Ex-Celtic Frost guitarist and compose Tom G. Warrior releases the second album of his Triptykon project, Melana Chasmata (“dark valleys”) on April 14 in Europe and April 15 in the USA through Century Media Records/Prowling Death Records Ltd.
This follows up on the first Triptykon album, Eparistera Daimones, which introduced the modern speed metal (think Pantera or a more artistic and slower Meshuggah) style mixed with Gothic and doom metal elements that so far has characterized the band.
The album will clock in at 67 minutes of music and will feature an HR Giger cover. Century Media has planned several special releases including a box set and a single on vinyl to commemorate the album. The band has recorded additional music to be released as an EP or mini album later in 2014 or early in 2015.
Last May, the metal community and the world lost someone who was arguably the most inventive innovator in modern music, a person who invented the tremolo-strum style death metal riff and song structure and many of the conventions of all metal genres to follow, influencing many within and outside the metal community.
Jeff Hanneman was more than a musical whirlwind but also a human being who left behind many who miss him, including bandmates, a wife, an extended family, and many of us who have benefited from his wisdom and spirit over the years. As often happens when someone truly great dies, the world at large did its best to ignore him.
Enter Poland. This lonely country, itself having suffered enough death and horror over the past century to launch 10,000 first person shooters, decided to offer up a roundabout such that its name would be chosen by the person who won an auction. Someone threw down the cash and named it after Jeff Hanneman.
The official sign says:
Jeff Hanneman’s Circle Pit
unforgettable Slayer guitarist
During the XXII Final of The Great Orchestra of Christmas Charity, the President of Jaworzno put up for auction the traffic circle in the city centre, which was later autioned by ART-COM Ltd. The company could give the name to the traffic circle and became its ‘symbolic’ owner for the period of one year. The money gathered during the XXII Final of The Great Orchestra of Christmas Charity was allocated for the purchase of specialized equipment for children’s emergency medicine and deserving health care of seniors.
Time for a pilgrimage, especially if Vader still play tunes from their first album. More information and pictures can be found here (in Polish).
I did something I never thought I’d ever do and bought the new Behemoth record today. Was never a big fan of the early stuff (out of ignorance in never really listening to them more than anything) and have associated the 2000s material with 14 year old kids transitioning from Slipknot and Korn into death metal…
Before I even heard a note of the new one I was intrigued. Reading Darksi’s interviews post-leukemia in reference to this album really got me interested in what was in store sonically and lyrically and several reviews seemed to highlight that it was a turning point. Also very stoked on Denis Forkas’ art and Metastazi’s layout (that dude: FUCK) so it seemed quite the package.
I can say without a doubt that this is already a highlight for the year, even given Behemoth’s stature as a ‘celebrity’ death metal band. The production is wholly organic; gone are the vocal effects, clicks, snaps, and pops of their usually very sterile and over-produced sound. ‘The Satanist’ sounds natural and warm, vicious, and inspired. Each track is it’s own tight little opus – every song is memorable without being just a cavalcade of “dude check out this RIFF.”
None of this goes without saying that it does have it’s weaknesses (use of OV, stupid dress-up costumes, Slash guitar solos, and a goddamned Saxophone solo [Y U DO DIS PLEASE STAHP]), but the good far outweighs the bad. For a band to be this reinvigorated and viable on their 10th(!) full length, I have to commend them.
This issue is about to explode into public discourse because the rise in new-style metal bands has forced this question upon us all.
What is the underground?
Before even reading this article, keep in mind that there are some excellent resources. First, The Heavy Metal FAQ provides a complete answer. Second, Underground Never Dies! is a whole book dedicated to this topic through the eyes of metal bands from the 1980s-1990s underground era.
But we can come up with an even quicker definition.
The 1980s through early 1990s were a different time. Not only was there no internet, but music distribution was fairly strictly defined. Mainstream stores got what the big distributors had from the big labels and a select few smaller labels that pushed their way in. If you wanted a wider selection, you went to an “alternative” music store which stocked smaller labels. Often you bought imports, at a 50% markup. Most stores were completely uninterested in stocking something such as death metal, because it appealed to a small and antisocial niche audience. Why bother with selling a single copy of a Deicide album when you could sell 20 copies of Motley Crue without even trying?
In addition, there were forces of opposition to any metal that was not radio sanitized (which meant speaking on code words, probably encouraging deviant behavior to a greater degree). Very few people now remember when Tipper Gore and her Parents’ Music Resource Center (PMRC) were a powerful lobby for parental warning stickers on questionable albums. In addition, the threat of such people caused record stores to actually card people for buying violent rap or occult metal. You had to be 18 and prove it, or they would not sell to you.
And getting it on radio? There was college radio and also a handful of independent radio stations but these faced the same problem. Why play death metal when you could throw on a few sets of Sonic Youth and Rites of Spring and have 20 times as many listeners? Even among alternative music, death metal was unpopular because it was abrasive and did not have a large social movement behind it which made people like it. NWA was a violent, misogynistic and hilarious rap group that got banned just about everywhere, but there was a large social movement behind their work. It was easier to find that than your average, or even your top-selling, death metal band.
What underground meant back then seemed to be that it was offered through alternative channels. A few record stores, some college radio stations, tiny record labels run on a basically non-profit basis, and photocopied hand-assembled zines made of a pastiche of typed content and tattoo-style margin drawings. How did most people find new music in the early days? They hooked up with pen pals who would mail them cassette tape mixes of new music they found, often dubbed from cassette demos from the bands. Sometimes these tapes were many generations down the line and you could barely hear the band under the crepitant tape noise! But they did the job that mainstream media, record labels and magazines would not.
Toward the middle of the 1990s, this situation relaxed. First, the rise of used CD sales meant that smaller labels were making it into bigger stores via a backdoor. Second, magazines like Spin eventually gave coverage to death metal. Finally, changes in the way music was distributed opened up the middlemen who supplied record stores to the smaller labels. This meant that the traditional split between underground and mainstream was going away. Record labels, scared by the possibility of used CD sales eating up the profits from big mainstream releases, which relied on novelty to sell and interested their audiences for only a few months, started looking toward “niche” sales. But what really blew it out of the water was the notoriety of black metal.
Starting in the mid-1990s, rumors of the black metal movement in Norway and its legacy of violence — church burnings, murders, and stockpiling of military grade weapons — began to leak out through the zines into the magazines. Then the whole drama exploded with the trial of Varg Vikernes, who conveniently also ended the old black metal era with Hvis Lyset Tar Oss, an album so deeply nuanced and impossible to follow that most musicians shrugged and went back to three-chord, “punk style” black metal instead. He raised the bar at the same time bands like Darkthrone codified the genre with Transilvanian Hunger, an album that was difficult to create but easy to mimic. As mentioned in the documentary Until the Light Takes Us, black metal witnessed the decay of an idea. This decay happened through emulation that, because it looked at the outward traits like distortion and blast beats, missed the actual meaning of the genre which caused musicians to make such similar music in the first place.
It’s hard for people to realize now but black metal was initially viewed as slightly touched in the head. Death metalers often hated it violently; almost everyone else seemed to criticize it for its lo-fi approach and almost childish use of blasphemy and antisocial imagery. Many of the albums sounded like they were performed by people who had barely picked up an instrument and might have zero social graces. It was roundly mocked… until it started to become popular. Then the tables were turned. Within five years, black metal was in mainstream record stores (this shift happened in about 1997) and became really popular with a new generation.
After that point, the term “underground” seemed to lose meaning. The internet had come and made music and information about it universally available, and the proliferation of high-powered desktop computers meant that recording an album, running a label or making a zine involved far less labor and looked and sounded a lot better than the DIY labor of the 1980s (or even 1960s-1970s, when proto-punk and punk bands innovated it). At this point, people started going for an “underground sound,” which meant artificial lo-fi, simple three-chord songs, lots of ranting about antisocial topics including the occult, and a deliberately offensive resistance to any positive reinforcement.
The other issue that’s sparked controversy is exactly which bands get press — take Deafheaven and fellow shoegaze black metal band Alcest, who both benefited greatly from non-metal-centric coverage in 2013. The idea of using these bands to open of the gates of metal and let readers discover a new musical genre (or actually take it seriously) is a contentious one. One of the issues is the promotion of palatable metal bands that could potentially reach the masses with a sound that isn’t “metal” in the classic sense. Instead, these bands have been referred to as “extreme,” a catch-all, provocative phrase guaranteed to attract listeners who are looking for a more intense metal fix – and to satiate that self-satisfied outsider-metal “cool factor” that insecure metal fans love to laud over the pop-music contingent.
In the years from 1995-1998, the underground basically rehashed itself. It had no ideas, and more importantly, the bar was raised. To be a good death metal band, you had to be at the level of Morbid Angel’s Covenant or Suffocation’s Pierced From Within. To be a black metal band of note, you had to be at the level of Burzum’s Hvis Lyset Tar Oss or Enslaved’s Frost. Not many bands could do that and so an alternative underground built up based on fan-driven metal. Most of this was in emulation of the previous years and took the form of three-chord simplified versions of the more complex originals. The result was that, outside of a small cluster of people hanging around internet forums, this music went nowhere.
Nature abhors a vacuum, so from 1999-2006 or so, metalcore took over. This was also music designed to be easy to make. It took the randomness aesthetic of late hardcore punk and combined it with death metal riffs, making chaotic songs that made no sense but were plenty distracting and extreme. The music industry flogged this dead horse walking (to brutally mix metaphors) for five years before the trend started to die. Then from 2006 through the present, the music industry took a different tack: instead of trying to make a new genre, emulate something that has worked in the past. They found the fertile ground of the post-hardcore years where indie rock, shoegaze and post-rock coexisted in the same sphere of influence. This was generally what was called “alternative rock” before “alternative rock” became a brand for flannel wearing bittersweet droning hard rock bands from Seattle.
Deafheaven is a polarizing band becomes it comes from this tradition. Listening to it, it is not clear there is any metal in it at all. But labeling something “metal” or “underground” or “extreme” excites interest, mainly because few people trust the aboveground media. Thus there is a huge financial incentive to classify Deafheaven as metal, and for smaller blogs and magazines to go along with this fiction as well, if they do, they get advertising revenue and possibly a shot at the big time.
This leaves us with a complete quandary: does the term “underground” have meaning anymore at all?
My suggestion with my last article, “In defense of elitism,” was that underground is a misused term. The point is that metal has a spirit which defines it and separates it from everything else. That spirit must be expressed but it is of a nature that does not trust the dominant paradigm. Black Sabbath wrote their music to rain on the hippie parade of love, drugs and pacifism; their point was that altering our perspective does not change reality. Underground metal had a similar message and was unwilling to alter it in order to fit with the expectations of people who would rather hear about the denial fictions of love, drugs and pacifism (underground rap did the same thing in parallel, but with a different set of issues and a different set of denial fictions).
What makes a metal band underground is that it is unwilling to compromise its vision of truth for what people want to believe is true. It is unwilling to compromise its aesthetics for what people believe is comfortable and pleasant. It is committed to the idea that the only legitimacy comes from the art itself, not its popularity or album sales. Some would identify this as the ultimate non-“bourgeois” statement, in that it casts aside comfortable oblivion in favor of a raw blast of cold hard reality. This sense of underground is more fundamental than how the albums are sold or which zines write about them. It is an attitude and discipline. Underground means that which puts truth first and popularity second, which is a dramatic reversal of the way everyone else goes about it.
Metal is not the only genre to have an underground. Punk was originally underground but as it became fashionable in the late 1970s hardcore punk bands started vanishing into squats, playing midnight parties in abandoned foundries, and selling their music on 7″ records out of shirtsleeves. The noise movement in Japan remains underground to this day, with artists like K.K. Null constructing elaborate and beautiful pieces from raw noise, instead of making harsh blasting rebellious stuff like record labels had hoped. Robert Fripp, former guitarist of King Crimson, uses electronics to make his guitar sound like an organ and plays small concerts across the world. Underground is not a term specific to metal, but a term to describe any activity that is not encouraged in society at large yet believes it has ideological, artistic and/or political value.
You aren’t going to hear about any of these artists in big media and you may not be able to buy their CDs in regular stores. However, that is the symptom, not the cause. The reason they’re not in regular stores is that they’re not only niche, but also not given to comfortable oblivion. In a time when people can choose the artistic equivalent of a cheeseburger over the more challenging and substantive art, people tend to do so, which marginalizes actual art. As a result, the actual art is alien and threatening to most people, which makes it a terrible product, which means that it ends up in small record stores, small zines, and small labels.
If anything, the internet has exacerbated this tendency. In an age when we can find anything by googling it, the real problem is knowing what to google. Even worse, Google uses a search engine algorithm that moves higher links up the chain, thus burying marginalized results. We have all the information in the world but without a guide to it, none of us know what to do with it. It is for this reason that traditional media has won out on the net and the sites that attract the most eyes are the ones that are promoting essentially mainstream music.
What Deafheaven represents to a metaler is the triumph of mainstream music. There is nothing in Deafheaven that challenges the listener to even a second of soul-searching or discovery, or whatever it is that art does — that’s a separate debate — in contrast to what death metal and black metal provoked in us. Deafheaven in fact is the listening equivalent of wallpaper, a pleasant series of repeated images that make us think about shopping, perhaps. Whether it is bad music or not is irrelevant. “The medium is the message,” we’re told, and in the case of Deafheaven, the medium is inoffensive pop pretending to be “extreme.”
Since then, anything “new” and “innovative” done in metal has involved musicians stepping outside the boundaries of the genre more and more. Shoegaze, industrial, post-punk, krautrock, progressive rock, jazz, trance, dubstep. It’s been happening gradually over the past ten years, but Deafheaven’s 2013 album Sunbather just might be the first major splintering that will eventually see “extreme music” separating completely from actual heavy metal. Although my opinion on the album has already been published and will not change, it remains the most critically acclaimed album of 2013, of any genre, marking the first time an album that has occupied that grey area between “metal” and “extreme music” has captured the attention of so many mainstream critics and audiences. Some critics still call Sunbather “metal”, but to do so is to forget what makes heavy metal heavy metal in the first place, merely clutching to the few metallic threads in an otherwise richly varied musical fabric. In reality, Sunbather is a tremendous example of extremity transcending the metal ethos entirely.
In other words, there’s a reason Deafheaven doesn’t sound like Beherit, Demoncy, Imprecation, Blaspherian or any of the other bands which have resurrected the underground sound over the past five years. Deafheaven represents the mixing of mainstream sounds into underground metal, while Beherit represents underground metal growing and developing on its own terms.
If anything, the underground is in a renaissance because it has finally escaped the old standard of lo-fi music sold on cassettes/vinyl through dodgy mail orders and reported on only by small zines. We have gone from alienated from society to accepted (grudgingly) by society, and so now we are “niche” music. But what defines this niche is that it is underground. We face the hidden truths and evoke concealed emotions, and thrust a fist in the face of oblivion. That is what makes us underground, and it’s why the masses chose Deafheaven over Demoncy to report on as a face of extreme music.
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.
Apostolum – Winds of Disillusion
Like Ras Algethi, this is a black-metal-influenced doom metal album that does not rely on detuned guitars to produce a low-end rumble. Instead, Apostolum shape their songs out of repetitive melodies like we might find in a horror movie soundtrack (shades of Damien Thorne) which cycle through repetition with frequent breaks for rhythmic or dynamic changes. The result is like a comforting background noise segmented into long enough pieces to tell a story, on top of riffs which themselves hint at a type of mood. Vocals add layers of lush intonation that flesh out the relatively sparse pieces, but one of the most important instruments here is silence. Riffs are slower but not uniform pace, so often pauses create gravity; pauses between riffs, and the interruptions in sound, create a sense of melody arising within darkness. The only real problem here is that much of what makes metal enjoyable is less present in this music. Its attempt at emotional depth leads it toward melodies that are periodically happy, so that they may be shattered, and the slowness is for lack of a better term not very exciting. I can appreciate this but I don’t think I’d listen to it.
Human Infection – Curvatures in Time
When we say something is “stale” in music, we generally do not mean that it is old. We mean that it is derived from something obvious, like a first step in examining something. The thought process ended early, we think, because we can easily visualize first-level thought from our armchairs in a casual moment. What interests us is when someone takes something in a distinctive direction, which does not mean weird or unexpected so much as it means a direction expressive of something. At some point, riffs either sound like an event from life itself, an emotional event or resemble an idea, and if the riff does not show similarity to one of those but seems to be introductory thought on its own, we discern that it is purposeless. Human Infection have made a grand effort at the technicality required for a death metal release, although the abysmally hollow and loud drum sound may doom this production, but too much of this is death metal for death metal’s sake without real purpose, and too much of it uses first level thought, a/k/a really obvious and played-out (because they’re obvious, they’re frequently used) riff patterns. I appreciate the big doofus aesthetic of this brand of death metal/deathgrind hybrid, but here it goes too far without going anywhere. As with most situations like this, there is too much reliance on the vocals and drums leading the guitars, which creates a sound like repetitive noise with background texture. Give that guitarist more prominence in songwriting and make the riffs lead the song and this could be a powerful band.
Amputated – Dissect, Molest, Ingest
What I like about this band is that they preserve the lineage of percussive death metal leading back to early Suffocation. It’s not that they clone riffs; it’s that they understand song conventions used by the originals and thus have to rely less on the post-Suffocation notions of breakdown to transition within the song. Other late model NYDM conventions make it in however including lots of pinch harmonics and sag-groove riffs. Luckily Amputated know how to put together a song so that it moves naturally and avoids lapsing into unrelated and thus pointless detours. At the same time, reliance on a style like this makes it very hard to distinguish songs since they are all similar in technique, rhythm and approach. This is going to be the challenge for Amputated, to distinguish “Skullfuck Lobotomy” from “Toolbox Abortionist” without relying on cheesy appearance tweaks. This band are tight, focused and have a good instinct for rhythm and song so this should not be a huge challenge for them.
Esoterica – Aseity
This is the droning wailing type of post-metal. It uses two-note black metal minor key riffs and drones those in a predictable loop while someone rants with an open-throated, slow vocal. It’s like a requiem performed by brain damage victims. The sense of purpose of classic black metal is lost; you could say Ildjarn took the same approach, and it wasn’t that Ildjarn was first, it’s that Ildjarn was good. Good means organized, purposeful, communicates something, and creates an experience the listener can partake in. Esoterica creates drone. If you want a background tone to go with some activity like ironing or fermenting fish guts this might be a good counterpart, but generally as it is without surprises or discernible idea, it fades into the city noises like planes overhead, trains long-hauling, trucks idling, domestic violence and identity theft.
Immoral Hazard – Convulsion
Pantera vocals over Kreator-styled speed metal with worked in touches from American melodic heavy metal bands of the same era. If you can imagine Kreator with metalcore/bro-core vocals except that the chorus riffs were borrowed from a hybrid of Forbidden/Fates Warning, that would be a good approximation of the style here. The vocals are unfortunately impossible to overlook and I wouldn’t want to listen to this in public because listening to bro-core is the equivalent of screaming “Hello, I’m a fucking moron” at the world. These guys know their classic metal and it shows with allusions that are artfully done enough to not be appropriations but subtle tributes. Phil Anselmo, although a great guy to drink with, invented the worst form of metal vocals possible because they channel aggression to the surface and replace depth with an kind of outraged customer slash drunk frat boy outlook. The rage is all one-dimensional however. The riffs have to support these bouncy rap/rock/hXc bro-core vocals and so get dumbed down. If they could hook this vocalist up with some old Rigor Mortis tapes, this band could head to better places and be really good at it.
Dux – Vintras
Working both within the confines of Gallic metal and a mixed bag of influences from the past, Dux create what a metal writer might dub “national tragedy”: music with a strong national sound that nonetheless embraces melancholy on the far edge of despair, and in the almost depression-distracted gaps created fills in space with past influences, exemplifying the chaotic modern approach that is the source of their angst. Very much in the same style of dissonant minor key Solutrean droning, with a sound that resembles the wind flowing past ancient caves if it were given tone, Dux create in the space etched by Celestia and Vlad Tepes. These songs sound like they might come from the distant past and yet, they are new, and exhibit the same exuberant take on the ancient ways offered by bands like Enslaved, albeit with less technicality. When there are gaps, the band fills in with equal parts Slayer-inspired proto-death metal and bits of choppy heavy metal and death metal, but these parts are infrequent and are counterbalanced by more of the delicious flowing melody they do so well. With better study habits, this band could rank in the higher echelons of contemporary black metal, beating out all the people who lack what this band has: a grasp on the emotional and intellectual subject matter, and thus content, of the black metal genre.
Snake Eyes – Welcome to the Snake Pit
Covering the territory once ruled by the first couple Motley Crue albums, Snake Eyes create old fashioned heavy metal with an American tinge of sleaze and darkness. It’s heavy on catchy chorus activity and yet picks up the pace on the riffing more than a Sunset Strip band would have. These songs also try for the “epic” sound of European metal, where at some point the elemental pieces of the song clash and resolve in something with a greater affinity for the sense of the song than the original bits. There’s some bleedover speed metal technique at points, mostly use of muted strum and budget riffs for tempo changes. Clear and strong but higher-pitched vocals guide each song, and are often in that half-sung half-chanted style that rides a good rhythm riff. This style of metal has a lot of rock in it, so will not be for everyone. With bonus cover medley from Judas Priest (“Riding the Sentinel into Hell”).
Sammal – No 2
Finland is boiling over with classic rock acts. They are all reallymusically competent and have a great sense of melody and rhythm. They have more trouble knowing how to pull a song together to make it highly distinctive, but that’s not from lack of ability, more a lack of internal drama. Dysfunctional people make the best rock ‘n’ roll for a reason, which is that they are not hampered by logic and that they have internal gestures of vast theatrical exuberance that make for really distinctive, evocative songs. Sammal do not have that kind of drama going inside of them. What they do have is a reverence for the 1960s-1970s rock and a way of writing good solid tunes that make you feel like you did not waste your time listening and want to think about them for a little bit. I am not sure what the lyrics are, as I think they’re in the voodoo-moonman language that is Finnish, but the songs themselves are quite powerful. Now why aren’t these guys making death metal?
Culted – Oblique to All Paths
No one wants to say all post-metal sounds the same but it is true. This is because post-metal limits itself both to non-phrasal riffing and a certain narrow range of power-chord based ambiguous minor key riffs and arpeggios, and simultaneously imposes on itself the demand the sometimes there be distortion and hoarse vocals. One might ask these bands why they bother with post-metal when obviously they want to play mainstream rock, but no matter what answer they verbalize, the truth is that it is easier to be a big fish in the small pond of a recent trend than to compete on the much broader highway of rock itself. And yet that is a form of cowardice. Why not tackle the audience that they naturally belong to? This band would be a lot more fun if they went Dave Matthews or Barenaked Ladies on stopped trying to cram some superficial aspects of “metal” into an unrelated genre. There is more actual metal on a Taylor Swift album than is present here even though Culted clone riffs from doom, black and death metal past. But seriously, why is this band wasting its time? Better to just become the rock band they want to be than to force themselves to be trendy and not make the cut.
Zloslut – Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti
Part of black metal was its national tradition. Bands wanted to sound like they were from their homelands. This was harder to relate to in places that are more regional, like UK or USA (the “acronym nations”). Zloslut never quit with this idea. They sound like they are not only a band with their own voice, but they bring out some characteristics of national sound. This is not hyper-distinctive as Zloslut compose very much in the classic black metal vein, sounding much like a cross between early Gorgoroth and Immortal. Songs are melodic but not as an effect; they are based around underlying melodies with a distinctive old world flair, internally punctuated by the type of upturn that introduced a huge amount of ambiguity when metal bands first did it. Now it is worked into the melodic sense itself, like the melody is a series of questions exploding into a defiant statement, usually delivered in full toward the end of a song when it can expand into a promenade or march-style rhythm. These songs are designed to fit together like wooden puzzles, meaning that there must be some gap at all times, but the shapes can never be incompatible. The result develops underneath the ears and has subtlety like the original black metal bands. While 80-90% of it may be familiar with those who studied the early 1990s Northern black metal explosion, as with all things in life the distinction is in the details, and there’s a lot to listen to here that shows this band have their own voice and one for their homeland.
Many of us are still in mourning from the recent announcement by NY grindmasters Brutal Truth that the band would be disbanding shortly. However, Brutal Truth is going on one last world-destroying tour and they’re releasing European dates for that tour now.
In addition to announcing their final tour dates, Brutal Truth has also unveiled the brand new video for the track “The Stroy.” Taken from their split with powerviolence band Bastard Noise, “The Stroy” shows Brutal Truth at its most vicious.
Famous for spearheading second-wave grindcore in the early 1990s, Brutal Truth imposed death metal technicality on grindcore without adulterating the raw punk nature of the genre. Culminating in their innovative and bizarre Need to Control in 1994, the band’s journey into grindcore showed that the genre was far from dead and did not need to be adjusted for the death metal audience.
Confirmed BRUTAL TRUTH European shows:
5/02/2014 Temples Festival – Bristol, UK – Last ever UK show
5/03/2014 Neurotic Deathfest – Tilburg, NL – Last ever Netherlands show
5/21/2014 Hellfest – Clisson, France – Last ever France show
US black death metallers Lucifers Hammer have landed a deal with Destro Records to reissue their long out-of-print albums. The first release will be “The Mists of Time MMXIV” album. It will consist of the original 1997 album, “The Mists of Time” untouched and unspoiled, and also include demo bonus tracks. Naturally there will be new artwork, lyrics, commentary and more.
Lucifers Hammer formed in 1986 and their career ended roughly in the early 2000s after releasing a second album. The band are excited to be part of Destro Records, and believe in quality over quantity. “The Mists of Time MMXIV” is slated for a March/April release date.
At the moment the focus for the label is this release and news regarding other material by the band will come shortly.
There will be a bandcamp site launch for Destro Records very soon, physical and digital copies, and other special deal announcements soon.
Destro Records is a NY-based label with a long history of producing quality releases, including through the association of its management with their own musical projects such as Ceremonium and Thevetat.
Crushing old school death metal band Imprecation have unleashed new merchandise upon the world, but it takes a bit of old school engineering to get your hands on it. The new merch is specifically a tshirt designed by notorious underground artist Mark Riddick, a tshirt featuring the cover of last year’s Satanae Tenebris Infinita, and a logo patch for your killcoat or backpack.
Alex Hellid of Entombed is offering a contest which puts a challenge to his listeners: make something of Entombed, and possibly win free stuff.
Here’s his statement:
Here are three instrumental demos. Take them and do something…add your own flavor…lay down the vocals…be the voice…remix…cut it up…add samples…do an animation…shoot a video clip…anything…and let us see it! Then post it on our facebook page.
At a time when most crosshairs were aimed at Tampa, FL or Sweden as being “death metal capitals” some of us trained our sights further afield to places like Canada and Brazil which to their credit were home to a great number of pioneering bands. Headhunter D.C. are one such band who built a fanbase in their homeland of Brazil but are generally not known outside South America.
With …In Unholy Mourning…, the band crafts the same type of music it made in the 1990s but with better production it can compete with releases from bigger labels. This is part of the ongoing process by which bands from the 1990s are finally availing themselves of more powerful aesthetics. Folks tend to forget that in the 1980s we often found ourselves thinking, “Wouldn’t it be killer to hear so-and-so with a professional production?”
…In Unholy Mourning… may be the most mature release of Headhunter D.C.’s long career, exceeding even the high standard set by the fertile Brazilian scene. Abundant excellent riffs and arrangements pervade this recording and show what we have been missing out on all these years. The second track “Dawn Of Heresy” follows the introductory non-musical piece entitled “Rotten Death Prayer” with classic Acheron-esque opening rythms that chug into the punky skank beats which made death metal the natural bastard-child of metal and punk during the pioneering era.
The album varies pace throughout, accompanied by the vocals of Sergio Baloff which are likely the best output of his career. Guttural death metal howlings spend most of their time at the low end, fluctuating to higher mid-pitched expressions indicative of reading a piece of prose; there’s no monotone drab cupped vocals to be found here and no need for a lyric sheet. Baloff keeps the natural Brazilian flair to his voice and pronunciation yet enunciates the words so they can be easily deciphered. This creates an unusual vocal clarity in a genre where instruments or some other factor normally pollutes the ability to understand the words. He has faced criticism for making his vocal delivery dynamic in this way, showing that perhaps a large part of the listenership would prefer hearing the same thing ten times on the same album.
Magnifying this idea is the inclusion of the almost PERFECT cover of Thrashmassacre’s “Into The Nightmare,” which is more of a deathrash tune saluting the 1980s pre-death metal evolution within Brazilian extreme metal and although obscure became a highlight of the album. You would not immediately think of it as a cover, as it fits well into an album which is replete with tropes of its region, including the group vocal choruses on “Hail The Metal of Death” which are a nod to the glorious times era of Brazilian metal.
Headhunter D.C. deserve praise for coming up with a rewarding end result after obviously throwing their blood, sweat and tears into this effort, especially in a time when metal is so sterile, safe, consumerist and bland. …In Unholy Mourning… is not as slick and geared toward being a product as the new releases you find in glossy magazines and on big internet sites, but instead this is honest music with a fervent message that has finally gotten the production it always deserved.