Grindcore/alternative-rock/deathmetal/progressive rock band Supuration released a track “Reveries of a Bloated Cadaver” from their upcoming re-envisioning of earlier material, Reveries. The band has taken its style of technical death metal and unconventional progressive rock and used it to re-imagine these older tracks in newer form, but has done so without losing the distinctive energy of the earlier material.
Self-preening egomaniac solipsist hipster Brent Hinds, who plays with indie-metal (heavy alternative rock) band Mastodon, accidentally revealed the nature of indie-metal as indie rockers who enjoy metal ironically making imitations of better bands. Speaking between bites of arugula and sprouted garlic sandwich on quinoa bread, Hinds opined:
“I never really liked heavy metal in the first place. I came from Alabama playing country music, surf rock, rockabilly, and stuff like that.
“I just went through a phase in my 20s where I thought it was rebellious to play heavy metal. And then I met Brann [Dailor, drummer] and Bill [Kelliher, guitarist], and they were really, really, really into heavy metal.
“And ever since then, I’ve been trying to get Mastodon to not be such a heavy metal band, because I f–king hate heavy metal, and I don’t want to be in a heavy metal band.”
Playing metal to be rebellious is a hipster gig because it is entirely surface with no deeper connection to the music than to use it, as hipsters use all things, to signal your emotions to a world that could not care less. Metal musicians play metal because they love it, but giggin’ hipsters play it ironically to be rebellious and shocking. Hinds finally admitted his own insincerity, but with him he brings down a genre.
Indie-metal arose from the “alternative metal” of the 1990s which took metal riffs and put them in rock songs using the aesthetics of grunge and alternative rock. Although the result was an artistic disaster, it was more palatable than the hip-hop/rock hybrids and other pop experiments of the era, and so caught on. Unfortunately these bands are not metal, only metal-influenced, and so they bring in all of the dysfunctional mid-therapeutic behavior for which indie bands are notorious. The result has been adulterated quasi-metal like Deafheaven, Mastodon, Isis, Pallbearer, Babymetal, Pelican and Vattnet Viskar which has attracted a new audience of underconfident, neurotic and conformist fans while driving away the audience metal built up from the 80s-90s.
Back in the early 1990s, Supuration grew from a gore-oriented grindcore band into a death metal band, and then infused the mix with brainy indie/alternative rock of a progressive nature, carrying forward all three influences in varying degrees of balance.
Two decades later, the band plans to release Reveries of a Bloated Cadaver, a modern recording and high-value re-envisioning of the earlier songs with more technical playing, better production and improved cover art. To tease the fans, Supuration released a video for “Suffocate Through Asphyxia” that shows the direction this album will take.
Interestingly, the band preserve the underground metal focus of this material and take it in the proficient but still intensely violent and alienated direction that bands like Autopsy and Entombed embarked upon toward the mid-1990s. Improved playing and more adept tempo changes distinguish the original material of these songs, which appears somewhat reorganized to present itself more distinctively, and place it into a fully modern death metal sound.
It will be interesting to see what they do with other tracks that had more of a grindcore or alternative rock orientation back in the day. Supuration was the original alternative rock/metal crossover, but was ignored by the media because it retained its metal-ness instead of making metal-flavored Fugazi clones like the recent spate of media darlings. Maybe the band will reclaim its position in history with this upcoming release.
People forget that the 90s were among other things a pervasively trivial time, which was one of the things that death metal was rebelling against. We finally got over the terror of the Republican 1980s, and the ex-hippies took over and that meant we were due for some good times. Bill and Ted’s Excellent Adventure satirizes this best with its view of adult society in Southern California as completely oblivious, obsessed with the inconsequential and generally wrapped up in itself without any purpose or direction to life beyond consumer glory.
Immense Intense Surprise reveals this mentality of triviality, which is the concept that you can take something very ordinary and cover it with shiny objects and unique, ironic and different (UID) adornments and somehow it will be transformed into a revolutionary idea. This is not so: the underlying idea remains in control. In the case of Immense Intense Surprise the underlying idea is that same alternative rock that everyone else was pimping back then, but they have dressed it up as bouncy technical death metal of the Afflicted school, meaning that you will not find any epic or amazing melodies or song constructions here, only technical tricks on guitar and keyboard.
To keep us distracted, Phlebotomized constantly change layers of vocals, synths, drums and lead guitar that sounds almost plasticine in its tendency toward “chaotically” repeated similar structures. And underneath? Quite a few hard rock and classic heavy metal riffs reborn, some influences from 70s rock, and a bit of death metal that as with all ill-conceived hybrids, builds itself around the vocals. Notice also the novelty song structures. This release distracts from a missing core with a surface level of weird, much like so many people distract from their absence of soul with “interesting” personalities.
Not all of Immense Intense Surprise & Skycontact — a combination release of two late 1990s albums — is bad. Much of this material shows insight in songwriting and an ability to craft a good tune. Phlebotomized interrupt themselves on the way to a good song by instead of finding a voice for their many influences, trotting them out in serial fashion, creating the kind of “variety plate” music that fails to endure over time. Think, people: there is a reason these albums went out of print in the first place after haunting the sale bins of used record stores across the world. Surface-based music does not endure. They were not alone in their quest for experimentation. Bands like Disharmonic Orchestra, Supuration and Mordred were each trying to re-invent death metal by mixing in influences from previous genres. The problem with such a conflicted approach is that it destroys the voice of the genre which had achieved clarity, and replace it with the usual modern grab-bag of options unrelated to a purpose.
Phlebotomized put out an earlier album, Preach Eternal Gospels, which spent quite a bit of time in my CD player during the 90s because it was good, solid B-level boxy death metal. Bands at that level either accepted second-tier status and moved on, or became consumed with the desire to be the next Dismember or Morbid Angel and so embarked on a path of accessorizing their music to make it stand out. Their only real problem was that the mainstream rock discovered that tactic long before they did, and they were better at it.
Occasionally, even the most cynical members of the DMU venture into the outside world to a realm where supergroups come together and convulse the media in marked excitement. Corrosion of Conformity members Mike Dean and Reed Mullin have put together a project entitled Teenage Time Killer, a 21-track album featuring many prominent names within the music industry.
Confirmed members via blabbermouth:
- Randy Blythe (LAMB OF GOD)
- Dave Grohl (FOO FIGHTERS)
- Corey Taylor (SLIPKNOT, STONE SOUR)
- Neil Fallon (CLUTCH)
- Jello Biafra (DEAD KENNEDYS)
- Lee Ving (FEAR)
- Tommy Victor (PRONG)
- Nick Oliveri (MONDO GENERATOR, ex-QUEENS OF THE STONE AGE, KYUSS)
- Aaron Beam (RED FANG)
- Pete Stahl (SCREAM, GOATSNAKE)
- Greg Anderson (SUNN O)))), GOATSNAKE)
- Karl Agell (ex-CORROSION OF CONFORMITY)
- Tairrie B. Murphy (MY RUIN)
- Mick Murphy (MY RUIN)
- Vic Bondi (ARTICLES OF FAITH)
- Clifford Dinsmore (BL’AST!)
- Pat Hoed (BRUJERIA)
Other guest musicians that were previously announced as taking part in the project:
- Max Cavalera (SOULFLY)
- Tony Foresta (MUNICIPAL WASTE, IRON REAGAN)
- Doyle Wolfgang Von Frankenstein (MISFITS)
- Keith Morris (BLACK FLAG)
- Phil Rind (SACRED REICH)
In a recent radio interview, Mullin stated that the project originally was conceived of as a short EP endeavor, but quickly grew to a larger album (seemingly) encompassing the earlier styles CoC has been affiliated with over its career, describing it as a mixture of “old hardcore punk, punk and metal stuff.”
Additionally, the band has revealed they have completed recording and are in the process of mixing their new album entitled Corinthians, which will be released via Candlelight. A release date has not yet been set for either record.
Corrosion of Conformity was best known for its foundational role in the 80’s scene, which along with Cryptic Slaughter and D.R.I created the genre of thrash, an organic fusion of punk and metal. Eventually, the band lost its sense of direction and started playing stoner rock for Scion AV festivals. Here’s to hoping the words about a return to the punk and metal days of the band represents an artistic change from their recent albums and is not simply a marketing ploy to intrigue older fans.
What are Sadistic Metal Reviews? When people decide that life is worth living, try to make good music. Unless they hope to make a quick buck, in which case they disguise bad music as “innovation.” We separate the good from the bad — with a machete. Come for the misery, stay for the occasional exception…
The mainstream assimilation of metal continues. This is basically coffeehouse femme-folk-rock like Jewel would have spun two decades ago when metal was still doing something relevant. Instead, it sounds like a Taylor Swift/Janis Joplin hybrid on piano while someone strums a lightly distorted guitar in the background and some bell-bottomed burnout bangs a cowbell. I can appreciate the similarity to neofolk bands, especially Hekate, or even the folk-rock tradition of the Americas. But it’s most similar to the goddamn crap they play in Starbucks or our local “alternative” (read: clean every other Tuesday) coffee shack. A girl sings about fanciful things, there’s some guitar and a lot of slightly exotic rhythm. But when you leave and drive home, you’re thankful for the silence. This has nothing to do with metal and should go back to the coffee shops.
For people who thought Korn was too musical, Roadrunner has saved the day. ANGRY MAN babbling over death metal riffs reduced 100 levels of complexity, with random vinyl scratching noises and sampling thrown in for…some reason. These riffs were lifted from a White Zombie album which lifted them from a Metallica album which borrowed them from a NWOBHM 7″ which probably borrowed them from the rantings of cavemen etched into sandstone near the local juvenile detention center. To these basic speed metal riffs, they have added abundant bounce and doubling the internal rhythm on the offbeat, which gives the illusion of complexity for about ten seconds, and they’ve wrapped them around rock melodies. Speaking of wrapped, why aren’t we calling this rap/rock? It’s obviously rap music sanitized for the people too uptight for even backpack hip-hop, thus it gets injected into rock and to disguise the obvious lameness of this combination they cover it in heavy metal stylings like melted chocolate poured over a corpse. Lyrics are moronic, riffs are moronic, album art is moronic…is anything in this band appealing to functional humans? If a vengeful god were to rain napalm on America for producing this album, it would be justified.
Art music faces one ultimate test: will people listen to it on a regular basis, in regular lives? I’m not talking about the heroin and cigarettes crowd in Williamsburg with their postmodern degrees from Brown, but normal people. Thoughtful, intelligent, realistic, well-adjusted people. Do they listen to it? Or is it something they think is neat, maybe would be good in a movie, and then politely clap and never hear it again? Gilgamesh qualifies as some of the better art music I’ve heard. It is an sonic backdrop to the famous tale, rendering in quickly played piano riffs while other instruments fill in background chording. This has more in common with industrial music and avantgarde jazz than rock, but each track creates a series of emotional sensations corresponding to its chapter of the Gilgamesh saga. It is artfully done and powerful but is too abrasive and repetitive for every day primary listening. Further, it is too arty and conceptual to find a place in the balanced life. It would make a killer soundtrack for a silent film however.
Music designed to pander to newer listeners is often excruciating. First, it must have an obvious novelty in style that usually defeats common sense. Next, it must appeal to people whose first instinct is essentially disruption and chaos. As part of this, they favor weapons like repetition and garish aesthetics. This album will not disappoint on those points. Mixing clubby techno (itself suspiciously like disco) with metalcore and crowd-positive industrial like Rammstein, Fear of Domination spit out music that is essential keyboard-led but has background guitar and bass which are entirely obliterated by the harsh, chanty and repetitive vocals. There is not a single metal riff on the album. There is also nothing new to people who have experienced even Ministry, but a form with novelty gives this some of the appeal of more austere industrial bands. Still the repetition level and degree of obvious manipulation makes it excruciating for people who have heard more than a dozen albums.
In the absence of Nu Metal, everyone is rushing to take over the territory of Limp bizkit or Korn. From bling bling tech-core band Despised Icon to recent Napalm Death to streamlined Unique Leader sounding Morbid Angel palm muting riffs, Benighted blend everything that’s hip and br00tal in the scene together as the perfect sonic weapon for the frustrated school kids. This whole album is full of preachy and overreacting jerking noise. The band’s new music video reflect all of these: attending school is bad and teachers are evil, the world is insane, so buying this album is the right way to the first step of revolution. The hilariously out of place cleared-throat howling choruses sound like any metalcore rather than death metal, they make me want to put on the Korn records instead. Nothing from Benighted’s album is remotely exciting to the ear of a longtime metal listener. The volume is louder than Grammy performer Metallica, but the music is just as bland. Benighted and their far relatives Insane Clown Posse and Fleshgod Apocalypse are definitely worth exiling from the metal world.
What is problematic about post-metal/indie-metal, and rock music itself, is nto that it’s distinctive. Rather, like a good product, it’s created by audience surveys. What do they respond to? — put that in. What got bad response? — take it out. What was neutral? — reduce it. The problem is that you need all the colors of the rainbow to paint a picture, so just because audiences prefer blue over yellow does not mean yellow should be removed. In fact, it aims to create a monotone picture where all of it is the color audiences want in their living room and none is the less favored colors. But art is a communication of a mental journey between two points. It shows us someone emerging from a state to a higher realization and then acting on that for triumph. It reveals a mixture of emotions that signal an ultimate resolution, or at least a clarification in the mind. But what we call “modern metal” — itself a clone of the late hardcore, post-hardcore, emo and indie movements of the late 1980s through middle 1990s (Jawbreaker, Rites of Spring, Fugazi) — is like rock music designed to just be that perfect wallpaper for your life. The right shade of sweater, the right ironic frames for your glasses, the purse that makes you look like a wandering boho hippie who might just happen to have a degree in art history. It’s the cult of the ego, and the ego demands only what serves it in full and denies the experience required to get there. This is because the ego wants nothing to do with the external world, and prefers that which is “human,” namely itself and those it socializes with. Fluisteraars is 2/5 old school black metal like Enslaved and Darkthrone, and the rest the newer material in a dronining long form that uses multiple riffs derived from a single theme, like Pelican. The result is very pleasant to listen to but when it is done nothing has changed in your life. You are back shopping for wallpaper, ignoring anything outside of yourself, and consequently, missing out on anything that can be called soul.
Most of people can’t tell the difference between shallow light-hearted commercial product and art, therefore the conformists can always make some metallic indie rock to troll the underground. Woods of Desolation is the black metal version of Explosions In The Sky; both of them use the highest notes of the guitar chords to outline the weary lie-down-and-die pentatonic melodies while songs build around the sweeping textures. Just like the prototype of this sub-genre Alcest, Woods of Desolation’s music is nice and sweet and flawless, it make one hard to criticize them. But the reality is, three months after the hype, those who praised it like hell initially would throw this album away for these spun sugars annoying them just as the morning wake up cell phone jingles.
Post-rock and post-metal generally mean attempts to recreate emo through expanded minimalist sound. Towers takes an approach more like Swans where they build a drone and then layer it with interesting textures. The result is rhythmically motivational, like a march, but ultimately can’t go anywhere because like the notion of “concept music” it can’t go anywhere but to its furthest extreme. Thus what we have is interesting, but not something you’d want to repeatedly listen to except in the background or as part of a movie soundtrack. It is not terrible in any part, and on the whole it is bland and inoffensive once you get past the “extreme” style. Arguably, Towers is the best example so far of how to make post-rock/emo into something that is not terrible. The problem is that listening to it feels like being driven over by Friday 5 pm NYC traffic, and so it’s unlikely that anyone will turn to this for repeated listens that bring out some positive aspect of being alive.
Background drone of distorted guitar vibratto and feedback. Foreground slow chords, standard post-metal. Melody slowly layered, then repeats. It goes on in a big loop. Any given second of it is inoffensive and seems like something cool might be happening, but then, if you listen to the whole thing, you realize its fatal flaw is that it’s boring. Nevermind that Lull and Fripp did this years ago but better. Nevermind that these bands were both wrecking balls to metal’s integrity. Just listen to the music: it’s repetitive, doesn’t development, and basically does nothing but establish a drone and a half of a mood. What would you do with it? Listen to it? No, this is music for you to explain to your friends. The point is that you know something they don’t and you can thus explain how profound it (and you) are. It’s no different than people going to rap concerts to pose at being gangsters or young girls who cry when Shakira sings about her hips. It’s just more pretentious.
Despite the ideologically-correct title (for black metal), this band shows us the true death of black metal: it has been assimilated by punk music. This sounds, with the exception of a couple black metal open strum riffs, exactly like the same droning hardcore bands were pumping out in the early 1980s. That music was the source of the stagnation that launched underground metal. I’ve listened to this thing three times and it has no negatives. There is nothing wrong with it. There’s also nothing compelling about it; it’s just more void. Technically, it all fits together. It’s just boring and expresses nothing. It is essentially hardcore punk music from the early 1980s with better drumming and production, maybe a black metal riff every seven riffs. But if you already own Discharge and Darkthrone, there’s utterly no reason to listen to this. Even if you don’t, it makes no sense to try to listen to this instead.
Oh wow. Titles in French, looks misanthropic, maybe Vlad Tepes has returned! Second coming of Loudblast, even? No, it’s emo. Riddle me this: if emo isn’t like the fat girl addicted with meth that you woke up next to in the basement and felt great shame for the next, why do people keep trying to hide it? This is the same droning yet bittersweet minor-key background noise that Jawbreaker put on their albums and before that, that emo bands kept trying to insert into punk. What is emo, after all, but the very basic tonalities of rock music translated over an upbeat groove into power chords with dissonant voicings? When you look at what can’t be used, you see what is left. In the same way that the blues scale is the classical diatonic major scale with the key-centric notes removed (and a blue note for color-note rhythm comp fudging), emo is what happens when you take all the life out of music and translate it into rules to keep an audience in suspense. It doesn’t ever go anywhere, just shifts between these same few interval progressions. And yet, there it is. And people who apparently know nothing about thinking keep buying it. This is very frilly, dressed-up, entertaining variety, but underneath all the stupid pet tricks and gaudy clothing is the same old tedium. This is the sound of a genre dying.
Crossing punk and heavy metal styles with a black metal aesthetic of constant high-intensity drumming and droning riffs, Frost Legion make black metal that often sounds like it is assembled from spare parts but tries to keep a focus on the melody and savagery of black metal. Vocals are a constant rasp that varies inflection as little as possible, over active double-bass drumming reminiscent of later Ancient Rites. Riffs are often drifting melodic constellations formed of a few chords which work through permutations of loss and re-acquisition of a root note. Often the riffs are very similar to each other which causes an unsettling loss of orientation, and frequently they bring out melodies which resemble music from the 1930s, but the effect is to create a sense of longing. One thing this band could do better is dynamics; it uses nearly constant intensity most of the time which is exhausting. While song structure is essentially riff-based, these riffs may need to correlate to something else in order to make the composition memorable. The constant melodic riffing is reminiscent of Carcariass and bands of that ilk who are deeply invested in guitar creativity and sometimes lose sight of memorable songs. This is a good start and it will be interesting to see where these guys end up after they’ve had a chance to contemplate the results of listening to this album several dozen times.
We walk among you. We are legion and yet can travel unnoticed in the midst of your cities. We are those who try too hard, and many of us ended up in black emtal. Aethereal brings many strengths but suffers from trying too hard. Coming from the wilds of the USA, the amazing thing about this demo is that it attempts to shape the melodic architectures of a European band. It seems caught between a more vicious Behexen-style assault and a traditional melodic metal attack shaped around Sacramentum, Dissection and perhaps even Sentenced. Most would argue this into the black metal camp on vocals alone, but it has aspects of many genres of metal. Technically precise and musically coherent, these longer songs more resemble the ambitious music before the Great Partition in black metal which set the classics in the past and brought a deluge of imitators to attempt to pollute the genre. The first track, “Scornful Skies,” launches from a battering assault of melodic chords resembling rainfall in sheets to a neo-Celtic style intricate lead riff, fading into a Dissection styled mood piece before evaporating into an interlude of gentle strumming without distortion and a return to a contortion of its origins. The second track, “Qliphothic Reflections,” resembles much more of the black metal of the post-initial era, with low use of dynamics and high intensity blasting with transitional melodic riffs leading us through a semi-circular structure. Both tracks show promise if developed. But again, the problem is trying too hard: looking at what all the great songs have, and trying to make your own version without knowing what connects them. If these guys trust their gut instinct and what they like to listen to rather than what they think they should be creating, they would do better. Take it from a guy who tries too hard in his biggest failures as a writer.
If any of you were to discover that your testosterone levels were too high, and your doctor advises you to take estrogen injections: before doing that, consider listening to this album – in approximately 3 minutes, you will feel immediate results. An album like this could be created only by the results of a CIA project designed to make people believe malls are desirable. (Somewhere, Bill Hicks is turning over in his grave.) For the rest of us, upon hearing this we wish that we were in that grave. This band has the uncanny ability to not only make every song sound identical, but also every riff. Then again, most people listening to this are undergoing “spiral learning” – the repetition is something they’re used to. Please don’t listen to this. If you don’t have enough respect for yourself to avoid this, just go all the way: go to Starbucks, pick up a la- oh alright, that joke is overused. This band sucks. That’s all.
Through the decades, metal has always been more like a crossroads than a cul-de-sac, with the intersection of punk and industrial as well as metal’s own internal genres, divided roughly between above-ground (heavy metal, nu-metal, glam metal) and underground (NWOBHM, death metal). The different threads feed back and forth into one another and cross-influence, but too much influence from any one would assimilate the whole genre.
Thus Caliban wanders into difficult waters. This band fuses Eskimo Callboy-style techno-influenced metalcore with post-metal and alternative metal, mixing in a fair amount of speed metal technique as well. The core of this band is the stadium hard rock of the 1980s and the alternative rock of the 1990s, which gives it a wistful and yet highly personal sound, like a nobody suddenly placed on national television and told to defend his life through a life history. Thus per its metalcore heritage it is highly emotional, as emo is a huge part of metalcore, but Caliban meld that 1980s stadium rock grandeur into the tendency of techno and industrial bands to make ceremonial moments out of their raging music. As a result, songs tend to rage along with metal riffs, then go into alternative rock choruses, and after a while expand into a bigger “meta-chorus” that sounds like a cross between Nine Inch Nails and a Chemical Brothers set.
Much of the focus is on the vocals which admittedly produce 1990s throwbacks, sounding a lot like a cross between Foo Fighters and Coldplay. They tend to use soaring melodies almost like those found in inspirational music, designed to contrast the distorted vocals which tend to chant in Pantera-style confrontational mode that got lifted from NYHC and Biohazard. This is a lot like what the more aggressive nu-metal bands do, but Caliban turn the volume up to ten with more melodic vocals and angrier chants. Although this leads to a binary focus in songwriting, where the soft conflicts the hard and fades out to an emotional finish, this is what makes for perfect radio/MTV hard rock. It delivers a ballad-like finish to an equal balance of aggression and sensitivity which is what today’s sophisticated audiences desire.
If you’re looking for something that is on the aboveground side of metal and in fact leans toward the rock side, which combines the raw emotion of 1980s stadium rock with the world-weary cynicism of 1990s alternative rock and the social aptitude of techno and metalcore, Caliban Ghost Empire offers something new you might want to check out. It’s like a Foo Fighters or Filter or Devin Townshend for this generation. Ghost Empire will not appeal to underground metalheads but might be a good introduction to the genre for people raised on the MTV-style emotive rock of contemporary fame.
- Caliban – Ghost Empire CD/DVD pre-order
In the 1980s, the term “poseur” or “poser” was used to near-death by people trying to describe those who were involved with the music simply to make themselves look cool.
In the 1990s, we had “scenesters” who were people who hung around a musical scene to use it as a justification for their lifestyle. If someone questioned their lack of success or purpose in life, they pointed to the “scene” that they were part of.
And now, as the hands of time have run down further, we have hipsters: people who use music as a form of lifestyle adornment to explain why their life is better than yours. Generally they do this from a position of outsiderness, and by proving to be more obscure in their tastes than you, make you look like a herd-sheep in contrast.
What all these definitions have in common is that they reflect people who are using music in a backward thought process. Most people listen to music because they like it, and use their social life as a means to that music. Insincere people use the music as a means to the end of having a social life, and eventually drag down the community by forcing it in irrelevant directions. Entropy, in other words, caused by social need.
Recently No Clean Singing entered the fray with their analysis of the hipster gradient to Deafhaven:
What bothers me is that some people seem to be judging albums (and labeling the music “hipster”) mainly because they’ve become very popular, to the point of becoming “crossover” hits. We all know that the more successful, the more popular, the less “underground” a metal album becomes, the more it’s going to be put down within the community of metal. It’s a kind of perverse streak that our community seems to have.
I hope this author allows me to respectfully dissent here. The problem isn’t that these albums are popular; it’s that they’re not metal. Metal like most outsider genres has a strict sense of identity and purpose, and it fears adulteration for good reason. If metal starts admitting regular music into its inner sanctum, then metal will become assimilated by mainstream music.
We think of mainstream music as some bold direction but, if you look at history, it’s not. Pentatonic music appeared in Europe and Asia as a way to create popular music without having to wrangle with key or mode. The song form we now know as the pop song came from English drinking songs, the percussion from German waltzes, and the call-response format from gospel churches. This music isn’t a single direction; it’s what was compatible between many different directions, a lowest common denominator.
Metal broke away from this and went in its own direction. Part of being an outsider genre is to police your own borders. The only thing that gives you integrity is that spirit that allowed you to break away and have a different vision of reality. The problem is that you are constantly under assault. To the majority, you’re a threat because you’re doing things differently. And yet they wish they could be you, or at least be as seemingly cool as you are.
Hipsters are what happens when a social scene invades a musical movement. Instead of people working toward the music, people are using the music to justify their lifestyles, show off their outsider status (which is a raised status), or give themselves a unique purpose in life that others do not have. When people call Deafhaven a hipster band, they’re acknowledging the obvious: musically, Deafhaven has more in common with emo and indie rock than it ever will in metal, and we want the traitors out.
What does any band deserve? A fair review. If the band is good, it should be said so, to what degree. If it just sucks, it also needs to be said. And that’s why we’re here with the latest edition of Sadistic Metal Reviews.
If their stupid name didn’t already clue you in, the atrocity that is Weekend Nachos represents a lesser acknowledged evil in the underground music scene: nu-grind, or powerviolence played by MTV2 jockcore fans. Similar to other Relapse bands like Benümb, except all the fast strummed “anger” is a holdover for later day “tough guy” or straight-edge 90s hardcore “everyone mosh on the dancefloor” gimmickry that preys on low IQs who don’t listen to music beyond “breakdowns.”
The title on this may be ironic because it can apply only to Ildjarn, and only if the band ships something bad. This isn’t bad, but it’s an entirely different form of music. Where older Ildjarn was an idiosyncratic expression in equal parts ambient black metal, drone hardcore and forest Oi/Rac-influenced metal like Absurd, this new material is clearly designed to sound like black metal. Its songs use typical black metal intervals, develop according to the pattern, and even use vocals in the same rhythms as early Dimmu Borgir or other first-and-a-half wave bands. If you’re tuning in to Ildjarn, you expect something at least as lawless and feral as his later work on keyboards; this will be a problem for many listeners. As far as quality, it’s not bad at all and in fact is very natural-sounding, sort of like the first Dimmu Borgir or Graveland albums. Some have hypothesized that Ildjarn did not write the material, and the production changes and incorporation of additional instrumentation, in addition to the stylistic changes, suggest either a casual interest in this as a project to “stay in the game” or delegation of many musical tasks to a new team. Production sounds more recent than the early 1990s Ildjarn material. Use of background keyboards, faster bass riffing, textural discontinuities and other distinguishing effects show an interesting set of musical tools emerging, but the band may need to rediscover its voice. Hate Forest never struck me as being all that significant, but they make a very credible effort here, with production that matches the Ildjarn but is very carefully adjusted to sound as distinctive as possible. Their songs are fairly regulation black metal with an attempt to insert complex fills and transitions, and then to balance that, simplify the chorus riffs. The result is not atmospheric per se but achieves a relaxed atmosphere in which the focal point becomes the interruption, like a sunny sky with an intriguing cloud cluster. None of it is particularly distinctive but it’s not bad either. Songs maintain atmosphere well but there’s not a huge amount of development here, so the band sensibly rely on circularity to keep from appearing jagged. A rumored Ildjarn interview claims that this release was an early 1990s project between himself and Ihsahn of Emperor, which could explain the resemblance to post-Reverence Emperor material.
Entropy embodied, this is the band that provided inspiration for Southern Lord’s entire catalogue of musical abortions. Deconstructive, linear riffs that seek to express nothing except ennui, combined with faux-crooning self-pitying lyrics ensure that this will continue to be a favorite band of mentally vacant children for decades to come. This is the mentality of grunge in a different form.
For a brief while, power metal (speed metal w/death metal drums) looked like it would save True Metal. The problem is, however, anytime you walk back up the metal family tree, you get back toward the stuff metal was formed to run away from. As I listened to the first tracks on this, I thought, they’ve got some interesting riff ideas — let’s see how long it last — however, they sound like they want to be a rock band that’s primarily about vocal performance and personal identification with the vocalist. About half-way through the album, they shifted to tap-dance rhythm riffs and soaring vocals, the combination meaning no ideas but how to rip through some 1960s material. Eventually it got so bad it sounded like Queensryche on a bad day as a disco combo covering old CCR B-sides. If you don’t have an idea, by definition, you are an imitator recycling the old in a new form, and we have a word for that: stagnation.
Continuing their decline, Immolation return to the bouncy simplicity of Harnessing Ruin, only this time they downplay the “nu” sounds and try to make it sound more aesthetically in line with their old sound. This doesn’t change it from being a predictable verse-chorus version of NYDM and shows Immolation in their most neutered form yet, trying to pander to a metalcore audience whilst retaining their trademark sound. After the last album, I reckon the only reason people see these guys tour anymore is to get a Failures for Gods longsleeve. Linear, predictable, and disappointing considering this group’s potential.
After a few brave people direction-find their way to a new genre, in come the people who want to partake. They often bring superior skills but they don’t understand what they’re doing. Izegrim is a fine example. It’s chanty metal. When metal gets chanty, which is the nerdy equivalent of rapping, you know that a central narrative has been replaced by adherence to appearance and where that doesn’t work, filling in the gaps with the same old stuff. While this band is instrumentally superior to your average metal band, they don’t know what to do with the odd bits and ends they’ve assembled as songs, so they tie it all together with the simplest elements possible. That meants chants, crowd-pleaser but repetitive riffs, and lots of bombast to cover up for the big void within.
When a band wishes to play black metal without embodying any of its spirit, this is what’s produced. Lethargic, tremolo-strummed droning with ANGRY MAN vocals and uninspired drumming produces an album of tracks that are indistinguishable. Albums like these would be better off as hard rock, because at their heart that is what these musicians are aiming to create…though at least it’s not as bad as the the latest Satyricon abortion.
After failing to become “Oppressor meets Deeds of Flesh” with their last couple albums, Broken Hope return after a long hiatus and have churned out what can best be described as a Unique Leader band covering mainstream hip hop tracks in double speed. Considering their “beefs” with death metal bands and Source Awards concert turn outs, it should be no surprise that this has more in common with Tupac than it does Suffocation, approaching death metal from the same “gangster” outlook that Six Feet Under did in the 90s.
“Artistic” black metal, otherwise known as black metal watered down with fruity “post-rock” produces a product that is post-art. Designed for a generation that believes interrupting narration with pointless deviations is artistically viable, in form this shares for more in common with modern metal than with relevant black metal bands. Listen to this only if you enjoy consuming pumpkin spice lo-fat frappuccinos.
These three tracks — “Eurovision,” “No History” and “Resistance is Futile” — comprise 2/3 of the EP S (which can be streamed here) released in advance of the new Laibach album to show where the band is at this point. Some might think it odd to review industrial music on a metal blog, but Laibach has been supportive of metal in the past, including the notorious Morbid Angel remixes and positive statements made in public. Further, industrial and metal share a root, which is that we deny the happy vision that came about in the 1960s of love, peace and uniformity that would save us from the horrors of the modern time. Our vision is to point out that the beast is within, and as long as humans refuse to discipline their minds, they will end up re-inventing the horror, futility and self-destruction of the near past and the ancient past, before civilization evolved. Both genres also point to a path outside of what is acknowledged as “higher values” or “the right thing to do,” seeing morality as confining and misinterpreted. That being said, it seems that industrial hasn’t changed much since the EBM days of the 1980s. In fact, much as Nine Inch Nails basically made a more pop form of that genre with added guitars, Laibach have simply made a more stern form, albeit a self-mocking one. What you will find: compelling beats, blasts of static, sampled voices, a surly European-accented voice almost chewing out the lyrics in a conversational growl, and even bits of other musics woven through the material. Ultimately, what makes industrial different than metal is that it knows how to pull off a good pop song and make it sound good, even with machine-ish touches, where metal tries to make something beyond what people consider music. As a result, these songs have heavy dead-beat grooves and build up to a compelling motion. There isn’t as much internal development as metal so there’s some question of whether a metal fan would enjoy hearing these repeatedly, but it’s hard to ignore the sheer pop power and terrifying view of the world brought up by this assault of music and (if you go to the site) imagery.
Claiming to be inspired by the old science-fiction movie Metropolis, Sepultura collaborate with tone deaf AIDS guru Ross Robinson to create an album that, much like recent Sepultura, is high in pretension and low in musical payoff. Death metal sounds are utilized here but only serve as what sounds like Pantera or later Sacred Reich occasionally lapsing into a parody of Slowly We Rot at its simplest than anything from their 80s output. A guest appearance by Dave Lombardo doing a “tribal” drumming outro feels more like a marketing gimmick, lacking any of the imagination found in his instrumental track for Grip Inc. (incidentally, their only good song). Most of the songs devolve into effects laden meandering, which is to be expected considering the producer. Even then, nothing is gained or lost on this album. Sepultura is still like a fish out of water, churning out another vapid reiteration of their 1998 album that will piss off old fans and make no new ones.
The first riff sounds like screamo, then clean vocals played over what sounds like a “post-black” abomination, then the breakdown with “eerie arpeggios”… this is metalcore. Looking past the “shocking” image stolen from early Carcass made to appeal to self-loathing Starbucks regulars, Cattle Decapitation now seem to be in direct contact with the same focus group Gojira employ when coming up with their gimmick ridden, indie rock friendly vapidity, eschewing the F-grade death/grind of their past for metalcore acceptance. Beyond the aesthetic drape of underground metal, this is nothing more than a random collage of parts “EXTREME” bands play for mainstream appeal under the pretense of having “matured” as “artists.”
The “supergroup” of a bunch of hipsters that convinced Thurston Moore of Sonic Youth to ruin the genre alongside them, Twilight perverts black metal by using the treble guitar tone and anguished vocal styling to dress up what is middle of the road “post-sludge”. Members pool their collective inability to write metal into one product that comes off like a brain washing tool Scion would use to convince Gojira fans to purchase SUVs, all the while looking “edgy.”
This imaginative release explores the world of Iron Maiden-tinged power metal with an epic metal mindset, preferring extensive clean vocals, lengthy melodic parts and high-speed pickup riffs of the Maiden style. However, it also works in a fair amount of newer technique, sounding sometimes at the edge of later At the Gates. This is interesting material and an ambitious offering. However, this band has a few things it needs to work on. First, the vocalist is too present both in the composition and the approach to songwriting, and needs to go back to being one of the instruments. Second, this CD weighs in at 1:10 and is a B- album at that length, where if they boiled it down to 35 minutes would be closer to an A. (Note to bands: if you can’t listen to your own CD, while doing nothing else, on repeat for several times in a row, make changes). It has genre confusion problems that need to be resolved by getting more comfortable with its own style. Finally, Cromlech should learn from Iron Maiden and focus on making song structures clear: one intro, a theme, a countertheme, and some kind of developmental area where the melody grows before returning to the more predictable parts of songs. This is about their approach anyway, but it’s muddled by uneven application of technique. In addition, it wouldn’t kill them to look through for repetitive themes and excise or consolidate them. All in all, a great first effort, and I tack on all these suggestions because starting bands often need a push to fully develop.
The biggest sham in metal to this day. Being a propaganda tool used by hippies to turn metal into rock music, Gojira continue what they’ve done since the beginning: making “heavy” parts out of rhythmic chugging with pick scraping sounds before playing “soft” parts that sound lifted from A Perfect Circle. Rock made for angry menstruating Deepak Chopra reading faux-guru hippies. Add the cringe worthy “deep” lyrics and it’s no wonder people thought the world was going to end in 2012 when both this album came out and a new record was set the world over in dolphins beaching themselves.
Although there’s a very noodly and “progressive” surface to Azure Emote, what lies beneath the skin is a mixture of speed metal and alternative rock. That gets layered in metal riffs, jazzy guitars, industrial-style vocals and complex percussion.
The Gravity of Impermanence despite having a cool-sounding name delivers almost nothing of what we want from progressive metal, which is puzzles. Games. Brain witchcraft. Interesting twists and turns that make us look forward to another day of being alive, again.
Instead, Azure Emote deliver relatively consistent surges of volume in vocals and drums, and “unpredictability” that’s so predictable it’s like watching a dancer so bad she lunges in exactly the wrong direction at the wrong time. As if sensing this is paltry, the band experiments with extensive vocal weirdness and frequent build-up/break-down types structures.
Perhaps looking for some underground cred, Azure Emote throw in every third riff as something vaguely death metallish in the Nocturnus-Obliveon spectrum of technical riffs. However, without the context to support it, it becomes random instead of interesting.