In darkness heavy metal finds its greatest friend. From the ominous tritone of Black Sabbath to the most vicious and bestial extreme metal of the modern day, diving into the abyss to find meaning has been metal’s clarion call. Keeping true to that paradigm, and displaying the ability to build upon it, Wormreich have crafted an EP of atonal black metal titled Wormcult Revelations.
Standing above ordinary circular composition, Womreich use leitmotifs if even on a small scale to expand the power of experience in this work. The narrative of this EP reveals itself through four songs which share returning ideas across the album, like a Satanic opera concluding in sinister victory. Cold and dark riffs, like a gathering of fervent souls brought together to recite the devil’s gospel, enclose this stygian mood. The dark, horror-like atmosphere of this EP separates this band from similar acts. The two instrumental keyboard tracks, “Shaare-Maveth” and “Codex Lvciferivm” use the dark-ambient style to emphasize that murky atmosphere.
Wormreich succeed in delivering a batch of haunting and devilish black metal similar to the likes of Aosoth, old Watain, and Deathspell Omega. Wormcult Revelations leads you through a whirlwind of smoke and fire for an authentic ritual experience.
I. Revelation I: Vox in Rama 2:30
II. Revelation II: Serpents of Choronzon 7:06
III. Shaare-Maveth 1:57
IV. Revelation III: Devotion’s Final War 7:15
V. Revelation IV: Enim Satanas Meum Sanguinem 7:25
VI. Codex Lvciferivm 5:08
VII. Malign Paradigm [Deathspell Omega cover] 4:45
Attitudes toward metal differ between Europe and the United States with the UK in the middle. One thing remains certain: until metal started prettying itself up with accepted genres like lite-jazz and indie rock, and adopting socially cherished “civilized” attitudes, it got nowhere on a big scale.
In vaunted music magazine NME Lars Ulrich (Metallica) attacks the perceived class divide between hard rock/heavy metal fans and the “sophisticated” mainstream rock audience:
In an interview for BBC 6 Music, the Metallica drummer and founding member complained about the media’s attitude to hard rock. He continued: “People have short attention spans in 2014… They like things broken down into easy, digestible sound-bites. It’s like, Metallica at Glastonbury, what’s the sound-bite? ‘Here comes the big bad heavy metal band to our precious little festival.’ I don’t think it’s genuinely like that… but there obviously are people who snub their nose a little bit at hard rock, and look at hard rock as inferior or lower-class, some sort of lower music form or something, and [think] that the people who listen to hard rock are less educated.”
Speaking about the same festival, the Glastonbury pop fest in the UK, Bruce Dickinson (Iron Maiden) voiced a similar viewpoint but more from another angle — mainly an angle of attack:
He said: “In the days when Glasto was an alternative festival it was quite interesting.
“Now it is the most bourgeois thing on the planet. Anywhere Gwyneth Paltrow goes and you can live in an air-conditioned yurt is not for me.
“We’ll leave the middle classes to do Glastonbury and the rest of the great unwashed will decamp to Knebworth and drink lots of beer and have fun.”
American fans are used to this. In movies and books we are portrayed as the blue collar dropouts who work in garages and smoke too much dope to compensate for failure at life. This reveals both a snobbery against blue collar labor that is unconscionable, and the pretense of those making the distinction. They like to think they’re elevated to a higher grade of person because they’ve choked down eight years of education and work in office jobs (and only smoke expensive dope from exotic locales).
This stereotype both serves media interests and belittles metal. It enables the media to have an easy cue for its “bad boy” characters and to sell products based on that “rebel without a clue” image, but it also lets them subtly inform the rest of us that they, the writers and producers, are obviously much higher in the evolutionary chain than us neanderthals.
Indie rock and lite-jazz appeal to such people. The more precious and deliberately weird their music is, the more “educated” they assume they are. In the meantime, it’s metal fans out there who not only keep music from falling into an abyss of self-congratulatory clones, but also keep our infrastructure running. Whether we’re blue collar or something else, we’re realists… and we make sure stuff works while the rest of these clowns are posing.
American ambient-metal band Empire Auriga’s second album Ascending the Solar Throne expands the style pioneered by Burzum through the “Decrepitude” I& II tracks from “anti-black metal” album Filosofem. Ascending the Solar Throne comprises songs that are cold, distant, and simplistic. These spacious compositions rely on the repetition of arpeggiated guitars providing a base for reverb-drenched and piercing treble guitars to shine through, along with an anguished yet faint vocal accompaniment. Although the band forgoes the use of percussion entirely, tempi are regular and recursive song segments are identifiable. Synths or heavy guitar effects lightly sprinkle the mix almost as decoration, enhancing the presentation of the album but not interfering with its texture.
Expressing the desolation of technological existence, Empire Auriga weaves a journey through an inner experience of an individual separated from the external world of perception through pain, before coming to rest in a more peaceful place. Gradually moving from aggressive and dissonant chords in the beginning towards a calmer and safer mild major key conclusion, Ascending the Solar Throne is unfortunately unable to complete the journey which is hinted at in the opening tracks. Instead of turning the nihilism present into existential achievement, the album instead retreats into the safe and vacuous womb which afflicts most post-modern music.
Rather than confronting the question of one’s existence directly, as Filosofem did so elegantly, the choice instead is made to ignore it. This disappointment aside, Ascending the Solar Throne is an interesting album which attempts something rare in contemporary music: an artistic voyage. For that reason, it deserves consideration and acknowledgment where it succeeds, but ultimately the listener will be left slightly hollow and bereft.
Ascending the Solar Throne will be released on August 19th via Moribund Records.
Metal took its time to be accepted by social institutions. At the outset, metal appeared to most as another variety of rock. But with NWOBHM it distinguished itself and then went underground with speed metal. During those years, society rejected metal first for its repugnance to conservative moral ideals, and next for its alienation of liberal social ideals. It thus made itself friendless in a time where having political clout matters.
One reason for a lack of acceptance by some areas, such as the art world, is that metal is not controllable. As Bruce Dickenson (Iron Maiden) said in a recent interview:
The closest the “art establishment” ever came to embracing metal was punk. The reason they embraced punk was because it was rubbish and the reason they embraced rubbish was because they could control it. They could say: “Oh yeah, we’re punk so we can sneer at everybody. We can’t play our fucking instruments, but that means we can make out that this whole thing is some enormous performance art.” Half the kids that were in punk bands were laughing at the art establishment, going: “What a fucking bunch of tosspots. Thanks very much, give us the money and we’ll fuck off and stick it up our nose and shag birds.” But what they’d really love to be doing is being in a heavy metal band surrounded by porn stars.”
During the 1980s, Tipper Gore’s Parents Music Resource Center (PMRC) demanded warning stickers on music with content that advocated drugs, casual or perverse sex, violence and mayhem. Naturally this included most of heavy metal (sex) and most of speed metal (violence). Until rap music came along and blew those old standards out of the water by making most of heavy metal’s worst moments look tame, a real threat of economic censorship — forcing up the cost and legal risk of selling heavy metal, thus encouraging record stores to quit selling it — hovered over heavy metal.
Although the transition to online sales (1998) and resulting lack of control helped, another factor changed which put metal into hyperdrive as far as social acceptance: it found an audience in mainstream politics. As the Washington Post wrote in “Heavy Metal Gets Socially Conscious”:
More than three decades after Black Sabbath conjured images of the dark arts, heavy metal is growing up. The genre is increasingly incorporating social and political messages into its dense power chords.
The art world did not accept metal in the past because it could not be controlled. Neither did the moral world, nor the political world. Now metal has created a hybrid of itself — the indie rock, lite-jazz and grindcore infused postmodern metal genres — that is artistically acceptable, morally tame and politically acceptable. The question remains: does that mean that it is now controlled?
Anyone who lived as a metal fan in the 1970s and 1980s remembers The Line: some bands were rock enough to make it into the newspaper, others were “too metal.” Major newspapers never covered Slayer, rarely covered Metallica, and generally drew The Line at anything heavier than Guns ‘n Roses. Thus even major bands like AC/DC got cut out of the mix.
No more. As the image above illustrates, the front page of goody-two-shoes news network CNN shows us the latest about the AC/DC 40th Anniversary Tour. Even the biggest megaphone for mainstream news which spends most of its time nagging us about our bad habits or flashing sensationalistic messages of world decay finally acknowledges heavy metal. In the 1980s, this would have been unthinkable. And yet, now we’re here.
What’s behind metal’s legitimization? It’s not so underground anymore, being one of the bigger non-rock/pop genres. It’s also not so extreme, since rap opened up the lyrical gates to violence, lust and obscenity and nu-metal got radio accustomed to heavy crunch (and lyrics about parental neglect). But most importantly, metal is now an industry. With enough consistent fans and labels behind it, and those labels having found a way to “metalize” or “metal-flavor” just about anything (indie, rock, jazz, blues, industrial), metal now provides one of the pillars of the entertainment industry.
Even more, heavy metal is now a recognized part of our culture. Rap music represents a certain kind of rebellion or a certain kind ofirony. Heavy metal raises the flag for a certain kind of rebellion that is both cluelessly adolescent and “old soul” world-weary and informed. It’s a feeling we all have, and its appeal seems to be increasing.
If you ask a metalhead about the relationship between heavy metal and religion, you’ll no doubt get a few different answers. Some will tell you that it stands in firm opposition to all religion, some will list off a plethora of Christian heavy metal bands, and some have no opinion on the subject and just wanna headbang and tune out.
Perhaps there is half-truth to these assessments: Deicide’s militant anti-Christian message is obvious even to the most passive listener, but on the other hand heavy metal with Christian themed lyrics has existed since its inception with Black Sabbath. In addition, many bands use occult imagery in either an artistic or neutrally atheistic way.
But maybe there’s another road to take, maybe these assessments are analyzing the relationship incorrectly.
I was an atheist for four years of my life (age 12-16). I was fairly vocal and enthusiastic about it as well, looking upon anything religious with scorn. I was very stereotypical when it came to my atheism too: I posted anti-religious memes on social media, went into silly debates with random creationists, and I had no real understanding of science, I just vomited forth Richard Dawkins’ philosophy.
But sometime within my 16th year, my outlook changed. I began to listen to heavy metal more actively, and my atheism slowly faded into wonder. It seemingly lashed at my inflated ego and made me face the possibility of something greater than myself. It challenged me to be more ambitious with my existence, and to want more out of life.
Prior to my revelation, I had a very human-centric view of the world, but Hellhammer’s “Only Death is Real” concept made me look at this in a whole new light. Death will take everyone regardless of their status in life; in the end, it is the only victor. This is important because it weakens the ego of the individual, and forces them to look elsewhere for meaning. Humility before something more powerful than yourself (death) is an undeniably religious concept, and has grown to be the core ideology of death metal for decades.
Religion itself is very important to heavy metal, where would legends like Slayer and Morbid Angel be without it? Metal has always expressed a deep reverence for power, and what greater power than the omnipresent force of the cosmos? Some perceive it as God or Gods, some perceive it as Satan, and some perceive it as nothing more than a functional force that keeps the universe rolling. All of these possibilities are astonishing, and have inspired the greatest sense of awe and wonder in mankind throughout history.
Heavy metal has become not only my passion, but my guiding light to a life that I may not understand completely, but that I’m learning more about every day. It has taught me to appreciate and find beauty in all aspects of the world, from the worms in the earth to the birds in the sky. It — like every other aspect of an intense life — is a form of worship in itself.
So if, as a parent, you see your son/daughter with a copy of Slayer’s Hell Awaits, fear not. Heavy metal inspires a sense of wonder and passion. That wonder may very well turn their eyes to the stars, and that passion may very well ignite their flame of life.
Relapse records slotted the re-release of God Macabre’s 1993 album The Winterlong for June 10, 2014 in the US, June 6 (Germany) and June 9 (UK/World). Situated squarely within the old school Swedish Death Metal camp, this album represents a logical extension of Entombed’s Left Hand Path. Here you will find nothing less than what one would expect of an old school Swedish Death Metal record; foreboding doom, neoclassical melody, ferocity, and nods to the dramatics of heavy metal. Complete with the infamous Sunlight Studio production, The Winterlong remains an enduring study, and will provide neophytes with new source material, remind the veterans of what once was, and thankfully become a readily available source of inspiration for years to come.
Many of the old school metal fans observed how the rise of the Internet coincided with the death of the underground and its replacement with the “funderground.” They opine how one-click access to music removed much of the challenge of finding music and created a culture of casual acceptance, not aggressively finding and hoarding quality material. There’s truth in that, surely. But there are other effects as well.
For example, easy access to music limited the emphasis on quality. When you buy music with limited funds, you tend to care about the best and/or cutting-edge material only. When the cost of trying out a new band is nothing, the tendency is to listen once and then file it by aesthetic category. “Sounds about like regular death metal. I need something different, maybe with a flute or jazz licks.”
Two more subtle effects occurred as well. First, the Internet in its post-AOL incarnation become fundamentally a social place. Metal on the internet became regulated by this social influence because the people talking about music on the Internet did so from a social outlook. They wanted to meet other people, and the music was secondary to that. As a result people began searching more for the ironic and music with novelty, leading to a rise in hipster-metal and related forms.
Second, the Internet made basic information about technique and style easily available. Learning how to write death metal no longer required listening, learning and working with other bands, zines, radio, etc. The user could visit a forum or any number of blogs and get a quick overview, which encouraged people to migrate over from other genres and adopt metal technique to the composition used in those other genres. This was not so much a genre mashup as an extraneous genre disguised as heavy metal.
With those two factors, emphasis switched from the music itself to the music as a “flavoring” to be applied to something else. Whether social flavoring, or a way to dress up those post-punk slash lite jazz hymns that your band had been kicking around for a decade, metal became the outlet for those impulses. The tendency of our media and society to see metal as “rebellious” made it a natural target because just about everyone wants to be different these days, in other words, rebels against the normal way of doing things.
In theory — which sometimes corresponds to reality — this would precipitate a focus not on the outward aspects of metal but its inward attributes, like spirit, compositional style and content. That day may come, but now that’s a much harder sell. It’s easier to dress up the same crap, push it down the line and produce it from your desktop, then spend all of your focus on the social and surface appearance aspects of the music. That’s how success is made these days.
Renowned post-metal band Wolves in the Throne Room have returned with a companion album to their 2011 release Celestial Lineage. Entitled Celestite, the new album shows the band moving the synth and acoustic components of the previous album to the foreground and thematically expanding upon them in a total divergence from metal instrumentation and structure. This release has less in common with Lord Wind or Burzum‘s prison albums, although some relationship could be established between Celestite and Ildjarn-Nidhogg’s synth work, in addition to Neptune Towers and perhaps various Beherit projects. Celestite primarily takes its inspiration from artists which are tangentially related to metal rather than derived from it, with Eno being the primary source.
Showing more heritage from avant-garde scoring than other ambient/neo-classical projects, Celestite reveals multi-dimensional composition winding its way from the beginning of a piece to its conclusion without a grounded climax or resolution. Microcosoms of intensity provide linking points to connect various melodic strands together, which along with blending recurring tones with expanding timbrel variance provides enough solidity to congeal central parts within the fluid nature of the album. Melodies are introspective and restrained, though the elongation of their motion increases the importance of each progression. When the album reaches its striving heights, sensation is heightened appreciably whilst still retaining a contemplative essence. Carefully considered, the contrast between the light synth aura which is the operative timbre of the album’s framework, the overlaying of organic winds and lighter keys, and the almost oppressive, technologically demonic and bass-heavy force that intrusively invades the melody and flattens it temporarily before returning, embodies a sonic portrayal of the struggle between the forest and the machine.
The artistic duality of nature versus mechanism constitutes itself again in our times in an art form which is dependent upon the modern and yet wary of it. Celestite may find a re-grounding point for Wolves in the Throne Room, and be an inspiring blueprint for all who seek to move beyond black metal in a backwards-looking yet inexorably-forwards direction – upwards, towards…
As part of an ongoing revolution, Puerto Rico launches a quality metal band every few months. In this case, Dementium — featuring Organic Infest bassist/composer Jose “Chewy” Correa on bass — create a fertile mix of styles from the late 1980s, mixing majority speed metal material with death metal influences. However, the core of this album breathes the more intense varieties of speed metal like came from Exodus, Kreator and Destruction.
Using the tried-and-true German formula of fast verse riffs with periodic melodic insertions balanced against slower choruses full of rhythmic hook, Dementium stack riffs against one another in songs that generally conform to a verse/chorus structure. However, these solid constructions detour into related riff clusters like a person lapsing into daydream, and these variations prove to be varied and to enhance the mood. This kicks the band out of the strident chanting repetition that killed many of these bands.
Although the style comes from the past, a number of updates shine through. For example, percussion fits more into the later Metallica pattern of sparse but energy-inducing rolling beats. Riffs take advice from later death metal and Correa’s melodic bass underscores the compositions like a cross between Sadus and Iron Maiden. Vocals mix the Kreator shriek and the Sodom chant with the bouncy energy of later Exodus. It provokes a desire to see the style grow with this promising new band.