At least one metal musician has learned that if society attacks, you counter-attack. Varg Vikernes of Burzum, who was arrested several weeks ago and charged with inciting racial hatred, is attempting to sue the French government for an arrest that ultimately led to no new charges because of a lack of evidence.
“We want to sue the authorities for arresting us for no good reason whatsoever, doing so in the most brutal way possible and with children present,” Vikernes wrote on his blog.
During the early 1990s, Vikernes created a one-man band named Burzum which knocked out a series of innovative, multi-riff songs designed to blur the boundaries between metal and ambient, and “awaken the fantasy of mortals.” Some metal historians believe that Burzum’s Hvis Lyset Tar Oss effectively ended black metal’s development by raising the bar above that which others could follow.
Since that time, Vikernes has spent sixteen years in Norwegian jails, written several books, and continues to both produce music and write political texts. His most recent work, Sôl austan, Mâni vestan, is an ambient work that recalls the power of earlier Burzum.
Exhumed, the band that combined up-beat Swedish death like later Fleshcrawl with the crepitant grind of Carcass but gave it the bounce of more punk-oriented grindcore bands, has returned from the dead and unleashed Necrocracy, an infectiously catchy but hard-hitting slab of recreational grind that should keep listeners in motion.
Following an early career of more grind-influenced music, the band began to see the possibilities in more energetic and listenable ventures, and so began to mix enthusiastic heavy metal into the grind and then blur the grindcore technique with a fair amount of death metal. Like many revival movements, this aims to put a modern superstructure into the aesthetics of the past.
Necrocracy represents the kind of thrill that came with later Ministry albums. Speed, excess and unflagging energy combined to make a record that could both motivate you to drive 120 mph down a lonely road, or socialize with friends while shouting lyrics about masticating corpses. The band kicks off a US tour this October.
When snide ironism takes over music, authentic spirit and power are forgotten and ignored. That is, if you read the music media and listen to the music hipsters. However, back in everyday life people love it because it does what music does best: affirm life and urge us on to greater heights. It inspires. (more…)
In addition, the band will have the participation of Bard Faust, the drummer notable for his role on the In the Nightside Eclipse album. Along with Ihsahn and Samoth, this concert will be a reunion of the core lineup that produced the band’s most notable release.
As of now, the band has announced no future plans beyond that point. Ihsahn strongly expressed his disinclination towards a future album, stating that the interests of the various members have diverged too great an extent. That is probably for the best, as the last Emperor album was far removed from black metal and suffered from stylistic confusion.
The earlier Emperor albums were epic, narrative tales featuring overt symphonic influences. The band formed a landscape of sound, in which melodies would crystallize before melting away underneath a crushing rhythm track that took the focus again. Stylistically, they presented a sense of solitude, through which allowed the listener to appreciate the beauty hidden around him. If the band can carry across that original spirit two decades later, they have the potential of inspiring a new generation with their music.
From the opening dual guitar harmonies straight out of 1985 that bring to mind the live intro to a Europe or Stryper set, it’s obvious that this album will be more in line with the guitar hero pop-metal of Arch Enemy than anything from Symphonies of Sickness or Reek of Putrefaction.
To some degree, that’s to be expected. Carcass threw in the towel on forward momentum long ago (1991) and have resorted to playing up their namesake for the purpose of phoning in stadium metal for the aesthetically overblown Wacken age, and Surgical Steel is perhaps their most commercially flexible attempt at filtering late model radio format speed metal through a death metal aesthetic filter, where actual death metal technique is limited to tremolo picking, blast beats, and Jeff Walkers vocals.
Carcass joining an elite cadre of financially successful bands by doing so, starting with At the Gates’s Slaughter of the Soul and even Pantera’s Far Beyond Driven. Let me state it again for those who wish to be millionaires: the appearance of being an outsider to a society nearly universally loathed by its inhabitants, with an underhanded delivery of comfortingly familiar derivative works that by their obedience affirm the social order, will always be a financial success. It allows the appearance of rebellion with none of the actual costs. It’s like artistic insurgency tourism.
Surgical Steel ends up being a mix of Swansong‘s Thin Lizzy-isms applied to the framework of songs like “This Mortal Coil” and “Doctrinal Expletives.” These songs have more to do with Mike Amott’s recent Wacken pandering than anything on Heartwork. “A Congealed Clot of Blood” resembles a “revisited”, more uptempo version of Swansong‘s “Don’t Believe a Word” and the last song, brings to mind the best years of Sanctuary with its sentimental melodic guitar intro, or evokes the Overkill ballads “The Years of Decay” and “Soulitude” with its emotional framing and pacing.
Some tracks like “Cadaver Pouch Conveyor System” attempt aggression by utilizing the same speed metal meets extreme music technique as “Carnal Forge” from Heartwork, but with the obvious “money riff” effect of the dual harmony guitar part that is the focus of these songs. The reversion to old lyrical themes (based off the song titles and album artwork) seems like misdirected fan service as these songs would probably win over more people from the Century Media crowd if the lyrics had the same simple “emotional” topics that songs such as “No Love Lost” had.
While this album may appease the simple appetites of those who merrily purchase Arch Enemy and Children of Bodom albums, many songs try to deviate from the verse-chorus stylings with an overloaded, ill-fitting bridge that detract from their simple nature. This divided nature may keep Surgical Steel from being as successful as recent Hypocrisy or Slaughter of the Soul in the arena of stadium faux-death AOR metal for drunken Wacken attendees.
Again, we say: if your heart is no longer in death metal, don’t bother. Start up a project band and transition into progressive rock, classic rock, or whatever it is that actually appeals to you. Explore your new musical pathways. It’s just as much a sell-out to try to “stay true!” when you no longer care as it is to make Justin Bieber-styled pop because you know ten million teeny boppers from the ‘burbs will buy it. Musicians, chase your dreams. We get the best of your talent that way, even if we have to transition genres to appreciate it.
The Death Melodies Series (DMS) continues with Russian Romanticist composer Modest Petrovich Mussorgsky.
Mussorgsky was birthed into a wealthy aristocratic family in Russia. He brought ingenuity to the Romantic Period, but he was also an innovator by bringing many Russian nationalist themes and folklore into his compositions. Many of his years were spent as a civil servant, and he had numerous hurdles that hindered many aspects of his life. Some of his works were never finished (presumably due to alcoholism) and many people disregarded Mussorgsky. Others claimed that he had fits of madness before he died.
Aside from his self-destructive nature, Mussorgsky executed some very remarkable works. His Pictures at an Exhibition suite is still prominent today in the classical music scene and it’s been transposed to many renditions on various instruments. One of his most popular pieces, Night on Bald Mountain, has been utilized from Disney’s Fantasia to Marduk’s Glorification of the Black God.
Mussorgsky died right after he turned 42. Though he lived a short life, his innovative Russian flare established himself to become one of the leading figures for later Russian composers to draw influences from. Shostakovich likely gesticulated the most inspiration from Mussorgsky’s works in his late symphonies. Mussorgsky left numerous works unfinished due to his decline in health and alcoholism. Shostakovich took it upon himself to revise some of the incomplete works. Sergei Prokofiev was also influenced by Mussorgsky in some of his operas.
Doom/death metal band Triptykon have announced that they have begun working on their next album with a presumed release date sometime in 2014. As of now the new album is still untitled for the public, but a few song titles have been released which fit into the occult theme established by the band’s debut album. Describing the music as epic and diverse, it seems to suggest that the album will have more variation than the relatively straightforward Eparistera Daimones, which suffered from a linear composition that made its songs less interesting than they otherwise could be.
Straddling the boundary between classic metal and modern compositional technique, Triptykon continued the sound that was debuted on Celtic Frost’sMonotheist. Our review found that there were a few intriguing elements present, although subjugated to simplistic verse-chorus repetition. Because of this, the morbid atmosphere that was omnipresent in Hellhammer and early Celtic Frost was lost.
Founder of the band Tom Gabriel Fischer is known for his often unorthodox incorporation of external influences in his music, which have produced some of the best extreme metal albums in the early days of Celtic Frost. If he is able to create an album that successfully merges the underground spirit with focused influences from other spheres, it will assuredly be superior to almost all contemporary releases. However, if concessions are made to modern stylings, it could result in a diluted product, as plagued the releases since Celtic Frost‘s reformation. We strongly hope for the former over the latter.
Back in the day, we would have called this hardcore. It doesn’t use metal riffs, and unlike metal songs, it doesn’t build an atmosphere of heaviness. It throws out a sense of distraction and then hammers you with it. Not surprisingly, it’s verse-chorus all the way in riff pairs, and the vocalist does that shouted vocal that sounds like a frustrated drunk person trying to explain something.
Much of it is expansive hardcore in the style of later Disfear with some overlap with newer Napalm Death, meaning that the ranting eventually picks up intensity and you get a trudgy-churny part over which there’s meaningful chanting. It isn’t bad at all. However, more than about four minutes of it results in scrambled brains, because it’s essentially about hammering out one message and then looping it.
This might appeal to fans of bands like Tragedy who want poignant moments of voices raised in protest with their riffs. It makes the mistake all modern music does, which is that by turning all the intensity up to eleven, it ends up with an intensity of a constant one as it drones on in the background. All instruments are competent.
UK ritualistic outfit Grave Miasma have debuted a new song ‘Ovation To A Thousand Lost Reveries’ from the upcoming album Odori Sepulcrorum which will be released via Profound Lore Records on September 13th. Many are eager to hear this album since Grave Miasma shares members with the now defunct Cruciamentum.
Originally called Goat Molestor, Grave Miasma create rapt and introspective music by the use of repetition and rather simplistic riffs, but they do so in a way where it becomes meditative. This new track is very reminiscent of previous works by Grave Miasma and appears to have a slicker production than their last two EPs.
For the past eighteen years, it has been clear that for black metal and death metal to survive, they must do more than imitate the past. In other words, it’s time to get weird. There are many avenues to explore but few trust the audience to understand and so the majority spend their time making fifth-generation copies of bands whose ideas have long been forgotten and who exist now only as aesthetic “brands.”
Witchblood shows us a band attempting to create something new within the weird side of black metal. Hybridized with heavy and power metal, Witchblood fits into that territory inhabited by bands as diverse as Gehenna and Absurd which lets the weird side of metal through. It embraces that which polite society normally finds difficult, which is uninhibited emotion and fascination with the natural, which means this music is less manipulative and more sentimental than the norm. This gives it both a cryptic energy and an endearing personality.
Much like Absurd, parts of this are “immature,” meaning that in their guileless state they lack the focus on surface appearance that we have come to expect, and in their raw exuberance they resemble the musings more of a child than an adult. However, there is nothing uncoordinated about the result. Unlike most bands, Witchblood like to edit their material down to the point where every part serves a role, which means it is slightly more repetitive but the parts work together to produce a gestalt of emotion.
This EP will not be for everyone, in particular the more recent types who like slick alternative rock style “mixed emotions” aesthetic draped over their music, but Witchblood will appeal to those who like a good heavy metal tune with black metal style and power metal energy. Some will find the background vocals, which are either clean or war-whooped in the best primitive style or clean vocals that shadow the rasp and give it fullness, to be disturbing but this reviewer found that after a few listens they integrated well with the sound.
Instrumentally this band acquits itself well despite using relatively simple elements and riffing off known styles from Burzum and Dissection as well as some of the vivid gestures and grandiose ballad-like tendencies of epic heavy metal bands. In particular, drumming echoes the riffing but does so unobtrusively while still providing the emphasis where it is needed. Guitars are often reminiscent of primitive bands like Ungod and Absurd, but just as much at home with Dio-era grandeur.
Witchblood are relative newcomers into a genre overflowing with imitators of the past. This band is trying to keep that spirit, but convey it in a new form, in part by escaping the slickness that becomes easy once a style is well known. In short, it’s a return to the “Wild West” days of black metal before the professionals took over and turned it into the same old thing everyone else is doing. For that reason, this band is worth a first listen, and maybe at that point, the vulnerable and feral sides will make a convincing argument for Witchblood.