Cóndor – Duin

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Colombian band Cóndor presents an album which European Romantics might have undertaken had their tastes run to heavy metal, with an explicit influence from Bedřich Smetana and a more subtle yet pervasive inspiration from Jean Sibelius, manifested in a style of underground metal that sounds like Atheist covering Graveland. An organic, fluent and natural flow embodied in sweeping melodies and choking riffs that overcome and seem to grow out of each other independent of the composer, as if taking a hint from a young Friedrich Nietzsche, gives this music a childish and innocent Dionysian center driven by instinct. The result is an album that must be listened to as a whole experience to find the moments which strike us as stereotypically metal sharing space with entirely contrasting ideas which set up the emotional background to those moments of violent intensity.

Unlike modern-day posturing in black metal, Duin looks toward the older tradition of abstract Romantic 19th century Nationalism as expressed in classical music and folk art. Both betray their presence in the use of typically long, modal, easy-to-get melodies of the folk kind. Sibelius lives in that tendency to drift into very paused passages and quiet dynamics seemlessly which was so characteristic of Nadia. In this sense, we could say that while Nadia was a Sibelian album, Duin is more of a Smetana-Fudali-ean album. It exists in a type of magical music like that conceived in Marsilio Ficino’s mind, a form of sonic art which follow celestial designs with metaphor of the spirit such that its effect over us is as sure and profound as that of the Sun and the Moon on the creatures of a forest. These strong ‘authentic’ folk inclinations serve as converging points of most visible influences. There is both a sylvan spirit underlying the music and a warm home-welcoming one as opposed to a warlike and epic one. These last two characters are instead represented in the more energetic passages which do not override the greater scheme of things and instead contribute to a desire for adventure that does not quite reach epic proportions. This follows the general theme of this work as, in contrast to the Apollonian rigid order of Beethoven or Bach, a wandering organic Dionysian spirit which aims to be appreciate from the atmosphere it saturates with meaning instead of a linear narrative progressing toward the conclusion of a musical argument. Like the naturalistic music of Burzum, Duin follows the thought process that repetition of a riff does not end when the composer or audience wants it to, but when the nature of that riff in the context of the song indicates a need for change. A kind of musical “sixth sense” pervades this album.

The first track, “Río Frío” starts off by quoting the last track from the debut album, El Roble Será Mi Trono Eterno for a few measures only to quiet down and performing an adaptation of Smetana’s Vltava for overidden and distorted guitars and bass. The second track, “El Lamento de Penélope” will probably give the strongest impression of this relation to Absurd in its urgent and minimalistic rhythmic riffing. The way the following melodies are carried in triple time reinforce this view until Vltava‘s theme is used in the climax section of the song. The following song, “La Gran Laguna,” is a roller coaster ride which takes us again through vistas of minimalist folk metal with quasi-marching beats and prominent melancolic melodies alternationg with ambient-like sections with a picked clean guitar outlining chords over the roar of its distorted partner. An instance of this supports the song’s solo section, which show off how Cóndor has stepped up even in its melodic treatment of solos which when compared to Nadia display a more mature independence from guitar-scale blocks.

“Coeur-de-lion” starts the visible slowing down and gradual elongating of expression that the album manifests increasingly a step at a time. The riffs are given a different tone by both the change in pacing, along with the playful exchange and duple and triple times which in different inceptions point the music in different directions. With a 2/4 reciting inisting, childish urgency, a 4/4 allowing for settling feeling, a 3/4 for a more bouncy feeling which slowed down and seen differently can be a martial and/or swinging 6/4 or 6/8, depending on the note value. “Condordäle” takes us one step further in what is almost a dirge in the beginning but which allows smooth and sensuous transition between riffs forming layers of an idea, with clear vocals reminiscent of a classical chorus.

“Helle Gemundon in Mod-Sefan” begins with a clear, long and emotional melody line gradually introduced and repeated, but is always interrupted by chords which sound dissonant in the context so as to disrupt the final resolution that we might expect in the line. Each time the line is allowed more time and to soar higher and higher. In the last of these repetitions the song then turns to the riff styling of the aforementioned dissonance-inducing chords, and riff after riff is wrought from this idea until its natural duration is expired. A break is brought which leads into a more conventional metal section comes in which a series of solos in the same vein are played. Mid-paced, emotional, almost aloof and relaxed playing which would not seem out of place in urban underground styles of rock characteristic of Latin America.

“Adagio” is an interlude for bass and clean electric guitars which serves as a beautiful gasping point before the last track, named after the album, that serves as a closing for the album. After the slowing down and exploration of different influences towards the middle of the album, a bit of everything is brought back in this song with a slow beginning which blooms almost inperceptibly harsh, hammering riffs, slow, folk-song melodies in lullabying triple time, which again alternate into a bridge of descending chromatic notes in the classical style leading directly into melodic indulgence in solo and riff proper of that folk metal which displays the transparency of rock and the honeset simplicity of the folk melody.

This is an album in which each song feels “better” than the one before. But when listened to many times one discovers this is not really the case. It is just that the progression between songs and within songs makes it feel as if each new event in the music is reaching towards a new goal, new vistas, but always through the eye of the Cóndor. Just like the compositions of the young Sebastian Bach shortly before and after his visiting Dietrich Buxtehude in Lübeck betrayed the unmistakable mark of the old master in form and method but never bowed down to him so that the pieces were, nevertheless, stamped with the young genius’ name, so does the band manages yet again to sound like itself independently or in spite of its distinguishable inspirations. Sounding like a more seasoned band than on Nadia, the telling silhouette of the Cóndor comes out of the foggy shadows and into a golden Autumn light.

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Funerus – The Black Death

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Following up on its doom-death full-length Reduced to Sludge released in 2011, Funerus surges forth with three new tracks on a 7″ entitled The Black Death to be released on Dark Descent Records within the next few weeks. This short work shows that where Reduced to Sludge finalized the Funerus style, newer works further intensify the strong doom-death sound which has propelled this band for decades of enjoyment in the death metal underworld.

Sounding very much in company with widely varied acts such as Divine Eve, Cianide and Asphyx, Funerus writes grinding death metal riffs which develop over the course of a song with hints of melody and layers of texture, building an incrementally crushing atmosphere around a strong theme. On The Black Death, melodic elements serve a stronger role but entirely without becoming fluff or reducing the impact. Funerus uses melody in death metal correctly, which is to underscore the evocative vocal rhythm of a chorus and bring out variation in riffs so that repetition increases the crushing sense of morbid doom instead of adulterating it. These songs build like the experience of descending into a deep cave, with the heaviness of the air growing more oppressive and the fear surging with each foot further into the void that return from this abyss will be impossible. Where older Funerus relied on more varied technique and sometimes conflicted with the pure power of its doom-death riffs, this new incarnation clears out everything but the essentials and uses them to complement the fiery riffing to give it a further sense of oppressive hopeless violence.

In addition, vocals provided by bassist Jill McEntee, who shares instrumental duties with her husband John McEntee of Incantation, both through clarity of production and greater savagery produce an effect of urgent despair like chanted emergency messages broadcast by loudspeaker in the ruins of a dystopian city. Of the three tracks on this album, “The Black Death” grinds almost like a Bolt Thrower track but builds to a staggering sledgehammer doom-death riff instead of a melodic counterpoint to the abrasive chromatic dirge. The second track “The Minding” applies a melodic Swedish-style death metal riff much as might appear on a Carnage or Amorphis record but throws behind it a bulldozer of rhythmic momentum. Closing out the record, “On the Edge of Death” charges more like early Asphyx and keeps the intensity higher at a mid-paced speed with relentless vocals calling forth like battle command. Together these three tracks show a streamlined, stripped-down and more articulate Funerus that intends greater malice and achieves a sound competitive with the best of the underground that shows us this band at its greatest power yet.

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Sadistic Metal Reviews 01-06-14

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The music fan possesses limited resources to achieve the goal of an enjoyable listening experience: time, money and energy. Reviewers tend to write about how cool everything is, but they should be writing about how mediocre most albums are so they can focus on the few that can be enjoyed for the next few years at least. It is hard to be cruel, but it is kinder than kindness. With that I introduce our latest round of Sadistic Metal Reviews

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Villainy – Villainy I

This enjoyable little romp reminds the death metal listener of later Sentenced crossed with the Venom-worship of Nifelheim and other bands who, in the old school days, were simply referred to as Venom tributes. Heavy metal genre riffing, combining the best tropes of the late 1970s and early 1980s, meets a harsh Cronos-styled vocal and updated technique. Nothing sloppy here; the band are tight and the arrangements show no spurious detail. However, despite the somewhat harsh vocals, like Venom this is NWOBHM and 1970s heavy metal revivalism without any particular relevance beyond that era. It skips speed metal textures for a death/black metal styled fast strum and continuous drumming as if taking notes from Merciless, and injects melody, but mostly stays within verse-chorus with introductory and transitional riffs different. The riff forms will be familiar to fans of heavy metal from that era. Lead guitar strikes a pentatonic blitz that is both enjoyable and very much within form. Unlike Merciless however this album focuses on writing hard rocking tunes and does not develop an evolving mood or atmosphere beneath.

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Tenebrous – Arias Toward the Black Sun

Underground metal needs a new trope for a certain type of composition which appears frequently among our ranks. I dub this “80s situational comedy” after the movies where a character makes a bad decision, then to hide it chooses another bad option, then deceives and conceals in a string of events leading to absurdity and eventual plot collapse. Sitcom metal occurs when a band finds a riff they like and write other riffs to fit that riff without having an awareness of what the riff communicates emotionally to the listener, thus what the song is actually about, and so you end up with a cool riff and reactions to that riff which are designed to put it into context but ultimately have the opposite effect. Tenebrous fits this pattern through its work in a style that combines a whole lot of Graveland with some of the more aggressive strains of black metal. They have mastered the basic flowing riff, but not building a song around it, only building a song commenting on it. This is underscored by the cover of “Unpunished Herd” which ends the album and makes the rest of it look incoherent in contrast.

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Pagan Flames – Symbol de Vie et Lumiere

This atmospheric black metal band combines Burzum-styled lead folk melodies over sweeping guitar riffs. Its strength is its melodic composition; its weaknesses are its vocals, which focus on rhythms that are too obvious and thus trite, and its tendency to try to work slamming full-stop and bounce rhythms into what should be a more continuous architecture. Barring those two disadvantages, Symbol de Vie et Lumiere presents black metal that unlike most recent efforts tries for the ancient, melancholic and epic warlike sound that made this genre popular before idiots invaded with thinly-disguised rock music to keep the mouth-breathers occupied. Many of these songs verge on being folk music itself and like the Darkthrone sidepoject Storm, feature trudging rhythms over which pagan lyrics are chanted to volkisch-reminiscent melodies. The fractured aesthetic presented by the overly busy vocals and tendency toward self-interruption with choppier rhythms narrowly keeps this album from being top tier but it distinguishes itself on its essence — attempting to write actual music through melody — from the formless legions of tryhards, shoegazers and hard rockers trying to use black metal as a vehicle for their own failed prior attempts at other genres.

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Skrømt – Sjelebrann

Not since Disharmonic Orchestra Not to be Undimensional Conscious has a hybrid of this variety yet which retained its ability to express itself been cast among the metal minions. Skrømt combine alternative metal, post-metal, rough punk and older black metal influences (Ancient, Enslaved) into a form which keeps the catchy songwriting of indie rock bands but fleshes it out with a rich backdrop of shifting harmonic texture and, like metal, combines multiple riffs into chains to create a moveable part of a narrative. For the most part, songs stick to verse-chorus as augmented by background material and sometimes with a second instrumental chorus to expand upon the first loop. Like alternative metal, songs guide themselves through the vocals and the presentation of lyrics in a combination of shouted, sung and harsh vocals. Where this goes wrong is that rock and metal do not mix on an aesthetic and thus artistic level, and so the end result is rock gilded with metal riffs which are quickly absorbed, and some of the best work of this album exists in the shadow of the alternative rock tropes that it stands far superior to. This is unfortunate as clearly many good ideas and musical insights went into this album. Most inspiring in this release is the technical work applied to making the various riffs and styles fit together. It is rare for a band to understand how to connect different emotions together without following a blatant formula, but Skrømt stitches together multiple moods and styles into a coherent whole on a musical level, even if making it work on an aesthetic level seems difficult.

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Church of the Dead – Vol. 4 – Meet Me in the Tomb

The term “cultural appropriation” seems trendy these days but few realize what it means. Blatant theft of the cultural methods of another group is too easily detected, so people appropriate those cultural methods by translating them into a form that most will not recognize. In this case, while Church of the Dead clearly uses death metal riffs and death metal vocals, its vocal rhythms are influenced by rap and its riff rhythms are closer to Motown than standard issue death metal. Thus while this disc shows some musical promise, it remains a confused aberration that wants to be in one genre but keeps itself in another, losing the spirit and atmosphere of that genre. Each piece tends to feature both Cannibal Corpse style trope cadence rhythm vocals and sing-song jingle-style vocals, making these hard to listen to without a wincing cringe, but also internalizes groove to the point where riffs take a basis in Morbid Angel and Malevolent Creation and become closer to Pantera. As a result, despite the many positives for this album, the overall negative is that its overall presentation is bouncy, poppy, and very much “rock” and not metal in form.

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Deep Wound – Deep Wound EP

At some level all hardcore punk approximates the same thing because the genre solidified certain tropes and combined with the mathematical limitations on complexity, these defined the variety of punk songs. Deep Wound creates songs that sound either like Black Flag without the dissonance, or early Corrosion of Conformity without so many pauses. The vocals strikes a jaunty and sarcastic pause when they are not in full blur mode. As far as thrash goes, this is closer to the punk side like the first DRI LP, and its riffs are less metal than hardcore in minor key, but it beats the recent “crossover thrash” rebranding that verges too much on speed metal territory and becomes either tame or inanely jingle-y as a result. The hardcore spirit lives faithfully in this music but because of the vast similarity of hardcore, it also does not stand out in any particular way — riffs are not radically different, nor song forms, nor even vocals — so qualifies as a fun listen but not as definitive as the albums from DRI, Cryptic Slaughter and COC that defined thrash as a genre. However, this stands head and shoulders above the “party thrash” of recent years and by coming at the genre from the hardcore side, brings in an energetic simplicity that metal riffs make too complex to self-sustain.

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Nidsang – Into the World of Dissolving Flames

  • Basic black metal combined with Angelcorpse-style aggression, but leaning on the latter for songwriting. As a result, not much atmosphere but plentiful aggression. Melodic riffing adds some depth but consistent song form and intensity rob this album of much enduring power.

Aborted – The Necrotic Manifesto

  • Aborted took their high-intensity low-complexity grind and gave it the modern metal (a/k/a deathcore) treatment which made it more chaotic. The more elements you add, the more internal complexity (melody, structure, theme) you must have or you reduce your core complexity to nothing, which is what happens here. Catchy chorus + two grinding riffs + hard rock influences.

Abysmal Dawn – Obsolescence

  • Workable death metal with heavy metal influences in abundant lead soloing, melodic riffing and catchy choruses. Very paint-by-numbers however with not much of an intent to put anything into a song but energy and internal cohesion. Good riffs give it strength but do not make it compelling; modern-metal-style chanted choruses ahead of the riff also increase frustration.

Cemetery Fog – Towards the Gates

  • This attempt at Paradise Lost-styled doom metal is both well-composed and artistically relevant, but highly cheesy from the use of melodies that directly gratify pop instincts to the occasional female vocals which aesthetically create the type of cheese that Motley Crue could only dream of. Songs are well-written and express a unique form and content for each, even though they drone on through a series of heavy metal riffs slowed down and are united by a melodic lead shadowed by vocals. While not bad, this makes the album as a whole somewhat sentimental in the sort of obvious Thomas Kinkade calendar way that drives away people like me, but it would be remiss to not notice the quality of songwriting here.

Abigor – Leytmotif Lucifer

  • Black metal needs to stay black metal. Abigor try to work in late Gorgoroth through early Deathspell Omega influences and it makes their already spotty music more spotty. Some good melodies, no continuity, too much style.

Aevangelist – Writhes in the Murk

  • Imagine Teitanblood with melodic riffing and slowed down to fast mid-paced death metal. The one cool effect here is the use of abrupt transitions to create a theatrical effect, but the lack of underlying riff and song consistency makes even this seem hollow.

Bethlehem – Hexakosioihexekontahexaphobia

  • Most will notice the creeping Rammstein influence: clean vocals, more dance-able beats, more pronounced use of German lyrics. However, a good deal of this sounds like recent Absurd as well with more of a folk influence creeping in and while the rhythms are more popular music friendly, they are far from industrial, and what appears instead more resembles NWOBHM with more groove than the quasi-modernist sound of Rammstein. Otherwise, the riff wizardry remains but is muted, with more emphasis on vocals and repetitive choruses, but generally these songs fit together well musically and develop an internal melodic sense that produces a multifacted atmosphere.

Agatus – Dawn of Martyrdom (re-issue)

  • Sort of like a cross between Legion of Doom and old Rotting Christ, Agatus uses the full punk style of even strumming speed creating droning riffs. These are pleasurable in themselves, and fit together well in songs, but they are both too obvious as melodies/phrases and too similar as rhythm riffs to make this work. In addition, many of the melodic choices here are simply rudimentary crossing into bad. This could have been an epic album if a more critical eye had been applied during composition.

Acheron – Kultes des Hasses

  • The challenge to Acheron has always been to overcome their cadenced rhythm that comes to a full stop in perfect symmetry, sounding a bit like a child’s song. On this latest album they work up the usual assortment of great riffs in bad rhythm and occasional disorganized order.

Baphometh – In the Beginning

  • Essentially speed metal with plenty of repetition, catchy choruses and circular song structure, this band nonetheless adopts death metal vocals. However, it is better for fans of B-rated Metallica and Exodus clones than anything newer. While none of this is incompetent, songs have no center around any kind of conflict, so the general mode is repetition and circularity.

Authorize – The Source of Dominion

  • Thudding, predictable, circular and confused, Authorize are Swedish death metal in the style of Suffer but with none of what holds songs together or makes them anything but basic guitar practice. Lead guitars totally incongruous, other elements equally out of place. Should have stayed unreleased.

Aurora Borealis – Worldshaper

  • The melodic death metal band works Absu-style jaunty vocals into the mix, but they take over composition too much. Riffs follow the vocal lead which dominants rhythm and creates a kind of circus atmosphere with the MC describing each act and then the trained bears of the riffs, clowns of the background vocals and highwire dancers of guitars take over. Sounds a lot like Warfather but more melody.
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Atriarch – An Unending Pathway

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Generic post-metal with bassier distorted power chords and doom metal pacing, Atriarch would like you to think that they are ” a living entity comprised of four parts, offering catharsis through sonic ritual. Our aim is to tear a hole in the veil that blinds us from our true selves. We are bombarded with ideals of a superficial shallow lifestyle, that we are enslaved to maintain.”

Even more, their press release states that Atriarch is “a mesmerizing death/doom metal force encompassing haunting atmospheres and droning avalanches of ritualistic sludge, a living entity comprised of four parts, offering catharsis through sonic ritual.” It then mentions their two “critically adored” previous records. Then the band adds: “Our aim is to tear a hole in the veil that blinds us from our true selves. We are bombarded with ideals of a superficial shallow lifestyle, that we are enslaved to maintain. This veil has become so powerful and overwhelming that we ignore our spirits to worship our shells, as money stokes the fires that burns our immortal souls. Greed corruption fear and hate is the true face of this Self Serving way of life that we have come to call ‘normal.’ While we believe in opening our minds and expanding our spirits we cannot forget our ability to fight. The spiritual battle for freedom of mind and body can be fought on all levels and violence is in our nature. There is no god there is no devil there is an All Encompassing force that connects all living things. Embrace the ritual and the veil will come crashing down…”

While we do not want to commmit the post hoc ergo propter hoc fallacy, it seems that critical adoration increases the closer a band approximates the mainstream norm, which in this age is indie rock. If you take indie rock, slow it down and play it in power chords instead of open chords, then add a ton of screaming in an “emotional” way, you get something like Atriarch. While no individual part of this is offensive, the album adds up to a heap of boredom. You have heard these chord progressions before in a similar context. These rhythms you have also heard fit together in similar ways. It is just slower, bassier and with more screaming. Perhaps if they added a dying hyena it would get even more critical acclaim.

http://www.youtube.com/watch?v=n-cHgrC4q7s

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Remains – Angels Burned

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If there is ever a death metal album to break your heart, it is Remains Angels Burned: a collection of excellent riffs and ideas which never fully make it to realization, resulting in an album with filler and disorganization predominating over concepts that should stand on their own.

Many of these riffs show a detailed study of the past three decades of death metal and picking up on patterns which had potential to be developed in other ways, and doing so, but the songs feel like sketches where great riffs form the center but much of the rest is filled-in with junker riffs, e.g. bounce on the same chord a few times or a chromatic fill with no shape. Inevitably it will be compared to Suffocation Breeding the Spawn, which similarly created a “hasty” feel with many good ideas suspended in technique alone. With more time to think through these songs, Remains could have isolated the point they wanted listeners to get to as a culmination, instead of repeating it and then patching together a song.

Two basic conditions destroy death metal albums: being predictable and being disorganized. This falls under the latter, with as a consequence of its disorganization, a tendency to fill in song form without content. This is a crushing shame since there are so many amazing riffs and fertile ideas which get lost in the flood. If I had a wish for the new year, it would be that Remains get back in the practice room — not the studio — and rework this album until its brilliance outshines its disadvantages.

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Akashah – Eagna an Marbh

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Akashah starts with Iron Maiden styled heavy metal and mixes in diverse influences ranging from the speed/death metal of Absu, the lengthy melodic passages of Dissection, the grandeur of viking-era Bathory, the odd grooves of 80s Gothic rock and the strange sad simple melodies of neofolk. Add to this choruses that are more infectious than Ebola on a bath house water fountain and you have the fundamental Akashah approach. Songs do not reach for unrealistic symmetry as bad music in the 1990s did, but find a catchy phrase and then expand upon it in a circular way that gratifies all of the emotional potential it has without delivery release.

The music that pours out as a result is sentimental like heavy metal but with the more advanced technique of putting energy into the riffs themselves and using them in a dramatic way. It approximates the narrative stream of newer death metal and black metal as a result, but the band clearly favors emotional moments — and this band is more outright and unconcealedly emotional than most bands on the heavier side of rock — and so goes back to a satisfying verse-chorus pair to hash that out, interrupting this loop to introduce tension with new riffs but not as frequently as might prevent a certain sense of being worn down by the listener. At times it resembles the black metal/heavy metal/doom metal hybrid of early Varathron in its riff phrasing. While the band writes excellent riffs both within known forms and of a nature entirely unique to themselves, songs follow the heavy metal format and so do not vary internal riffs as much, which leads to a loss of inertia on some of these longer songs; in addition, some melodies are too evenly balanced which creates overly-symmetrical phrases paired to repetitive vocal rhythms that are too obvious or too complete, giving the songs a jingle-like nature.

Inevitably, people will compared Akashah to Absu: the same speed metal infusion into heavy metal marks the heavier riffs on this album, as does the reliance on what feels like Celtic or central European melodies with insanely catchy choruses. Moments on Eagna an Marbh compare favorably with the best from black metal and heavy metal, but this album badly needs an edit to keep from feeling repetitive and to develop some of these ideas outside the chorus cycle. Nonetheless, there are riffs on this album that show up nowhere else and many moments of fine songwriting that, if properly channeled, could make for an A-level metal album.

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Woodtemple – Hidden in Eternal Shadow

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For those who wanted more of Following the Voice of Blood, Woodtemple approximates this style in longer songs that allow a range of emotion to create a backstory to the dominant mood of darkness and ambiguity. Often these take the form of folksinger style acoustic (or at least sans distortion) strumming of simple melodies which reflect often pastoral moods, before contrast with abrupt tempo change to the darker black metal tremolo or churning slow strum in the style inspired by Mayhem/Thorns but taken to a darker place. While these two tracks sound like they could have come off the Graveland album, the emotional outlook for Woodtemple is both more naturalistic and more varied.

Vocals follow an entirely open pattern that comments at half-speed to the pace of the riff, with guitars enfolding internal texture through strumming speed and variation among strings creating an empty and lonely sound, allowing songs to background drums to a faster pace without making the guitars pick up speed, although creating a background of urgency. Often dual guitar tracks create a clear voice of simple strumming over a brooding, distorted sound, building up a tension of instability and threat within the sound. Songs tend to move in a cyclic pattern through multiple riffs that return to a chorus riff and vocal pattern through the contrast created by other pairs of riffs warring it out to establish a mood to contrast the dominant theme.

Hidden in Eternal Shadow creates the experiment black metal should have embarked on earlier in creating the intense dark atmosphere for which the genre is known, and then manipulating it like a mural, taking it to different places as a means of creating context and showing the origin of the melancholic morbidity. This follows up on the experiments of the Graveland/Lord Wind early years which attempted to find a folk voice in black metal that was not merely surfacing, as in the “Viking metal” (power metal with Norse lead guitar melodies and styling) of the time, and does so successfully by creating a new form of ambience which both drones and builds upon itself to the point of expression of melody. For this reason, Hidden in Eternal Shadow shows not just Woodtemple at its strongest but black metal evolving to pick up the promise it birthed and nurture it further toward the creation of what might be a new genre.

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Thou Shell of Death – Sepulchral Silence

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Resembling a collision between space-ambient music, doom metal and black metal, Thou Shell of Death creates slow-paced doom metal with the atmosphere of black metal bands — a more melancholic, brooding and existentially nihilistic outlook — but like past doom metal greats Winter, the lead instrument here may well be the keyboards, which in reverb-heavy waves lace melody through crashing guitar chords which gives them both context and foreshadows development. The ethereal and spectral sound of the keyboards conveys simultaneously an otherworldly removal and a soaring sense of possibility, which temples the normal self-indulgence of doom metal into an exploration of wonder in the darkened halls of a fallen world.

Guitars on Sepulchral Silence intelligently vary texture in the background under the keyboards which are more clearly heard both through being louder in the mix and being a clearer sound, which makes their orientation as lead intelligence. The musical role of guitar in this context is to set a basic progression in the background which the keyboards riff against in order to produce a sense of convergence, as if actors were in harmony with their background and role rather than opposed. Often mid-paced, guitars use a variety of technique including fast downstroking and tremolo but just as often fall back to the Black Sabbath/Winter styled power chords played open, or strummed once and allowed to resonate. Behind them drums lag comfortably and minimally, removing what might have been a distraction to a role as timekeeper plus a sound of inexorable time that affirms emptiness. Each progression stands distinct and keyboards take advantage of this to set up a mood that, like ambient music even of the discotheque variety, resonates around the listener while vocals are demoted to speech filling in the gaps with a narrative to center the song. Over this, heavily reverbed vocals hang like shrouds and flags hanging torn above ruins, battered by the winds of history.

Avoiding the dual traps of becoming essentially slowed-down hard rock or slowed-down death metal, Thou Shell of Death renovates funeral doom music with a new variety of emotions and technique that avoids the pitfall of this music, which is that it is often tedious both from its slowness and the resulting relative invariance of its riff texture. While riffs are relatively few compared to death metal in these songs, as in black metal songs, each serves a purpose and riffs tend to change with lyrical progress, creating the sense of a morbid storybook tale narrated by a demon rather than a rock song over which someone is ad libbing Tolkien. From this basic approach, Sepulchral Silence makes a dense liquid atmosphere that provides all of the dread and despair of doom metal but with the adventurous spirit of black metal and the hope of discovery that pervades electronic music, creating a new voice for funeral doom.

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Sadistic Metal Reviews 12-27-14

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Nothing is less metal than accepting everyone and everything. Metal discriminates. Fundamentally, we recognize that most people have their head in their clouds and like craven mice prefer comforting illusions to even only moderately disturbing truths. In fact, over 90% of everything is simply disorganized garbage made by distracted mice. For this reason, we unleash our cruelty and separate the music from the squeaking with Sadistic Metal Reviews

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Arkham – “Demo 2014”

It may become necessary to invent a genre for this style because it shows up frequently. It might be called “narrative speed metal” for music that adds heavy metal and death metal into speed metal but fundamentally follows the vocal line for song development, as if narrated as background action by the lyrics. The dominant influence on Arkham seems to be Iron Maiden, whose harmonized riffing and song structures bleed through, but the band has chosen a death metal vocal and a basic speed metal verse-chorus approach with introductory riffs leading to change in the verse riff for each section of the song. Good riffs, and good sense of melody, but this band ends up being too linear in narrative and the chaotic vocals interrupt their melodic songwriting.

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Bloodscribe – Prologue to the Apocalypse

Fairly standard brutal percussive death metal in the post-Internal Bleeding style that is essentially deathcore but with more internal coherence through simplicity. The problem with this genre is that, like Cannibal Corpse and the post-Suffocation clones that inspired it, it requires reducing itself to a catchy guttural vocal phrase and distracting riffs with lots of squeaks and squeals but very little put together into tremolo or complex textures. The result is that this is the musical equivalent of elevator music, just a lot more intense sonically and with far better technique. It misses (however) the mind-blowing aspects of death metal and replaces them with the toe-tapping, head-bouncing and brick-eating mental state of listening to someone force a jackhammer around a sewer line.

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Gnosis – The Third-Eye Gate

This band of some local repute comes to us playing the style that some call shuffle metal. In this genre, the vocalist chants and the drums race to catch up while guitars strobe a two chord riff in the background. It has the gratifying tremolo sound of early Florida death metal but the vocal dominance inevitably makes this combination sing-song and thus the foreboding sense comes apart, replaced by the feeling that one is in a local pub, drinking a warm brew, listening to the local band whose songs are as familiar as backyard dirt at this point and while improving, never seem to get good. Interesting ideas appear on this album but never develop because they are too busy keeping the chanty choruses going for the Budweiser drinkers who are wondering if they should pass out or vomit first. If this band wanted to get good, they would lose the vocal hook and replace it with monotone until the guitars sounded good, then re-write vocals to fit the guitars.

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Nameless One – Thousand Memories and Nameless Sword

Essentially Iron Maiden styled heavy metal with death metal vocals and riffs thrown in for emphasis, Nameless One achieve a reasonable fusion of the genres but cannot hide the sickly sweet pop music underlying their Iron Maiden tribute composition. It is catchy and elegant in the way Iron Maiden is, but everything wraps up too nicely and the result is a sense of listening to one of those pop bands that pop up and vanish overnight in the dance music community. All instruments are executed with aplomb and solos are highly professional, and no song drops into lower-quality riffs, suggesting these guys have good quality control. Riffs are cut from archetypes, and the fusion is a little goofy, but the real sin here is making Iron Maiden into a candy pop band and thus making it as saccharine form of the irritation of nails on a chalk board.

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Winds of Genocide – Usurping the Throne of Disease

This album is hilarious. Imagine taking a standard hard rock album and trying to do it in the style of Blasphemy (yes, the Ross Bay one). Then add vocals which linger past the phrase or lead the vocals much like a pop band, and allow individual musicians to show off in the process. The result is unintentionally comedic as it sounds like Hollywood hired a bunch of Charles Bronson style tough guys to make Poison relevant again. In an attempt to hide the roots of this music, the band play fast and loud and layer it in vocals of several types, including the electronically processed chant and the barking chihuahua howl. For comedy’s sake they throw in citations to Sarcofago, Von and other ultra-basic bands, but no experienced listener will be able to get past the hard rock progressions and bouncy glam metal riffs even if played in detuned, double BOSS HM2 distortion’d power chords. Do not listen when stoned, as you might have a laugh attack.

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Crucifyre – Black Magic Fire

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Late entries in the attempt to partake in the retro-Swedish death metal sound, Crucifyre comes with an impressive pedigree of B-level Swedish death metal bands contributing members to this new project. To realize this vision, they combined heavy metal verses with Sodom-style chanted choruses and melodic death metal touches using the Swedish death metal modified d-beat under the skin. The result is not stylistically terrible except that it satisfies none of the cravings associated with its constituent parts, and instead makes a very “modern metal” collage which makes sense linearly but taken as a whole expresses nothing.

In addition, the melodies and vocal rhythms used here are simple in the way radio jingles are (as opposed to the “broken air conditioner that needs oil” way that Cannibal Corpse-derived bands can be) and the combination makes this music simply annoying. Catchy rhythms, sing-song melodies and a jumble of riffs thrown together seemingly both hastily and craftily creates a sensation of being in a Disney ride where each new riff is a new attraction and each represents a general gesture at an idea, not an attempt to unite a theme through all the different parts. This creates a feeling of rotation to the songs as they cycle past.

Making retro death metal is not easy, nor is it usually advisable. Death metal does best when motivated by a strong vision and hence a clear aesthetic voice and thus selective use of the techniques available to it after three generations of metal and punk. What happens with Black Magic Fire is instead the an attempt to make music like one would make a burrito: dump in some death metal asada, top it off with heavy metal cheese, then scatter some d-beat rice and German speed metal lettuce through the mix and wrap it up. Then hope it makes sense. This album does not, and does so in the most brain-liquefying simplistic way possible.

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