Brief Thoughts On Deeds Of Flesh Path of the Weakening

guest article by Svennerick

A fan favourite and the band’s third offering Path Of The Weakening whichalso the first record released through the band’s own label which showed the comeback of former drummer Joey Heaslet and the inclusion of second guitarist, Jim Tkacz completing the line-up and giving the band an even more thicker and dense sound.

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Brief Analysis: Nihilist – “Sentenced to Death” Climax

For many bands, summer is the perfect time to record music and to rehearse for live concerts in a boiling garage or studio. The festival season and the holidays allow many musicians to take time off to focus on implementing new songs to their set list or to push their capabilities as players. Where most players seek to play more technically dexterous music, a few friends of mine wanted to master a song that was simultaneously simple yet physically exhausting to play. Nihilist and Sodom both fit the bill perfectly but we would settle on “Sentenced to Death” for its brief periods of respite between the bursts of rapid picking. Though we thought of this song as being a basic and minimalistic slice of powerful metal, after our wrists and arms had been decimated completely, we came to realize that the true power of this song is not the constant madness but the final flurry that manages to go even beyond the insanity before it.

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Analysis – Mayhem “Life Eternal”

Let us momentarily forget the ridiculous circus act that surrounds the legacy of Mayhem at this time and focus on what earned the band all the praise they deserve. “Life Eternal” provides a particularly interesting example composition because it consists of a collaboration between multiple musicians during the long creative process that led to the release of the album. Featuring the final lyrics Dead ever wrote as a parting gift and some incredible ideas from Varg Vikernes and a large number of ideas from so many other musicians, it encapsulates the original vision that the Norwegian Black metal originally possessed in its purest form.

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Riff Analysis: Master – “What Kind of God”


Master on their seminal record On the Seventh Day God Created… Master operated on the principle of taking one idea and pounding it into the listener’s brain as much as possible without droning on and maintaining some form of forward movement. Paul Speckmann’s riffs are simple and straightforward but there was always something there that pushed them above the hordes of bands making minimalistic Hardcore influenced Death metal. The first actual riff of the first song “What Kind of God” is a perfect example of what made Master deceptively unique at the riff level.

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Incantation – Intro Riff to ‘Golgotha’

The first riff off “Golgotha” is a fitting introduction to the madness of the early composition of Incantation. It is abrasively confrontational yet more detailed than what its immediacy initially hints at- although the listener is confronted with the familiarity of power chord accents and tremolo picked notes, the arrangement presents an inversion of death metal tropes that echoes the blasphemous lyrical content of the band. (more…)

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Analysis of Demilich’s “When the Sun Drank the Weight of Water”

[Sections of this article by Jerry Hauppa].

The Finnish scene has spawned an impressive number of death metal giants, possibly the strongest overall scene with no band searching for shallow fame or popularity and each band exploring their own sound in complete artistic integrity and more often than not achieving powerful results. Though all these bands have captured the hearts and the imaginations of Hessians everywhere, one four-piece has managed to completely change the face of death metal. Releasing one album that elevated metal into being recognized as an intellectual genre in the eyes of the mainstream, so much so that the mainstream metal media fled from this album as no one could commercialize and democratize what was being played here, Demilich were unfairly pushed back into the underground when they deserved adoration from the masses.

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ANALYSIS: DEMIGOD’S “AS I BEHOLD I DESPISE”

Hailing from Finland and one of the leaders of the short lived Finnish scene that delivered some of the greatest music to ever grace the twentieth century and that genuinely scared most “metalheads” as this was truly an intellectual movement that retained the essence of metal while completely deviating from the norm musically. It is very hard to regroup these bands into a specific style but the closest connection between them is their ability to complete deform common scales and patterns with strategically chromatic notes.

Demigod had a strong understanding of how to make songs with a limited set of complex ideas and how to convey themes of apocalypse and human decay and the role a strong individual within that apocalypse. “As I Behold I Despise” is the first track after the intro and sets the frame of mind of what’s to come after through it’s use of a recursive melody that is always changing, blistering tremolo riffs and hyper active drums that don’t steal attention but empower the guitars.

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Classical and Pop Metal – part 4 (The Inner and the Outer)

robert fludd-utriusque-geist-und-bewusstsein-des-menschen

Article by David Rosales, 4th installment of a 7 part series.

When it comes to making music, people in general (including both audience and artists) tend to sum things up in “feeling”, or ways of looking at the world. That is all well, but it does not necessarily imply the way in which music is made, nor if this “feeling” of theirs reveals any worthwhile quality. What’s even more problematic is that although everybody may deduce from common sense that music operates at two primary areas, namely form and intuition, it is assumed that these are disconnected and that whatever the original feeling that produced them, the audience is free to interpret whatever they want from it, since music is completely free and completely subjective.

Be that as it may, the truth is that intention-feeling-intuition and the musical form that is produced by the artist are intertwined in a complex relationship. Most composers would describe their creation process as one in which they jump between abstract and concrete modes. The beauty of music is that there is no one-to-one relation between conscious thought and organically produced result, but there is, indeed, a causal relation that can be traced and generally pointed at with some experience and powers of observation.

We may start by defining two modes of creation, one in which the exterior, that is, the form, the sound, the pitch, etc.generates an idea, perhaps at the same level, or inciting a thought. This mode is akin to what the audience goes through when they listen to the music. The second one is one in which an idea, a thought or a general feeling moves the artist to find a chord, a sound, a texture or a structure that corresponds to what he is looking for to some degree (depending on talent, availability of resources, etc). While we can safely say that most creators will invariably switch between these two modes, the importance and weight they assign to each varies. This very way in which they think is crucial to the nature and character of the result.

This must not be confused with the methods of composition such as improvisation and strict arrangement, which are also usually used in combination by composers throughout the creation process at some level or another. Generally speaking, though, careless composers tend to improvise much more than arrange strictly, and superficial ones tend to follow an outside-to-inside stimulation predominantly, allowing the raw impressions of the music to guide it.

Those who err on the side of caution keep improvisation on a short leash and brainstorming carefully directed and observed, channeling it and augmenting it through strict composition. On a parallel line, the composer who follows an inside-to-outside thought process keeps the externalization of a consistent logic line in check so that they make sense as much as words, statements and sections in an essay do. It is no mystery both kinds of arrangements, verbal/written and musical, are called compositions.

“Good simplicity, not that euphemism for folly”

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