Inspired by Bosch, Dürer and Caspar David Friedrich, Kristian “Necrolord” Wåhlin has painted album covers for shiploads of underground bands since the early 90s (Therion and Dissection among others), but his most important and most striking contribution is probably the cover of Emperor’s In the Nightside Eclipse (1994).
Some of its style and composition takes me back to Albrecht Altdorfer’s anachronistic oil painting The Battle of Alexander at Issus (1529), but true to the bleak genre of black metal the cover of ItNE is practically monochrome, which is rather typical of Wåhlin’s paintings at large (as seen in his paintings for Sacramentum’s Far Away From the Sun and Dark Funeral’s The Secrets of the Black Arts).
Wåhlin nevertheless manages to capture much of the grandeur sought by Emperor in those days. He allows us to delve in a detailed landscape of rugged forests, cold mountains and an army of monsters seemingly popping out of the ground in a setting of strange angles and charmingly inconsistent perspectives. High above, emanating from a crack in the clouds, Death sweeps his scythe across the sky, resonating the lofty keyboard phrases in the music of this album. The whole scene is awash in the light of the moon, gazing at us like a gate to eternity (try to outstare it during the finale of Inno a Satana …). The incorporation of Death seems to have been a way of providing a sense of iconic continuation, referring back to Emperor’s début EP which depicted a section of Gustave Doré’s engraving Death on a Pale Horse (Revelation). (The use of old engravings – especially those of Doré – seems a favourite means of visual expression in the universe of Emperor.)
I always assumed that the otherworldly castle and the winding path leading to it were reminiscent of that of a certain bloodsucking count. This is probably no coincidence: have a look at the lyrics of the song Beyond the Great Vast Forest. Not only does it refer to Werner Herzog’s film Nosferatu (1979); parts of the story of the over-the-top film Bram Stoker’s Dracula (1992) – which was immensely popular around the time of ItNE’s inception – had also found its way into the lyrics, and the solitary structure of that film’s castle and its inspiration, František Kupka’s The Black Idol (1903), somewhat parallels the idea of the castle on display here.
Ultimately, the cover of In the Nightside Eclipse confirms the nature of its music as slightly cheesy yet chillingly sincere, a satisfying visual representation of one of the best albums of the genre.
Industrial metal band Fear Factory graduated to concept albums early in their career, and following on the successes of last year’s The Industrialist will be touring in support of their particular mix of industrial, metal, grindcore and rock.
Based on a science-fiction epic written by vocalist Burton C. Bell, The Industrialist comments on the present and the future as part of one continuum. While the story remains inscrutable, the dystopian-anarchist feeling of industrial music pervades it.
Bell describes the work as the band’s most focused effort. “Everything had its purpose and we knew exactly what we were doing and what we had to do,” he said. The album is the second for the reunited songwriting duo of Bell and Dino Cazares, who worked on earlier material from this band.
Starting life as an alternative to Godflesh at a time when no other band could work within that style, Fear Factory has melded its own sound over the years, combining Nine Inch Nails and Ministry style industrial rock with metal riffs and grinding cadences.
If you want to catch these maniacs on tour, be sure to visit one of these venues:
4/14/2013 The Black Sheep – Colorado Springs, CO
4/15/2013 Summit Music Hall – Denver, CO
4/17/2013 The Riot Room – Kansas City, MO
4/18/2013 The Rave – Milwaukee, WI
4/19/2013 Mojoes – Joliet, IL
4/20/2013 Club Fever – South Bend, IN
4/21/2013 Diamond Pub & Billiards – Louisville, KY
The Hessian Studies Center was founded in late 1994 for the purpose of creating an atmosphere for study and respect of the Hessian tradition, folk art, and philosophical background. Over the next year it struggled off and on with authenticity and funding but eventually opted to remain underground because of the freedom given to respect metal’s traditions as independent, rather than integrated, with the western world’s containers for those philosophical and political entities. Additionally, the liberal policies of the Center regarding drug use caused ostracism and exile from the benevolent gaze of the herd.
The work of the Hessian Studies Center consists primarily of materials acquisition and content authorship, as well as think tank work in the continued architecture of Hessian history. Its members have authored numerous documents for this and related political efforts and continue their efforts to this day, striving for an independent Hessian state and the corresponding benefits of legal power (decriminalized recreational substances, an end to loudness ordinances, legalized crime).
The following is a reproduction of the original Hessian Studies flyer that kicked off the chaos back in 1994:
What is Hessian Studies?
Hessian Studies is the academic study of Hessians, Bangers, Metallians, Metalheads, death rockers, and other adherents to the genres of metal and grindcore. The Hessian Studies Department believes that any truly diverse multicultural population will contain representatives of this world-wide underground culture, with its rich and spanning historical and social contributions.
What are the aims of the Hessian Studies Department?
The Hessian Studies Department seeks to establish a presence of Hessians on campus and in campus events, as well as to create a comfortable environment at The College that suits the specific needs of Hessians at a small liberal-arts college. To this end, we have presented a List of Demands to the Administration:
That there be Hessians hired to faculty and staff positions, and that all hair length rules and any form of drug policy regarding Hessians hired be abrogated, as Hessians have a religious need for some currently-regulated substances.
That there be a Hessian Studies Center, complete with both audio and textual libraries and lounge area, for the study and advancement of Hessians.
That the community radio station play more music favorable to the tastes of Hessians during prime-time shows.
That the inscription at the gate of the college be changed to either “Fuckin’ Groovin'” or “You Suffer (But Why?)”.
That discrimination against Hessians as a group of drug-addicted, drunken, long-haired incompetent losers destined for parole at best be eradicated from campus literature and mindset.
That there be Hessian cultural events on campus, including concerts by noted Hessian bands and festivals related to various organic products enjoyed by Hessians.
That the Hessian Studies Center be funded to provide late-night pizza and beer snack breaks.
That Hessians be given equal time to speak at multicultural events, and the right to develop their own curriculum of Hessian Studies Courses.
Hessian Studies Center
Hessian studies is academic analysis of the international subculture of alienated heavy metal listeners and followers of intense music and noise of destruction. Our vision includes tolerance for all people and the right to individual autonomous direction and an end to compulsion and normative behavior.
Since its inception in 1994, the Hessian Studies Center has supported the international metal subculture through collection, analysis, and dissemination of the music and philosophy of thrashers, metallions, headbangers, metalheads, Hessians, longhairs, cruisers, piledrivers and others who comprise a virtual ethnicity of people inspired by the power of heavy metal, speed metal, black metal and death metal music worldwide. We achieve our ends through peaceful and herbological methods.
In addition to supporting the pantheon of academic and cultural programs above, the Hessian Studies Center aids with time and equipment as well as money the Dark Legions Archive, a repository of analysis concerning the music of the worldwide metal community. Headbangers, metallions, metalheads, longhairs, stoners, and other social rejects apply through means of this email link.
The United Hessian Front
The United Hessian Front exists as an extension of the Hessian Studies Center that seeks to find adherents to the subculture of heavy metal music and philosophy internationally and unify their voices in a forum for communication about future generations of metalion thought. Our goals are to acquire and disseminate information about the Hessian subculture in this process while reinforcing its objectives through our actions and treatment of others.
In order for Hessian culture to accelerate its own growth toward the future it must be aware of its past as well as the likely environment into which it will develop. As the world spirals closer to oblivion, entropy, and genocidal apocalypse, the vast suicide cult that is modern society seeks further methods of denying darkness, chaos, and destruction. Hessians exist so that this may not be so.
The objectives of the UHF are as follows:
Establishment of an Independent Hessian State.
To ensure freedom for Hessian development and minimal intrusion from normals, sober people, and authority figures the creation of an independent and autonomous Hessian zone under self-rule is a primary objective of the UHF.
Religious Freedom and Controlled Substances
The complex sociomystical structures behind the art, aesthetic and mindset of a modern Hessian lifestyle requires the stabilizing influence of chaos-generating psychoactive substances in order to remain efficient and content.
Equal Air Time for Nonconventional Music
Current media tendencies exclude all but the most soothingly inane and simplistically melodic, leaving a void of contemporary music for the intellectual connoisseur or musician, generally attenuating the intellectual readiness of the population; for this reason alone we request more air time for metal and other non-mainstream forms of music.
Injunction Against the Christian Right
Given the evidentiary state within science that concludes that so far agents of discreet brainwashing have not been found to be able to influence humans to extreme behaviors such as suicide, assault, or murder through the simple method of stereophonic amplification, it’s time to call off the Christian right from attacking metal and rap as “promoting violence and depravity.”
Flier for Public Distribution and Chaos
Our reprehensibly straightforward and dissonant fliers bring all of the alienation and some of the isolation home to those you can dupe into reading them, as well as providing hours of family topics for discussion. Spread this bad news everywhere to deconstruct society the networked way!
Our vision is of a world where Hessians can be recognized as a virtual nation of headbangers, metalheads, and thrashers and will eventually be treated with respect to their specific needs and inclinations. Through mutual tolerance we can live together or we will surely die together.
Hessians come from the tradition of subculture, or resistant counter-culture embedded within a much larger cultural container. They have been spotted in almost every country in the world where electricity and a relative amount of personal music technology have been distributed. Most cultures have learned to recognize them and write them off — at their essential nature, they are a pacifistic culture of alienated and/or intellectualized rockers looking for truth in extremity.
Society encompasses their culture, but they treat it with dissonant indifference, realizing that its actions are beyond their control and are mostly ignorant attempts at control or manipulative, fearful and destructive compulsions to duty. The desperate impulse that is afraid of silence (as in silence one must think within) drives normal social activities to be centered around events and to aim at providing comfort. Hessians reject these ideals and instead favor indirection, mayhem, destruction and other chaotic acts in their free (not enslaved by school/job) time. Often they can be found gathered around a bong for interpersonal time, or gathered in small groups to become intoxicated and raise some hell. The heavy party culture that underlies all rock carries its extremities also in the extreme rock arena, where brutal concert violence and fastidious drug abuse are signs of successful interaction.
Beneath this fury of strange behavior a philosophical foundation supports but does not attempt to justify these acts. The naturalistic philosophy of the Hessians prioritizes justice and ideal at the same time it encourages chaotic fantasy; its essential communication is to live well through freedom from the clutches of neurotic thought, and to spend time in whatever liberating activities can be fashioned from the elements available. The nature of this in the trapped, suffocating world of commercial society (narcotic of the one true herd) is a relative overemphasis on intoxication and freedom from plans, morals, karma, memory, or the will of other people; the consequence is often an overindulgence in rebellion without a clear direction for self-preservation. However, Hessian philosophy as revealed by the metaphors within the music reveal a fascination with information, with fantasy, with power, with destruction, and an obsession with honesty and spiritual power to speak the apocalyptic truth.
Drugs and Mysticism
Hessians tend to believe in both the psychological/mystical power of drugs as well as the spiritual power of their music, although this belief is not shared by all. Often Hessians can be found gathered around a stereo consuming large quantities of marijuana, hashish, or other less-refined forms of drug. By liberating the mind in intoxication the Hessians believe they achieve a stable plane of nihilistic consciousness, where they are closer to the dark gods of winter and more able to comprehend the profundity of death. In this morbid ritual metalheads develop a comprehension of reality that supersedes all other methods of processing life and frees them from the drug of mainstream life, fear and consumption. In this more spiritual state they feel they can comprehend the complex messages transmitted through rhythm and metaphor in the music. Other parts of this ritual involve simple spreading of chaos in the fertile order of society, a mystical act of supreme rebellion and refreshing spiritual heresy.
Conventional social ideals would cast aside the non-ideal, the non-quantifiable and stay with the symmetrical and symbolic, fearing the ambiguous world of obscurity and metaphor. Double meanings, they say, balking in horror like the sheep they are. But what does the Hessian say?
The Hessian rejects insecurity and underconfidence and plunges ahead no matter how insane the project in conventional ideals. By denying the doubt of the people around them and aiming for loftier ideals than the simple “feed thyself” command of society’s trough, Hessians have created some of the most extreme and beautiful music ever to hit planet earth.
Their rejection of neurosis and mocking anti-idolization of society’s scapegoats make them a terror to the unstable and fragile balance of deception that allows our modern society to function.
“Turn off that fucking noise!” — every Hessian that has ever lived has heard it. Many people every day seem not to think about how unoriginal their comments are and tear into the usual insult of how Hessian music is “noise” and not music because it does not fit conventional classifications. The wily Hessian only laughs, and mocks back with even ruder noise — for the Hessian knows that human boundaries are only impositions of human understanding, and not inherent to the outside world — a place known for its nihilism and aggressive destruction as well as its nurturing instinct.
Through their addiction to noise Hessians have discovered a method of chaotic, spiritual, dark and naturalistic living that rejects the distinction between music and noise as it rejects government, religion, control and commodity as frivolous arbitrary containers of human invention for the purposes of competitive success. Who knows why humans think that way? But the Hessian only blasts louder, breaking down distinctions as his music breaks down assumptions and suggests a darker vision for art than the kitsch and design of mainstream consumer tastes.
The anarchistic views of Hessians rest in their fundamental choice to have will, rather than reaction, as their response to life. To be informed and to be of mental presence to make decisions, they say, is a fundamental part of the valuable capacity of being alive. Society is here to make room for the individual to create and to be, they say, not to glorify the process of society and to make it more demanding, more greedily afraid of its own destruction.
Through the needs of our industrial machinery we have enslaved ourselves to bureaucracy and the weakness of human need in the power-deprived state of an anonymous modern individual. We have seen, they say, the order of our grandparents and parents grow stronger every day to enforce its arcane social restrictions yet it cannot stop the problems it bemoans, but only makes them stronger as symbols against its rule. We have seen how soon all was suspect, and anything outside the norm became fearful — we have seen also how easily the scared will run to this strong will of order, begging for their dose of power from the dominatrix, doubt.
A civilization that worships fear is nothing to us, they say, as we like the ancients choose a broader, faster, freer life. We choose our will and our dreams over fear.
Naturally this runs against the order of society: sit down and be sensible, provide for yourself or you might become lost (sheep without pension must retire in poverty, and sheep without property may be beaten by the sheepdogs of the herd). For this reason to most in society Hessiandom is an Icaran falling into the abyss of fire, consumption by internal angst (although most of the inner tension is caused by the external internalized), but to Hessians it is the freedom in the one honest voice they hear, which affirms the nihilism of survival, the degraded state of the human race, the victory of destruction over life, and the uselessness of civilization as conditions of existence.
More than the violence of punk rock or the dissidence of political music, this scares the public because of its ambiguous but menacing message of deconstruction. But ineffective control has led to anarchy anyway, an anarchy of a different sort: the equal response to suppression is rebellious destruction; the power of denial cannot file this off the walls of our memory. And so metal is denied, as it has not yet been broken down into enough of a mainstream consciousness to be accepted as anything other than aesthetic.
In the shadow of this denial Hessians have had to find a new way of understanding their existence, when it is not often acknowledged and never given any credit for being as intelligent and architected as it is. This enforced internalization has reached its peak in the romantic but morbid subgenre of Black Metal, which encourages a fascistic love of self and misanthropic hatred toward the world. Alas, Hessians in this world are tainted by its virus, and this over-extension is sometimes as much reaction as independent direction. However their metaphor speaks its truth plainly, and rebellious deconstructs any rules or beliefs that it can lay a hand upon.
But were there only silence, the spirit of the Hessian would continue, in the same proclamation that life makes oblivious of its communication, a nihilistic acceptance and aspiration toward the light as if to become the world rather than consume it. This translates, through the voices of memory and individual personality, to a universal level of thought that refines to a simple message and harmonizes in the medium of chaos. In this arena, the medium delivers the message: with no order, it is free, and it has proclaimed itself so with the organic complexity of chaotic recombinance.
The dark nihilistic rage of the winter gods of thunder presents the looming possibility of spring, of death beyond life and life beyond the living death of modern society. In the combination of musics at modernistic minimalism and romantic construction, metal brings forth a future that may offer more answers and less emptiness than our current adaptation of our collective existence.
I would assume that living in Salt Lake City, Utah would drive one mad. I’ve spent some time there last year, but I wouldn’t be able to maintain my sanity living around Mormons. Salt Lake City also has restrictions on alcohol content, with most beers having 3.2%. One way around such an obstacle is to sneak onto Hill Air Force Base (granted, if you have a military ID) and utilize one of their shoppettes to obtain normal booze. In my scenario of having a moody woman dictating my time while there, much booze was consumed. At least the mountains in the area are beautiful and I had the opportunity to go hiking away from the dreadful Mormons.
During my stay there I was acquainted with Dyingnysus from the bands Iconoclast Contra, Gravecode Nebula, Odium Totus, Krieg and others. I was invited to go to the recording session for the Odium Totus EP Nullam Congue Nihil, but I was unable to attend (conflict: moody woman mentioned in the previous paragraph). However, Mr. Dyingnysus sent me the cd after it was finished and the final product is quite good. It’s a nice strain of meditative black metal with a rather militant concept behind it.
After hearing this release I figured that it’d be suiting to pick Dyingnysus’ brain about his exploits.
Howdy Dyingnysus. Thank you for your time. First I’d like to inquire about the city that you reside in. How horrible is it to live in Salt Lake City being that it’s the Mormon capital? Is Black Metal well accepted there? What about the lackluster alcohol content in beer? Do you disappear to the mountains or salt flats when the Mormons drain you of your sanity? Or do you wage war with them?
Howdy to you as well and thank you for your time and efforts with the interview. Well, to start off obviously living in a place like Salt Lake City presents certain challenges that can seem difficult to handle. I know some folks who cannot whatsoever and have fled and never looked back. I’ve grown up in Southern California personally, so I know what else is out there of course, and of course I have come to realize in my travels just how really different Salt Lake is from other cities in the country. Honestly the reason why I stay here, well besides the obvious; family/friends, work and the bands etc, but there is some other reasons, cost of living is reasonable, I don’t have to worry about traffic, crime or other things I consider in other bigger cities to be quite substandard; the absence of ghetto’s/projects here is a big plus. I mean we have shitty neighborhoods but nothing like what you see in other cities. The liquor laws are a bit strange here, I’ll explain. The beer alcohol content is 3.2% by volume per can (which Utah is not the only one with 3.2% beer, there are 18 what they call “controlled liquor states” out there). So, in other states they measure by weight and if you were to measure Utah beer by weight it is actually 4.3% per can. Our local micro brews here are quite good too. All in all the beer is not as drastically weak as people are lead to believe. I mean you can get drunk drinking it. Another quirky thing is that if you want to get hard liquor or an out of state style beer, you have to visit a Utah State Liquor store and the prices are marked up quite a bit, especially on brands like Jack Daniels etc. Plus they close early, around 10pm and are closed Sunday, although you can visit a bar to get a strong drink on Sunday, last call is 1 am.
I don’t have too many dealings with Mormons or LDS people as you would think really, a lot of them live out in the suburbs and I live in the city, which only the wealthy Mormons live around the Salt Lake City proper really. I mean yes, they are all over the place though, and you’ll see them that is for sure. They are some of the most diluted happy go lucky idiots I have ever had witness to. I mainly just steer clear and don’t care to engage them often, or at least seek to. It is strange living in a religious capital at times, but that being said, I think if anything it benefits the music as we really have something to rally against. You are right in some of your assumptions that it can make you fairly agitated and pissed off to deal with the LDS influence and church here and some of the other quirks. I do not seek direct aggravated confrontation with Mormons typically like I said but I do try to make them uncomfortable in public, like in social situations hahah, that’s really about it. Black Metal is not a huge part of the music scene here really too much, and there have been bands come and go over the years. Still there is a small, albeit dedicated scene.
Congratulations on your Odium Totus EP Nullam Congue Nihil. I was rather enthralled by it when I first heard it during my commute to work. How did the concept of this project start? What are your goals?
Thank you, it is much appreciated! I’m pleased you were able to get a good connection with the music even whilst doing an activity we all do mostly every day, the morning commute! Odium Totus pretty much came into existence after a few rehearsals with the drummer Rick and me in May of 2011. At that point I believe we were at an impasse with other bands we were playing in, so the idea to just start something new seemed intriguing and I had some material that was sort of in the back of my mind and I also wanted to play in a band that owed more stylistically to the traditional black metal I grew up with, but also mixing in some of my more untypical influences, which basically includes a lot of classic, psychedelic, progressive and death rock stuff. I was also interested to start singing in a band as well, because I had a ton of lyrics written that I never got to use for anything and that sort of kicked the whole thing off more or less. Soon after these initial rehearsals we had gotten a few songs written. At this point my wife Kate joined on rhythm guitar and our bassist Micah as well. Overall goals are to keep playing live shows, and in fact taking our music to the people and to be a tight live band is a actually a very big goal as well as develop some more visual aspects to the show and to keep challenging ourselves to come up with darker more spacey tripped out music. Other goals include more shows; especially in other cities, more new music and records etc. We’ll see where the road takes us basically!
I noticed that the riffs on the EP are somewhat primitive, but have a meditative quality to them. How did you approach the song compositions?
I like that you take notice of that particular approach, in so much as keeping things simple in a sense. It is usually the best way for me to compose riffs on the guitar keeping that principle in mind. I think when you are more concerned with virtuosity as opposed to the moods and feelings that you are trying to convey with your music, the more the music loses that sort of atmosphere. So with that in mind, a lot of our riffs seem pretty straightforward in some respects yes. I mean, typically I just pick up a guitar and start strumming chords, sometimes I have an idea I am trying to get out of my head, but sometimes not, and whatever seems to work; if something particularly catches my ear I’ll file away for use in a song we are starting or working on etc. If it doesn’t seem ready though but has some quality I still think is worth pursuing, then I’ll work on it some more. Typically I will have at least 2-3 riffs prepared, before I work with our drummer. Although in some cases I have brought in fully written songs. Now at this point, usually it’s just me and the drummer at first to write the core of the song and then we bring in the rhythm section and flesh it out more. Some of the riffs come from that process as well, improvised or on the spot.
As of the genesis of this band, I have written a good deal of the guitar riffs, although our drummer is starting to come up with more in the newer material, which is always welcome. I am a very willing collaborator with the other people I play music with. I do not always want to be the one writing etc. I think the meditative quality you speak of comes from some of the stranger chords I am using these days, certain jazz chords as well as ideas in chords that were used by some bands in the 60’s and 70’s. You notice that in those decades, bands like Pink Floyd, King Crimson or Hawkwind for example had to figure out a way to build a big space with their music with the limited boundaries of the equipment they were using. Now you can have a lot of that with a push of a button, but we try to approach it the way those bands did. It seems you just do that by layering the instruments in such a way that it comes across strong and full of dense atmosphere. Of course a lot of echo/delay helps too don’t get me wrong!
I sense a rather nihilistic underpinning in Odium Totus. What are your thoughts on Nihilism? Do you think metal is the best weapon to encompass nihilistic themes?
Oh for certain, there is a common theme along anything I do creatively and Nihilism is always at the heart of it. It’s hard to characterize my thoughts on Nihilism in a sense, since when you think of it as a concept, it’s hard to wrap your head around really overall as it is quite multi-faceted. Does Nihilism mean for some people that, anything goes? For certain it does, and does it also mean that you do not believe in one simple tangible thing? Possibly!
I think one of the facets of Nihilism I value the most is that is pretty open ended and doesn’t need answers unto itself to be defined. I was talking with someone about how it is pretty hard to offend me deeply and truly, I mean other than my own petty selfish things that I get offended about, but I mean on a much larger scale with I guess just existence in general and the bullshit we have to deal with day to day. I don’t get too offended by the actions of a great number of people, past and present. Sure, I can certainly laugh or be disgusted with the absurdity and effrontery of such things, but usually I just shake my head though. It’s like the only way to keep my sanity, because if I started to care too deeply or to take it all at face value like many do, I’d go absolutely fucking nuts! That also helps in regards to people around me; I don’t care too deeply for what other people think of my outlooks and such, just as I don’t really care too much for theirs a lot of the time.
Philosophically, Nihilism is rooted in skepticism overall. For some, it means a total break from what is real or not real for that matter. Truth is not an absolute. So that part of it appeals to me too. When considering a Nihilistic view point in society, meaning all structures, organizations, whether they are religious or socio-political in nature are meaningless, or at least are rejected outright, that is kind of like a comfort in a way too ya know? It’s basically saying fuck everything, and everyone! No one has gotten it right. Also you can come at Nihilism from a destructive angle as well, like senseless destruction is considered to be nihilistic in nature right? At least we are kind instructed to think that way. Overall, it’s stark, strong and its cold, it’s really almost too realistic, without caring about reality. It’s really the only salvation for humanity, and thus, not a salvation in itself at all. Why care? Why concern ourselves with Utopian discourse? There is no point. I certainly do think that any sort of thoughtful music can convey Nihilistic messages and musings, philosophically or hatefully in the manner. Whether it be metal/rock, blues/jazz, classical, noise/electronic music, (I omit popular, hip hop and modern country music as I think it is counter-productive to include them as musical art forms).
You’ve done session work with Krieg. How would you define the American Black Metal scene? Which are your favorite bands?
I have done several live performances with Neill and Krieg now yes, even a short tour down the west coast (which Odium Totus did some dates as well) but no recordings yet, we are working on that, eventually we will do a EP. Hmmm, hard to define the scene overall, as some days I don’t even care to be associated with it. I don’t look at “American Black Metal” as phenomena stylistically unto itself as you could with say Norwegian or Finnish Black Metal for example etc. Still, it doesn’t matter on a level to me, when some people are interested in saying “the scene.” Really, truthfully, like everything in America, it is but a melting pot, a hodge-podge of several different musical styles, death, thrash, doom, heavy metal. It all came from Europe first, the basic heavy metal right? That much is true! That is what I find pretty ironic is that the Europeans, the British especially, took all this great music that was originated in American heritage and folk tradition, and just fed it back to us a little heavier and with fuzz pedals! It all comes from old Country, Jazz, and the Blues right? The rock and roll, and metal music, the blues especially was the catalyst for all of that music. The first doom metal is the blues jack, and that is the truth. Anyhow, bands I like from America (and none of these are blues and/or neo-psychedelic bands) are (the) Krieg, Ritual Combat, Nightbringer, Evoken, Grave Ritual, Velnias, Icon Of Phobos, Kommandant and many others. I can’t keep going on naming bands, because someone gets offended if I miss them. I’m sure I’ll lose friends all the time, so sad really (yes, being sarcastic)
Your other band Iconoclast Contra is reminiscent of War Metal more than Black Metal. Which genre is it? How would you place in juxtaposition the themes displayed to your personal beliefs? Do you believe humanity is worthy of extinguishing through war? If so, why?
As of now, I have resigned with Iconoclast Contra. We can get into all the reasons why, but it is nothing sensational, I just lost interest in participating, and truth be told it really wasn’t active enough to keep me interested anymore. Musically you are right; it is the war metal sound, with elements of thrash/death stuff. While a lot of that music is great and I dig a lot of bands of that style no doubt, it’s just not what I am into playing anymore. I just think I am more partial to playing my best when I do stuff like Odium Totus or the other band I am in, Gravecode Nebula, which is like the music that I think identifies me personally much better. The whole concept and ideas with Iconoclast Contra, for my part certainly, was a sort of heretical diatribe against humanity, and cleansing humanity with destruction, total and utter destruction, which goes back to a lot of the nihilistic beliefs and outlooks I possess.
As for humanity being extinguished completely? I think a catastrophic event is necessary and around the corner probably! War is probably what will happen, but be it war, or more of a natural phenomenon as long as it has the chance kick human beings back into their place or to eradicate them completely I’m fine with it if that is how it goes down, nothing can prevent the end of something if it is set in motion to happen. I will say that it would certainly make us more respectable beings if we survived a great catastrophe I would think, can’t be certain on that either though. Time will tell.
You previously played with Ibex Throne and released two albums. Why did the project stop? Was there a line-up issue, or did you conceptualize something new that you wanted to unleash? The original vocalist of Ibex Throne killed himself. Did this change your outlook on the band?
Ibex Throne was my first main band that really consumed a large part of my life (little shy of 10 years) we released two demos, and two albums. It was like my boot camp and where I cut my teeth ya know? The group towards the end was musically and ideologically/philosophically all pointing to different directions, and to me, it was time to move on especially. I didn’t have anything more to offer those guys, and vice versa. It wasn’t personal issues that came into it too much; I mean not that I can say. I think we all were just tired of that band. It was good while it lasted, and there were some memorable times for certain. I don’t care to comment too much on details of the member who committed suicide. It’s very old news for me now, and I’ve moved on. I will just say that it didn’t affect the band with our music or lyrics at any point, we never used it is a selling point and/or gimmick, and it is not in any way a reason as to why we are not together now; he killed himself very early on in the beginning of the group when we are all very young.
What’s ahead for your projects in the near future? Will Odium Totus come out with a full-length album?
Gravecode Nebula has an album coming out on Baneful Genesis Records this year called “Sempiternal Void.” We also are playing the Denver Doom Fest III in Colorado with tons of killer bands, and I think after that, it will either cease to exist or continue to create, I can’t say as of now. Odium Totus has time booked in May to record for a 7” EP called Let It All End. We hope to have released this summer, which will feature two new songs. Right now we are currently working on a full length record as well, we have about 3-4 songs in the works, and 3-4 on the way after that and we are currently on hiatus from live shows so we can focus on songwriting and rehearsals for the next few months, then it is back to the stage this summer, looking to get some shows setup right now, you can always keep an eye on our exploits via our Facebook pages:
Thank you for answering our questions. Anything else that you’d like to share?
Hey no problem, thanks for taking the time to prepare an interview for us, we appreciate the support and the chance to spread some awareness about Odium Totus, Gravecode Nebula and The Flying Burrito Brothers etc. Keep an eye out for more new records, and more shows from Odium Totus, we will be coming to play near you, in the near future! You can fucking god damn well be assured of that!! Diehard and kill!
With the arrival of A Blaze in the Northern Sky, Darkthrone presented a new musical evil with the help of a new visual evil. The first four of Darkthrone’s black metal albums depicted a sole band member in a state of aggression, triumph and/or despair, in black-and-white photos stripped of all decoration, reflecting the intentionally unaesthetic music of the band.
This minimalist approach culminated both visually and musically with Transilvanian Hunger, showing a photocopied, grainy picture of Fenriz dehumanized beyond recognition, holding a candelabrum and presumably screaming his lungs out in the night. Some of its appeal lies in its ambiguity; feelings of futility, anger and power are intermixed, widening its significance.
Although Darkthrone’s visual idea was immediately inspired by Mayhem’s Live in Leipzig, its monochromatic, Xeroxed quality also has an eerie resemblance to Black Sabbath’s Vol. 4 from twenty years earlier and its anguished enigmatic quality to Edvard Munch’s The Scream even further back in history. The parallel is not entirely farfetched: it echoes the troubled mind of Fenriz himself, who reportedly loves art that comes from “the exhaustion of easy life”. To black metal fans the Transilvanian Hunger cover is presumably the one archetypical image of what “necro” signifies, much like The Scream is still very much considered the face of existential anguish.
The “necro” imagery, however, may have been unintentional: In Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces, Fenriz asserts that mere photocopies from the TH photo session were the only thing he could find at the time to send to Peaceville Records, implying that the same picture could have been reproduced in a more polished fashion. But it doesn’t seem entirely unlikely that the use of a photocopy was inspired by Peaceville’s 1992 compilation album, Peaceville Volume 4, spoofing both cover art and title of the famous Black Sabbath album mentioned above and containing one of Darkthrone’s pre-TH songs, implying that the use was deliberate after all. (Rabid speculation is any fan’s right, right?)
In any case, the cover of Transilvanian Hunger effectively summarized its music by a single iconic image and was later emulated by hordes of lesser bands and is to this day worn on t-shirts by serious music lovers and the occasional hipster alike.
If you can imagine a hybrid between older Grave and Centurian, you have the essence of the new Sinister, which like side project Houwitser specializes in fast, simple riff-fests that evoke ancient feelings of ornamented function like the spires of historical castles.
Like fellow high-speed metal legion Angelcorpse, the songs on this album rush forward with unrelenting speed and battery but slow down for moments of melody or artfully-suggested pauses, like a knight resting on the crest of a valley before battle. Many of these riffs will be familiar patterns, not just from death metal but types of melodies famous in other ages.
To keep that from being overwhelming, The Carnage Ending features many of the fast and aggressive chromatic riffs that build tension and heighten energy in the way they did on the first three albums. While this album is not as carefully put together as Cross the Styx, and has more redundancy among riff types, it maintains its memorable moments in a sea of high-energy blasting.
The Carnage Ending erupts from a pure old school death metal background and does a more than credible job of rendering itself. Some of the chaotic material on here seems offhand, but the songs have been trimmed back so that they are expressive and not disorganized. The result is hard-hitting, raging death metal from more than one former age.
Tolkien ambient black metal project Summoning have unleashed their latest recording, Old Morning’s Dawn, via Napalm Records. The pre-order links are now active and the final product will be released June 27, 2013.
Napalm Records promises that “Despite the long break, the congenial duo Silenius and Protector did not stray an inch from their patch. Their distinctive melodies are the heart of all the songs on the latest longplayer, and bring the listeners directly into the fantastic world of Middle-Earth.”
Old Morning’s Dawn follows up on 2006’s Oath Bound, which united the epic spirit of power metal with the gentle melodic atmosphere and inner savagery of black metal, making the ideal soundtrack for medieval battle or spiritual occult warfare against the modern world.
Since the introduction of Codex Obscurum, a new printed zine of the style common from 1980s-2000s, interest has risen in this ancient but effective form of metal journalism.
After the punks (and really, convergence of technological ripeness) introduced D.I.Y. record labels, fanzines and shows, the 1980s brought us some of the first fanzines which were generally xeroxed paste-ups of hand-drawn illustrations and typed text. What made them great was the content: new bands no one had heard of, described in detail, and interviews with the bands people wanted to know more about. They were news and quality control in one.
With the dawn of the internet age, zines seemed destined for an early death. But as publishing information got easier, the quality of the information decreased because people were posting just about anything and the audience treated it all as having that standard. In the current day and age, a zine suggests an edited, deliberate and thoughtful publication, and it has more cachet than a blog or Facebook post.
We were fortunate locate Codex Obscurum editor Andrew Bastard and get in a few questions about the latest old school zine to hit metal:
What did you like about classic xeroxed zines, and what advantages do you think they have over glossy magazines?
I’m not going to sit here and say I don’t like glossy magazines; I had a subcription to Metal Maniacs from approximately 1995-2001. I still have boxes of them somewhere and love to flip through them on the shitter. I also have a bunch of old xerox zines in a three-ring binder that I still read to this day. There is some magic behind a xerox zine though that glossy color zines just lack…the fact that you know someone sat there and put the zine together by hand, a true labor of love.
Has the internet changed how music is sold, listened to and discovered? How does this affect classic-style zines like Codex Obscurum?
Absolutely. Music almost isn’t sold any more aside from vinyl collectors and hardcore music owners. I can’t remember the last time I bought a CD online; I’ll buy from distros at shows/fests here and there but for the most part, I’m in the business of discovering older demo bands that you can’t purchase anymore so I download 80-90% of what I listen to these days. A lot of those blog sites are down these days too so even that has become difficult.
On the flip side, the internet has made listening to new music so easy. Full albums are up on YouTube, along with sites like Bandcamp and Spotify. The net’s been an awesome resource for new bands to get heard.
What inspired you to take on this somewhat anachronistic format, and what advantages do you think it offers over other formats?
I’ve wanted to do this for years ever since I first started working at a Kinkos while in college; I had the resources to do it cheap; I just needed the time to make it actually happen and I guess I finally found that time. I’ve always loved the old style of doing shit, being it releasing demos on cassette, tape trading, zines etc. so this was only natural. This is my way of contributing to the scene while at the same time keeping the old school fires burning. It’s so easy to tell which n00bs are in this scene to stay and which ones are in a “phase” and will be gone soon: the fakes don’t care about the zine; the true lifers love it and are ordering it via snail mail from all corners of the globe.
What zines influenced you back in the day? Did you also read glossy magazines? Did the two complement each other?
I’m only 30 so I missed out on a lot of the classics that I later obtained through trades, eBay, etc. I always had Metal Maniacs around the house but I also loved to read S.O.D., Unrestrained, etc. and some of the shithead, xerox style zines that inspired Codex Obscurum are Slayer (duh!), Pagan Pages, The Grimoire, Mutilating Process, Worm Gear, Metal Forces, etc. I dont know they they complemented, per se; I just liked reading about bands that I liked and discovering new bands through writers that I shared similar interests with. I gotta give a shout-out to Nathan T. Birk, particularly his Apocalyptic Raids column. He knew how to keep it old school even in the newer glossy mags. 90% of the bands he wrote about that I had never heard of, I’d find myself enjoying not to mention he just had a great writing style.
We’ve gone — over the span of only a dozen years — from a time in which information scarcity was a big deal for underground metal, to a time in which information overload (and a thousand times more bands). How do you think this has affected the underground?
I don’t even know how to answer this; I will say I hate the popularity of metal these days. It’s the biggest trend going and we’re flooded with mediocre bands copycatting Anthrax with flip brim PBR hats on and cut off blue denim shorts and Vans sneakers that think they are doing the scene a favor when in reality they are just wearing on those of us that have been involved our entire lives. It’s really frustrating but all you can do is bask in the fact that this is, indeed a trend for them and they’ll give up and move on to something else soon enough and this metal pop diva faux show will all end.
How will people get ahold of this zine? Rumor is it that you’re charging very little over postage costs — do you hope to make money on this? What will keep you going forward, pay your writers, etc.?
On the Codex Obscurum Facebook page you’ll find a Big Cartel link to order online. I also accept snail mail cash or money orders; all that info is also in the “about” section of the FB page. $2 an issue covers what it costs for me to print these things, and shipping costs are as low as I can get them. I’m not looking to make a dime on these although I think I will make a little money on the side in the end which will probably go towards stickers or t-shirts or something. None of the contributors get paid; we’re all doing this out of our love of the old school art.
Why do you think metal is important?
Metal is the only form of music, in my opinion, that truly shapes the lives of its fans. You don’t see any other music genre that has such heart felt, loyal followers that leave and breathe and bleed for it like you see in the metal community. I guess that’s what makes it “important” to me: you don’t just listen to metal, you are metal. And metal is you.
What function did print zines serve in the original underground? Do they serve the same function now?
Back in the day (BITD) print zines served a much more legitimate function than they do now. Before we had the internet, zines were how you found new bands and how you learned about said bands and the doctrines that these bands prescribed. BITD you had word of mouth, tape trading, snail mail letters and shows; those were your only means of discovering new bands and learning what those bands were all about.
Nowadays you’ve got the net which makes it so much easier but not nearly as much fun. A zine in this day in age is honestly kind of pointless. I could just take all of the info that I put into Codex Obscurum and post in on my facebook wall, or on a blog or whatever and the readers would get the exact same information, faster and far more conveniently but it all harkens back to keeping the flames of old burning and like I said before, it’s fun.
I love physically holding a zine in my hands, and being able to fold it up and throw it in my back pocket and whip it out whenever I’ve got some down time and read a piece or two and then put it away. That’s why record collecting is so big these days and the advent of these die hard releases where you get all these extra goodies: people like to hold and possess the things they love and always have it on hand somewhere to go back to and reference whenever they like.
Can you tell us about yourself, and your past. What other projects have you had? How did you know/meet your staff? Who are they?
This could take forever but I’ll keep is short and sweet and try not to self promote too much .. I currently play in two bands, the first band basically rips off Motorhead, Discharge, Venom and Celtic Frost; we call that band PanzerBastard. The other band is an old school, shithead black/death metal band called Deathgod Messiah…paint, spikes, bullets and Satan. Total South American ‘fago blasphemy…prior to these two, I played in Horn of Valere, an epic, melodic fantasy based black metal band out of Providence, RI.
I currently live in Boston, MA (Jamaica Plain, represent!). I also have a solo project that I haven’t touched in years called Shayol Ghul, also fantasy based. I’m a huge fantasy sci-fi nerd and I mean that in the truest sense, not just one of these Game of Throne over-nighters (was reading that series in detention in high school in 1996). Look at my book shelf and you’ll see what I mean…
My ‘staff’ are just a bunch of local metalheads that for the most part, I’ve known for years just from being around the scene and going to shows etc. most are involved in their own bands; eventually I’ll probably run a feature in the zine showcasing the contributing members personal bands.
Would you give us a little run-down on issue #1 — what’s in it, how many pages, what type of content, etc.?
The first issue of Codex Obscurum is thirty 8.5″ x 11″ pages, double sided and folded in half, that ends up being 60 readable pages packed with text and pictures. The content is primarily band interviews and reviews but there are a few small personal bits in there; rants on this and that and a big written piece remembering Rozz Williams (Christian Death) because the zine came out the day of his suicide (April 1st). This issue has interviews with Hellbastard, Varg Vikernes, Steve Zing (Danzig/Samhain), Vasaeleth, Guttural Secrete, Skepticism, High Spirits and a few more.
Any plans yet for issue #2? Is Codex Obscurum going to be a “regular thing”?
Issue #2 is already underway. We had so much material for issue #1 that it didn’t all fit so we’ve already got a headstart on #2. It should be out in June, maybe July. I’m shooting for a new issue every 2-3 months. I’m going to keep doing it for as long as I can and for as long as my ‘staff’ remain enthusiastic about doing it! and of course for as long as the readers continue to read the damn thing — no readers = no zine so please support us! Thank you.
The most immediate comparisons E-Musikgruppe Lux Ohr will attract are to Tangerine Dream and other “cosmic” bands of the 1970s, but while the technique of this trancelike electronic waveform fits that description, its composition reflects on something more like the “chill-out” albums of the middle 1980s.
Kometenbahn uses many of the same samples and sounds as old Tangerine Dream. The Moog keyboards intermix with the highly sequenced percussive synthesizer that keeps time, and lengthy and intricate guitar solos use the same distortion and tuning. Even the studio sound is very similar.
How E-Musikgruppe Lux Ohr differs from the cosmic musicians however is in structure. This music is built more like the 1980s techno and chill-out albums, like the KLF’s album titled after the genre, than the 1970s bands. The electronic acts of the 1970s had a lot more in common with progressive rock, and so structured each song around either a set classical form, or as an adaptation to the content being expressed.
In contrast, more like the 80s material Kometenbah is composed in layers shaped around a central circular structure. This is not verse-chorus, but more linear, with the idea that one alternating pattern attracts others and then variations are made to those to tweak intensity and build up an experience of their atmosphere and immersion of mood.
This album offers powerful stuff to those who love ambient music. It is a feast of sounds, textures and rhythms. While it does not use the cosmic song forms of Tangerine Dream and friends, it produces a more contemporary atmosphere of suspension of disbelief and exploration of not a labyrinth, but deepening detail of an intensely ornate and beautiful object.