About half of us spend about half of our time complaining about how labels don’t get it, and haven’t adapted to the new MP3 age, it seems. Small production company METALHIT founded by artist and musician Mike Riddick is trying to change all that, by selling reasonably-priced metal MP3s and giving away a free compilation:
ACEPHALIX “Interminable Night”
from the album, “Interminable Night”
AUTOPSY “Always About to Die”
from the album, “Macabre Eternal”
INEVITABLE END “Memento”
from the album, “The Oculus”
INDESTRUCTABLE NOISE COMMAND “Bleed the Line”
from the album, “Heaven Sent, Hellbound”
VREID “The Sound of the River”
from the album, “V”
AMORPHIS “You I Need”
from the album, “The Beginning of Times”
TYR “Hall of Freedom”
from the album, “The Lay of Thrym”
GAMMA RAY “Brothers”
from the album, “Skeletons & Majesties”
BLEEDING FIST “Devil’s Ferox”
from the album, “Devil’s Ferox”
FLAME “Black Realm of Satanas”
from the album, “March Into Firelands”
from the album, “The End”
Here’s a huge variety of stuff from labels big and small, bands known and unknown, for you to appreciate at zero cost. No signup necessary; just download — although you can enter to win a free PHYSICAL copy of the new AUTOPSY CD.
What metal artifacts from the 1970s-1990s belong in the Smithsonian?
The Mothership — the iconic stage prop made famous by legendary funk collective Parliament-Funkadelic — has been acquired by the Smithsonian’s National Museum of African American History and Culture where it will help anchor a permanent music exhibition when the museum opens its doors in 2015.
It isn’t the original Mothership. This 1,200-pound aluminum spacecraft was built in the mid-’90s — an indistinguishable replica, Clinton says, of the smoke-spewing stage prop he first introduced to slack-jawed funk fans in 1976.
When the band lowered the Mothership from the rafters of the Capital Centre in Landover in 1977, the response was rapturous. Not only was it instantly stunning — it felt like a cosmic metaphor for the sense of possibility that followed the civil rights movement.
That symbolism isn’t lost on the Smithsonian.
“With large iconic objects like this, we can tap into . . . themes of movement and liberation that are a constant in African-American culture,” says Dwandalyn R. Reece, curator of music and performing arts for the museum. “The Mothership as this mode of transport really fits into this musical trope in African American culture about travel and transit.”
It will be exhibited alongside other artifacts from American music history — Louis Armstrong’s trumpet, James Brown’s stage costumes, Lena Horne’s evening gowns. – VAPO
Surely metal counts as some kind of “protest movement” or social phenomenon worth studying. Or is it too tightey whitey?
After something happens, people have to talk it to death to figure out what it meant. What they’re really asking is: What caused this, and what was its goal or ideal in response?
What they are looking for at that time is a summary, a “main point” which can be used to explain the movement in a broader historical context (most artistic and political movements being, only a few decades past their eventiture, minor footnotes in a larger narrative).
They want to know its relevance, in other words.
Napoleon attacked Russia? Fine: a battle; what caused it? Napoleon wanted to conquer Russia… to establish hegemony of the new post-monarchic order… and to ensure French imperial supremacy… which had fallen into disrepair… and been exploited by the monarchs… — so we have multiple factors here, centering on a restoration of power after a failure. Right, a desperate move. The significance is more than what Napoleon “wanted”; it’s the historical context in which he exists.
In the same way, we’re looking at black metal and our society offers a number of failure-prone ways to look at it. First there’s the rock-n-roll industry way, which is predictably airheaded: these dudes just wanted to make the most intense music ever, man, and so they turned to Satan and extremism. OK, that’s useless — only a true retard would accept that as a complete answer. Then there’s the inarticulate musician answer, which is that they were inspired by Venom and so copied their heroes. On top of that, we have the useless academic answer, which is that they were altering the heuristic of their neuro-linguistic token integration in order to re-interpret the world as simulacra through new, opened eyes — that’s crap. Then you have interesting side observations, like the Until the Light Takes Us filmmakers wanting to make a movie about the decomposition of an idea — that definitely happened, and it’s true, but tells us nothing about how the phenomenon came about.
And what might a historian or a philosopher say?
The Soviet Union and Eastern Bloc fell in 1990-1991. That ended the post-WWII order, and the Communism-versus-Capitalism narrative which splintered off into many degrees of socialism, conservatism, greens and others duking it out. But even more, there was no longer a reason for society to strive. The war was over — what was left? The worst of the 1980s, except now we didn’t even have conservative politicians to reign us in. The McDonald’s, the Coca-Cola, the women turning themselves into plastic whores, the men living for novelty and not bravery, the large corporations controlling more of what we think, the democratic governments so easily purchased… that is the background to black metal.
And against all of these ideas, it offered a simple solution:
Modern society: Everyone is equal. Everyone is important. What is most valuable is not pushing yourself to new heights, but getting along with others. When everyone is included, there will be no war or suffering, and we can all live good lives thanks to these excessive rights and these plasticized corporate products.
Black metal: No peace can exist, and nothing is equal or pure. Morality is garbage invented by the weak. What matters is making yourself better, pushing yourself farther than ever before. War is our destiny, and this is good, because it cures stagnation and indecision. What matters most is the best rising, the supremacy of the conqueror and predator, so that we do not become weak.
In this rebellion, black metal was revolting against the beliefs of its parents, which were that once the evil Cold War was over, we would finally have reached the promised land.
This was a promised land, incidentally, that they started promising in 1914… or rather, in 1789, because it’s the same narrative. We beat back the privileged, make everything equal, all conflict ends, peace and justice reign, yay!
Except that every age has people that think this way, and they’re always wrong, in part because if you think about such a society, it would be miserable. Paralyzed, because avoiding conflict means not finding answers. Permissive, which both cheapens everything and makes sins not a pleasure but almost a mechanical duty, like our porn and its ever-expanding quest for new extremes (where do we go, really, after the A2M explosion, enema milkshake and 919 man gang bang followed by riot bukkake?).
It sounds like something out of Aldous Huxley’s Brave New World: an artificial, pandering, whorelike world without a soul, but you have no reason to object, because materially, you are provided for.
That’s kind of how Baby Boomer parents treated their Generation X (and black metal was a Gen X thing entirely) kids — here’s some money, you live in a nice house and have the best options our society can offer. What are you upset about? Oh the minor fact that we inherited a first-world nation and left you a third-world one, sheerly by our Idiocracy-style tolerance and in fact encouraging of the reproduction of idiots, our fast food, our television nation, and so? That’s a minor fact. Minor. Don’t complain. Kids in the third world don’t have toilet paper.
Black metal was throwing off all of this: the vapidity, the obliviousness, the guilt and the manipulation.
It was saying we cannot all get along; in fact, most of us are shitheads. We need natural selection. What matters most is not peace, happiness, love, etc. but a warlike desire to get things done right according to a higher standard, and along the way, a Romantic contemplation of what it is to be an individual in the world, melancholy and isolated from the false cheer of society.
This fits right in with what Wordsworth, Blake, Emerson, Keats, Byron, Sterne, Shelley (Mary) and other Romantics wrote about only 200 years earlier, during the last great outbreak of culture in the West.
It also fit into the narrative developed by Plato and expanded on by Oswald Spengler, which says that societies go through life cycles, and when they get corrupted by “too much socialization,” they die in slow passage into third world status: low hygiene, corruption, disorganization, dysfunction and immoralism. Remember that other great mystery figure from the 1990s, the Unabomber? He said similar things.
None of this stuff was new. It was what the foremost intellectuals talked about in the 1960s and 1970s, before they wrote the books and recorded the music that influenced the PARENTS of the black metal generation; these were the artifacts they found, wrapped away carefully as if treasured but denied in a quest to pursue “adult” responsibilities, in attics and garages. And absorbed wide-eyed, as children do.
From that we got black metal.
Is it nationalistic? (Nationalism = one nation, one ethnic group, with a single culture, religion and philosophy to match. Don’t confuse it with patriotism, which is political loyalty to whatever State happens to control the land you’re on right now.)
Yes, it is, as the Romantics were. Not in a bigoted way like the neo-Nazis, but proud of their nations, and aware of the need for each nation to fix itself. We can’t kumbaya, glom together and fix each other. We have to go it alone.
From this view, NSBM is what black metal degenerated into, not its ultimate expression. Of course, not everyone agrees — Alex Kurtagic has a different take on things:
Black Metal artists also emphasize nature and landscape, but a morbid and mystical sensibility is evident even here. Whether inspired by völkisch thought or mere Satanic occultism, nature is always conceived in spiritual, mystical, and Romantic terms. The Black Metal aesthetic dictactes that night and winter are eternal. Coniferous forests are preferred to tilled fields and manicured gardens. Where the glorification of war merges with nature mysticism, the emphasis remains on the latter. Viking and Folk Metal bands, in contrast, adopt a more obviously völkisch approach to nature, allowing daylight in their landscapes and generally emphasizing the idyllic as opposed to counter-Enlightenment Sturm und Drang.
The Black Metal sensibility does not reject culture in favor of nature, but instead valorizes culture and nature, both conceived organically, over civilization, which is conceived in mechanistic and materialistic terms. In the Black Metal universe, cities were never built, the Industrial Revolution never occurred, and modernity never arrived. For all its belligerence, Black Metal is inherently nostalgic, a comprehensive negation of modernity. – Alex Kurtagic at Counter-Currents
I find his second paragraph interesting: the enemy is the senescence of civilization itself, which is conceived — well, here I split — from a desire to please the herd. The herd doesn’t create civilization; it destroys it. Rare individuals overcoming their own dysfunction and rising above the herd, that’s what creates and maintains civilization. But then civilization suicides: in an effort to make life better, it protects those incompetents, and soon creates a giant herd of Homer Simpsons, all subject to the Dunning-Kruger effect where they reject anything more complex than they can understand, and are confident in that rejection.
But that’s a study of methods, not of cause.
The cause is a lack of spirit, and the solution is to reject “safety” and “peace,” and explore the edge of risk. Feel the terror, the pain, the glory and the joy, again. Right now, we’re a society on anti-depressants that barely feels a thing, glad for the comforting numbness but also missing out on lives that, if we were paying attention, offer a lot more than we partake. Instead we pursue the same mechanical pleasures.
We are scheming on modern society, cruising on the wealth of the industrial revolution, to make us all materially fat and happy by removing our fears; our Satans, our Hitlers, and even our fears that there is no moral God guiding us, or no Utopian moral Society guiding us, but only a space in which we must make what we desire. Because we have no idea what we desire. We are living in a plastic simulation of a real world, built from the memories of our media lords and writers of government pamphlets, based on a morality that is dysfunctional and a dream of an empty, sterile pointless existence that we desire because it is both safe and greedy, letting us indulge our fantasies. Yet all of this is part of a power structure that undermines us.
Black metal is a revolution in culture against economics, politics, popularity and other forms of deferring the ideal for the tangible:
Certain performers like Orkis and Bylsma are also preferred for their ability to interpret certain ideas that — like genres have ideas in common and as a result, sounds in common — composers explored as part of their collective membership in certain time periods or recurring ideas, like the Faustian, the Romantic and the reverent/sublime outlook, all of which are shared between metal and classical.
These similarities in composition explain why metal and classical have a lot in common — and this is why the correct interpretors are needed. Rock is harmonic-rhythmic, metal is phrasal-narrative. When making rock music, you pick a rhythm, and then use a standard song form or variation to fit it into a scale, which in turn determines harmony. Rock riffs are not as active or as shaped as metal riffs, because generally they are variations within a scale whose goal is to return to the chord being played; they are based around open chords and lead rhythm playing of the scale. Metal is phrasal, meaning that its riffs take the form of phrases made of power chords, and narrative, which means that metal song structure is determined by content of each song more than by a standard form — that’s the infamous “riff salad” rock musicians bemoan in metal.
Classical music also uses narrative composition. While imbeciles will focus on its fixed forms — sonata, fugue, aria — the more important idea here is that the song follows the poetic content being expressed. This mirrors the epic poetry of ancient European and Indian civilizations, where it was understood that each adventure had stages of ritual, much like we have stages in acceptance of death or change. As a result, there was a need for an overture, a reconsideration, some changes and a recapitulation and synthesis of themes, and these got formalized in the song structures that today imbeciles regard as iron laws. The narrative style however is the common thread in classical music from its beginning to the present.
In rock music, you write to fit the scale to the rhythm, and then melody is added to accentuate that. This is easier work because all of the real variables are defined by the form. Similarly, in jazz, the form is fixed and within it the player riffs off harmony and rhythm, and inserts fragments of melody to that end — this is why most jazz artists make thousands of recordings of a song, and only one or two are considered “the real deal” by collectors: without the artist making it happen, cerebrally, the pieces fit together by random convenience. Classical works by the opposite principle, which is creating or adapting a general form to the poetic needs of a piece — expressing the change in both listener and “actor” within the story or feeling being related — and then designing a combination of rhythm, melody, theme, motif and form to express it well.
Metal is similar, although less schooled in this regard, because it seeks to express a similar worldview — underlying philosophical assumptions about life — to that of classical. Metal is reverent for the sublime; it sees the power and the horror of nature as necessary for its perpetuation, and is like nature intolerant of the oblivious and unrealistic because they create a parasitic slowdown of the exciting experiences in life. It derives much of its thematic development from the pace of horror movies, in which a few “awakened” people realize that they face a supernatural — or invisible pattern underlying all reality — foe against which technology and their oblivious, unrealistic social partners are useless. Finally, metal like classical expresses the Faustian spirit, or a sense of struggling for the rare and inconvenient beauty life offers, and fighting back those who submit to static obedience or dogma; this sense of purity through struggle is called vir, or the virtuous warlike acts of ancient man. These themes repeat throughout classical music, like metal, and while there are exceptions, it’s more than a coincidence that the best among metal and classical use these themes repeatedly. – Classical Music for Metal Fans
It’s a philosophy of triumph through living not for safety, but for adventure:
Where modern society in a desire for safety imposes values designed for an average person onto all of us, and assumes that our material and humanist wellbeing constitutes meaning in life, Romanticism explodes from within. It is not a philosophy of cautions, but of desires for the intangible, and as so it worships risk and conquest and a lack of fear toward the karmic existence. It transcends the desire to either live karmically, or live akarmically, because it sees karmicism as a means to an end and concerns itself only with the end: the ideal.
In this, Romanticism constitutes a philosophy because it posits intangible ideals as a balance weight to the certainty of death. It seeks a sense of unfolding; the discovery of something new in a prismatic space hiding behind the mundane. In doing so, it renovates life itself by working from within and renewing the brain in its aspiration and heroic transcendence of the karmic drag, in the exact opposite principle to modernity, which is materialism/humanism as supported by technology and populist political systems. – Metal as Prismatic Motion
And although we can show how it is connected to Romanticism and classical music, its bigger connection is to an ideal of transcendentalism which has been discovered and forgotten innumerable times — when societies are healthy, they discover it; when they are not, they forget it. This is the Tradition that writers like Rene Guenon refer to:
As a result, metal is sandwiched between protest music of the anarchic left and the wisdom of the conservative ancients, forming itself through fantasy into a vision of a more realistic and more enjoyable vision of life. Rock music is a product of the wealth and convenience of a modern time that allows us to have inconsequential lifestyles and opinions, while metal is a revolution against that outlook, a seemingly deconstructive art form that in actuality opposes deconstruction.
We can trace these ideas through consistent beliefs found across metal generations:
Beauty in darkness. It is not ugly, pounding music but music which discovers beauty in distortion, in anger and terror, in violence and foreboding dark restless relativistic power chords. The point is not to deconstruct, but to go through deconstruction and find meaning. This is evident in the works of Black Sabbath and every metal band since, and is what distinguishes “real” metal from hard rock.
Worship of power. Unlike pacifying rock music and jazz and “new music” classical, metal music adores powerful, vast and broad simple strokes; it loves the majesty of nature and its crushing final word. It does not have love songs. Instead, its love is directed to forces of nature, including physical forces like storms and intense human experience like war or loss, as if trying to find meaning in these.
Worship of nature. Linked to metal’s adoration of power is its appreciation for the function, including its “red in tooth and claw” aspects, of the natural world. Where most are repulsed by the idea that combat exists between animals in which one is victor, and one is prey, metal idolizes it. It finds beauty in ruins, in destruction, and in death, as if praising the cycle of life they engender again.
Independent thinking. Metal does not buy into the individualism of a modern time where the only goal is material pleasure of the self (materialism) and keeping others away by granting them the same (humanism). It prefers the independent thinking that looks for higher values in life, mountains to climb and challenges to be met. Where punk music enmeshed itself in a callow “I wanna do what I wanna do,” metal saw this as part of the same gesture of rock music and discarded it.
These are expressed artistically by the following:
Dark, morbid themes that clashed with the “love will save us” hippie mentality. These are explained by Black Sabbath as being derived from the horror movies of the day, a genre which features a union between technology and the occult (zombies, werewolves) producing a force humans cannot oppose. Normal technologies and methods cannot defeat it. They struggle against this force but their emotional instability causes them to sabotage one another, and often the dark force wins. Examples from this genre: Mothra, Dawn of the Dead, Alien, The Exorcist, The Shining, War of the Worlds.
Songs written from short cyclic phrases called riffs, which unlike rock riffs used movable chords of inspecific harmonic bonding, making the melody and rhythm of the phrase more important than key or voicing. Metal bands tend to use more riffs per song, and not in the traditional cycle of verse-chorus, in a way quite similar to progressive bands like King Crimson and Yes, both of whom used aggressive distortion.
A focus on the holism of the human effort as determined by our moral state as individuals in a way that can only be described as “religious.” Metal, in addition to sounding eerily like angry Bach-scripted church music, has a similar focus to dogmatic transcendentalism Christianity: what is our future as human beings, and how does how we shape our personalities effect it?
Bass-enhanced overdriven guitar sound, or distortion, which encloses the primary instrument used in making heavy metal. In rock, guitars and drums come together to emphasize a vocal melodic line; in metal, guitars lead a melodic line for which vocals are a complement and drums a timekeeper, enclosing it in a regularity to give listeners context. The guitar is the loudest single instrument heard and the one that invokes changes in song.
These beliefs and musical techniques reinforce each other. Using distortion and loud music, yet finding beauty in it. Using longer narrative phrases so as to tell a story, creating a holistic view in which emotion emerges, instead of citing pre-configured emotions like rock music does. A darkness and melancholy exhibited in lyrics and imagery, corresponding to aggressive music, expressing a desire to seize all of reality, good and bad together, and make something better of it. – Assimilation
Metal finds beauty in darkness.
Modern society tries to shut out darkness and, in doing so, removes beauty.
Coca-Cola or wandering in the woods, wondering if you’ll find fresh water or die of thirst.
One is safe, one is exciting.
Does black metal flirt with fascism? Black metal is conservative, and conservatism is a spectrum from libertarianism through national socialism, just like liberalism is a spectrum from anarchy through Communism.
Black metal implies that our modern time is as totalitarian as fascism or Communism, it’s just that the mechanisms are hidden from us. We are trapped in boring jobs, in ugly cities, in blight-ridden streets that are covered in commercial messages and obscene graffiti. We are not controlled directly; rather, we are sabotaged by society itself, which removes good options from us and replaces them with ever-lowering standards, so we both cannot rebel (hey, you can do ANYTHING, man) and cannot aspire. One way of doing things rules across the globe, and it controls our lives, even if it does so by making sure that the majority prefer dumb options and thus make those into law.
Modern society is a series of bad options because those are what the equal proles prefer; as the rot spreads, the controllers laugh from their ivory towers, watching civilization defeat itself because it cannot enact impulse control, and have preferences for long-term goods instead of short-term personal gain or recognition. We destroy ourselves. We do their work for them, and since most people are too dumb to figure this out, you can shout the truth on streetcorners and you will be ignored. It is a perfect system of control.
In the process we commit ecocide by growing like an obese cancer. Is black metal green? In a way that Garrett Hardin, Pentti Linkola and Arne Naess are green.
Is it fascist? In the way that Genghis Khan, Adolf Hitler and Josef Stalin were: when you are in a society of idiots, you might as well carve it up and do some conquering because these people will do nothing but pursue their hollow pleasures, live callow lives of pointless misery, and then blame whoever is in charge for their own failings.
Our world is stagnating; entropy is upon us. The old methods of 1968 will not work because they did not work, and never work. They sound good, but they, too, are hollow.
Black metal is many things. It is religious; in a pagan, transcendentalist sense that maybe the most profound Christian mystics (Eckhart, Emerson) would have understood. It is violent, and it is fascist, but not totalitarian. It is nationalist, but not racist, per se. It is an assertion of the inward spirit of humanity that wants to rise above its own fear and desire for safety, and carve from an empty wilderness of a world a new civilization, one that achieves love not by commanding it through law, but through creating it by making things worth loving.
Black metal is all that this world is not, and the order that will replace it. The next thousand years are ours.
Oh wait, I was supposed to write about NSBM. Well, it’s nothing, really. It’s what happens when the RAC people claim black metal for their own. The original bands — Burzum, Emperor, Mayhem, Darkthrone, Enslaved, Immortal — they all endorsed nationalism, like Bathory did. For them, the point was to rebuild culture; for others, the idea is to wage race war. You can see there’s a difference.
One of the things I love about death metal is that it took a middle path, between the “life is evil and we must reform it” progressives and the “just keep earning money and all will be fine” conservatives; instead, it pointed out the underlying truth, which is that civilizations fail and someday will be our day, and perhaps it’s sooner than we think.
“Hot desire, staggering passion Craving completion and perfection Made us blind Greed of completeness made us, man To subject and vassales of ourselves Presumptuous creatures How narrow are you ? Self-aggrandized, destructive individuals The believing in yourself Growing up to selfishness Egoism discards moral and ethics” – Atrocity, ‘Godless Years’.
Atrocity – Godless Years
Revenant – Prophecies of a Dying World
Therion – Future Consciousness
Immolation – Nailed to Gold
Monstrosity – Suffering to the Conquered
Napalm Death – As the Machine Rolls On…
At The Gates – The Red in the Sky is Ours
No god to punish us, and yet we suffer
– At the Gates, Gardens of Grief
When the foundations to our existence
Begins to crumble one by one
And legislations protects its breakers
And he who was wrong but paid the most won
Even the gods of countless religions
Holds no powers against this tide
Of degeneration because we have now found
That there is no thrones up there in the sky
Run from this fire
It will burn your very soul
Its flames reaching higher
Comed this far there is no hold
O, all small creatures
It is the twilight if the gods
– Bathory, Twilight of the Gods
Forgotten children, conform a new faith,
Avidity and lust controlled by hate.
(The) Never ending search for your shattered sanity,
Souls of Damnation in their own reality.
An age of distrust.
Bastard sons begat your cunting daughters,
Promiscuous mothers with your incestuous fathers.
Engreat souls condemned for all eternity,
Obtained by immoral observance a domineering deity.
– Slayer, South of Heaven
We like to think it can never happen, at least not to us. But it must happen because everything must end. And if you add up all the signs, it’s sooner rather than later.
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.