Pseudogod – Sepulchral Chants (2015)

PSEUDOGOD - Sepulchral Chants

 

Death metal band Pseudogod come back this year with a compilation that collects songs from their early demos and splits. Falling into an intersection between blasting, grindcore-influenced death metal ala Infester and the more recent approach of “atmospheric” death metal bands, the result at times approaches war metal, but avoids the stagnancy of the music typical of that genre. Contrasting Pseudogod’s 2012 Deathwomb Catechesis, which was more of an empty blast-fest similar to the more popular extreme metal outfits,this early output is full of content and in the spirit of good death metal of its kind, tends heavily towards progressive structures. This includes more paused sections that allow the songs to breathe in the middle of the faster, more suffocating parts. This is done with enough grace and consistency in style to seem smooth and appropriate. Although not masterpieces of structure-oriented composition and leaning on the riff-salad side of death metal composition, this release showcases Pseudogod’s earliest and most promising output.

 

https://sektovgnozis.bandcamp.com/album/pseudogod-sepulchral-chants

Blasphemic Cruelty – Crucible of the Infernum (2015)

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Ripping, furious death metal in the vein of 1980s death metal with vestiges of speed metal, solos that bear the mark of Trey Azagthoth, this band is one of the many followers of the legendary Morbid Angel. However, Blasphemic Cruelty is not content with being a clone and continues the work of Angelcorpse by playing a style that takes one facet of Morbid Angel and expanding on it. It is basically the older band’s most brutal side taken as the parting point and center of the music. While Azagthoth would mix a few fast sections with his own trademark of mid-paced and slow riffs, Blasphemic Cruelty pushes the pedal to the max throughout the entire pieces.

 

While Crucible of the Infernum will not distinguish itself as innovative in any way, it is an example of excellent composition for this style of ripping, blasting death metal. The band’s work here is ideal in the sense that within the limitations it sets for itself, every single space it uses is purposeful by virtue of its integration within the big picture, even if this picture isn’t very big. Admittedly a work of modest reach, Crucible of the Infernum is a solid release strongly recommended for fans of Angelcorpse, Sodom and early Morbid Angel.

 

Imposition – Memento Mori (2013)

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Imposition is a single-man black metal project which can be compared in approach to what Sort Vokter did in their sole release, Folkloric Necrometal. Minimalist composition, backed with synths that outline a melody, Imposition creates a racing and urgent music which combined with the sensation of space that the synt-produced organ-voices, gives the listener the experience of going through a space-time portal into a darker dimension. But rather than another physical dimension, Memento Mori seems to bring into focus the spirit world of energies, the subconscious comes to the fore as the material and our conscious awareness of it recedes. Part of the solidness of this is that there is enough space between synth and guitar, but they are also close enough that there is no sensation of emptiness or vaccum between then, which can appear to be grander to some, but is ultimately a cheap trick to make the music appear larger than it actually is. Imposition plays no such trick on the listener and uses the elements at its disposal to honest use, building what it can without pretending to be more.

 

This release is probably only meant as an EP, as the duration of the whole thing is very short, as are the songs themselves. The songs being short is not a problem in itself, as when you string these together, the whole album becomes one whole work with minimalist movements. Taken this way, Imposition’s conspicuous music is one of the most promising if this man is able to solidify this into a full album. A word of advice from my point of view would be to try and develop the ideas in the songs a little further, with the same caution with which the music has been written until now. At the end of this Memento Mori, one has the impression that something amazing has been glimpsed, but no complete memory of it remains.

 

Imposition on facebook: https://www.facebook.com/Impositionbm

 

Nekromanteion – Cosmic Horrors (2015)

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Cosmic Horrors is a Lovecraft-inspired affair standing somewhere between the primitive black metal of South America and grindcore-influenced death metal. Unlike most bands that could fall in this general description that encompasses a common cliche in underground metal, Nekromanteion stand out as a focused band making music balancing music aesthetics with a drive and intention that seems to lead the music, rather than the common mistake of letting the outer traits themselves dictate the music.

 

Displaying a progressive tendency in construction within healthy bounds alongside a reserved and rough technical expression, Cosmic Horrors present us with the ideal “atmospheric” death metal that war metal bands, for instance, are trying to deliver. The mistake of these or other atmosphere-oriented death metal bands like Phobocosm is that they are too steeply bent on trying to make the music have this effect. So much that they push the music to become the mood itself. Nekromanteion keeps a balance between evocation and satisfying musical aesthetics, which together have resulted in an outstanding EP.

 

Necrophor – Exterminatus (2015)

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Playing a black metal with structural tendencies that border on death metal, Necrophor delivers mid-paced songs grounded in orthodoxy in terms of technique and construction but taking the listener to unexpected places within this expression. The mid-paced characteristic of Exterminatus should be emphasized because this allows the band some leniency in regards to the types of riffs it will use. We find a very few chug-based moments that are just enough to serve as a neck between sections and only as accompaniment for measured time spans. We also find the typical moving minor chords that have become a staple of black metal. Strummed sections, slight tremolos, picked chords also make an appearance in this release.

 

Necrophor’s composition capabilities cannot be overstated in regards to the way all these techniques are integrated as hues in the artist’s arsenal. Too often do we see bands falling and depending on a particular technique to automatically provide the music with all it needs. Necrophor, on the other hand, are using the techniques to mold a vision that has been captured in the mind’s eye first. It isn’t only a matter of planning and intention, the technical capabilities of the band as arrangers are absolutely necessary for the elements in these songs to blend as they do. Exterminatus represents an excellent example of a band creating music inside to outside, not only because of the way these techniques were brought together to shape the music, but because they also seem to revolve around one point, a mood that changes character naturally and never too abruptly. A release that will definitely fly over most heads because of the production style not fulfilling brutality requirements and not being frost-bitten enough, or for the musical style not being close enough to a clone of a classic or a complete trashing of influences, Exterminatus is one of the most artistically accomplished releases I have had the pleasure of listening to from 2015.

 

Ascended Dead – The Advent

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Ascended Dead is a death metal band that intentionally keeps the production of their music lo-fi. Here, we may recognize two things. The first is the appeal to a sense of nostalgia that this sort of distorted tone may cause in fans of old underground metal. The second is that this choice is part of the band’s aesthetic choice and it contributes in a musical way. The latter is never fully acknowledged even by fans of this particular sound, resorting to embarrassed appeals to “guilty pleasure”.

Now, onto the music. In The Advent, Ascended Dead have brought together a collection of distinct but compatible sources in which, if we squint really hard and try to pierce the fog created by the artistic voice of the band, we can recognize the grindy, obscure, riff-salad Finnish spirit. One or two of the songs even betrays the influence of Demilich in its use of short, clear but twisted melody line motifs, but doesn’t go as far as to imitate the older band. The reference is no more than a head nod.

The Advent consists of a solidly integrated style. Ascended Dead’s songs are balanced and clear-headed in direction, while remaining organic, in line with the riff salad tradition. Riffs balance relationship with each other while introducing the tension needed to move forward, towards a new idea that comes as a massive waterfall releasing the potential energy channeled and incremented in the perfectly-defined course of a river of tumultuous waters.  Despite all its merits, the artist’s most difficult task has yet to be completed in this project: finding its own voice. Displaying a musical awareness with which only true musicians are blessed, Ascended Dead give us an album that, although itself powerful, foreshadows possible works that will tower above the vast majority of death metal of our times.

Ascended Dead – The Advent bandcamp

Undead – False Prophecies

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Undead plays a well-tried formula of simple, middle-paced death metal while achieving effective songwriting. At times we can hear a tinge of Scandinavian sound, while some other parts scream out early and straight up U.S. death metal like Obituary or Death in Spiritual Healing. This isn’t as complex, structure-wise, as Cause of Death (which isn’t very complex to begin with either), and so approaches Schuldiner’s ultra simplistic death metal much more. Having mentioned both bands, fans of James Murphy’s work in them will not be disappointed with the soloing in False Prophecies.

This album shows the perfect balance between variety of content and consistency in style with clarity of voice. Songs do not sound like they are based on a template (even if they are, the important thing is that they do not appear like they are, that is the final product), but you can easily recognize them as belonging together. As in any album with good songwriting, the mood and character of riffs from one section of the song flows and dives into the next, carrying the listener forward without the obstacle of forced expressions. This style is heavily based on introducing appropriate variations in riff character without deviating from the mood at all.

The weaknesses of this album may lie in individual riffs, which in the end does more merit to the songwriting abilities of these gentlemen. This is to say, if you make a boring riff, sound appropriate, useful, and driving because of its context, then you have succeeded in your task as a composer. Still, this minor complaint will be on the minds of metalheads as it is the nature of the genre to look forward to strong riffs, the muscles of metal, even more important in the straight forward style of Undead.

Undergang – Døden Læger Alle Sår

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Playing a cavernous underground music, Undergang have crystallized a style in Døden Læger Alle Sår that harks back to the sound not only of obvious Scandinavian forefathers but also to that of Morpheus Descends and Demoncy. Rather than spiraling through serpentine corridors as Incantation does, Undergang uses vocabulary from the Swedeath lingo here, and then the atmospheric death metal riff of Morpheus Descends there, only to descend into a the more inconspicuous atmospheric tremoloing of Demoncy to further the expression. Enriching this mixture of influences, we can also find unexpected doom-like moments with the economical and spacious approach of Worship.

Even though all these are present in Døden Læger Alle Sår, the style parade that a collection of influences often results in is not present here. It is also very important to stress that Undergang does not fall into trope repetition nor does it wink at the listener with a cliche here and a cliche there. The band expertly appropriates the different stylistic conventions under a overall Swedish death metal mantle and, more impressively, escapes the cliches of the latter as well. The reason why it can work is because the grindy Nihilist, the American Morpheus Descends and the decorative ends in Demoncy and Worship – like breaths are all compatible. It is only unfortunate that while all this has been accomplished, Undergang’s own voice still seems only visible as a blurry image behind this coherent, translucid tapestry.

Dying Humanity – Deadened

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Dying Humanity are the perfect metalcore product. They’ve got all the moves, they know every trick in the book. Trope-masters Dying Humanity present us with a compilation of metalcore cliches titled Deadened which at its most lucid moments almost reaches the sobriety of Blinded by Faith‘s Chernobyl Survivor. Here and there we find nods to more mainstream acts like Killswitch Engage and then back to more extreme modern metalcore and other so-called melodic death metal bands following in the steps of Slaughter of the Soul. Tying mostly unrelated melodies in riffs in that last style, Dying Humanity supports them by the same square, straight-up d-beats ala Adrian Erlandsson.

While Dying Humanity will not appeal to fans of the old school, it will not appeal to fans of any kind of music that revels in attention to logical construction and detail. Deadened may nonetheless prove to be a satisfying commercial success with the casual head-banging crowd which only needs a catchy dose of sterile, well-produced music that has as much staying power as a Big Mac.

Bureviy – Concealed Beyond the Space (2015)

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Hailing from Ukraine, Bureviy (Буревій = Hurricane) play a modern take on black metal which makes use of old school sub-styles by keeping them relatively uncontaminated but subsumed under the band’s personal voice. In Concealed Beyond the Space we find the folk-oriented black metal with rock sensibilities of Nokturnal Mortum, the swaying of long melodies of Drudkh, and a collection of strumming, tremolo picking and metal riffing that meld as diverse raw material for a black metal language descended and definitely compatible with but ultimately different from the more uniform black metal of old.

This approach is somewhat of a signature among Eastern European and Québécois black metal bands. The phenomenon is interesting when found in albums that manage to channel this almost faceless style into beautiful and meaningful expression. It demands a stricter attention to musical coherence in composition as the link between musical ideas will not be found in stylistic uniformity. Bureviy even makes use of acoustic guitars to decorate or fill passages that at first may feel like misplaced filler. A closer and paradoxically more comprehensive look also shows these passages are in line with the sections they connect and are not gimmicky interludes but articulations, points of exhalation.

A single spin of this will pass unnoticed. It is like a dense temperate forest, you need to get close and see the trees, the rocks and the streams. It takes more time and familiarity with the album to experience what it is trying to transmit. Ancient Slavic nature-worship and the mystic contemplation in tune with the proud mountains, the warm hillsides and the powerful rivers is channeled through Concealed Beyond the Space.