At least, I hope he does. A few mainstream metal journalists have finally noticed that Adam Gadahn, now ascending in al-Qaeda thanks to the untimely assassination of Osama bin Laden, wrote about death metal back in the day:
DAMNATION – Volume Two (demo)
San Diego, California trio DAMNATION have been playing together since
late 1990, and Volume Two, their second effort (naturally), is a
professionally done, musically mature release that, unfortunately, is
lacking in the songwriting department. The two-song tape features rather
boring lyrics about insanity and nightmares, generic Sodom/Kreator style
thrash/death, and monotone Jorgen Sandstrom-style vocals. That said, the
songs do grow on you after a few listens, but I haven’t had the urge to
constantly replay them, as I did with, say, Timeghoul!! As I said, the
cassette is pro-packed and recorded, with excellent production (this is
the sound Timeghoul should have had) courtesy of a 24-track studio and a
great purple logo on the cover! Fans of Possessed and other early
Death/thrash will dig this.
GENERAL SURGERY – Necrology EP (Relapse)
Although this was recorded in November, 1990, this was only recently
released by Relapse Records. This is basically a Swedish “supergroup” of
death, featuring members of Dismember, Afflicted and Creamatory, plus
Exit-13. The 5 songs on this musically draw a lot from old Carcass, but
with a more direct, straight-forward feel and much better production
(courtesy of good ol’ reliable Sunlight Studios and good ol’ reliable Tomas
Skoksberg). Lyrically, the quote on the back cover pretty much sums it up:
“Murder is the only way to kill time”. “Severe Catatonia in Pathology” is
the sickest on the disk, with the happy overtones. Also the opening
instrumental “Ominous Lamentation” will be of interest. With nice
packaging and production, this is a worthy addition to any Death/Gore
HELLBOUND – Apocalyptic Visions (demo ’92)
Although New York’s Hellbound call themselves a Death/thrash band,
I tend to disagree with that. To my ears, they sound more like a thrashier
version of Atheist or Sadus, possessing the prominent bass guitar &
screaming vocals, respectively, of those bands, but with the simpler, less
technical approach of bands like Vio-lence, D.R.I., or Exodus. Their
drummer, however, has his own very cool style that “demands to be
heard”! Amazing that this is their debut! Hellbound showcase their
professionality in both instruments & songwriting throughout the four
tunes on Apocalyptic Visions. The last two songs, “My Guilt is Silence”
and “Infernal Ecstasy”, absolutely rage!!! And the icing on the cake is the
stunning production – recorded on a 16-track machine, all instruments can
be heard clearly, with drums and bass shining through especially! Quite a
debut! HB should have a new demo out by the time you read this, but get
their brutal first effort by sending a blank tape and return postage
ENRAPTURED – 7 Song Demo ’92 (Demo)
This is actually a combination of the unreleased 5-song Reconstrued
Malfeasance demo and a new 2-song demo. Although the “Reconstrued”
tunes, recorded as a 4 piece (Tino Lesicco on drums/vocals, Pierce Totty
on Bass, Jason Smith on guitar and Justin Jones on guitar) and “included
as bonus tracks because of the poor sound quality”, the 2 newsies with 2
new members (Dan Stoops, vocals and David Smith, 2nd guitar) actually
have about the same sound and production. While Enraptured improved
their musicianship in the 4 months between recording “The Downfall of
Christianity” and “Abortion Consumed”, they show a decrease in
songwriting skill, The older tunes like “The Execration” and “Probe the
Flesh” contain headbangable Slayer/Carcass type riffs and deep, growly
Karl Willetts/Barney Greenway style vocals. The new tracks, however,
are generic highspeed Cannibal Corpse or Obituary-esque noise with
annoyingly loud vocals and incessant double bass drumming. My advice:
pick up this demo for the 5 excellent bonus tracks and ignore the 2 cheesy
commercial fag songs.
TIMEGHOUL – Tumultuous Travelings (demo)
Perhaps the best demo I’ve heard since I began listening to Death
Metal/Grindcore less than a year ago is Timeghoul’s debut 4-song,
Tumultuous Travelings. Mixing elements of Immolation, Cathedral, Brutal
Truth and Suffocation, this Foristell, Missouri quartet rage through “Rain-
wound”, “The Siege”, “Gutspawn”, & “Infinity Coda”, with unmatched
intensity and style. All the songs run over 5 minutes (“The Siege” is the
longest), and much variation is contained within. Drummer Tony Holman
can go from a high-speed “blast” beat, to a slow rhythm, and back to a
fast part in the blink of an eye! Jeff Hayden’s vocals are brutal but
different: Check out the singing part on “Siege” and the special FX on
“Infinity Coda”! The band’s instrumental ability is second to none, as are
their song writing skills, but this otherwise top-notch tape is marred by
bad sound. There’s much flutter and warble, and the volume is rather low.
With Timeghoul’s excellent musicianship, it’s a wonder that they haven’t
been signed yet!! So hey! If anyone from Earache or Relapse or whoever is
reading this, come on!! Pick up a pen and ink ’em right now! It would be a
shame if Timeghoul broke up before recording at least one album
professionally! But until then, we’ve got this masterpiece!
These are from Xenocide Zine, an old school death metal zine from 1992-1993 which featured many of the bands we regard today as the canon of death metal. Do you want to find out more about the origins of this music? Hit the Xenocide Zine page and check out their blasts from the past.
While you’re at it, you might be able to enjoy something new from the editor of that zine, Jon Konrath. He took his death metal fueled angst and criticism of modern society, and channeled it through a William S. Burroughs/David Foster Wallace/Neal Stephenson filter to come up with gonzo postmodern flash-fiction. You can read his latest novel, Rumored to Exist, in print or on your Kindle.
Konrath went on to write for Metal Curse, along with Vijay Prozak and other old schoolers. We wish Mr. Konrath luck in his literary career, especially since he crams more internal references to death metal lyrics into literature than anyone since… well, anyone. Not too many people write about the metal o’ death.
As for Mr. Gadahn, who is remembered fondly around here, we hope he takes over al-Qaeda and uses his new power to fight modern civilization. If Samuel Huntington is right, al-Qaeda is part of a “clash of civilizations” where those who want traditional society oppose the modern type of liberal democratic consumerist society, which death metal also seems to hate (with good cause: plastic trash is poison). This could give more people insight into what dissidents from Nietzsche to al-Qaeda are all about.
The Atlantic delves into how heavy metal, through its (a) honesty and (b) desire for epic meaning to life, keeps us from going overboard:
Black Sabbath, from Birmingham, England, was heavy metal. No joy here, nor any wisp of psychedelic whimsy. From the first note, this band sounded ancient, oppressed, as if shambling forward under supernatural burdens. With his use of horror-movie atmospherics—the tension-building tritone or flatted fifth—and the leering majesty of his riffs, guitarist Tony Iommi redirected the spiritual drag of the blues into an uncharted world of bummers and black holes. Bassist Geezer Butler, a mystical vegetarian, wrote the lyrics. Raised Catholic, Butler as a youngster had entertained thoughts of the priesthood, and for all the band’s occult trappings, his view of things was essentially orthodox, if a little on the medieval side: God over here, Satan over there, man flailing and biting his nails in the middle.
Culturally, metal has lost its boogeyman privileges, having been superseded in infamy first by gangsta rap and then by Britney with her shaved head and her dangerous umbrella.
Nu metal, the big metal noise of the ’90s and early ’00s, has come and gone. Metalheads never really went for it—too much rapping in there, and not enough warlocks. Where was the dread? The moral-astronomical scale?
The great scholar of heavy metal Robert Walser, doing research for his 1993 book, Running With the Devil, interviewed a Twisted Sister fan who told him that the easy-listening music favored by her mother had made her paranoid. In Walser’s words: “It so obviously seems to lie to her about the world.” – The Atlantic
It’s good to see the mainstream give this some thought.
We forget now that these bands also were the first into stores, back in the time before 1997 when suddenly you could get obscure death metal in chain stores. During most of the early 1990s, the only things you’d find in regular record stores were the Roadrunner releases. I’m surprised “The End Complete” outsold “Cause of Death,” but it was a bit more musically refined in a conventional sense. Doubly amused that 18 years on, these are the only albums I still listen to from that list:
Some readers may have noticed the recent addition of a side bar promoting “Glorious Times – A Pictorial of the Death Metal scene (1981-1991)” and this inclusion is not without good reason. Laid out like the highly evolved Heavy Metal magazine we all wish we would see at the nearest news-stand, “Glorious Times” in true discriminatory fashion includes amongst its pages bands actually worth discovering and rediscovering, and although the layout is consciously rooted in the DIY mentality of early fanzines, this highly professional document provides a genuine glimpse into the workings of the early and mainly North American Death metal phenomenon.
Providing a visual assault via rare and intriguing photos that both neophyte and seasoned veteran alike will find delightful, “Glorious Times” also includes entertaining and enlightening anecdotes by and about many of the foundational North American death metal acts. Although some of the accounts are funny, juvenile and downright adolescent, they remain above all inspiring, standing as a testament to the devoted individuals who were dedicated to an art form that for them was the last bastion of truthful expression in the time of “The Great Lie”.
Given the “glory” of the documented time era we read thus with a slight sense of melancholy and loss, the release of a text such as this proving that these times have passed. With some misgivings we witness within ourselves a nostalgic longing for the mutual respect that those participatory individuals had for one another by virtue of their commitment to a common goal. We marvel additionally at the perseverance and DIY mentality of these restless and visionary artists, and commend their youthful and innocent intensity. We look fondly upon the early exuberance and the inherent excitement that permeated a movement that was giving birth to new and truthful forms of expression, but above all we witness and thus long for a genuine spirit of brotherhood and camaraderie such that now seems lost, although not dead, on the Hessian community.
However, the potent power of a document such as this, its capacity to inspire, rally and excite may yet prove itself invaluable in infusing the Hessian community with the spirit with which it was once animated. The seeds are laid – Onward!
Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.
Ares Kingdom – Incendiary
There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.
Autopsy – The Tomb Within
Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.
Avzhia – In My Domains
Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne‘ from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.
The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……‘ by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.
The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.
Profanatica – Disgusting Blasphemies Against God
True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.
Slaughter Strike – At Life’s End
Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty. Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.
We have made contact with a professor in the University of Texas library system, which has a 200,000 record archive of popular music recordings. They are kept under museum conditions in a climate/humidity controlled building on the UT Austin campus, and digital copies are made of each recording so they are available to academics.
They lack death metal and black metal, but they keep any other kind of underground, ethnic, mainstream or classical music. They need you to send them original recordings of death metal and black metal, especially rarities which will be kept in perpetuity in a safe environment.
I think this is worthy. If you’re serious about what you say/sing/play, it’s worth having others try to understand it in context. Hopefully someone has already hit them with a wad of The Wild Rag and maybe a copy of Until the Light Takes Us or Glorious Times.
The DLA gets a lot of flack for referring to a broad range of genres — stoner doom, post-rock, post-metal, modern death metal, tech death, metalcore, deathcore, and shoegaze black metal — as “indie metal.”
What does “indie metal” mean? It means they’re indie rock that uses metal riffs. That’s it. Metal-flavored indie rock.
Metal is a unique style of composition, a unique outlook on the world, and a unique image/ideology. The composition is narrative, or stringing together phrasal riffs based on the power chord; the outlook on the world is an epic, historical, post-human view; the image/ideology is that of a yin-yang but with masculine creative overtones, meaning that we accept good as well as evil but use them as means to an end of ever-increasing intensity and consequent beauty to life.
(That paragraph will be too much for indie metal fans. They’ll start talking about how “badly written” it is because it’s not awash in adjectives and exciting oddball verbs like an NPR piece. This shows you the audience for indie metal: former farm workers’ kids and factory workers’ kids, moved to the city, now trying to show everyone how smart they are and how cultured they are, even if in their hearts they’re still just proles. They’re trying to be something they are not, instead of just being what they are, which is honest and acceptable. If you are the son of a factory worker, don’t pretend to be an intellectual. Be a better factory worker! If you want to know why our intellectuals these days are faux, it’s because they take prole-logic and prole-bias and then dress it up in academic terms they understand in a single context, but whose implications they cannot grasp. That’s why indie metal kids are always snotty: they’re trying to be better than you, so they can “feel like” they’re rising socially.)
What indie rock wants to do to metal is assimilate it, or convert it into metal-flavored indie rock, so that it is safe and predictable as rock music, but still keeps that authenticity of rebellion that metal has. People forget that rock music was designed as a perfect product: it repackaged the blues, itself a repackaging of Celtic folk country, into the simplest possible package and then started putting new flavors on it. But it’s basically the same song form that has existed for centuries: verse, chorus (x3) + bridge + verse, chorus. Indie rock was a punk-flavored DIY imitation of this that incorporated a lot of the best aspects of hippie rock; the archetype of indie rock is early REM, Yo La Tengo, Sonic Youth, etc. It’s closer to The Beatles than it is to Slayer.
The song starts with a relatively plodding introduction. This violates the standard rock form, we think at first, but then we realize it’s just an add-on that serves no further compositional purpose in the song. Then we launch into the meat of the song, which is a plodding verse/chorus which intensifies itself with half-sung/half-chanted vocals, but these are still over the same riff with a few aesthetic modifications. Then the song bridges, and ends. It has a verse/chorus riff pair with a few modifications and an introduction, but other than that, it’s straight off the wall indie rock. They even use the same chord voicings in the way old emo bands (Fugazi, and pop-punk-prog like Jawbreaker) used, fanning the dissonant chords. They even use guitar in the same way rock bands do, which is as a rhythm instrument emphasizing repetition of a single note/chord; where metal guitars move a chord shape through a melody or phrase, rock music tries to come to this stop point and repeat the chord on a fixed but offbeat rhythm, so it can emphasize the vocals and not confuse the very simple song format.
Verdict: this song is metal-flavored indie rock.
This is why we call it “indie metal”: it’s not really metal, it’s just indie rock with metal flavoring. Some have tried using similar ideas in metal without losing the metal-ness. Beherit’s Engram widens the metal song form without losing its structure that adapts to both riff and mood. Krieg’s The Isolationist wraps old style Krieg into the kind of song editing we saw on the live album, but uses technique (including aforementioned chord fanning) from post-rock/post-metal. They’re trying to keep their metalness without dropping into rockness, but increasingly we’re seeing how these techniques are incompatible because they’re heading in different directions. Metal wants epic landscapes of phrase; rock wants a convenient beat and a clear chord to build vocal harmony upon. These are directions as opposite as liberal and conservative, spend and save, object-oriented and procedural, vegan and carnivore.
Metal riffing is usually most successful when there is a large transfer of energy from one riff to another, as this is how the song communicates.
Multiple riffs or layered riffs in the best metal often manage to achieve complex intertwining tension trade-offs, whether it be the battering complexity of tracks like “Fall From Grace” or poignant riffing of “My Journey to the Stars”. Melody, rhythm, and just about everything play into this structuring of music.
Trophic levels seem to be a good metaphor for this:
(Losing energy as you travel up the food chain)
Something like that. Much like how trophic levels have certain amounts of energy being transferred from one member in the food change to the next, riffs have that power as well. The main difference is that riffs are not locked into certain energy transfers, but rather by manipulating this, we can see varied results.
If we take a band that has very high net energy transfer, we get something like this.
(Energy is transferred totally from level to level; sturdy structure technique can fail if not enough energy spread throughout. Unlike later FAIL in that it has a large amount of energy that maintains interest.)
In this case, we have a song that transfers all energy from one riff to the next. This tradeoff creates an intense song, maintaining power throughout.
Now let’s take something more complex:
(Repetition of A riff later on is given more poignancy by putting in two riffs which help magnify its later recurrence.)
Now, we begin with a riff, before cycling into a riff with a distinct lack of power in comparison to the first (C), but this riff paves the way for the more powerful riff following it, and to cap it off, the initial riff is repeated, creating a sense of importance.
This structure would be a “journey” as ANUS puts it, as the same riff is used at both the end and beginning, but the last one is more important due to interaction in between. (Mind you that there can definitely be more than 3 riffs, this is just an example.)
(Different in that the idea is “framed” inside the music, as stated somewhere else on forum)
Now these are the ways you can FAIL.
(Loads of riffs, but there is no journey or real kinetic friction, so something like Necrophagist could be likened to this, “riff buffet”. NO difference in energy levels, and very little to start with)
--A (It's probably C in disguise actually)--
(metalcore, AKA caveman structure. Very little variance, and the small jump in energy from C to B is pretty pathetic anyway)
Metal is interesting in that it can use both the ambient and riff like structure to great effect.
Let me know what you think, what can I fix, I know I ignored some things. Is this an oversimplification?