This Latvian band represents what happens when all of the correct elements are assembled, but the aesthetic takes precedence over songwriting, and so the latter is filled in with random elements to fit the vision of the former. This shows the limits of vision because this framework imprisons musicality within aesthetics, in the converse of technical bands who come up with cool riffs and back-invent a purpose to them. Skyforger combines black metal, speed metal and nascent death metal into something a lot like the early works from Dodheimsgard: compelling rhythm, but a lack of internal connection creates a sense of genericism that clashes with the aesthetic and leaves the listener with a vision of lost objective.
Bouncy speed metal riffs collide with black metal and ripping early death metal style riffs to support the vocals, which apparently say something significant, but owing to the need for vocal predominance force songs into a verse-chorus format that reduces riffs to background sound, which in turn limits their role to bouncing around and providing some contrast to that, but never taking the lead in song development. As a result, Senprusija feels like a platform for the vocals and what stands out most is its speed/death metal roots, which are composed of what is essentially straightforward rhythm riffing partnered with melodic hooks. This makes for a pleasant listen, but one too disunified to stand the test of repetition.
Taking a page from the book of fast speed/death bands like Merciless, Skyforger keep the melodic hook as the center of the song but pair it German speed metal style with a chanted and rhythmically catchy chorus which quickly dominate the rest of the song. The constant chugging riffing, as happened on later Vader and Slayer albums, reduces focus from the interaction between riffs and fails to suspend disbelief because this style fits too easily into the rock framework which requires constant competing internal distractions to advance the song. As a result, consciousness is lost and songs subdivide into parts. There are many good riffs on this album, but the whole does not add up.
“Old school” Swedish death metal band Wombbath will release Downfall Rising, its first album in 22 years. The album will be released jointly in North America on Dark Descent and Pulverised August 21. Pulverised will release the album in all other territories on August 7. Downfall Rising follows 1993 album Internal Caustic Torments.
Downfall Rising was mixed by Jeramie Kling and mastered by James Murphy (Disincarnate, ex-Death, ex-Testament, ex-Obituary, etc). The revampedWombbath lineup is anchored by sole remaining member/guitarist Håkan Stuvemark (Skineater) , and also includes vocalist/bassist Jonny Petterson (Ashcloud, Syn:drom), guitarist Al Riglin, and drummer Henrik Åberg. Drumming on the album itself was performed by Infernaeon/The Absence member Jeramie Kling. Taylor Nordbert (Infernaeon) guested on guitar as well.
This collection of Scandinavian metal shows these bands migrating beyond their speed/death roots into death metal and struggling to implement their most ambitious ideas. Demigod launches the split with its “Unholy Domain” demo which displays songs that later made it onto Slumber of Sullen Eyes but with more muted-strum riffing, divided syncopation in placement within tempo, and over-active drumming. Like the early works of Possessed, these twin seven-inch recordings show bands emerging from the older paradigm but not yet able to grasp the full implications of the new. Demigod does so on a structural level, where Necropsy assesses the riffing style more accurately. Together these form a historical document of much interest to those who find the separation of death metal from heavy metal as a pivotal moment in the history of the genre.
Demigod leads off the split with its “Unholy Domain” demo which shows later songs in a more downstroke, muted-strum heavy form that consequently has less fluid tempo changes and as a result, misses somewhat on the dark atmosphere which Slumber of Sullen Eyes created. However, the formation of the songs reveals itself through how these riffs interplay, with the strummed riffs occupying space so that others can take the fore, showing which themes are dominant and which are merely supporting. This reveals Demigod without the pervasive atmosphere of enigmatic doom that defined the later album, but instead shows them as a band striving to place interesting riffs into combinations which brought them together as more than the sum of their parts.
Necropsy, on the other hand, unleash what may be the best recording of the band because it lacks the self-consciousness of later releases. It does not attempt to be hard, but resembles a three-way cross between Morgoth, Powermad and Asphyx, plodding through doomy passages and picking up the rhythm with speed metal riffing before building to a classic death metal melodic confrontation between internal themes. Much of this carries the same murky atmosphere as Darkthrone Goatlord, but with more internally-reflective syncopated riffing in the style of the first Deicide album, albeit slower to fit a mid-paced approach much like early Kreator. This recording shows the creativity of this band achieving a result that is not completely formed, yet shows direction more clearly than the more artificed later versions. Together these two recordings make a compelling view into early death metal.
Following in the footsteps of Sarcófago without becoming their clone, Goat Semen play a form of primitive black metal with riffs bordering on grind death. The music here is of consistent style, but its coherence is more metaphorical than literal, advancing more through sequences of sections that make sense together in mood but not necessarily in theme or other basic music element. Good variety while keeping a clear concept and a traditional sense of beginning and ending to the songs balance the previously described loose musical coherence.
While fans of this particular style, such as myself, will enjoy this album thoroughly and will play it on repeat for hours, the loose kinks in its armor will be apparent to the discerning listener. For a more exemplary release in this vein the listener looking for musical excellence is encouraged to take a serious look into Exhumantion’s Opus Death. While Goat Semen’s music is exciting in its juvenile chaos barely harnessed by recognizable traditional gestures of music, Exhumantion’s is a study in solid musical composition with an enviable rigor propelling it to much higher levels of refinement, offering a more layered experience than Ego Sum Satana.
For those who did not get a chance to own the original demo tapes, or simply desire them on a newer and more robust medium, this disc consisting of the Terrorizer demo from 1987 and the Nausea demo from the following year reveals the grindcore and punk giants at approximately the time when the classic World Downfall was released. These two bands share personnel, but take radically different approaches: Terrorizer adopts the angular riffing and cadenced percussion of metal, where Nausea keeps the syncopated guitar rhythms and open initial intervals of punk. For those who have heard the Terrorizer release, few surprises await on the demo, which essentially showcases the same tracks in a slightly less focused form with less vocal savagery. However, these songs also have more space to breathe, which makes this demo often a better listening experience than the album, which in the Morbid Angel style concentrates on hard-hitting tight composition and production, at the expense of some of the organic restlessness of the original.
Nausea on the other hand provides simply what every person wishes their punk bands would sound like, much as Slayer did the same for metal. This unruly music spills out of boundaries and transgresses every convention while remaining simple and keeping songs focused around a rhythm and vocal hook that makes them hummable while remaining savage. It sounds more militant than the Euro-punk of the day and more like the Cro-Mags from New York, but like a metal band zeroes in on the changes between riffs to achieve a kind of theatrical-Wagnerian effect, which takes punk from the verse-chorus loop into a kind of presentation that gives depth to its alienation. Full of energy and yet pointed toward a goal that is more personal artistic outrage than ideology, Nausea takes the basic outlook of punk and turns it up while making it more listenable than the spotty, erratic and often haphazard bands of the later punk era, or worse, the “post-hardcore” bands that combined random riffs in carnival music or dinner theater style.
Released as a split demo tape in 1991, these recordings see the light of day again with this 2012 CD re-issue by forces unknown. Sound quality remains good although thankfully the re-issue has not been remastered or had volume fiddled with in any way, which preserves the tone and room sound of these demos. This means the listener must adjust the dial; you suffer (but why?) because this is a better outcome than sterile reproductions which are more convenient but destroy depth of sound. These do not sound like a nostalgia trip, but more a journey inside the inner 17-year-old of every listener that likes intense music that sounds like it came from a garage or backyard party with a message that perhaps few will understand but many will enjoy.
On their first album, Obsequiae made use of very simple but consistent and creative melodies in a harmony emulating that of early western music from the late medieval period. Under the Brume of Eos consisted of songs that were essentially folk-heavy metal in the vein of Primordial with black metal vocals. Each few songs an interlude played in an acoustic instrument was inserted. The material was fine for the first fifteen minutes, after that it just boiled down to a collection of songs which were merely collections of riffs. Aria of Vernal Tombs unfortunately did not move beyond this same strategy.
It is important to go back to the just-mentioned style of Primordial. Primordial is one of those bands that is really ideology first, aura and image of the band first, and then music. The music itself is flat, only serving to carry a mood while the image that the listener has in mind (given by lyrics and song names — concept) is imprinted on it from the outside. Obsequiae work in a similar way, except that they take it a step further and actually make use of musical patterns that evoke the era they are using as theme. They also surpass Primordial in that in the short-term, songs are far more dynamic and in Aria of Vernal Tombs particularly coordinate wonderfully with the vocal pulse.
Obsequiae could still move beyond this “cool-riff” sequence approach and give us much stronger songs — and perhaps a conceptual album extending beyond the lyrical and well into the music. Inserting interludes is only the easy way to do this. Metal bands like Blind Guardian, Rhapsody and even Morbid Angel (on Blessed are the Sick) have done this light and easy concept album arranging, each going further in different ways. Obsequiae and any band looking for using relatively simple yet self-contained and solid songs as the bricks for a strong concept album can look up to Genesis’ The Lamb Lies Down on Broadway. Until now Obsequiae have only given us scattered ideas in an obviously consistent and distinguishable language. And if music is a language of some kind, Aria of Vernal Tombs is one message in a loop of synonyms and like-words drawn from a thesaurus.
Pipe tobaccos navigate a narrow path between twin evils: too sweet and too raw. On one hand, there are cute boutique flavors that would be more appropriate for church potpurri, and on the other bland or unbalanced smokes that taste like tobacco clearcut fires. Dunhill has for years provided a number of a varieties of tinned tobacco which have drawn their defenders and critics. For the casual smoker, London Mixture offers a mixture for comfortable consumption in about any situation. With a reasonable wallop of nicotine, but not an excessive one, and a classic room note — the scent it leaves in the air after being smoked — it goes straight down the middle of the road but does so with a careful nose for what smokers need for an everyday, casual smoke with quality and elegance.
Formed of mixed Virginia, oriental and Latakia tobaccos, London Mixture balances the light earthiness of the Virginia against the sweetness of the oriental and the darkness of the latakia. In the mix, individual shreds of each can be distinguished, but when burned together the result is a gentle mellowness with undertones of more exotic flavors. This Virginia tobacco is not as sweet as others, and this completes the harmony within the blend, allowing each flavor to blend with the others into a single tone from which undertones emerge as the burn continues. Of moderate nicotine, the mix provides a solid smoke but avoids the jumpiness of more ramped up recipes. With a slightly bitter taste forming just as the first smoke twists above the pipe, this aggregate provides enough depth of texture to the smoke to avoid falling into the boredom trap of most medium mixes.
Dunhill built its reputation on providing tobacco for daily use, but generally splinters its blends into specific purposes. The London Mixture bridges the gap for someone who wants to keep a pipe around and fill it with something that avoids extremes but also eschews boredom, and the cantilevered flavors provide that richness and leave a lingering smell that might remind you of Grandad but also draws ladies with daddy issues as well as gardeners who love its earthy undertone. A dry tobacco that burns thoroughly, it provides a good kicking around smoke like an Ibanez is the perfect guitar for ripping out a few riffs or idling away an afternoon with aimless leads and homemade root beer. While this might be pricier than most bulk blends, it provides quality and moderation for the everyday smoker, which is why many people grab this tin rather than mucking about in the world of overly-sweet or -harsh “adventurous” blends.
Many of you know how I consider this one of the finest movies ever made because it accurately nails the desolate and isolated conditions that thinking people found themselves in when the world when crazy in the 1980s. “Cult movie” does not describe a work of cinematic art that scoops up the narrative, shakes it out and shows its holes, then re-organizes it according to a broader and more realistic principle through which the artistry of the movie can make beauty out of dysfunction. To all of those who found themselves stranded in popular culture, caught between miserable careers and a constant crime wave of social collapse, hoping for some ray of light that could make sense or even comedy of it all, Repo Man delivered the goods.
Now, a dozen bands take on the original sound track, which back in the day featured bands as varied as Black Flag, Iggy Pop, Fear, Suicidal Tendencies and The Circle Jerks. That is a hard act to follow, especially since many of these songs went on to become classics in their own right, but American Laundromat Records assembled brave voyagers to give it a shot, and were gracious in providing us with this promotional release. With a release this varied, only a track by track view will work…
Those Darlins – “Repo Man” (Iggy Pop): This track differs from the original mostly through the vocals, which take a candy-rock approach with ironic, saucy and sometimes surly female lead vocals that transform this song from the growly original into a more sinister take that approaches with soft sounds and turns into an acid monster.
Polar Bear Club – “TV Party” (Black Flag): A faithful cover with overtones of punk nerd, this take on the well-known Black Flag anthem gives it a slightly faster tempo and more proficient guitars, but inserts vocals that sound like The Descendants back from a prison bash, capturing the surly of the original. Of note are the riot vocals which are both faithful and gleefully pure tribute.
Amanda Palmer & The Grand Theft Orchestra – “Institutionalized” (Suicidal Tendencies): Most of this song is spoken word, which is modified here to be more about peer pressure than parents, and now gets stitched over a skacore take on the Suicidal Tendencies light thrash original. That creates a kind of lounge environment which shows off the vocal performance more, and Palmer accelerates her performance to Shakespeare-in-the-Park levels, which makes this track more unnerving but also somewhat overstates what was originally more subtle. This works less well on the thrash parts of the vocals, which become more whiny than the desperate violence unleashed of the original.
New York Rivals – “Coup d’Etat” (The Cirle Jerks): As if giving the Morrisey treatment to this punk rock classic, New York Rivals drop in a male crooner vocal taken to Diamanda Galas extremes, then treat the guitars more like a late 80s synth/industrial band, complete with blatant drum machine. The result is compelling as a pure sonic treatment.
Black Francis & Spanish for Hitchhiking – “El Clavo Y La Cruz” (The Plugz): A covertly jazz-infused take on this atmospheric tune, this cover remains faithful while often unrecognizable with more of a Tejano sound designed to capture a live recording or at least the feel of one. Additional guitar texture gives this added power, but the more dramatic internal rhythmic shifts do less for it, although they do handily distinguish this version from the original.
The Tellers – “Pablo Picasso” (Burning Sensations): An electro-lounge take on this crowd favorite proves enjoyable but puts too much emphasis on the vocal performance, which reduces the effectiveness of the song as a mad rush of insanity and makes it sound more like background music that fades into the indie-rock milieu. That aside, this song is well-executed and could easily introduce a new generation to this song without them even knowing it. Interesting rhythm guitar playing.
Mike Watt & The Secondmen – “Let’s Have a War” (Fear): This approach reminds me of the style of Cop Shoot Cop or Big Black, executed by The Minutemen’s Mike Watt and unnamed musicians. The pounding keyboards and synthetic sounds make this song even more disturbing, as does Watt’s megaphone-styled vocals which sound like an apocalyptic news announcement more than a pop song.
The Suicide Dolls – “When The Shit Hits the Fan” (The Circle Jerks): Playing this song on guitars more like a straight later hardcore-influenced punk rock song, and then doubling male and female vocals, The Suicide Dolls give this song a different life. It becomes more disaffected and less ironically humorous, also picking up the rhythms and pacing of underground after-hours clubs. The increased guitar presence makes this a more enjoyable listen than the original.
Matthew Sweet – “Hombre Secreto (Secret Agent Man)” (The Plugz): Nothing wrong with this energetic and fluid take on the original song, but it loses the unique feel of it and may not replace it with anything more than a sense of disinterested passion for life. The vocals dominate the song, and a more precise take on its rhythms makes it more forceful.
Moses Coltrane – “Bad Man” (Juicy Bananas): Essentially a spoken word piece over some background music, this song paralleled the rants by the character Lite as he introduced Otto to the rougher side of automobile repossession, as contrasted to the overly optimistic and detached screeds from Bud. This new cover introduces more aggressive guitars and voice-over quality vocals, causing this song to pick up momentum instead of being merely background noise.
Weekend – “Reel Ten” (The Plugz): Whole swathes of Generation X still get misty-eyed when this song comes on, and no challenge is greater than taking on an emotional classic. This industrial-tinged take on the song keeps the mystery, sounding like a hybrid between Erasure and Sisters of Mercy with an eye for the epic, complete with Tangerine Dream styled space effects. Well done.
It would have been easy to botch this album or make it cute. Instead, whoever organized this took the time to seek out musicians who would make interesting contributions. In my view, the weakest tracks are the Amanda Palmer and Matthew Sweet, but none are incompetent. Taken as a whole, Tribute to Repo Man renovates these songs in a language that newer listeners and older fans alike can appreciate, creating new angles of approach to one of the more idiosyncratic and yet purposeful soundtracks ever created. Whoever these American Laundromat guys are, I hope they do more like this.
UNITED STATES – JANUARY 01: Photo of SLAYER (Photo by Ebet Roberts/Redferns)
Some people find it odd that Slayer attracts such fanatical devotion from its fans, even 27 years after the last album most people consider classic from the band, South of Heaven. The answer for me is that Slayer stands for something: not just what metal should always be — unsociable, powerful, intense and pushing beyond all boundaries — but what metal should do, which is tell the truth in a realistic but mythological way. Almost all people fear truth and spend most of their time distracting us from it. Slayer turns it into a battleground which inspires the listener to want to get in there and fight it out.
I rank Slayer up there with other heroes like William S. Burroughs, early James Joyce, Jane Austen, Mary Shelley, Fred Nietzsche, Louis-Ferdinand Celine, Michel Houellebecq, Plato, Ernest Hemingway, William Faulkner, William Blake and other absolute saviors who brought some clarity to a life that started enmeshed in lies and that had to gradually claw its way toward clarity. These people gave much of their lives so that humanity has a shot at survival. (Note present tense). Like those literary warriors, Slayer took a look at the world of human denial and shattered it, grasping instead the raw currency of nature: power, conflict and predation. Their goal was not solely to become popular, but to do so by telling the truth that people suppress every day.
For those like me who grew up in a time of denial, such an approach was not only refreshing but became clear it was the only approach worth tolerating. Back in those days, what really scared us was the Cold War and the threat of possible if not probable nuclear annihilation. Humanity finally had enough missiles to do itself in, and had wired those to increasingly hair-trigger decisions which would decide the fate of not just us, but the future. 30,000 years of nuclear winter and death by radiation seemed very final. In addition, our society was torn apart, with the Reaganite big hair Christians on one side and the spaced-out, gibberish-spewing 1968 hippies on the other.
Most importantly however Slayer was what everyone always felt heavy metal should become. Heavy metal is music that rejects social pleasantries for a study of power itself, including the awesome power of nature manifested in death, disease, predation and violence. Slayer sounds like mechanized warfare with the patterns of a summer hurricane. They threw out all the rules and started making heavy metal like punks, with no reliance on traditional song structures, and expanded its vocabulary infinitely. On top of that, Slayer never backed down from being the ultimate hard line of reality. When people started talking about Jesus or how peace would save us (maaaaan), Slayer was the antidote. It drowned out the insanity and replaced it with cold, hard reality.
Walking through the years of classic Slayer:
1983
Show No Mercy corrected the previous fifteen years of metal by summarizing it and turning it up to 11. Using the techniques of hardcore punk and a Wagnerian sense of riff structure, this album took heavy metal from the looping song structures of the late 1970s back to the experimental, prog-style outlook of Black Sabbath. This reduced the rock influence, and brought primacy back to the riff from where it had been languishing with the voice in glam and later NWOBHM. The term “heavy metal” means two things: the genre as a whole, and the sub-genre of music which is still roughly blues influenced (itself passing down the English and Germanic popular music in a form the music industry invented to sell more records). While still the second type of heavy metal, this album showed Slayer developing the techniques that they would later use to — along with Hellhammer, Sodom and Bathory — invent death metal from the ashes of speed metal which died as soon as it was born.
1984
Haunting the Chapel was the weird little EP that came along with the other Slayer albums I bought when I could find them. I put it on and heard “Chemical Warfare” and thought, this sounds exactly like society and why I hate it: the pain of tedium, the sure destination in collapse and self-destruction, the ignorant removal of nature, and the misery of all trapped within it. Other heavy metal tried to be apocalyptic, but this song showed an actual destruction of humanity by our own hand, which was and still is the most likely scenario. Like “War Pigs,” it contrasted a mythology of demons and wizards with the motivations of people in real life, which were every bit as good/evil as the epics of Tolkien. As a high school kid, I was thankful some adult finally told me the truth about something — and it was Slayer!
Although this was a live in studio album designed to promote the band, it has many beauties. It is the ultimate 4 AM after a profound night waiting for the sunrise music. A friend of mine refers to it as his “day drinking” album, but I have never heard a more ridiculous term than day drinking. Alcoholism knows no clock.
https://youtu.be/U94mkCBSsCc
1985
Back in high school, some friends of mine and I would cut class and sneak off to the woods to smoke cigarettes and talk about metal. We used to refer to Hell Awaits as LLEH STIAWA to disguise our communication from authority figures, when passing notes in class. This was where Slayer really began, for me. They refined the aesthetics on the first album and changed song structure from the rock/blues/folk origins to the free-form style of hardcore punk bands, which let the riffs take over and guide the development of the song, a compositional technique which is the basis of death metal. Ornette Coleman, who recently died, once said, “I think one day music will be a lot freer. Then the pattern for a tune, for instance, will be forgotten and the tune itself will be the pattern, and won’t have to be forced into conventional patterns.” Slayer was the first pattern-oriented heavy metal band and discovered what free jazz tuned into, but took it to the next level. Thinking about the difference between this album and the first Slayer album started my career as a music writer (such as it is).
https://youtu.be/lBf7gSwzVnk
1986
I started out as a hardcore kid, cranking more Amebix, DRI, Cro-Mags and the Exploited than heavy metal. All of that changed when I discovered Slayer. Reign in Blood showed me hardcore taken to its logical conclusions: a society ridden by a deep spiritual disease, corrupted and scapegoating as it spirals toward collapse. Facing the emptiness and literality of reality is our only hope, but even that requires a mythos of some form. Not only was Reign in Blood written on the most hardcore topics ever, except put through the mythological filter of metal, but it was written like hardcore if the bands decided to be good at their instruments and compose epic opera-style clashes between good and evil instead of Songs To Hate The Man From Your Squat. Sandwiched between two epic tracks that called to mind the intensity of black metal that came later, this album roars through atonal masterpieces of pure rhythm and structure, using the power of the musical phrase to create metaphorical associations in the mind of the listener. Some bands sing about things; Slayer made music that sounded like those things, come to life as demonic meth-driven zombies created by humans and now returned to destroy them. This album took that sound to the furthest extreme, and nothing since has topped it.
1987
1988
This album first made me fall in love with Slayer. I was blown away by the other material, but here Slayer added a layer of dark poetic sensation like they had on the bookend tracks on the previous album, but they let the whole album carry that vibe. The result is the first really nocturnal album in metal: a meditation on nothingness, a howl of the Steppenwolf, from within a lonely darkness where to avoid the lies is to see the truth that puts the individual on a collision course with society. When your civilization denies reality, your own choice — if you have what my old gym coach called “intestinal fortitude” a.k.a. “the guts” to do so — is to oppose the fantasy with hardcore reality, but like a good heavy metal band to make it epic by turning it into a mythology of itself. South of Heaven did that in an inventive album which sounded like night raids on a dying world. Poetic, dark, apocalyptic and yet it makes you want to strive. Healing and motivational.
https://youtu.be/NbGqPRFyHtg
1989
I remember Slayer being in Thrasher magazine as a big event this year. At that time, music was still divided between the big labels and the type of music they would promote, which were the big decade-long trends that were sort of like genres, except they were musically very much the same as everything else. Mainstream magazines simply did not mention Slayer and barely would cover Metallica because they disliked the threat to their power. You could find Slayer in the record stores, which were either mainstream like Sound Warehouse or independents that barely made it by, and maybe in zines but otherwise the media kept mum on this new threat, just like they did at first with hardcore punk (as opposed to punk rock). I think I saw Slayer several times over this year and the past, and almost died on a few occasions but that failed to diminish my enthusiasm.
I remember Seasons in the Abyss coming to record stores on the same day as Megadeth Rust in Piece, and sneaking out of school every period to go to the local Sound Warehouse to see if they had it on the shelves yet. Finally an employee pointed me to a cart with new albums not yet stocked, and I saw my prizes and seized them, paid (and was carded — these were the PMRC days! — also the days of low-cost “novelty” Missouri DLs) and got out of dodge. This was where Slayer and I began to part ways, because Slayer actually headed back toward rock music on this: the vocals led the songs, they were more verse/chorus, and the focus was on harmony rather than clashing riff patterns. Much of this material continued where South of Heaven left off but added the more powerful vocals and the confining necessity of certain basic harmonies that always shifts songs back toward the sound of three-chord rock. While the transition never completely occurred, the sensation remained. Still some great material on this LP however.
https://youtu.be/PEHzU3iRl9Y
1991
Finally, Slayer hit some big time and what did it was computers. In the late 1980s, the Macintosh made desktop publishing very easy because it had a built-in graphical interface. More zines started popping up, and the big music magazines felt the heat. I first heard the term “niche genre” at this point, and realized the new strategy was to sell something different to everyone at all times, kind of like postmodernism is an attempt to see any object from all angles. Although Decade of Aggression includes the slower and more emotional Seasons in the Abyss songs, it was a great time for Slayer to release a live album using the production values and performance standards of Reign in Blood on their older material as well. They decided to have very clear production for this live album, and to pan the guitars to opposite extremes so wannabe shredders could tab all the stuff out at home. The result is one of my favorite albums to listen to for outdoor activity and other trying times. I have probably fixed 100,000 machines to this album and, where I can enjoy the Seasons in the Abyss material, it is on this two-CD set.
Slayer: One of the few people who gave me a vision of reality and yet added to it a layer of inspiration in metaphor. You lived ten lifetimes in the one you endured here, like all greats. Slayer also brought heavy metal back to the table after it wimped out and then took a false step with speed metal, which while great in its own right, was not far enough from the herd to gain its own voice and quickly got assimilated (1992). Slayer lived on by birthing much of the underground metal to follow, and being an influence on virtually all of it. As long as I live, you will not be forgotten, and then others will carry on the magic of what you did…
Combining rough and rowdy energetic chaos music with the type of black metal staging and melody that proved effective on the first two Gorgoroth and Burzum albums, No God Only Pain could properly be described as a black metal-influenced attempt to create an atmospheric genre out of the fusion between underground metal and a hardcore punk take on more roadhouse material like Motorhead. No God Only Pain retains the gravitas of the underground while giving it the energy and flexibility of the wider metal world, using the black metal theatrical-style song structures to introduce a mixture of speed, death, punk and heavy metal riffs.
No God Only Pain start their songs with a simple progression, usually in a minor melodic scale, and build onto it with texture of drums, bass and vocals and through the use of similar riffs in opposition, forcing the progression to mutate into different forms of the same riff. Eventually the song reaches a point of conflict, and then launches off in another direction, eventually bringing it to culmination and returning to the original theme. Riffs are noisy and simple but widely varied within their chosen styles and appropriate to each part of the song, without the randomness that 99% of metal bands seem to adore intruding; the sensibility of this album emphasizes continuity through conflict, and this comes out songs that alternate between immensely gratifying dark sounds and energetic droning counter-themes.
It sells short Joy of Suffering to refer to it as black metal, as it is more like a thematically-nuanced form of doom metal sped up to Motorhead speeds with the aggression of GBH. Each song has a powerful melodic hook and yet never shirks on the sawing high-intensity riffs, which propel the song forward so that it may continue to be both simple and variegated. Bonus cover of the Ramones “Pet Semetary” shows this style applied to familiar pop-punk and in the process making it more vicious. As metal searches for new outlets, this style may help grease the wheels by escaping expectations and unleashing a wider metal style to absorb the cult and hard-rocking impulses alike, forcing them to forge a voice worthy of the darkness in metal.
