metal, and looking toward something less disturbing and more fun at parties. It seems no one has come out and said this, so I figured it must be said. Enjoy your weekend.