Former black metal, now modern metal band Mayhem have announced further details about their upcoming album via Season of Mist. Entitled Esoteric Warfare, the track list can be viewed below:
Throne of Time
Corpse of Care
The album is set to be released on May 23, with a US release date on May 27. It will be available for pre-order next Wednesday, March 26.
Additionally, the band has planned a European tour to support the album’s release, with two festival dates currently scheduled later in the year:
14 May 14 Hamburg (DE) Markthalle
16 May 14 Bochum (DE) Matrix
17 May 14 Köln (DE) Essigfabrik
18 May 14 Eindhoven (NL) Effenaar
20 May 14 Bruxelles (BE) AB
21 May 14 London (GB) Electric Ballroom
22 May 14 Paris (FR) Le Divan du Monde
23 May 14 Winterthur (CH) Gaswerk
24 May 14 Milan (IT) Factory
26 May 14 Bratislava (SK) Randal
27 May 14 München (DE) Backstage Club
28 May 14 Berlin (DE) C-Club
29 May 14 Warsaw (PL) Proxima
30 May 14 Plzen (CZ) Metalfest Open Air Festival
31 May 14 København (DK) Pumpehuset
28 Jun 14 Lausanne (CH) Les Docks (Inferno Festival)
08 Aug 14 Øya (NO) Tøyenparken (Øya Festival)
The album’s first single, entitled Psywar is scheduled for release on April 26. It contains of an alternate mastering of the titular track (our review can be found here), in addition to a track entitled “From Beyond the Event Horizon”, taken from the scrapped 2012 Budapest Sessions.
Alternative metal band Machine Head frontman Rob Flynn recently launched a blog-based tirade in which he excoriates the current music industry for being too industrial in its approach to music. In his view, as soon as something succeeds and lots of people show up to make money off of it, creativity is crushed.
His specific beef is the twofold: the focus on quick sales as a means of determining the value of a band, and on the high charges passed on to bands through union rules for playing past eleven at night. However, Flynn also hits on some ideas that parallel those expressed by underground metal musicians.
The music business has sucked the life out of creativity. No one is encouraged to take risks, no one is encouraged to push the envelope, because it’s all about first-week sales! It’s about pointless radio play and how good your last tour went. How venues and promoters are squeezing the last drop of spontaneity out of your soul by not ‘allowing’ you to playing past curfew and not drawing outside the line.
When we play that game, we essentially applaud mediocrity.
There’s nothing dangerous about music these days, there’s nothing surprising about it either. There can’t be.
His complex rant (mainstream media would say “rambling”) ranges from topics such as how social media disconnects us and a loathing of requisite patriotism in music to the glory days of rock ‘n’ roll in the 1970s, but his point is clear: the more we formalize, make profitable and regulate the process of music, the more we convert it from being a passion into another blockhead industry.
Flynn concludes with a voice of some desperation. “Someone has to stir the pot. Something needs to come along and wake us up out of the slumber.” As underground metal observers, we note that any time a new genre becomes popular, it soon gets mobbed by imitators and marketers who drag it down and turn it into the same old “safe” but “edgy” stuff that in fact has no value to anyone. These people are apparently blind to the fact that they have crushed the value of a genre they pursued specifically because it had that value. Then, having polluted something else, they look for the next big thing to latch on to and parasitize, dragging it down as well.
Advertising agencies would like us to believe that Twilight is a “black metal supergroup”; but looking at the list of musicians involved, there isn’t much to do with black metal, let alone a noteworthy record within that genre. If there was a desire to be accurate, the band would be billed as “a group of musicians without much in common, to whom we rented a studio and told them to make something that we could promote”. It’s here the band succeeds…but not anywhere else.
The only thing (fit for print) in my mind while listening to this was: “How long does it take for something experimental to become established and lethargic?” Really, there is nothing new on this album. Noise rock was done in the 80s, stoner rock spawned as well, caveman moshcore flourished in the 90s, and linear, monotonous, American “black metal” has insulted eardrums for over a decade. We all know what these genres sound like. Mashing them together and adding constipated vocals does not constitute a new art form. It is not experimental or new. Nor is it worth releasing.
The most disheartening aspect of this release is that most of the musicians involved are talented to above-average degrees. Unfortunately, none of it comes through on this release. They (and us) would be better served heightening their unique take on their own art form, instead of limply moving to this unremarkable, bland middle-ground…but that doesn’t pay the bills.
After black metal collapsed, fans went looking for the next great genre to fill the void. Unfortunately, the only “new” developments post-1996 have been of retrogression. Whether combining metal with vapidity (“post-black metal”), commercialism ((Watain, Satyricon)), or frequently both; fans were left without any direction to look to. After reviewing the situation, some honest people realized that “progression” was a sham and the solution was to take metal back to its earlier underground roots in death and speed metal.
First, it must be mentioned that this band has a great many features pulling it ahead of 98% of contemporary death and black metal bands. Most importantly, the band is actually metal. It is not pop, grunge, or Japanese videogame music masked with metal aesthetics. Second, the music is competently organized in a manner which facilitates quick understanding of what the band is trying to achieve. Tracks are chaotic bursts of energy which merge the frenetic, kinetic mayhem of black metal with the lucidity of structure offered by death metal. Stream of consciousness motion stays grounded by the relatively consistent vocals, which serve as an anchor between the listener and the assault.
However, this type of composition is not without its pitfalls: due to its nature, songs end up sounding relatively uniform. This is not unheard of in the realm of death metal; however, the band seems to be discomfited by this and thus inserts disruptive moments which share more in common with modern black metal than is comfortable. These consist of slower, “ritualistic” meditations, which in reality is merely minor chord noodling over constipated rantings. Presumably this is supposed to compensate the direct audial rampage offered by the higher-energy sections with a darker mood, but it ends up sounding like a gimmick.
For Teitanblood to progress, it needs to learn how to unify these tendencies into a coherent presentation. If it achieves this, it will deserve all the praise heaped upon it now, but genuinely – as of now, the universal praise of this band reveals the general starvation of the underground metal community for quality releases.
Adramelech, long viewed as a younger brother to legendary Finnish death metal band Demigod, ride again with the re-issue of their classic Psychostasia on Xtreem Records. Revered for their ability to mix subtle melody with mid-paced death metal rhythms to produce an enveloping sense of pervasive darkness, Adramelech like Demigod found their way into many death metal collections but remained out of the spotlight that favored more dramatic bands.
The new version of Psychostasia features three live tracks, two taken from the Seven EP, and remastering of the original album. According to those who have heard it, this produces a louder but more even sound while preserving the nocturnal atmosphere and menacing ambiguity of the original.
Xtreem Music, a continuation of Repulse Records, continues a long tradition of putting out quality underground releases and now augments that tradition by adding quality re-issues such as this one to its catalog. A new generation of fans — being of the personality type too alert to be fooled by the circus music of metalcore or bore-drone of shoegaze black metal — may discover the majestic power and infernal might of classic Finnish death metal with this release.
Former lead singer of Warlock and full-time metalhead Jerry Warden seeks 501(c)(3) status for a Metal Hall of Fame to go in his home town of Arlington, TX. He has trademarked the name and plans to showcase the memorabilia he has collected over the years of his involvement in North Texas metal.
“We’re just waiting on the nonprofit status,” Warden said, “and then we’ll have a full tank of gas.” Among other exhibits, he plans a display of the “big three” of DFW area metal: Gammacide, Rigor Mortis and Pantera.
Our only caution here at DMU is that “heavy metal” is a much-abused term. Metal-Archives took a sensible position on allowing only metal bands, but then bent that position to include the post-punk hybrid modern metal bands; MIT’s “Heavy Metal 101” takes a similar line-drawing approach. It’s harder for a public display to do that when people are going to come there to spend money based on the expectation of seeing their favorite “heavy metal” bands, whether those have any relation to metal or not.
Tom G. Warrior is a relentless innovator and amazing composer. As he details in his book Only Death is Real: An Illustrated History of Hellhammer he grew up in an abusive, uncertain environment within a broken home. He also grew up in “perfect” Switzerland, a place that has more rules than people. These events shaped his personality or rather, the limitations that are still imposed upon it.
What happened was that young Tom G’s ego was crushed and doubt was introduced into his mind. Doubt about the purpose of life, or even his own life. Doubt of self-worth. Fear that at any moment he might find himself without a justification for existing, and be truly discarded and alone. That’s a heavy load for a young person to carry, but the sequential success of Hellhammer and then Celtic Frost lifted Tom out of it. It also pushed aside a healing process.
When Celtic Frost evaporated, Tom launched on a series of attempts to find popularity again, but on his own terms. First, his highly inventive industrial music, and later, attempts to be contemporary. The latest two are below, and they are marked by a duality: a great underlying talent, desperately attempting to ingratiate itself with newer metal audiences. Like all things that do not take a clear direction, they are thus lost on both fronts.
This is not a hit piece on Tom G Warrior. Like many metalheads, I hold him in the highest regard. He is one of the great innovators and farseeing minds in metal. However, his tendency to try to adapt to what is current shows what is currently happening in metal: in a dearth of ideas, the genre is recombining past successes that represent the culmination of earlier genres, and is trying to recapture its lead by offering a buffet of different influences. But alas, like the music of Triptykon, these forays are lost causes.
Currently a morass of subgenre names exist. We can call it metalcore, or modern metal, or math metal, or tech-deth, or even djent, but all of it converges on a single goal: to make a form of that great 1980s speed metal — Metallica, Anthrax, Testament, Exodus, Nuclear Assault — that used choppy riffs made up of muted chords to encode complex rhythms into energetic songs. To that, the modern metal bands have added the carnival music tendency to pick entirely unrelated riffs to add variety, the grooves of later speed metal, and the vocals and chord voicings of late hardcore and its transition into emo.
What this represents is not a direction, but lack of one. By combining all known successes from late in these subgenres, modern metal is picking up where the past left off before death metal and black metal blew through and rewrote the book. The problem is that making music that is intense like those underground genres is difficult, and even more, unmarketable. It approaches the issues in life that most of us fear, like mortality and failure in the context of powerlessness and meaninglessness, and thus presents a dark and obscure sound that makes us uncertain about life itself. Like Tom G Warrior living through a shattered marriage of his parents and a society too concerned with order to notice its own boredom and misery, black metal and death metal shatter stability and replace it with alienated existential wandering.
On the other hand, late punk offered ideological certainty and heavy doses of emotion. Late speed metal, which Pantera cooked up out of heaping doses of Exhorder, Prong and Exodus, offers a groove and a sense of a party on the wild side. Inserting bits of death metal, especially its technical parts, and some of the frenetic riffing of Discordance Axis allows these bands to create a new kind of sound. But at its heart, this music is still speed metal. Where death metal played riff Jenga and put it all together in a sense that told a story, modern metal is based in variety and distraction. It exists to jar the mind, explore a thousand directions, and without coming to a conclusion ride out in the comforting emulation of the chaos of society around it.
But at its heart, these bands are speed metal. Like Triptykon who revitalize the E-string noodling and riff texture of more aggressive speed metal bands, with the bounce of Exodus and the groove of Pantera, these bands offer a smorgasbord combined into one. They mix in melodic metal, derived from what Sentenced and later Dissection made popular, to give it a popular edge. However, what they’re really doing is regressing to a mean. This has happened in metal before, when mid-1970s bands recombined Led Zeppelin and Black Sabbath into rock-style metal, and in the mid-1980s when glam metal did the same thing but mixed in the gentler sounds of late 1970s guitar rock bands. When metal loses direction, it recombines and comes up with a mellower, less threatening version of itself.
All of this is well and good if we do one single but difficult thing: recognize that what we’re listening to now is a dressed-up version of what metal and punk were doing in the late 1980s. We’re walking backward in history, away from that scary underground death metal and black metal, and looking toward something less disturbing and more fun at parties. It seems no one has come out and said this, so I figured it must be said. Enjoy your weekend.
A band from before death metal had coalesced into a genre, Master will tour North America during April 2014 as part of their “North American Witchhunt Tour” which will showcase a new touring lineup.
During the three weeks that Master will rage across North American stages in support of their most recent album, The Witchhunt, the band will comprise Paul Speckmann on bass/vocals, Alex Bouks (formerly of Incantation) on guitars, VJS on guitars, and drummer Ruston Groose.
Master continues evolving. From its earliest days as a punk/metal hybrid, to a period of intense technicality, and now in an era of massive aggression, Master has grown with the style it helped invent and now brings the latest iteration to fans across North America.
What are Sadistic Metal Reviews? The only path to metal glory is to make music that is metal both in form and content, and upholds the spirit of conquering the unknown and crushing the empty and pointless. Anything else fails and shall be mocked! Come for the impotent rage, stay for the occasional standout…
Vrolok – Void (The Divine Abortion)
After taking much, much too long to get started (by the way, the ‘tension building’ here is hitting an open E chord for 2 minutes), the first proper track begins with a drum beat that I’d expect to hear from GZA or Del Tha Funkee Homosapian. It only gets worse from there. This album sounds like someone took Burzum, Strid, xanax, and nu-metal and threw them all into a blender. The downright hilarious vocals are just as laugh-inducing as Nattramn of Silencer, and the bass drums sound like bongos. The tracks that aren’t overly long suffer from a lack of direction, and end much too suddenly. What a mess. No wonder this band has gotten much more exposure, they have all of the ‘eeevol’ ingredients that make their music sound scary to the tweenies, but to the experienced listener this is like hearing a group of circus monkeys play Aske.
Hirilorn – Legends of Evil and Eternal Death
As black metal became awash in a sea of imitators, distinguish quality grew difficult due to the sheer number of bands that were releasing albums in the post-1996 entropic period of black metal. Thus it is refreshing to discover a release from that time with spirit and wonder in its construction. Hirilorn’s first and only album is that kind of release.
In a similar fashion to Enslaved’s classic Vikingligr Veldi, this album consists of lengthy songs with subtle harmonies and adventurous structures. Unlike Enslaved, however, Hirilorn are a power metal hybrid but not in such a way that sabotages direction in their music. A particularly outstanding element is the lead guitar, which often plays variations on the melodies of the main riffs throughout the song. It is very much in the forefront of the mix, which is quite unusual for black metal, but here the melodies are evocative and compelling, so this approach works. Vocals are a consistent mid ranged shriek, but occasionally clean vocals are used (such as in “Through The Moonless Night”). Though they are a bit shaky, the result is similar to listening to Quorthon’s singing; it’s not very ‘good’ but it is honest and therefore has a distinct charm.
Where this album succeeds is in creating a world to journey to; these songs tell stories which one can envision easily upon several close listens. It is performed well, ambitious, and seeks to create something new from black metal’s framework. Its failures are a tendency to be overlong and as a result this album feels unfinished at times. Still, this is an interesting work which is a definite highlight of the creatively uninspired late 1990s period of black metal.
Stormhold – Eyes in the Eyes
Once you strip away all the layers of other aesthetic, this is metalcore of the melodic “death metal” type, like a hybrid between The Haunted and Dark Sanctuary, which is essentially very basic heavy metal with reliance on too much unison between vocal rhythms and guitars. Good metal leads with guitars and vocals follow, because that allows the most expression; bad metal sets up a vocal rhythm to make people feel comfortable and has guitars echo it, which ends up sounding like a TV commercial.
Ballgag – Getting Fucked by Life
Extremely middle of the road grindcore. It’s hard to screw up grindcore, since there are no rules. This band keep their songs compact, balance between punkish open rhythms and grinding riffs that crunch momentum. Vocals are incomprehensible which makes all of this into one uniform texture. It’s both quality and unexceptional. Maybe drop the pretentious name and try to be a Napalm Death style grind band. Essentially, there’s raw material here that could be good and more importantly, the will to pare down songs so that they’re not random, but the band are unwilling to choose a direction. The nonsense shock name and nonsense shock album title are clues here, but even more so is the utter middle-of-the-road choices the band makes in tempo and riff that obscure its contributions. Refocusing this band would involve a lot more guts and probably a great deal more glory than this innocuous release will garner.
Bane of Bedlam – Monument of Horror
This strong band is divided between trying to be 1980s speed metal and attempting to fit 2010s “modern metal” into that framework. The verses are rhythmic, single-chord muted strum playing with quick turnaround fills. Choruses use melodic guitar riffs and more expansive patterns to create a sense of space. Unfortunately the vocals tend to influence the music, both by forcing metalcore/post-hardcore guitar-chasing-the-vocals riff-writing and vocalizations of the emphatic type that modern metal uses, where the vocal rants out a beat and then relies on lengthy decay for the last few iterations. Waa waa waa, waa waa, waa waa waaaaaaaaaaaahhhhh. This in turn drives drums to play a catch-up role. The result is that this band’s strength in riffing and song assembly is buried under poor choices. They integrate radical contrast riffs into these songs like a 1980s speed metal band, and while they don’t do as many dynamic shifts in rhythm, they know how to avoid hammering a trope into the ground as well. If this band wants to get ahead, it’s time to drop the modern metal vocals and influences and focus on finding a unique voice in 1980s-style speed metal. Otherwise they’re going to get lost in the modern metal morass, which is producing ten times as many bands as it can sell, and find itself offering the same thing others do without being fully trendy and modernized.
Nasum – Helvete
If you’re someone that is just getting into grindcore, it’s easy to see why this release might appeal to you. It’s got a pretty good handle on riffcraft, good dueling vocals, coherent songs, and is very punk in spirit adn approach. However, Helvete quickly loses its luster. The songs are incredibly simple to the point where one can guess what will happen in most by hearing the first few seconds. It also gets too groovy (moronically so), throwing out a lot of the actual grind for this.
The fact that it is very punky is another shortcoming; a lot of this music is just that — hardcore punk with some blast beats and nu-metal inspired groove — with very little actual grind to be found. What is left is aesthetic only and that tires quickly. Many do not wish to give this band bad reviews on account of the tragically unfortunate death of the singer/mainman, but it would be an insult to the artist to not grade this honestly: a C/C+ at best. If one is really interested in this band, their first album and the material before it are much more compelling, but you could always just listen to Discordance Axis or Blood instead. Turd chunder.
Skeletonwitch – Beyond the Permafrost
This is like the soundtrack to some pimply-faced kid wherein he imagines beating up the bullies and emerging victorious; except he never actually does this and continues to get beat up because he’s a wimp. That’s what this album sounds like. Retreat into a fantasy world that is incongruent with reality, dress it up with some weak black metal shrieking and Gothenburg riffs, rinse and repeat. It’s no wonder this stuff’s so popular – it hits all of the right marks to endear it to the mall going young teen demographic. None of these riffs even sound menacing, most are major scale based. So you get weird happy sounding riffs in music that is trying to sound evil. This band even labels themselves ‘thrash’…..well if this is thrash then I’m the new leader of the DPRK. Someone call the US government to let them know we have new suitable music for torturing prisoners in Guantanamo.
Abyssic Hate – Suicidal Emotions
When bands claim direct inspiration from one other band in particular, one must approach this description with caution. Does said band actually take techniques/methods of their influences and incorporate them into new song structures? Or does said band merely try to sound as close to their influences as possible? For this album, it’s the latter.
There are some truly excellent, somber riff passages here. The problem is that instead of building up to a conclusion (such as in Burzum or Graveland, the two biggest influences on this recording) Abyssic Hate just drone on in repetition of the aesthetic influence. Three of these tracks could have had several minutes shaved off of each and they’d be no worse for the wear. The shortest track is the most complete, but that is only by virtue of it not being as overly repetitive as the longer tracks can be. If this group could develop its sharp riffcraft into more adventurous song structures, we’d be looking at something interesting. It doesn’t, so the end result is something that is atmospherically soothing, even a little eerie, but after a few minutes that wears off and you’re left with the sounds of a radiator buzzing for 40 more minutes.
Artists who produce great and powerful bodies of work leave behind less-noticed works that are by no means lesser. Bruckner’s Symphony No. 2 is actually his fourth symphonic work, and is relentlessly overshadowed by his more intense symphonies such as the lengthy and crushing Eighth, which produces a pervasive sense of inexorable conflict and restless destructive renewal.
The Second on the other hand builds quietly from a nearly pastoral origin to a peaceful state of mind that then like a dragon rising from the mist turns to fire and warfare in the tumultuous and restive finale. Beginning with a gentle interweaving of naturalistic themes, the first movement assembles them in a style not dissimilar to the riff sequencing of Celtic Frost or Incantation, a type of prismatic construction that excels in placing repetitive in sequences interrupted from within such that each recurrence is a return with new knowledge to a familiar theme and thus an expansion instead of a reiteration. These build to the two middle movements which reflect more of an inner state of mind, in which melodies are carefully organized into a developing sequence which shows balance and harmony. Expert organ improviser Bruckner shows his true power here in his approach to the sonic tapestry where resonant sequences gradually alter themselves and through negative space and absence generate a higher intensity of presence. These techniques expanded with his later symphonies but can be seen in a lighter application here as part of a focused series of techniques.
The finale rotates between nascent versions of several triumphant melodies, bringing each one out of primordial chaos so that it can develop, then detouring to another, then returning, so that these melodies complement each other and explode in a triumphant final martial processional followed by a meditative recapitulation of the mood and theme of the earlier movements. The result is a breathtaking dynamic that shatters not just expectations but the intractable egoism of humanity that renders them closed to the inherent adventure of life itself.
Listening to Bruckner always reminds me of the secret of life that hides in plain sight. These immersive and epic symphonies etch out a clue that all of life is pervaded with meaning and holiness, and we deny it only to feel “in control” which is nothing but pretense. I don’t care what religious tradition you come from, or even a negation of religion, because you can access this sentiment through any viewpoint. It is simply this: life is an intricate and balanced design of great beauty and thus, truth, and through this we learn why we endure, and even more, why we strive.
This outlook is always just below the surface of all that we perceive, but it hides from us, because we must be open to it to see what is potential, and thus, what is immanently real. Although most people choose death and control over being part of the great complex beauty that breathes incessantly around them, Bruckner reminds us that the option is always there to lose ourselves and gain a cosmos.
Classic heavy metal doom metal band Saint Vitus embark on a tour celebrating the band’s 35-year history from May 8-25, 2014. The band will be playing the entirety of their Born Too Late album, the first to feature Scott Weinrich on vocals. Saint Vitus made a name for itself in the world metal community for being one of two bands to continue the 1970s style of metal throughout the 1980s and 1990s, making heavy metal hymns slowed down to reflect a completely alienated worldview.
5/08/2014 Launch Pad – Albuquerque, NM
5/09/2014 Club Red – Phoenix, AZ
5/10/2014 Cheyenne Saloon – Las Vegas, NV
5/11/2014 The Observatory (Psycho De 5o Fest) – Santa Ana, CA