Harley Flanagan – Cro-Mags (2016)

Harley Flanagan - Cro-Mags (2016)

“Punk’s not dead,” goes the old joke, “It’s only sleeping.” Since the mid-1980s, very little of interest has come from the punk community as it has struggled to deal with its popularity. Teenagers want rebellious music, but they want it to be safe enough that they can use it for those difficult teen years, then move on to lite jazz and album-oriented rock as they age.

As a result, punk became a market, and that market favored brain-dead angry rebellion that did not shake any actual foundations but simply attacked socially-acceptable enemies with a more angry approach. Punk went Leftist in the 1980s, but it is more accurate to say it “went bourgeois,” or searching for targets it could bash without really offending anyone. It is always acceptable to target cops and Hitler, but not so much to mention anything which could make us all doubt our participation in society.

The Cro-Mags were a breath of fresh air in this dying scene. Like other classics of hardcore punk — Amebix, Discharge, The Exploited, Black Flag — they paired a Leftist distrust of the profit motive with a right-wing view that human culpability at the individual level was destroying our society from within. This complex view makes for uneasy coexistence with people who depend on both profit motive and patriotic views of strong defense and economy.

Harley Flanagan, bassist and founding member of the Cro-Mags who identifies Lemmy Kilmister of Motorhead as his greatest influence, drove his band to create a form of punk that was actually rebellious. For many of us, “World Peace” was an early Red Pill, awakening us to the fact that the most cherished values of our society were in fact moronic illusions that were consequently quite popular. People love an excuse to turn off the brain and go with the flow.

Nothing as intense as the Cro-Mags could last, and after a brilliant first album (The Age of Quarrel in 1986) the band struggled with internal instability, putting out a speed metal influenced album (Best Wishes in 1989) and a softer, more contemplative and Hindu-influenced take on punk with Alpha Omega (1992) and Near Death Experience (1993). One version of the band released a followup in 2000, and several compilations have tried to resurrect the early material, most notably the demo/live compilation Before the Quarrel (2000).

Cro-Mags, the most recent solo offering from Flanagan, channels quite a bit of rage at the personality conflict behind the collapse of this once-great band, but also at the collapse of hardcore itself. Interestingly, it merges the speed metal era Cro-Mags with their earlier intensity to come up with a metal-influenced (but not metal-flavored) blast of rage and melancholic isolation.

Songs on this album take a form of simple riff loops with introductions and interludes, often fading out in explosive and sometimes bluesy solos. Musical focus targets a good solid riff and a strong chorus that plays off the tension in that riff, guided by the vocals of Flanagan which vary between angry riot shouts and a type of unnervingly emotional but aggressive singing that has never been done successfully in hardcore before.

Like most return albums, this is a foray that tests different waters. The band experiments with — or mocks — Pantera-style riffing on “I’ll Fuck You Up” and revisits punk and metal riff archetypes with earlier songs. None of these are off-the-shelf however; in each one, the riffing remains distinct enough to be its own entity, a hybrid of Motorhead and punk hardcore and the aggressive speed metal from Slayer, Exodus and Metallica with a voice unique to itself.

The question before the reviewer is not whether Cro-Mags is a decent comeback album or an acceptable substitute for the Cro-Mags, but whether the music stands on its own. Over the course of several listens, I have concluded that it deserves listening on its own merit. These are aggressive but thoughtful songs with a core of dissident outlook not toward politics, but toward humanity and its default impulses as a whole, and in so doing it continues and enhances the best of what hardcore punk had to offer.

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Autechre – AE_LIVE (2015)

AE_LIVE

Article by Lance Viggiano

Autechre began their lifecycle inspired by Kraftwerk’s robot-pop composed of complex layers of simple motifs transformed into dialogues in which each layer of sound appeared to be communicating with each other, resulting in intricate music that often sounded emotionally distant yet alluring and rewarding. This approach has been refined through later work by removing the individuality of each motif, stripping it of meaning and self-purpose; and instead crafting living wholes out of simplistic cells. With the AE_LIVE release, Autechre present a novel concept that was originally released as a four-part series and since has been expanded to nine separate compositions averaging around an hour each. For the sake of sanity and brevity, this review will focus on the original four performances.

Each performance is procession of distinct tracks whose form and aesthetic are pre-composed. The basic structure and sonic palette unfold in a live setting through improvisation resulting in a collection of compositions which are distinct but unified. The thing-in-itself is inaccessible and can only be approached through a variety of perspectives. Autechre manifest the underlying urge of each track through indeterminate duration, rhythmic and harmonic variance. The compositions contain no narrative arcs which may frustrate the listener however life itself is equally devoid of historical arcs, shapes of time, purpose, and rationality. If we can abstract a theme out of each manifestation it is the inner and outer turmoil of living a human life. The subject-object relationship to this work is different between listeners, therefore the meaning of the art is subject to variety since we do not have access to the inner contents.

1. AE_LIVE_KRAKOW_200914

Man’s primal, aggressive, and marauding nature is the subject of this composition. This experience is the most immediate of the original four and simplest to grasp for those used to musical tour de force. Exuberant synth erupttions are followed by moments of hesitation through cascading bass creating an abstract representation of threat, uncertainty, and sudden response. The rhythms often invoke a steady elevated heartbeat over which sharp patterns clash and dissolve. Autechre explore their early dialectic style in the compositions coda but instead of a conversational tone, invoke a confrontational quality. Elements compete with one another, increasingly at odds and less integrated as the whole piece winds down into an uncertain and exhausted conclusion.

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The most dance and groove oriented take is predominantly physical in nature. The focus is on the body and its motion. Autechre push the limits of danceable rhythm which in turn challenges the body to remain in step with the ever-shifting cadence of life.

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The most sparse and introspective variation. Track transitions are less abrupt while the whole retains more interdependence than the other pieces fitting for a contemplative journey. Autechre sort their mental contents in a relaxed meter. However, the character of the patterns are no less tumultuous and bombastic than the others.

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External and visceral. Washes of ambience linger in the background giving off an impression of a subject traversing a landscape. This contains the most abrupt and forced transitions. A lack of fluidity is reminiscent of the rush of chaotic and divided sensory imagery washes over listeners who find themselves in unfamiliar places, isolated, without familiarity or a rational center.

AE_LIVE may be purchased from the AE_STORE

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Kawir – Father Sun Mother Moon (2016)

kawir - father sun, mother moon

Article by David Rosales.

Kawir’s Father Sun Mother Moon strikes one as simple and mediocre pagan pop metal. From the recycled tunes to the standard, swinging rhythms of the genre that make actual metalheads cringe, Kawir has collected and presented them all to us on their new album. Kawir debases their music, pandering in the same way as those worthless politically-correct pop-dressed-as-metal bands like Turisas do. It really does sound like these Greeks could have been hanging out with Congressman Freddy Lim and Jesse ‘Djent-Black’ Liu of Cthonic, or drinking beers with the geeks from Tengger Cavalry. All these accusations are well deserved. The album therefore deserves to be dismissed as third-rate pap. Despite this, it is useful to look at this inconsequential list of boring tunes in terms of their de-evolution from Kawir’s previous album, Isotheos.

The concrete symptoms of banality and mediocrity can be found in the overall decline in richness of melodies and rhythms. Melodies have been shortened: they return much quicker to the root tone and rely more heavily on simple-silly rhythms ‘typical’ of Pagan pop. The variety of the types of melodies (that is the different arrangements of the motifs and their variations) are much less in number. Exactly the same with the rhythm guitars: less variety and where there was minimalism (which by definition, cannot be further simplified without loss of value), we now find a dumbing-down. The strict cyclic structures are far more evident in this album, replacing the quasi-linear Eastern European black metal which was used on their 2012 release. This uncreative disaster reaches unbelievable proportions when we encounter a dull track where after subjecting the audience to an ad nauseam repetition of a melody over a beer metal rhythm, Kawir simply fades out to avoid any shock to casual radio listeners in order to make it easier for the corporate broadcaster to place advertisements right after it.

While Isotheos melded melody and rhythm into a phrasal motific force, Father Sun Mother Moon clearly separates the paradigms of melody and rhythm. This in itself does not mean the end of the world but nothing is done to balance the combined simplicity. In fact, repetition plays an even greater role in filling out the runtime of this album: variations are less frequent, variation distance is smaller or unrelated, and single melodies or rhythms contain less content (movements from the tonic, manner in which they return to the tonic, temporary movements to different tonics, and even number of notes). Some sections on Father Sun Mother Moon reach the heights of the previous record but the overall quality is definitely lost.

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Liers in Wait – Spiritually Uncontrolled Art (1992)

liers in wait spiritually uncontrolled art og cover

Article by Lance Viggiano

Liers In Wait cast chains of non-random riffs in the legato style of metal pioneered by Morbid Angel to no effective artistic purpose. Spiritually Uncontrolled Art comprised of rationally woven re-contextualization of familiar death metal patterns which never manage to take on a distinct character as individual tracks. The album as a whole doesn’t begin to approach a definable emotive personality because the subject of this work is the personality of the composer: a master of phrasing with an encyclopedic knowledge of metal so adept in his craft that self-editing would diminish the efficacy of his work. These streams of coherent yet cold consciousness are hewn to Necrolord’s own sense of bravado; made concrete by a vocal delivery that proffers dominance rather than dread.

This is neither music for music’s sake nor music for the sake of expressing a transcendental idea. It is entirely about the composer’s ability to write coherent music out of the first thing that comes to mind – a mind that is very much a wellspring. In some ways this album is analogous to Eighties shred which existed as a pure demonstration of superiority over its contemporaries by parasitizing familiar content that was then latticed to the listener through overly sentimental melodic hooks. Antithetically, Necrolord eschews hooks entirely as they would constitute breaks and disruptions in the stream by deploying recognizable moments and thereby give the impression of emphasizing the better material, and consequently highlighting the lesser ideas of which there are none to be found. Conceptually this seizes the middle ground between tuneless noise and the summa cum laude of ten-mile-long cock rock.

Lasting impressions, significance and meaning is for the sensitive feminine types, not the fucking overlord. In this sense, Liers in Wait is a resounding success. Those lamenting the fact that this music does not “Do something” gravely miss its point.

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Ripper – Experiment of Existence (2016)

ripper_-_experiment_of_existence

The Americans invented speed metal with Metallica’s Kill ‘Em All, which came out the same year as Slayer’s Show No Mercy and early European projects like Bathory, Sodom and Hellhammer. The European scene fused these together into a speed metal that used proto-death riffing as exemplified by Destruction, Kreator and Merciless.

Ripper picks up in the Merciless vein and keeps that Swedish landmark as its guiding force. This band keeps the attention of listeners however through its spirit and its refusal to adopt clichés. It uses riff forms found before, but keeps them specific to the song so that they relate to the other parts, preventing songs from being “grab-bags” of former ideas.

Its weakness comes in one of the hardest tasks for any metal band: distinguishing songs from one another when they have a similar approach to tempo and vocal patterns. Here, Ripper lag behind their mentors. This is the only flaw. The Instrumentation is top-notch and creative: the riffing reflects the theme of each song and displays competence and wrestling complexity from simple power chord clusters while vocals are both harsh and complement the music.

Incorporating melodic and instrumental elements, Ripper keeps the intensity high. This creates the type of listening environment that bands like Angelcorpse perfected: both intense like aerobic activity in the presence of terror, and somewhat monolithic because so much of it hits the same sweet spot of rhythm and motion. But its spirit never flags and the resulting enjoyment of the music, for listener and musician, forms a bond that far surpasses what most of the underground has been doing for the past 20 years.

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Kawir – Isotheos (2012)

Kawir Isotheos

Article by David Rosales

Kawir is a band that belongs to that side of metal whose discussion allows the true metal nihilist to distinguish between free minds who embrace the spirit of metal’s independence from political or religious doctrine. Metal has been characterized by its portrayals of power, courage and strength, while looking down on sheepish behavior, compliance with the system and general cowardice. When bands who openly express musical worship of Pagan ideals as a source for racial/national power, it gives one the opportunity to weed out the sheep in metal guise. The metal nihilist will find in the concept of the pagan theme in metal yet another expression of pride and power apt for the narrative of timeless natural struggle. He may dispassionately nod its head to the idea without necessarily embracing it as something that speaks to him, personally. He holds the burning flame of life in front of him, observing the destroying consumption that drives action in eternal co-dependence with passive materia. He stares at it directly without fear of having the miserable protective borders of human-society constructs burn away, nay, welcoming this removal of the illusory.

But the infiltrator will often reveal himself by expressing typical modern-urban discomfort in the face of the tribal roots of these ideas, deeming them not sophisticated enough and the product of ignorant naturalists and superstitious people– because they have obviously never even read Karl Marx, let alone Michel Foucault or Noam Chomsky. We also find the majority of undecided metal fans who can guiltily accept these “rash” ideas in the context of artistic expression, although not without signs of rubor on their cheeks and heavy perspiration on trembling hands, more characteristic of virtuous maidens than courageous warriors. Yes, metal is masculine, and no, it does not imply misogyny. These last at least exhibit the intellectual honesty towards which metal tends to gravitate, even if the shackles of their own societies and times can still be felt as they adopt a tongue-in-cheek disposition and keep their fingers crossed behind their backs in a sort of secular modern superstitious fear. One may still find them making quick apologies for the band or comical quips that prove their allegiance to their in-time, humanist ideals, putting their puny minds at rest that they have not incurred in heresy.

Isotheos (ίσο – θεος, ‘equal [to] god’ — Godlike) is the Apollonian in-time expression through metal and minimalist Hellenic elements of Dionysian timelessness, the underlying human genetic memory of survival that Nietzsche wisely derived and intuited and that Jung demonstrated empirically. This collective unconscious speaks to us in mental images, flashes of emotion and conceptual ephemeral . A sign that Kawir places utmost importance on the core and significance, rather than on the temporary expression of these, is that although there is a clear embracing of the products of Greek pre-classical antiquity as the heritage of its nation and people, references to both pre-Hellenic and Roman outward manifestations are admitted into the concept of the album. The album deals with the transcendental aspect of Greek symbology, not as temporary and superficial expressions of this or that period, but as evidence to the unique evolutionary path of Greek survival arising as fumes from boiling blood.

Musically, Isotheos revolves completely around simple, modal themes, which in no moment cede to any other element. While there are vocals, rhythm guitars and often more than one melody line, the centrality of the theme is never, even for one moment, lost. Kawir simultaneously achieves the high-energy, dense locomotive character of metal that rides on thundering drums, as well as the melodious, inspiring horizon-gazing sounds of primeval Greece. These, we have now come to associate with the ancient temples and oracles through reconstructions of that ancient European music. Rhythm depends on power chord phrases closer to the approach of Witchfinder General than Iron Maiden, thus a stronger backbone and less distraction. Despite this adherence to simplicity (the beautiful simplicity, the ‘good simplicity’ of Plato’s Socrates), there is no lack of variety, and through smart use of economical and effective use of a close-style repertoire of techniques achieves a strong and fluent expression.

Particularly stamped on the capable listener’s mind will be the natural consistency with which themes are treated, the healthy growth of variations without even the slightest hint of pretension. In no moment does technique supersede communication and structure, a balanced sort of modest beauty that maintains its worth by carefully and sparingly choosing climaxes that never come beforehand. This is achieved through gradually evolving the theme, so that a structure of cyclic transformation is represented. Each song makes use of one theme only, usually, tying it poetically with the concept, and making absolutely revolve around it. This is not a theme on a melody dancing above moving harmony with an occasional quote and echo, but rather the whole of the music adds a grain to the theme itself, as it assumes no definite form and all forms. While the classical variation starts from a primordial seed that is represented in increasingly complex forms, the ancient spirit of Kawir’s music lends no particular importance to any of the manifold incarnations of Dionysian memory. To be more precise, what we find on Isotheos are not the strict romantic themes, but motific variations that are kept at relatively close Levenshtein distances, thereby guarding them from disfiguration.

In this music, every single aspect is important and none of them are. Their preservation in transfomations is immortal, but their temporary forms or manifestations are only suitable for that instant and hold no value in and of themselves. Each moment is distinctive but strongly related to future and past, as water raining on the tops of mountains, running through ravines, precipitating down waterfalls and reinvading the ocean uncountable times as no single drop of water survives but is reincarnated. If there ever was an album that explicitly collects the Nietzschean balance of the Apollonian and Dionysian, it is Isotheos. If there is any place in metal which takes one closer to the Platonic musical ideal through appropriate forms, it is Isotheos.

Isotheos may be purchased from Deathrune Records.

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Diamond Head – Lightning to the Nations (1980)

diamond head lightning to the nations

Diamond Head were who Metallica and Megadeth desperately wanted to be. A seventeen-year-old Lars Urlich famously flew to London to see them play after buying their debut from a magazine ad. Celtic Frost owed their career to the Holst-opened classic “Am I Evil?” Lightning to the Nations, is the “the missing link” between the early New Wave of British Heavy Metal and later speed metal.

The guitarwork and songwriting are excellent throughout. Driving Motorhead-style rhythm riffs served by pounding pickup beats and groovy bass lines progress power chords into solos that Blackmore and Tipton wish they had written. These extended leads serve not only as climaxes but continue building tension, alleviated only when the original verse riff (or a variation thereof) returns. Clever variations in the extended riff phrasing enable verses to wind and flow freely around catchy choruses, continuing effectively long after lesser groups would have ran them their course.

Yes, Lightning to the Nations is bluesy with many influences from the riff-based hard rock of the seventies. The vocalist even multi-tracked himself on “Sucking My Love” in imitation of Robert Plant. None of these rock roots serve to lessen the force and creativity present in the music. The atrocious keyboards and reverb mixed into the 1993 Metal Blade reissue do. Stick with the original LP and the 2011 “Deluxe Edition” CD remaster from the original tapes.

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Intolitarian – Suicidal Allegiance (2016)

intolitarian_-_suicidal_allegiance

Back in 1995 someone cut metal’s balls off. Underground metal (death metal and black metal) had gone to the furthest extremes: denying rock music, smashing down mass religion, and finally, endorsing a Nietzschean natural selection against the will of the herd. There was nowhere left to conquer, except perhaps politically.

As the odious and 99% horribly boring and pointless NSBM movement showed us, however, Nazism was not just captured by a group of unibrow SJW types, but it was boring and not very extreme. Nazism was an attempt to stop the collapse of our civilization, its breakdown by good intentions, and as a result was like a nagging Nanny albeit one that committed horrible genocide, even if relatively mild compared to the USSR and Genghis Khan (elite company).

Metal needed to push further. When war metal combined the dark primitivism of Beherit and Blasphemy with the unrelenting forward drive of high intensity rhythmic death metal bands like Angelcorpse and Hate Eternal, it reduced the “busy” tendencies of those bands but created a type of monotonic texture music that was both comforting and violent. Intolitarian pushes things a step further by using the war metal model to incorporate a more technical version of early Napalm Death style grindcore, and harsh industrial noise.

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Starting songs with samples and feedback, Intolitarian then launches into a song pattern like that of war metal but with more idiosyncratic internal structures, eschewing the darker riffs in favor of pure deconstructive chaos riffs in the Napalm Death From Enslavement to Obliteration style. From harsh industrial noise it takes a ton of guitar feedback, fuzz and abrupt samples, but even more importantly, the tendency to hang on a squeal or shriek and then let the chaos surge in again, like waves on a beach put on fast forward before a storm.

Much has been said about the political dimensions of Intolitarian, and nearly all of it is painful nonsense. If this band wanted to be Nazis, they would have just joined up with the usual crew of basement-dwellers who have made “white nationalism” a walking joke like their liberal counterparts for the last fifty years. Intolitarian want to be worse than Nazis. There is no safety in politics with this band. Only a raw need to destroy the walking dead that is our society, and replace with with a feral and atavistic struggle for survival.

Suicidal Allegiance was recorded in 2012 and finally saw release last month through a yet-unnamed van-down-by-the-river underground label. If anything, it is too short; these songs feel like a window into a different world, and one that is more structured than industrial noise and more focused than grindcore with the easy engagement of war metal. Let us hope this provocative and stimulating band continues to refine its attack.

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Nokturnal Mortum – The Voice of Steel (2009)

nokturnal mortum the voice of steel

Article by David Rosales.

I. The Cult of Death

During the 10th century A.D., Prince Volodymyr and Queen Olha before him adopted Christianity in a war-torn land with deep-rooted Pagan beliefs. Little could either of them have predicted how hard it would be to impose a foreign philosophy on the yet unbroken Slavic spirit. Over a millennium later, the politically-imposed monotheistic deathcult would be suffering a slow death while the true colors of the Slavic nation would slowly resurface out of the fires of hate.

After all how could they have known that culture and spirit are embedded in the very marrow of bones and hearts of the people? Alas! This ignorance would still be espoused by armchair ideologists until the 19th century and further hammered from above from the second half of the 20th till this day, when true scientific thought is again challenging institutionalized blindness. That is, an ignorance of the logical implications of the lessons of history, psychology and biology, and instead seeing them through the lenses of a secularized Judeo-Christian paradigm. Such a modality of thought still reigns supreme today, even unknowingly among those who would claim allegiance to no supernatural power.

As the land of Ukraine became the collision point for both Asian and European hordes, its brave people soldiered through the intermittent periods of cold desolation and burning brutality. Their spirit weathered the storm, and as a sword forged between the hammer of growing materialism and the anvil of that Middle-Eastern cult of death (administered in a variant especially fostered for European minds, slightly different than that given to the Native Americans), a crude but precious Herculean force arose.

II. Slavic-Pagan Heavy-Black Metal

European nations previously beyond the Iron Curtain have not been known to produce the most accomplished black metal. These usually make prominent use of heavy metal technique while overlaying folk tunes on a poorly-focused progressive structure. These may still win the hearts of the fans of underground metal as honesty and spirit are still highly valued. This ‘best effort’ attitude is endearing, but such obvious naïveté, however authentic, can only take one so far.

Amateur tones characterizing the Slavic underground have meant simultaneously, salvation and bane to the subgenre. On the one hand, its crudeness has effectively forestalled the sellout phase that sooner or later comes about as entropy sets in. On the other, it has deterred a much desired collective coming of age. This is all very much in keeping with the general Slavic spirit: over the top bravado, sincere yet aloof sentimentality, but not the most structured of foundations.

III. The Coming of Age

Nokturnal Mortum’s history stretches back to the time when metal was on its deathbed, the junction at which the rise of parasitic and zombie-minded scenes first came about. The band achieved a certain degree of notoriety in the underground with their sophomore release Lunar Poetry in 1996. After that, the band did not offer much more than a few unconvincing recordings that flirted with pseudo-symphonic stylings: starting out big and epic early in the album and quickly degenerating into slightly comical rock beats and awkward folk tunes.

After five years away from the studio, the band returned with a folk-ambient album speckled with rock metal enhancements here and there. This was the necessary transition that would make the next album after it the most accomplished Slavic black metal album to date. To be more precise, what was achieved in that following album, The Voice of Steel, is an accepting of the full paradigm of black metal without giving up the naturalistic and folk-like tenor unique(in this day and age, at least) to Eastern European metal.

IV. Golos Stali: A Solar Black Metal

In contrast to traditional black metal, the ideological bent of its Slavic counterpart demands a different approach to technique in order to better convey the necessary impression. Instead of outright occult devilry, either through blasphemy or mystic conjuration, we find the remembrance of heroic personalities as well as true active(that is, through expression in the actions of life, ordinary and exceptional) reverence and worship presence of the forces of nature, both seen and unseen. This admiration for heroic prowess that so characterizes the native spirit of the land and people channels the powers of nature itself in their superlative expression at particular points in time according the times themselves.

Rather than the modal, riff-heavy construction of traditional underground metal, Nokturnal Mortum takes a harmonic, rock chord strategy. This may deter many a purist of the serious underground, but a little patience when approaching The Voice of Steel will result in a most rewarding experience. Once past the local use of rock aesthetics incorporated into a melody-and-riff riding that is closer to the methods of metal, the longer, repetitive structures of goal-oriented black metal become clearer.

Sections and patterns are allowed to sink in beyond familiarity and to embed themselves inside the mind of the listener. The lighter nature and swinging rhythm of the salient folk tunes are not given to induce a pensive trance-like state, and so the overall effect is used to a different result. Smooth yet significant transitions take place in such stealthy a manner that they may go unperceived by an inattentive audience. These bring a refreshing sense of justified variety to the strict continuity of events. A comparison with Sorcier des Glaces and the French method may not be out of the question in this respect, with the considerable difference that Slavic bands such as Nokturnal Mortum or Drudkh make more frequent and overt display of rock/post-rock textures and musical sensibilities.

To conclude, it feels necessary to point out the outstanding use of ambient techniques that should be part of the repertoire of any black metal band of any worth, whether applied explicitly or otherwise. These, in combination with rock texturing, rhythms and guitar soloing brought to the mind of the writer the late Pink Floyd. The result of the correct fusion of the more popular techniques showcased in the older band with the sharp focus of proper black metal can result in an interesting balance. The strictness of black metal seems to have been what the disconnected, apparently drug-induced passages of Pink Floyd required in order to contribute to the formation of a full music. These elements are humbly utilized in The Voice of Steel, which through the careful and patient working out of little aspects, their interactions and combinations, give birth to a formidable solar metal.

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Codex Obscurum – Issue Nine

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Codex Obscurum
Issue Nine
45 pages

As the internet reaches its peak, the inherent deficiencies of the post-“Eternal September” online audience reveal themselves. Drowning in vast amounts of MP3s and data, they have stopped choosing best over better, and simply accept whatever is not offensively horrible on the first listen. As a result music quality has plummeted. Zines like Codex Obscurum are reversing this by shining the spotlight on the quality that stands out and ignoring the rest of the flood.

Issue Nine opens with an Immolation interview. While I love Here in After, I usually skim Immolation interviews because the Ross & Bob show are so focused on being nice sociable guys that very little is said that I could not glean from liner notes. Interviewer Kevin Ord however takes a subtle but aggressive approach in asking Immolation “where’s the meat?” The result is unsatisfying, as one might expect for the band that defecated out Kingdom of Conspiracy, a parody of their former works worthy of SNL. Ord gets to the core of where this band is now and if there is an echo, it is not his fault but an honest reflection of what happens when death metal bands realize that two-note speed metal with death metal vocals is a path to Pantera-oriented glory where Here in After makes fans happy and bands poor.

Interviews follow with Mitochondrion, Horrendous, Evil Power, Ectovoid, Beithioch, Savage Master, Cemetery Filth, Hideous Divinity, Akurion and visual artist Daniel “Sawblade” Shaw. Each of these tries to bring out the purpose of the band, acknowledging subtly that many of these bands are B-level art workers who merely hope to pay tribute to their influences before going back to day jobs. Beithioch may be most interesting with its culture-based, whisky-infused Irish tangent on the idea of death metal and black metal as resurrection of the invisible values that hold humans together and keep us all from committing suicide in gas station restrooms. Each interview is carefully posed and diligently edited, filtering out the noise of grammatical train wrecks and misspellings that blight most zines.

After a centerfold of intense zine branding art, the reviews come forth. These are more descriptive than critical, but in trying to make a narrative out of each band, reveal how successful these artists are in expressing something more than a vague genre identity. Some of these reviews tempt as purpose and aesthetic vision appear in the words, but others make me want to run far away from what sounds like disorganized aping of the near-past. The reviewers are gentlemen who let the music speak for itself in symbolic translation instead of vocalizing their critiques, which makes it both more informative and more fun for the reader.

This issue ended too soon, but not for lack of content, but mainly because I was all set to read all night! Issue Nine ends in an editorial which by focusing on criticism of the underground, issues some potent criticism of its own of the underground, which is gratifying to see in a time when most people are too busy playing “follow the leader” to notice the quality differential over the years. It rounds out a solid issue and gives some placement to the interviews and reviews which preceded it.

Codex Obscurum continues at full strength after quite a few years now of activity, forging ahead where the internet has abandoned metal and the industry has failed it. This zine emphasizes selectivity and so has avoided treading the well-worn ruts that most big magazines do, but has also avoided the underground fanboi mentality which holds that a fifteenthrate Incantation/Demoncy imitation is just as much news as the originals. These writers have kept this zine going strong and show no sign of stopping, which makes it fortunate for us readers who need a breath of fresh air in the fetid stench of the decomposition of the corpse of the underground about now!

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