Ildjarn – Seven Harmonies of Unknown Truths

ildjarn-seven_harmonies_of_unknown_truthsOriginally shunned by most of the “new and wise” black metal community in the post-1995 era, Ildjarn emerged shrouded in mystery, and its renown has increased over the past almost two decades through the appreciation of writers and fellow musicians.

Seven Harmonies of Unknown Truths packages an early Ildjarn demo by the same name into a CD/LP release that showcases this band’s potent sound that mixed black metal, oi, drone and primitive folk music. The album has been released on Eisenwald Records and can be ordered here.

While those who have heard early Ildjarn will note the similarity to both the self-titled release and the material on the Ildjarn-Nidhogg compilation, but like other Ildjarn EP-length material Seven Harmonies of Unknown Truths presents a slower and more atmospheric vision of this band.

Structured as seven numbered tracks plus the archetypal Ildjarn song “Death Dynamics,” Seven Harmonies of Unknown Truths is like most Ildjarn releases an ambient composition as a whole where songs serve as motifs. Varying between the doomy and the faster edge of mid-paced, these songs return us to the lawless forest where the spirit of Ildjarn resides.

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Queensrÿche releases documentary about new album, mini movie

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Queensrÿche began their reign as an Iron Maiden-inspired band that blended American west coast hard rock and progressive guitar rock with the New Wave of British Heavy Metal.

The result peaked in their most famous release, Operation: Mindcrime, which showed equal parts influences from Yes, Led Zeppelin and The Number of the Beast. The result plus passionate songwriting and intensely theatrical vocals proved a hit with fans and critics alike.

Currently, Queensrÿche are preparing a mini movie that uses tracks from their current self-titled album to tell a ten-minute story. The film, Queensrÿche: Ad Lucem, is expected to be released later this month with the followed embedded Queensrÿche songs: “Spore” “Midnight Lullaby” “A World Without” and “X2.”

Queensrÿche: Ad Lucem was created by Veva Entertainment in coordination with Queensrÿche and is directed by Daniel Andres Gomez Bagby and produced by Marco De Molina. It was filmed last month on location at Central City Stages in Los Angeles.

    Queensrÿche is:

  • Todd La Torre (vocals)
  • Michael Wilton (guitars)
  • Parker Lundgren (guitars)
  • Eddie Jackson (bass)
  • Scott Rockenfield (drums)

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Interview with Chewy Correa of Organic

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Many years ago, when I was desperately buying up any and all death metal to feed the voracious ears of the listeners of an underground metal radio program, I stumbled upon an album by a band called Organic Infest. The cover used unusual covers, but was dripping in gore-imagery, so I gave it a listen.

Organic Infest is now Organic, and we were lucky to be able to speak with Chewy Correa, bassist and driving force behind this long-standing underground metal band.

Click here for the full interview with Chewy Correa of Organic (formerly Organic Infest).

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Interview: Chewy Correa of Organic

organic-band_photo

Many years ago, when I was desperately buying up any and all death metal to feed the voracious ears of the listeners of an underground metal radio program, I stumbled upon an album by a band called Organic Infest. The cover used unusual covers, but was dripping in gore-imagery, so I gave it a listen.

I quickly found what was in my estimation one of the undiscovered high points of that fertile period, which was a band that creatively merged the American heavy death metal sound with a European sensibility and its own articulation. Like many of those early bands, Organic Infest wrote their music from a viewpoint that was their own, and thus they made convincing music despite struggles with production and distribution.

Two decades later and very few bands achieve this ability to write from their own viewpoint. Many are able to adopt the musical language of others; this can turn out well, but usually does not. Some come up with their own perspective, but it doesn’t correlate to their actual inner feelings or the outward order of the world, so it’s of little relevance to anyone but themselves.

Organic Infest (now Organic) has kept up their own unique and relevant work during this time. To many of us, their uncompromising spirit and clarity of vision makes them an undercover standout to this day. For that reason, it is with great pleasure that I introduce bassist “Chewy” Correa from Organic.

I understand that some years ago you changed the name of the band from Organic Infest to Organic. Why did you make this change, and do you think it reflects a change in how metal bands are naming themselves and seeing themselves at this point?

We decided to make the change of the name in 2005 after our original guitarist left the band. The main reasons for Juan my drummer, and I to make the change on the name were that we wanted a new beginning for the band and also the lyrics. The lyrics were gore type in the beginning so the name Organic Infest was good then, but I started to write in a more diverse way so the name Organic gives us more freedom in terms of themes for songs. Well, we think that the name of the band is a thing not to be taken lightly. After all it is what will represent the band worldwide and the name in our opinion should be like the main theme for the band. I know many bands these days that use a name just because it sounds “cool,” and when you read their lyrics they have nothing or very little to do in relation with the name.

As I recall, you’re a bassist and Organic lost a guitarist, so you began using a higher-tuned piccolo bass instead of guitars. How has this worked out? Has it changed the way you write songs?

After a lot of experimenting, I finally have the sound that I wanted. This piccolo thing came out as a solution to our problem. When our original guitarist left and we changed the name to Organic we found an incredible guitarist ED Díaz, but after one year and nine months he left the band too. So one day my drummer Juan told me, “man put some distortion to your bass and let’s just play.” At first we were joking about it but then the idea became real after I listened to a fusion bassist named Brian Bromberg who uses a piccolo bass like a guitar on his album “Metal,” so I said to myself if he does that in fusion I will do that in metal. About the songwriting it did not change for me because all the material I wrote when there were guitarists in the band I wrote with the bass. The process stayed the same with the addition of me doing the guitar parts on my piccolo bass.

Back when you were Organic Infest, you put out the album Penitence way back in 1993. In fact, it’s been 20 years recently and you commemorated this by streaming all your albums on your website. What do you think of Penitence looking back at it now?

Well, in my opinion it is the work of young and inexperienced musicians playing what they liked the most at that time. I am not saying that the music is bad, but obviously we could have done something way better at least on the production side of things. If you read all the reviews for that album they all agree on the same, cool music with very bad production.

How do you think metal has changed since that time? Does the underground still exist?

Metal has changed a lot since that time in many ways. Those times were really difficult for everything, from promotion to recording. Nowadays, promotion is a breeze with the internet thing, and recording has become the easiest thing with more and more bands being able to have their own home studios. On the other side, nowadays is also difficult in terms of competition. There are thousands of metal bands now everywhere, all wanting to have their shot at being the best. The underground still exists, and will exist forever because there are always underground bands playing those obscure gigs that the more established bands don’t want or like to play because they are not good for exposure.

Many were critical of the production on Penitence and other recordings you have released. Do you think they’re right, or is this a “the production (medium) fits the message” argument like certain black metal bands have advanced?

Yes, I totally agree that the production on Penitence is probably one of the worst metal productions in existence but it was the result of what I mentioned before: our total lack of experience and a recording engineer who just wanted the money and practically ripped us off. The production on the Agony EP, was a bit better but it was recorded on a moderate home studio so we could not really do more than we did. With The Way To Temptation album the production I think is a decent one; it could have been better but the guitarist was the only one attending the mixing sessions so Juan and I had almost no input on the mix at all. We expect that our new recordings will finally have a good overall production that our fans can enjoy.

Do you feel you have had an inverse relationship to trends in metal? For example, they go black metal, and you head toward percussive choppy death metal; they go death metal again, and you come up with more tremolo picked material.

Definitely! I hate trends, whenever there was a trend growing I would always go the opposite way, and still do it like that. For example, our new material is completely different, while many bands are heading for a more modern stuff while we are delving deep in our influences and musical roots.

What do you view as your influences? What genre(s) do you feel you combine or create within?

The three of us have many different influences. For instance, for me Metal is my religion and main musical genre, but I also like and listen to classical, fusion, and flamenco. As far as metal bands go we listen to everything we like from bands like Iron Maiden to Cannibal Corpse and everything in between. Genres that we combine… everything metal. We have doom, speed, power, thrash, death, and black metal, all combined in our style and sound.

Elsewhere, you mention that Coroner is your main influence. How does that manifest in your music?

Yes, for me Coroner is the biggest influence along with King Diamond, Candlemass, and Death. I have their influence and it reflects in my songwriting, but I always try not to sound too obvious or like a copy. It manifests mainly on our mid-tempo riffs, and on the more technical stuff.

Can you tell us what the status is of Organic at this time — do you have more releases coming up, and will we see you on tour in Puerto Rico or the mainland?

Our status at this time is very good and focused one. Yes, there will be more releases coming up and many good things and shows for the band in Puerto Rico and internationally. I definitely think that this next 2014 is going to be a great year for us.

How do you compose songs? What do you start with (an image, an idea, a riff, a scale)? Has this changed with the departure of your guitarist?

The process of composing for me is different every time. Sometimes I come up with complete lyrics and how to sing them and everything, then I add the music and bring it to rehearsals and we arrange the song. Also there could be times when we come up with something good jamming on a rehearsal and later I compose around it and bring the finished material to a practice session, and then I add the lyrics. The scales that I use for composing the most are the Harmonic Minor, and the Half/Whole version of the diminished scale, along with the Aeolian and Locrian modes.

I know there’s a metal conference coming up which is designed to discover the roots of metal as a community. Will you be offering your view there? What is “community” in metal?

The conference will be a great event. We will definitely be present at the conference, because we are part of the history of our metal scene. “Community” in metal refers to everyone from the bands to the fans that attend to the shows and events that deal with the music we all share as our form of expression. Also refers to the cultural aspects that represent what we are in our social environment.

Organic Infest had a hiatus between 1993 and 2001, if I’m reading these other interviews correctly. What made you decide to come back? Are those reasons still going strong?

That hiatus happened because our original guitarist left the band for the first time to move to the United States after he got married, looking for a better life. He decided to return to Puerto Rico and in 2000 we got together again because we wanted to continue with what we like to do the most, play Metal!!! Definitely those reasons are still going strong, and will be until I die!

Are there any plans to re-issue your former works?

Personally, I have always wished to know what Penitence would sound like with better production. Even though that is not the style we play anymore, and I might do it one day, maybe even sooner than many people think. Maybe not only Penitence, but also some of the older material like the song Organic Infest from our “Drown In Blood” demo.

Well Brett Stevens and Death Metal Underground, on behalf of Tony (bass), Juan (drums) and myself (Chewy, piccolo bass and vocals) thanks a lot for the great interview and your support to the band. We will keep you informed on the bands new releases and important shows so people can follow up through your excellent website. Hails!!!

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Pestilence releases “Necro Morph” from Obsideo

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Pestilence will be remembered as one of the heroes of death metal, but many have stated reservations about their more recent output, which seems unduly influenced by the modern metal movement, including tek-deth and alt-metal, which always seem to go hand-in-hand.

“Necro Morph” shows the band dialing back from the modern metal fringe and making what’s basically renovated speed metal with modern metal touches, avoiding the true randomness of tek-deth. The counterweight to that is that this makes the music more repetitive, which forces the vocals to overcompensate to give it textural depth.

That approach might make sense if the vocals were sung, but it’s an unfortunate choice here. Pestilence has always excelled at instrumentals, not vocals; when your strongest instrument is the guitar, why make a vocal-heavy style? Second, this puts the emphasis on a style of growled/shouted vocals that don’t have that much variation, which requires comedic emphasis that in turn puts weight on the lyrics to be “interesting,” which in rock-n-roll-speak usually means “ludicrous.”

Further, putting the main thrust of the band’s effort into rhythm guitars that support vocals has dumbed down the riffs themselves, which have gone from interesting phrases that use both partial chords and single-string picking to constant power chords that form uniformly repetitive walls of sound interrupted strategically by rhythm for the Meshuggah-style jazz “offtime” effect.

When the solo does appear, it’s a beautiful thing, because these guys not only play their instruments well (which is cheap, as millions play well) but have a good ear for music that is both sonorous and pushing the edges of what we would consider organized sound. Can we have some more of this, please?

If anything, Pestilence should recognize that their audience is not “the kids,” who will always want something dumber than Pestilence can provide, but the maturing listener who wants something with a bit more meat than the mostly rock-based pop metal that dominates the airwaves. You can’t get successful by imitating what works for others, and Pestilence must find their own path.

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Wan – Enjoy the Filth

wan-enjoy_the_filthGenres aren’t arbitrary things. They have certain ideals and certain boundaries, like all ideas or practices. Some people find that constraining and want things to fit in certain genres just because they say so.

Such must be the case with Wan, which is labeled as black metal and has been repeatedly introduced as such. It isn’t. This is a great late hardcore record, and thoroughly enjoyable as that, but it isn’t black metal. Not only that, it would be a total failure at black metal, so it’s unwise to list it as such.

Calling to mind Impaled Nazarene’s Latex Cult, which arose when that band decided black metal was out of possibilities for the time being, Wan Enjoy the Filth is bounding, high-energy hardcore riffs and simple verse-chorus songs. This one comes out of the gate rockin’ hard with riffs that seem inspired by Discharge, Terveet Kadet, the Exploited and GBH. Others might point out late-1990s punk like Driller Killer and Disfear, Dischange, etc.

Most of these songs are based on bottom two-string power chord riffs in the hardcore style, which means they’re less built around phrase and more around droning interrupted by a catchy rhythm. Drums keep up a d-beat or a similar “background” rhythm while vocals belt out a series of ambitious lyrics involving war, evil and hatred.

If you want to compare this band to anything, the aforementioned Impaled Nazarene is the closest link to “black metal,” but it has more in line with the late-1980s hardcore like Sick of It All, albeit in a more European-descended form. It’s quite enjoyable to listen to, and probably won’t stick around for too long, but it’s certainly not black metal.

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Blaspherian recording new 7″ entitled Upon the Throne of Eternal Blasphemous Death

blaspherian_liveTexas rolling destruction death metal band Blaspherian will enter Big Door Studios in Webster, TX on November 24th to finish recording two tracks for an upcoming 7″ entitled Upon the Throne of Eternal Blasphemous Death.

The new recording will be released through Iron Bonehead recordings, following a split 7″ between Blaspherian and Texas death metal legends Imprecation which will be released on Dark Descent Records.

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The relationship between metal and horror films

carnival_of_soulsWe all know why we distrust public statements by musicians. To be popular in this world, you first must endorse the lifestyle that most people lead, and this usually means praising something from the “edgy” mainstream so everyone knows you’re controlled (and thus “safe”) just like the rest.

Ironic, isn’t it. A whole group of people wanting to be rebels, but unwilling to go past that line that no rebel dare cross and still have the support of the peanut gallery which is encouraging him to rebellion. Reminds me of why the James Dean character finally offed himself in Rebel Without a Cause.

But Ihsahn, formerly of arch-rebels Emperor, is now a safe rebel and he’s giving some interviews praising stuff that you’d expect, if you watched your TV attentively, that “edgy” characters might like. However, some of the subversive is still left in him, so he sneaked in a few goodies in a recent interview:

The dynamics and emotional impact of soundtracks have been great influences on me and much of the reason I wanted to implement orchestral sounds in my music. Jerry Goldsmith’s work with the Omen movies has been an absolute highlight and still is. Also, his use of non-orchestral sounds in this context is very interesting.

However, this isn’t the first mention of horror movies as an inspiration. Just this week, Warbeast’s Bruce Corbitt opined that most of his work was inspired by horror movies. Entombed used horror film riffs in their own work. Black Sabbath tooktheir name from a horror movie, and wrote music to emulate the scary sense of suspense in the dark films they enjoyed.

At what point do we acknowledge this pervasive musical influence, with its own debt to modernist classical, as perhaps the foundational influence on metal itself?

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Empyrium releases Dead Winter Days before live appearance

empyrium-dead_winter_waysSomewhat reclusive epic folk/funeral doom band Empyrium will be playing live in Berlin on November 22, 2013, and in advance of this are releasing Dead Winter Days on 12″ EP.

Dead Winter Days is described as a preview of Empyrium’s 2014 return to form, The Turn of the Tides, following their successful Into the Pantheon live DVD/CD release.

The band will be performing with a high-profile lineup in addition to the two regular band members, including Konstanz (The Vision Bleak), Neige (Alcest), Eviga (Dornenreich), Fursy Teyssier (Les Discrets), Aline Deinert (Neun Welten) and Christoph Kutzer (Remember Twilight).

According to Prophecy Productions, the band’s record label, the live set will involve a grand piano as well as other folk instrumentation and a new selection of classic songs for an intense performance.

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Stray Bullets Kill – Sons of Southern Darkness

stray_bullets_kill-sons_of_southern_darknessImmediately from the first note, this release captures attention. It begins with a focused and powerful assault that is refreshing in its youthful vigor. Unsubtle, it shamelessly bashes ahead with simple yet engaging song structures that are well suited for live performance.

Compositionally an intersection of punk and metal, Sons of Southern Darkness features the linear powerchord riffs of punk combined with transitional single-string motifs reminiscent of speed metal. Songs are short three or four minute affairs, typically verse-chorus with new riffs materializing in the second half in order to provide differentiation. Vocals are low pitched shouts; in their best moments primordial battle cries fully materialized, however at times sound a bit strained and evoke the “angry man in a phone booth” mentality. Drums are present without being overbearing; the drummer is adept at knowing when to follow the guitars and when to differentiate, providing an added layer of nuance.

Aesthetically, this a release that straddles decades. Its core is from the 80s and 90s, however from its production and overall consistency it is decidedly a modern release. This allows the band to avoid entropy by being yet another “retro” tribute band and move their form in a unique fashion, providing an intriguing foundation for those interested in seeing the current generation strive for the art of the old without wallowing in nostalgia. However, those that compare it to its progenitors will probably find it lacking.

Sons of Southern Darkness can be picked up via the Stray Bullets Kill Bandcamp page for £2 (around $3.25).

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