A common theme you hear in critiquing music is the need to separate the art from the artist for the most objective analysis possible. This all sounds good on paper, but we are all human, and the flaws that imbues in us make our understanding of all concepts skewed by perspective. The metal path is one of social outcast and self-discovery through a grasp of the larger whole, and as such we are left with the purest essence of form and function, but still we allow our humanness to cloud our judgments inevitably. We won’t give the time of day to a record made by some stretch-lobed lumbersexual even if he might have accidentally produced the next necessary evolution in metal, and we like it that way. We have been proven right long enough by lousy records and “evolutions” of our favorite artists but although we may have erected a necessary safeguard for quality control, we need to analyze if it is constructed of statements and proofs of inherent positive musical traits or our own hubris instead. (more…)
Consciously transcendental, voluntarily anachronistic, causing despondent exasperation among the pretentious and the untermensch. Kataxu blends the phantasmagorical reveries of dungeon synth with brief, unidentifiable nods to the nordic triune of atmospheric evil black metal. Kataxu Roots Thunder escapes morphing into ‘flowing black metal‘, layers majestically, layers in hiding, layers hiding, forms and shapes…
After a little over a decade had elapsed since Abyssum’s debut, the only remaining and the leading voice of the project, Rex Ebvleb, released a full-length album titled Poizon of god. This 2008 offering was both a step forward with a nod to the old material in a conscious effort to be both consistent in the style of the project (this artist has several projects with very distinct voices and writing procedures and inspirations). This album also sees the enlisting of drummer Akherra to the project as a permanent member of the band. Following in the steps of the methodology of Thy Call, this new comeback album follows the general songwriting approach that does not focus on what we would consider the “metal sections”, and rather uses the distorted guitars and drums as one more color in a palette for black ambient music. Overall, the underlying methodology does not diverge greatly from the debut album but there is a greater variety of pigmentation and expression, a more careful attention to detail, stronger sense of movement and a comparatively darker intent in its character. (more…)
Xendra was a heavy metal project from the Central American country, Honduras. Rumor has it that their only album was recorded within one week around the turn of the century. The simplicity of the production would never put this into doubt as it is just barely satisfies the requirements of the music to be listenable.
As Brett Stevens said in a previous article, one could make the experiment of imagining music played through a primitive or simple device or format like a midi output and then see how interesting the music becomes then as a measure of the actual resulting power of the composition. It is in this respect that the barely satisfactory production in this album becomes a test for the music. Despite the production, the compositions’ musical qualities shine through, modest as they admittedly are in the very-large scale of music appreciation.
Xendra’s brand of late heavy metal also takes on speed metal characteristics with melodic tendencies. This is a typical 1990s mid-paced, simple melodic heavy/speed amalgam that is exemplified today by Cruxiter. Most of the most iconic and prominent Central American metal bands played in this style. Its raw yet singable character being particularly apt to work as a channel for a kind of urban folk style. I often use a word callejero(“of the street”) to describe the particular brand of heavy metal that developed in Central and northern South America. It is a folk heavy metal not because it makes use of old aboriginal melodies for motifs, but rather because it is the language of the young people in touch with the crudest reality of their modern countries. As such it tends to be be full of socio-political protest, prone to melancholic bouts and occult visionary prophecies. We should stress that the latter is appropriate and perhaps even mandatory for any respectable underground metal genre. As a kind of folk music, a few simpler songs in verse chorus manner are sparkled throughout the sixteen tracks of the album. These do not sound pandering as indulging themselves or the singer but are veritable laments voiced impersonally.
Claiming to be influenced from the more mainstream rock and hard rock progressive outfits like Rush and Dream Theater, someone listening in a slightly distracted manner would miss where and how Xendra makes these influences manifest. While we hear Dream Theater making technical acrobatics and the contrasts from one section of the music to the next the main point of the music, a more sensible and humble band like Xendra uses them in key points as tools towards smooth expansion or creative and beautiful articulation between sections. The rendition of the heavy metal callejero as presented in 2000’s Xendra is one of the best of its kind. Displaying elegant songwriting, subtlety and the restraint of talented instrumentalists using their technical abilities where the music needs them, rather than when their ego fancies it.