Dead Infection – A Chapter of Accidents (2002)

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The simpler the music is, the harder it is to execute in an interesting way. The best of grindcore rises to this challenge by inventing ways of making texture expand upon a simple riff idea. Like grandmasters Carcass before them, Dead Infection use a gurgling bass deluge to convey a hidden complexity.

A Chapter of Accidents benefits from its concept, which is anchored in lyrics, and gives to each song a different set of needs because each is a short narrative or story relating an unfortunate and often miserably ironic incident. This bends the song structure to the story, which consists of a setup, a quandary, a revelation and a conclusion, and thus allows the band to adapt its grinding riffs to a simple but not simplistic process of development. As in most grindcore, the main riff repeats with interruptions; some of these are offsets, which are like counterpoints formed of different shapes or rhythms, but others are deviations to small motifs which represent parts of the story. As a result, most of what you hear when listening to Dead Infection is one powerful, thunderous and bounding riff that breaks for contrary views, thought-detours and development by layering, where drums or guitars either double-time or vary texture to add complexity.

Where Carcass is slower and is based on what sounds like 1930s-1950s music translated into power chords and made ironic with grotesque lyrics, Dead Infection is more like a troupe of mercenaries backpacking through the mountains on their way to set up an assassination or coup in that it is self-contained and for its own purposes only. It sometimes plays with riff motifs from the past, like heavy metal riffs reduced to their simplest essence, but essentially it is its own thing: a vocabulary of grindcore adapted to this type of worldview. Combine that with the vocals that sound like a dog guarding the gates of hell, and you have a formidable but thought-provoking package.

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Oration of Disorder reviews 01-19-14

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What’s an oration of disorder? What most people think of as “order” consists in telling other people what they want to hear and then manipulating them. That’s how you sell them products. But the selling of products is the opposite of what art and listeners need, which is a harsh voice to tell us the truth.

shroud-of-the-heretic-_-revelations-in-alchemyShroud of the Heretic – Revelations in Alchemy

From the latest attempt of the Incantation clone camp comes Shroud of the Heretic with an album that combines a subtle melodic sensibility and the roaring chordstream bassy tremolo riffs that define that style. What is great about this is that it brings out the doom metal aspects of doom-death and is willing to allow the thunder to build and create the sense of sonic tunnel vision that makes this style so crushing. Shroud of the Heretic specialize in letting the music breathe through two riffs in combat from which a third rises, allowing the majority of the song to be taken in the interplay between those two riffs and then connecting them to other possibilities before returning for the descent. Revelations in Alchemy aims more for a doom metal aesthetic than a death metal one, and so benefits from the kind of repetition and churn that would not have worked on an Incantation album. It does not offer the same intensity as the older albums its worships, but it provides an alternative to the modern metal of this time that is well-composed even if not outright thrilling and terrifying. Given that its goal is, like that of most doom metal, to slowly press you into earth with inescapable repetition, Shroud of the Heretic seems to be on a path toward that end.

james-labrie-_-i-will-not-breakJames Labrie – I Will Not Break

Coming to us from Dream Theater, James Labrie knows his audience likes jazzy heavy metal with a focus on positive themes. It makes sense that Dream Theater’s heritage is half Iron Maiden and half Rush, because they adopt the rhythms and harmonies of the former while using the quasi-prog stylings and outlook of the latter. Labrie continues in this vein but with more of an alternative rock sense of melody, creating something that sounds like a hybrid between Queensryche, Foo Fighters, and the kind of inspirational alt-rock-folk music that makes it into Lifetime Movie Network films at the end, when the girl hooks up with the right boy and apologizes to her mother and maybe even, finds Church (or God if she’s lucky). The result is probably a perfect commercial product in that it makes you feel good, with a “positive message found in the unlikeliest of places” (NPR) just like Rush, but has a basically good rhythm and is melodically compelling enough to hum along. But, like fellow Canadian artist Bryan Adams, Labrie has also indulged in a cheese fest that takes him firmly out of metal and plants him into the category of adult-oriented radio rock for people who want something a little cheerful and a little “edgy.” Thus he has left the hall and entered the suburban living room, while a vacuum runs or taxes are done, and the kids are upstairs listening to Dead Infection.

asgardsrei-_-dark-fears-behind-the-doorAsgardsrei – Dark Fears Behind the Door

The distinctive ambient intro that opens this album remains one of the high points. While all of the elements are correct, like many post-genre bands, this is essential a mishmash of styles put into the framework of faster abrupt death metal. Many of the tropes here are familiar from black metal and death metal of the past two decades, but are put into a uniform flow of high-speed tremolo picking. There are some bizarre riffs here, and the band specialize in horror movie-sounding lengthy power chord phrases, but these often seem to lead nowhere. There’s a good aesthetic idea there, but for it to become musical, it must arise from the other riffs. Instead, it’s more like a tour of compartments on a train where each one offers something different but in roughly the same style and so it seems to add up, but ultimately it’s a search for the compartment with the interesting riff and that’s fairly random. As far as style, these guys have a distinctive one that’s all their own, despite being very retro to the point of outright allusion, but because of the way riffs are contexted as part of the overall rhythmic composition nothing stands out as out of place.

subreality-_-endless-horizonsSubreality – Endless Horizons

Imagine Blind Illusion, kicked forward a half-generation and thus using deathy vocals over melodic but buoyantly regular speed metal. These six songs were recorded in 1996 and finally released in 2004 but they sound like they’re straight out of the days of later Kreator or any of the death-influenced speed metal of the late 1980s. If you live for 1980s speed metal and like the somewhat shaky instrumentals of the underground, as well as the hangovers from 1970s metal which infest this like a Dave Murray impersonators’ conference, this divergence into metal history might appeal. Rhythmically consistent, Subreality has found a few grooves it likes and stays within them, using the mid-paced beat to hang riffs from like tentpegs holding canvas. Many of these riffs anticipate patterns that Pantera would later use to make its own music, previously a glam hair band with extensive heavy metal stylings, seem more “tough” on its way to discovering bro-core. Like most speed metal that does not take the riff salad approach, this quickly heads toward repetition as a familiar comfort and sing-song choruses outlining the rhythms of the song title. Not only that, but in the worst of the European approaches to speed metal, this is strictly verse-chorus (w/occasional riff detours) music based on the pace of the vocals, so it develops slowly if at all and features heavy repetition. Some have said this is an underground classic. “Classic of what?” I might ask.

grace-disgraced-_-enthrallment-tracedGrace Disgraced – Enthrallment Traced

If you combined later Carcass’ Necroticism with later Suffocation, and decided that from modern metal you’d take the twisted riffs that converge on themselves through intricate lead rhythm patterns and discard the true randomness, you might be on a path to Grace Disgraced. Despite its fondness for internally rhyming names, this band makes a noodly type of death metal hybrid that emphasizes a contrast between spidery lead riffs and djent style percussive single-string riff texture. These songs do well once they get started and maintain a solid internal correspondence and tension; the real challenge this band is going to face in the future is figuring out how to make these songs distinctive. Much gets lost in the wash of riffs, blast beats and interludes; without shaping these songs around some distinctive trope, as Suffocation did (but Carcass ultimately did not) they’re going to find themselves getting lost in the background noise. In addition, many of the riff types are highly similar between songs which leads to a further loss of distinctiveness. All instruments are well-played and songs hold together without becoming random although often it’s difficult to discern what they’re trying to say.

adamus_exul-arsenic_idolsAdamus Exul – Arsenic Idols

The black metal that doesn’t sound like “post-metal” (emo, indie, shoegaze, metalcore) fully is generally built on the same model that later Gehenna and Gorgoroth built on, which is the churning sweep riff followed by a fast metal tremolo riff and over the top vocals. Adamus Exul makes a competent bid for this style and generally does it well but adorn it in so many other decorations that it becomes hard to tell where each song is going. In that there’s a revelation; these songs introduce themselves well, and deepen the experience with internal richness, but never manage to pick a place to go. Thus the band uses a lot of radical percussion and decoration to transition out of each song. By the last two tracks on the album, Adamus Exul have almost totally lost concentration and/or their hoard of ideas, and the release trails off into gibberish and leftover speed metal tropes. The first four tracks however show some potential as a musical experience but fall short of exposing themselves to the raw nihilism of black metal, in which they can no longer hide in the world of what is socially valued, but most confront the emptiness of life itself and the need to give it meaning through finding purpose which is not necessarily inherent. That is lost here and so what has promise ends up being an entertaining and aesthetically distracting experience but never leads to any profundity which might give this album staying power, even if it is better in technique and composition than most of what crosses my desk.

malevolent-supremacy-_-malevolent-supremacyMalevolent Supremacy – Malevolent Supremacy

Looking at this title, you might think: middle of the road death metal with deathgrind influences. That indeed describes Malevolent Supremacy, who write songs around the blast-beat buildup and breakaway much as the Skinless-style bands did, but instead of aiming for slouchy brocore grooves, Malevolent Supremacy like high-speed riffs and clattering drums racing to a conclusion. These riffs rip along at the high speeds you might expect from the second Vader album and do fall into grooves, just not the simplistic bouncecore ones favored in fraternity houses and meth dens worldwide. Songs are well staged and unravel with some subtlety. However, this band relies too much on vocals to lead the guitars, which is backwards, and have a tendency to build up perfectly good songs only to extrude them into repetition as a way of preserving whatever mood was created. Too many flourishes on guitar also interrupt what would be, if stripped down and allowed to breathe as themselves, some powerful death metal songs. The frenetic approach rarely works because it smooshes all of that nice death metal textural complexity into a single background drone, which then requires the vocals get dramatic to compensate, but that doesn’t work so perfectly workable song structures get interrupted with “contrast” that amounts to fast breaks and quick turns to evade the attention of the listener. This band has potential but should probably try another tack.

queen-v-_-decade-of-queen-vQueen V – The Decade of Queen V

Flopping into the metal pile because guitars are used, Queen V should be filed instead under 1968 style music: brassy female vocalist, ironic songs, lots of hook and some boom. This is music designed for movies in that I can’t imagine anyone sitting down to something this unsubtle and finding meaning in it, but it would be something that a brain-dead leech like a movie producer might use to symbolize a character having a rebellious moment in between blowing her boss and getting mugged by hipsters. The music itself is crass and obvious. It whallops you over the head and howls at you. Nothing in it is poorly-executed, but as a judgment call, it seems to be designed for either people who have trouble digesting five-note runs or who like to play loud music to assert their personalities while they shower, mow lawns, mope over breakups or other drama. That erects a barrier for metal fans who would probably find it unsubtle and repetitive, but this might appeal to people who like Tracy Chapman and Liz Phair and other strong female vocalists with very simplified points to make.

grave-_-endless-procession-of-soulsGrave – Endless Procession of Souls

On the surface, this album is like later Fleshcrawl or Dismember works, a big warm hug of fuzzy Swedish distortion and adorably principled misanthropy. It stays within the traditional death metal style, but imports a lot of its song structure and riff from speed metal, which means there’s more chugging and bounce on this one. There’s also too much reliance on vocals leading the rhythm guitar and, while contrast is generally a good thing, too much contrast that is wholly unrelated to what went before and therefore seems more like an unmarked subway stop than a discovery of something sublime and previously obscure. For many who remember the speed metal of the late 1980s, a lot of this will seem paint by number: riff etches out a chord progression, counter-balances it with some unique feature like a melodic hook, and chorus re-hashes what is implied by the riff. Songs rip along and might warm you up on a chilly day for their uptempo but not pointless faster consistency. Like At the Gates Slaughter of the Soul, most songs focus around a family of similar rhythms which gives this album a very consistent feel. Many of the patterns on here show a strong Celtic Frost influence, and there’s nothing wrong with that. As an album, it is not detestable and definitely is better than the majority of stuff out there, but it may lack the clarity and unique articulation that makes people want to throw it on the player in the first place, which is much how I feel toward later Fleshcrawl and Dismember.

nebiros-nekromanteion-splitNebiros / Nekromanteion – In Command Tenebrae split 7″

The new black metal underground has mixed the 1980s style of black metal with some of the more punk-influenced elements of death metal, creating a new style that is equal parts Angelcorpse and Venom, Bathory and GBH. Nebiros leads in with a track of fast storming proto-black metal in the Sarcofago style, complete with emulation of the “catch-up” drum fills which filled in the space between uneven length guitar tracks and the drums which were recorded later. This song rips through several quick riffs, then slides into a groove like one that early Samael might have used, before trailing out in a blaze of reprise of earlier riffs. Nekromanteion begins with a more melodic ripping death metal approach, using a grand riff to instill a sense of rhythm that explodes outward in a combination of two riffs, an open percussive riff more like something on a hardcore album, and a Norwegian-style minor key melodic riff. The result cycles after this point before ending in a processional riff that contrasts its initial theme. This goes for a softer approach with more atmosphere than the Nebiros track, which is why the two complement each other well. It’s hard to tell from this limited sample whether these bands are able to develop more material that maintains this level of interest, but for a starting gambit this 7″ shows a lot of what is missing in contemporary metal and two styles that can render it.

http://www.youtube.com/watch?v=TCH1RKRfp38

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Morfin – Inoculation

Morfin emerge from the potent musical texture of the late 1980s and the transitional era between speed metal and death metal where Sepultura, Destruction, Kreator and Sadus ruled the day. This period was known for its tendency to wrap up a diverse influences under a speed/death banner and make music that straddled the genres, which often produced a potent ferment of riffcraft but left songwriting behind as it tried to balance many diverse elements in the same band.

Although the vocals on Inoculation are heavily van Drunen-influenced and often exhibit rhythms found on the first two Pestilence LPs, riffs and their underlying melodic sense are straight out of late speed metal, with a comparison to a more melodic version of Kreator or Arise-era Sepultura being apt. The primary technique in riffcraft is the ability to ride a rhythm established by the vocals, then extrude it to achieve an effect of completeness, and then return to its initial state. This creates riffs with lots of focus on the offbeat and a tendency to wrap up firmly at the end of each phrase. While this is more compelling than your average death metal riffing, it is also less likely to rely on the phrasal riffing that produced the best of the death metal genre.

Fortunately, like transitional bands Dark Angel and Sadus, Morfin uses a great deal of internal riff variation and knits these riffs together to keep a mood rolling. In these riffs, familiar patterns from heavy metal through death metal can be recognized, but ultimately the band will return to the roaring rhythmic hooks that create foot-tappingly powerful choruses. Notable is the ability to use melodic mid-paced riffs to flesh out the second half of a song, creating an intermission and contrast before returning to bouncy mayhem with more of those classic Destruction-era riffs. Like Mortem from Peru, Morfin is not so much a death metal band as it is a retrospective of metal past and present with a focus on energetic, compelling tunes.

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Haven in Shadows – “Legend of the Wolf” and “Moments of Honour”

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Often, when frustrated with the current state of metal, it’s refreshing to look towards the past. While the metal underground has been increasingly well documented, there are still quality releases that slip through the cracks; whether for lack of advertising, geographical isolation, or simply being too far outside the milieu at the time.

In the late 1990s, Finnish black metal project Haven In Shadows released two demos – Legend of the Wolf and Moments of Honor. These demos feature similar material, with the main difference being the former is an instrumental recording whereas the latter adds vocals and expanded guitar work. Production for both demos is cold and tends towards “low-fidelity”, though all instruments are distinguishable in the mix.

Tracks on these releases are mid-paced melancholic narratives, unafraid to incorporate both major and minor tonal relationships. A wide variation of “color” is evoked by this, which allows the band to express a more profound meaning than would otherwise be possible. Power chords are used, though rather than having the movement between them be the inferred melody in the listener’s mind, they are the foundation for melodic variation to occur above. In this way, the band moves closer to the tradition of classical music manifested within metal.

Rather than the more exoteric approach favored by other bands, these releases attempt to answer the question posed by the original wave of black metal: “What have we forgotten and how can we recall it?” Meditative at heart, this is something lost within the current generation of black metal and is worth rediscovering again.

https://www.youtube.com/watch?v=cP3q4iXrt6g

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Interview with Joe Gonzalez (Cruxiter)

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To those who have watched metal for some time, it presents a paradox. To the public, it seems like a railroad, where a line of cars stops and then we see what is in each, one at a time. To an experienced watcher, it more resembles an ocean, with currents swirling below and influenced by air above, and periodically the crest of a wave emerges before being dragged down by the rest, obliterated and recycled.

One of the warmer undercurrents in the metal ocean is “true metal,” which is that which stays true to the solid line of evolution leading from metal’s origin. As part of this movement, bands across the globe are continuing to make music that we associate with earlier decades, except that it’s newly created and generated from a contemporary impulse if not contemporary influences. Cruxiter, a Texas heavy metal/guitar rock band, is part of this movement.

We first reviewed Cruxiter’s self-titled first album in these pages a few scant weeks ago, but already the band’s spirit and dedication to its style have piqued interest with our worldwide readership. To go more in-depth, we interrogated vocalist Joe Gonzalez at length via a very modern iPhone yet with classic heavy metal spirit.

You formerly played in Hammer Whore, a death metally band. What prompted the switch to a heavy metal style versus a death metal one?

HammerWhore was a big mix of a lot of metal genres; because each band member comes from different eras and has their own taste in metal music we had to compromise and we created an album that contained a bit from every sub genre. In 2007 HammerWhore broke up because of personal differences, so I kept some of the songs I wrote and started a new band that was more hard rock/heavy metal. In 2009 Miggy Ramirez and Rick Ortiz joined the band and this is really when we started to develop our sound. Then in 2010 we had personnel issues again losing our bassist, drummer, and guitar player. This is when we recruited the rest of the old HammerWhore line up to help us out. The “switch” to heavy metal just came naturally after spitting from HammerWhore and working with such a great group of musicians. I’m doing exactly what I’ve always wanted to do, and that’s sing in and front a heavy metal band!

What is the Cruxiter? Is it a concept underlying all of your work?

The Cruxiter is a fictional alien computer that works through touch, connecting to the users nervous system and to the mind. The thing is, it doesn’t quite work with human biology and drives anyone who attempts to use it insane, but the Cruxiter is only a small part of the Cruxiter universe. It’s one of the few artifacts that we have here on earth from the faraway alien planet that is the subject of most of our music. So far we have not made contact with these extraterrestrials on our first album. First contact will be made on “Madness of the Void,” a track that will be released on our next full length. A look at this faraway world is probably similar to seeing ourselves in the distant future where technological advances have only made life more complicated with longer life spans and more inventive ways to kill each other.

This is a two part question: (a) what are your influences, musical and otherwise, in Cruxiter? (b) what bands do you think sound closest to Cruxiter?

I cannot speak for the rest of the band because each of us is very different when it come to the style of music we listen to. But for me it’s a combination of classic AOR, NWOBHM, eighties thrash and early seventies prog. Styx, Judas Priest, Lizzy Borden, Torch, Agent Steel, and Overkill were some of the first bands to really get me excited to pick up a guitar and sing. Really every time I hear a metal vocalist hit a high note or a guitar lead it really gets me going. As far as individual artists its Jon Oliva, Tommy Shaw & Dennis DeYoung, David Byron & Mick Box, Schmier, Tom Angelripper, Don Dokken, and Joey Tempest are all on the top of a very long list of talent that inspires me to play music.

The second part of your question is very hard to answer because we are trying to create something different but not straying from what we love. In my personal opinion I would say it’s a mix between early King Diamond, early 90s Mercyful fate, Uriah Heep, Stryper, Judas Priest, Di’Anno era Maiden. We still have a lot of material that we are working on that I think is more advanced and widens the spectrum even more.

Do you think the “true metal” genres like classic heavy metal and old school death metal and black metal are making a return? Or did death metal and black metal get lost in the shuffle?

“Making a return” destroys the true metal genres and spawns craploads of bands that really don’t know where the music comes from, then they make everyone look cheesy and people move on, which has already happened to thrash metal twice. All true metal genres have and always will thrive in the local and underground scenes. What genre is “in” at any given time is determined by what the “cool kids” are listening to, It’s very political, and it will never change.

Cruxiter is a classic heavy metal band, but you incorporate a lot of elements from what I’m calling “guitar rock.” How hard is it to combine the two?

It’s actually pretty accurate for some parts of our music because we are very heavily influenced by progressive music and classic rock but we really try hard to mix it up and make the music we write contain all aspects of rock and metal music. With the tempo changes and melodies of classic prog, guitar riffing from rock and metal, and AOR style choruses, even trying to add a bit of glam to it all.

But each song we write is different and has its own massage so it’s hard for me to explain it all without breaking down each song. Combining all these styles of music happens during the writing process… letting the song pretty much write itself, and allowing the changes to happen. It’s the vocals and solos that are dominant, and take full control during the writing of the music. We do work hard on the proper flow of the song making sure it’s chaotic and complex, keeps the listeners attention, and is pleasant to the ears. We also try to keep the music from being too heavy and noisy, down tuning and excessive kick drum is great for other bands but we like our listeners to hear without trouble how the guitars, vocals, drums, and bass interact musically.

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You’ve just released your first and self-titled album. How did you record it, and where? What were the biggest challenges of recording?

We recorded this album at our home studio in a ranch house in Jim Wells County just outside Alice, Texas. Every aspect of recording was a challenge since we really had no experience. I had to watch all kinds of how to videos on YouTube about mic’ing vocals, drums and guitar cabinets, it was a lot of trial and error. The best part of recording was reworking the songs after playback adding harmonies, fills, and leads. But we learned a lot from recording this album and we are currently in the studio again and everything is running smoothly. Our next album is going to sound a lot better for sure and we are pretty excited about it.

If you had to identify the most important element in what makes a good song, what might it be? Do you think it’s energy, passion, emotion, content or some combination of the above?

A great song perfectly portrays a complex clash of emotions of a single moment in time with the appropriate energy pulsing and fluctuating between emotional highs and lows. It also needs guitar and vocal melodies that engrave themselves into the mind and the message and words find a spot to reside in listeners mind. Honesty goes along way when it come to reaching people through music.

What’s next for Cruxiter? Are you going to do small tours through Texas cities, or record more, or go national?

Right now, we are back in the studio recording new music for a second album. Now that we have some experience it should move very smoothly and we will get an even better product. We should be releasing a few demo songs on YouTube and maybe a short demo tape soon. They will not be the album versions of the songs just demos before fine tuning the structure, vocal melodies, and fills. We have already released “Under The Moon” demo on YouTube.

We will probably not be playing very many shows this year since we will be trying to complete our work in the studio. But we are playing in Houston February 8th at the White Swan for our good friend Angel’s B-day (bassist for Owl Witch). It’s going to be a really killer show. Houston is the top place to play metal music in Texas the scene has always been very strong and diverse. I’m alway excited to play in Houston.

Are there any challenges to being a metal band in Texas, with the local scenes being what they are and the distances between towns often being great?

It is pretty hard here in Texas especially since we don’t live anywhere near any of the major city. Corpus Christi is closest but they have no local metal scene and what’s hitting there now is grind and crust which is great but we don’t fit the bill. It’s a struggle for us to be a part of the scene in texas since we are so far and can’t participate in playing or attending shows very often. Playing gigs always means travel for us but its just part of the gig. Texas as a whole is full of die hard metal heads and familiar faces friends that will be playing music and supporting local shows till they die.

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Narcotic Wasteland – “Shackles of Sobriety”

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Nile guitarist Dallas Toler-Wade has unveiled his new project Narcotic Wasteland with the debut of their self-titled album today and the release of a sample song, “Shackles of Sobriety.”

Based on this song, it’s clear the album comes from the modern metal camp and not the death metal camp. It starts with an impressive melodic metal introduction, then drops into the trademark of modern metal, which is Pantera-influenced vocals leading the guitars, reversing the classic death metal formula. Thus most of what you hear is vocal rhythm with guitar keeping constant texture on the backdrop, not guitar leading and vocals filling in secondary texture as all the best death metal bands did.

This creates a “rant effect” which makes me want to scream “Are you talkin’ to me?” at the screen. Behind this during verses is an updated version of the type of lead-picked speed metal riff that might have gone on a Forbidden, Anacrusis or Coroner album back in the day. Then for the chorus, we switch to similar vocal rhythms over a more percussive death metal riff which leads in to remnants of the melodic introduction. That in turn leads to a high-speed guitar solo which borrows obliquely from jazz technique but tends to do so in a throwaway style as if the solo was more there to occupy a necessary space than to serve a musical role. Then repeat and fade away.

“Shackles of Sobriety” is part of a concept album about drug addiction. Apparently Toler-Wade and friends live in a neighborhood blighted by people getting strung out and being dysfunctional, and decided to put it to comedic use by styling it as a narcotic wasteland. All humor at the over the top but prescient reference aside, there’s legitimacy to their gripe. Most of America and Europe are strung out at least on alcohol, and the result is massive dysfunction everywhere. This has been consistent since at least 1959 when William S. Burroughs wrote his epic Naked Lunch, where everybody has some vice, and some have more than enough.

While I applaud this effort by DTW and friends, I still can’t get jazzed for either Nile or this because I am a death metal fan. Nile sounds on the surface like death metal, but it uses harmonically static riffs and keeps them in standard verse-chorus positions most of the time, which obliterates the riff-leading composition used by death metal bands. Most of their stuff more resembles speed metal, as does this modern metal offering.

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Agonized – Gods…

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Agonized will violently sodomize the inner core of your fragile soul. – Sarjoo Devani/Explicitly Intense

Not every band from the frozen north aimed for melodic and energetic interpretations of death metal; many, like fellow Finns Belial or the Swedes in Obscurity, chose instead to write grinding cudgels of primitive bass noise that sounded like a winter avalanche of the soul overtaking all hope. Agonized created a six-song demo in this vein and sadly were lost to time after that point.

Gods… resembles a Scandinavian version of the ultra-primitive death metal of Morpheus Descends in that songs start with simple motifs, often two notes shaped into a compelling rhythm, and then ride that pattern through textural changes such as alternating tremolo/single-picked, tempo doubling, and layers of vocals. This pattern is then confronted with an oppositional pattern which is extremely similar, causing a kind of crossover which tends to find itself in a third pattern which is a mid-paced melodic overview of the previous two. It creates a result that must be like rising from the frozen wastes to walk along mountain ridges.

Perhaps most famous for its title track, which includes a distinctive riff shared between Agonized and Beherit (on both Engram‘s “Axiom Heroine” and Drawing Down the Moon‘s “Thou Angel of the Gods”), Gods… evokes the raw purpose of the death metal and black metal underground. This was not political music; it was a rejection of what civilization had become in its reliance on friendly, happy, positive, “human” values. Thus it turned toward the inhuman. These churning dark riffs and gurgling demonic growls convey the point aesthetically that the days of enlightenment have failed us, and darkness has come again, rising from below to destroy all who were fooled by the false light.

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Interview with Steve Cefala (Dawning)

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Steve Cefala (R) and Birdo (L) of Dawning.

Welcome to the strange and protean world of Steve Cefala, black/doom metal musician, MMA fighter, former adult entertainment actor, and now, the force behind the returning Dawning and its unique brand of slow melodic metal with horror movie keyboards.

Dawning was born in 1996 at the hands of Mr. Cefala and a close cadre of collaborators. Dormant for many years, but never forgotten, the band was resurrected with the – – –/Dawning split that showcased a classic song for the band and gave it new arrangement and orchestration.

We were lucky to catch up with Mr. Cefala between his many high-energy ventures and get in a few words about the split, the history of Dawning, and its future both as band and concept.

When did Dawning form?

Bud Burke (now in Exhumed) and I quit Pale Existence and started Dawning in 1996. Bud and I may have done some rough Dawning recordings on his four track as early as 1995. We were juniors in high school. We had just terrorized the high school battle of the bands with our cheesy Satanic side project Desecrator (there’s so many bands called that).

Why do you think Dawning is less known that other bands from the era?

First, although not many people know about Dawning, the people I know of that like Dawning are people I respect.

But there are several reasons for Dawning’s relative obscurity. Some are obviously self-inflicted: personnel/lineup problems and changes, lack of self-promotion, etc. We were more focused on making good music and recording it than on the promo side. Also not fitting an exact genre or lack of other doom/black metal bands locally at the time did not help.

We also had offers to be published by record companies which we messed up. As we were about to record for a 10″ release, the incredibly talented bassist who was the band’s contact had a breakdown from acid and thought he was an alien… and the other guitarist Mike Rabald turned super flakey and just would not record his darn guitar tracks, despite being at the recording studio drinking ale and playing Sega Genesis every day instead! After months of that B.S., when we finally threatened to kick him out, he and the sound engineer showed up at my front door demanding cash for what we had recorded so far or they would to destroy the reel! Prick…..

For some reason, we just could not get a show at this period in time. This pissed me off because I was the first metal guy to rent the local library out and throw many underground DIY metal shows and I had set up a lot of shows for local bands with my previous band Pale Existence. Some ugly heifer from my high school ended up renting the library out and getting metal shows banned from the library due to burning bible, blood spills, and setting off fire alarms. Way to go! I also threw a lot of shows for Exhumed and a bunch of local acts at the Cupertino library. They are cool guys but they never reciprocated because we were not gore metal (I remember them helping out Gory Melanoma a lot with shows for instance) or would not kiss their ass or something. Drummer Brian and I used to tease them about them being Carcass rip offs and Matt Harvey being Mr. Rockstar. Anyways, the library shows I threw were integral in bringing the South Bay death metal scene together. They were free all ages DIY shows that united a bunch of different metal and hardcore genres.

It’s also not like people didn’t know we were available. Dawning got only three shows! The KFCJ radio show, one at a frat party in SLO, one in a gazebo teen center I rented. This was despite that I had a full band lineup from 1996-2003! A third show was set up in an alley in Gilroy and the club owner canceled the show at like 7 pm (Maelstrom was headliner) before metal heads, who showed up later like 8, could get the message.

I would mention some other excellent local bands from that era which may have been forgotten includes Gory Melanoma, Infanticide, Butt, Agents of Satan, Deity, Disembodiment, Doomed-horn, and Gorgasm! :) I am glad to see that Morbosidad is still active also :)

Originally, what did Dawning sound like — what was the intent, and what were the influences, behind the sound you were going for?

The sound I have always aimed for with Dawning is to take a synthed out movie soundtrack and cross it with raw doom or black metal guitars and vocals. With a hint of ambient (backwards vocals, chimes, timpani drums). The end of the first demo has a incredibly slow doom ending with a collage of apocalyptic samples. When I started recording this shit back in 1996 I didn’t hear anyone grinding black metal guitar chords over a doom beat. I still barely ever hear that. I guess all the black metal bands are playing doom and ambient now mostly — at least the ones who aren’t constantly blasting as if they are at some type of competitive track meet event.

“New” Dawning sounds basically exactly like original Dawning. It’s all written on the Roland JV series keyboard mostly. There were some demos we did that trended more towards black metal, and some had hippy elements.

Our influences include movie sountracks like Goblin, Angelo Badalamenti (Twin Peaks), John Carpenter scores, Vangelis, Jerry Goldsmith (the Omen), etc. as well as classic 90s doom and black metal — Winter, Disembowlment, Grief, Marduk, Darkthrone, Impaled Nazarene, and My Dying Bride. There is also some trance influence from raves and partying. On the hippier demos there’s a Hendrix and Sabbath vibe to the guitars at times.

Also, Dawning has goth/industrial influences. I listen to Godflesh, Rammstein, Depeche Mode, My Life With The Thrill Kill Cult, Type O Negative, etc.

How did that sound change over time?

  • Demo 1 – Blackened doom/new age-ish (hint of ambient). Just Bud and I, no bass.
  • Demo 2 – Live on KFJC. Groovier. More Hendrixy and more Sabbathy. Full band lineup starting with this demo. Trippier more occult-based song themes. Bouncy hippy basslines.
  • Demos 3 and 4 – More black metal. Less doom.
  • Demo 5 – Exit Bud Burke, enter Mike Beams (Exhumed). More brutal and detuned. Added elements of sludge doom.

…then back to the original sound of demo 1 again for the split. The upcoming full length is like demo 1 but with more mid-paced grooves and a few blasts besides the doom beats.

You’ve re-recorded “Divine Arrival of the Massive Hoof” for the split with – – – on Preposterous Creations. How did this split come about, and what’s new with the re-recording?

I hooked up with Phil from Presposterous Creations on a web forum where he had posted some old Dawning demo links. I was told Gary from Noothegrush (who actually recorded our live at KFJC demo back in the day) helped get Phil interested in Dawning. Chiyo and Gary (from Noothegrush) have always been most supportive of my band. I honestly think Dawning might not exist today if not for them. And I was told that John Gossard (Weakling) had also talked to Phil about us, which helped. Originally Bud was planning to come out on vacation to visit and record on the new tracks with me. But Exhumed called him and off on tour he went. Now he doesn’t return my calls or lousy Facebook messages even.

“Divine Arrival of the Massive Hoof” on the split has a new arrangement. Better recording. Also, there was a period during these most recent recordings where I was diagnosed as allergic to sunlight. This time was depressing and that gave the songs a darker tone.

A couple of years ago I noticed there was something called the “101 Rules of Black Metal” going around the internet (you can google it). I noticed a rule saying that “the exact date if the divine arrival of the massive hoof shall never be revealed under any circumstance.” It even made it on the Ozzfest official page at that time. I was a little surprised that phrase was ingrained as a rule of metal (I see no other song title as a rule — but I could be wrong). I will admit that I did want to get some credit for the notoriety of the song I had created in 1995-96 and that was part of my motivation in redoing the song and getting it published. I am extremely thankful to Phil and to Noothegrush and the handful of people including John Gossard who kept the spirit of Dawning alive on underground message boards and such. Also whoever put it in the rules of metal I am thankful but would have been better had Dawning been given proper credit.

What’s – – – like, in your words? What was the appeal in working with them?

As far as actually splitting the record with – – – , it was Phil who came to me with this idea. Personally I find the piano parts on all – – – songs to be very inspired and unique and I also love his guitar tone (it reminds me of early Ulver!). So I was honored to split the LP with – – –, though I know nothing about them it is an honor to be associated with that level of talent.

Do you think metal is in a slump, or a time of over-abundance? Are there any parallels to humanity at large?

I do not like the overall musical trends in metal. Blast beat blast beat blast beat. Hail Satan this, hail Satan that. Blast beat blast beat blast beat. Blah blah blah. Playing drums like a track meet competition.

Most of the Gothic doom bands seem really gay (not in a happy sense though) compared to My Dying Bride, at least locally. Stoner bands who are not stoney — or original. Technical death metal which gives me a headache. I also don’t like the super mainstream bands right now like Lamb of God.

Nachtmystium and Electric Wizard and a few other amazing bands in the mainstream (I enjoy Noothegrush, Ludicra, and Weakling) but there’s too much crummy bands you have to go through to find a good one. Compared to the 90s — it sucks!

Locally I fell into the boring status quo sound a little too much with my last band Condemned to Live (DJ) for a few years so I must also take my share of this blame.

And yes humanity stinks too. Pretty much everything stinks these days honestly. I stopped listening to Marduk and Vader, and then Fear Factory and bands like that when they put out that pseudo techno album in the late 90s.

Also when you play a show these days its often a pissing competition between the bands instead of a brotherhood of metal. The other bands come up to you and complain about the band order instead of introducing themselves. Or you could be informed that another guy in the other black metal band that night does not like your band etc I was playing black metal live when he was in kindergarten but hey whatever…

In the 90s we knew we were all social rejects and we bonded over that. Today these kids who grew up in a post 9-11 world live in a darker cutthroat worldview. 90s metal tended to have some sense of humor that is now absent by in large. I think the global economic depression has caused metal to lose its fun fantasy oriented spirit that it had before. By the way outside a few dive bars here like the Caravan, metal is so unpopular where I live in San Jose — everything is gangster rap this, gangster rap that. I can go out for a whole week and maybe see one metal tshirt. Funny thing is my gangster friends like Dawning and are supportive.

What do you think are the differences between black metal, doom metal and regular old heavy metal?

Honestly, it’s all over genre-ized. I honestly wouldn’t even mention my bands genre but I feel strongly we were ahead of our time and deserve a little credit, even if its just a tiny bit. Everyone is mixing black metal and doom now. Back then I heard maybe one Incantation album that did that a bit, not much else.

I can tell you locally while I respect the underground hardcore approach of many bands — mostly everyone just wants to be a genre guy and fit in, which is sad cause metal ain’t even popular in the US in mainstream pop culture so these days why worry about fitting in.

It’s sad to me. Oh well. When I talk to other musicians these days its “Hey, I like this one band, Electric Funeral — let’s do a band like that” or “Hey, I like this band Cradle of Filth lets do one of those!” Nobody wants to make their own band sound. It’s much easier to join a specific genre, follow that genre’s rules to the T, and network from just within that genre. That’s my main problem with modern metal. Of course there are exceptions.

Is Dawning back on the warpath? Will we hear more in the coming weeks, months and years?

I create the music of Dawning for myself and for the chosen few who are willing to listen to what Dawning has to offer them. To those who will listen we offer an escape to another another dimension in which their imagination can run free.

While I have been trying to get the band going live, at this point I am tired of auditioning show-off types and have taken matters into my own hands. I am currently playing electronic drums while at the same time playing keyboards on with my other foot (Moog Tarus clone). My right hand also plays some keyboards. So I am playing drums and keyboards; the drums are electronic, so I feel like I am piloting a spaceship when I am playing I can be in my own world. Also I am not a great drummer, but I can keep the beat.

My girlfriend Charity has taken over on bass guitar for now. She has named herself Nubian WitchGoddess (is that one taken?) and I am working with a guitar player named Gabriel. If this lineup works out we will be performing very soon. The Caravan has always been supportive and said we can play anytime. Noothegrush expressed willingness to play the tiny club with us eventually, which was very nice of them. Also I personally have an entire band’s worth of equipment including every instrument and amp and drums and PA etc., so let it be known I have 100% been trying to take Dawning live for the last year or so and basically have received little to no support from local musicians in this effort. I have had many ads out with few responses. And, funny, what do you know — now that the record came out like 10 people just contacted me all of a sudden about joining. Way of the world I suppose!

There is a full length album I finished recording coming out on cassette in a few months on French label. It has some more upbeat black metal stuff but plenty of doom too. It flows. The new full length album is about the Satanic albino cult that lives high in the hills above Silicon Valley, by the way. My car broke down up there many years ago and the Sherrif told me about them and gave me gas to get the fuck out of there.

http://www.youtube.com/watch?v=u82y93yi7Ng

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Sammath – Godless Arrogance pre-orders shipping now

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Most bands have two or three good albums in them and once they’ve made those, they’re relegated to re-living old influences. Sammath on the other hand has continued improving with Godless Arrogance, the band’s new album on Hammerheart Records.

Luckily for all of you who like quality metal, you don’t need to wait until the official release date. Godless Arrogance is available for pre-order at the low price of €9.90 and will begin shipping on February 5, 2014.

Crossing the melodic structure of black metal with the vicious riff attack of primal death metal, Godless Arrogance expands upon this band’s career with an album that shows technical skill but doesn’t show off, and is focused on delivering raging tunes with an underpinning of melody.

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Mortuary Drape – All The Witches Dance

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Mortuary Drape resembles Emperor in its focus on the more bombastic elements of black metal. Mortuary Drape takes a more heavy metal flavored take on the genre, similar to Root or Master’s Hammer.

The speed metal influenced riffing which dominates most of this album lends further credence to that comparison. The mix is unusual for the time as well, in that it de­emphasizes the guitars in favor of the bass and vocals. Guitars are still present, but thinner than one would expect from speed metal and not trebly enough to make one think of black metal.

Church bells, a pipe organ, female vocals, and other unconventional elements are implemented, but not for the sake of these things; Mortuary Drape attempt to weave these elements into their music honestly. For the most part it works, though sometimes there are confused sections which are blatant (building/releasing tension at awkward times, staying on a particular riff a bit too long, the intro “My Soul” which goes on for a minute or so more than it should)….then again this album derives some of its charm for those very reasons.

An interesting influence appears to be movies such as Susperia when listening to the orchestral intros and interludes. This contrasts well with the theatrical atmosphere of the songs, giving the feeling of a sort of morbid operetta. Though not as essential as the Norwegian classics, this is still a strong, if not somewhat peculiar, album that while sometimes shaky is a good choice for those interested in the different angles of second wave black metal.

http://www.youtube.com/watch?v=CuKmGAK0U48

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