Article contributed to Death Metal Underground by Max Bloodworth.
Prior releases from Antaeus displayed an alien weltschmerz like an outsider looking into the world and finding nothing of value. It had an air of royalty as well as an air of embarrassment in its simplicity. Intuitive destruction of an end-in-itself, the music delivered a perspicacious view of the bleakness embodied in the microcosm and macrocosm, with the nature of man clinging onto its pitiful existence. Ultimately the value of such an inquiry is in the unraveling of itself to the threshold of exhaustion, then being untoward to the world-as-it-is as its conclusion. Such bold statements of violence to humanity and to the self led to its unique logogenesis which thrusted them above most of their peers as a more realized and apt style of music like Von. Antaeus had the face of an outsider in a sea of complacent faces.
In view of our recent emphasis on the fact that post-1994 metal landscape is a desert of creativity with very few well-realized projects, most of which were pretty underground efforts. By the turn of the century, death and black metal aesthetics had been absorbed into the mainstream mindset and so we can not automatically consider bands with said genre tags as underground. But the ones recommended below are, indeed, high-quality efforts (in the way of music writing) that were never hyped to any wide audience.
The turn of the century itself was one of the darkest moments in metal history when there was no relevant innovation being worked into metal. In place, a superficial re-mixing of styles done by the thousands became the obsession of scenes. Something had happened: Metal had reached its young adult life. Until now, childish enthusiasm and creativity had been enough for it to keep making discoveries. A spirit of rebellion had propelled it in the search for a deeper romantic meaning that drove it forward. Once this bottomed out with with mid-nineties albums by projects like Burzum, Ildjarn and Summoning, it was evident that metal would have to rely on a refinement of its technical approach that could keep feeding the aesthetics needs of its spirit.
In the following recommendations, we have thrown some worthwhile non-metal releases that are also strongly recommended. The reader is encouraged to explore each of these with all their attention and in reflection of the trails that the golden era left that are only in recent years fully crystallizing into promising proposals for a real re-start and future based on the previously mentioned refinement applied to a study and digestion of the older spirit in order for the genre to continue. This future is precisely what metal needs and not a return to anything. The past is the past. Metal must look ever ahead if it is to be an artistic movement with life. This post is in part to honor those releases and to offer a glimmer of hope that although metal is suffocated, it is not dead.
Summoning – Stronghold (1999)
Mütiilation – Remains of A Ruined, Dead, Cursed Soul (1999)
Worship – Last Tape Before Doomsday (1999)
Tenhi – Kauan (1999)
Jordi Savall & Ton Koopman – J.S. Bach, Die Sonaten Für Viola Da Gamba Und Cembalo (2000)
VI, the French black metal supergroup comprised of members from Antaeus and Aosoth, has released the improbably-named “Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.” sample track from De Praestigiis Angelorum, permitting a short review.
Like later Antaeus, this band is hollow. It is not outright fake, but it aims to control your mind by pleasing you with surface characteristics and missing what lies beneath. Much as the first Antaeus had possibility in that it attempted to upkeep some of the ideas of the past that worked, but never quite got there, and then the band backed off of that direction with later releases, VI has a strong surface of old school black metal — fast rhythms, the right minor-key riffs, the right texturing of melody and grinding — but at its core there is nothing. You might look at this as simply a better take on Deathspell Omega, but there is no transcendent passion in these songs, only a somewhat cynical knowledge of how to make music sound brainy and violent at the same time.
What propelled original black metal was a strong emotionality based in a worldview inspired by logical analysis, not social feelings, about human problems. VI reverses this with a song about the social feeling of belong in black metal and thinking how austere, relentless and different you are just for listening to this, and yet it has no substance. The band ably combines two riffs and variations for the initial part, then drifts off into a patchwork of ideas that fit together rhythmically but crush any chance for expressing a consistent or developing theme. What you get is like American beer: it has all the right ingredients, in the wrong order, with no idea uniting it all except to please the average fool for long enough that he will buy it again. Avoid this FMP/NWN release.
After a very promising debut album which the band explained as consisting of a collection of demos and other recordings, Antaeus released their first “proper” album in 2002: De Principii Evangelikum. Antaeus play a saturated black metal that foreshadows the developments of Sammath and shares with it an antecedent in Uranium 235 Total Extermination. For all the violence expressed here on the face, the riffs ride very short melodies that make up for the constant percussive assault. The more one gets familiar with the album, the more this balance is perceived. Like most black metal albums, the front assaults or deceives the listener (some albums present a saccharine front that actually contains very thoughtful and detailed music, even if not reflected in quantity or variation of patterns) that only reveal their whole worth after both repeated listens and emotioal immersion in the music.
De Principii Evangelikum does sound like a consolidated Antaeus, insofar as they choose a very particular approach narrowed down from their previous album, Cut Your Flesh and Worship Satan. In a Faustian gambit, Antaeus ripped all pretension of ambience and took the frontal assault that only figured as one aspect of their earlier music. As such, this is a condensation of that style that even if it limits the expression range of theband, it allows it to refine a very particular language and also sets it in a track in which a band attempt to perfect a sound until they get it. A parallel would be Sammath’s more-than-a-decade long efforts that finally culminate in 2014’s Godless Arrogance, a kindred spirit of De Principii Evangelikum.
As a first full-album effort, De Principii Evangelikum show us a highly focused band that knows what they want and that have matured musically. It is the realization and not the concept that is still being experimented on. In De Principii Evangelikum this is practically realized in potency and convincing excellence. The question is, is this all the band is aiming for?
VI is a French black metal trinity, made of current and ex-members of Aosoth and Antaeus. Their debut full-length album, De Praestgiis Angelorum, bestirs within the characteristic black metal niche developed by the said bands, with the addition of expanded guitar work, choirs and subtle sample parts. VI describes their music as “extreme, devoted black metal with illuminated chaos”.
– Featuring INVRI (Aosoth, ex-Antaeus) on guitars and vocals.
– Featuring BST (Aosoth, ex-Antaeus, ex-Aborted) on bass.
– Featuring Blastum (ex-Aosoth, ex-Antaeus, Merrimack) on drums.
– Recorded, mixed and mastered in BST Studio (Antaeus, Hell Militia, Aosoth, Vorkreist).
– Cover artwork by Alexander L. Brown (Leviathan, Stargazer, Bölzer, Darkthrone).
– For fans of for fans of Deathspell Omega, Funeral Mist, Aosoth, Ascension, Svartidaudi, Antaeus.
Et in pulverem mortis deduxisti me.
Par le jugement causé par ses poisons.
La terre ne cessera de se consumer.
Regarde tes cadavres car il ne te permettra pas qu’on les enterre.
Une place parmi les morts.
Voilà l’homme qui ne te prenait pas comme Seigneur.
Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.
I was listening to Antaeus’ Cut Your Flesh and Worship Satan the other day and found myself thinking “This is pretty awesome metal coming from France!”. After all, France is not a very metal country, so the surprise is not, itself, surprising. At best, that country has produced a few flukes like giants Massacra and obscure Mutiilation, a product of Les Légions Noires’ elite circle. It is my contention that true metal art loci arise in such elite circles in very particular conditions and in reaction (metal is, to a certain point, what detractors of realism in a deluded society call “contrarian”) to different but at some level similar kinds of environments in which strong and perceptive minds fight an intellectual battle against a modern, peaceful yet poisonous complacency. Therefore, we may also clarify that metal proper is not a protest music. Protest belongs to a class warfare, while metal abstracts itself from both the futility of human rejection of reality and the petty strife caused by ignorance and incomprehension of our relative place in an uncaring universe. Not an evil universe as some fairy tales say, but an indifferent universe that could only care about humans as much as we care about a microbe that dies on the surface of our skin without ever even registering in our conscience in any way.
What does it take to be infused with the primordial essence of metal? Individual paths to a certain illumination over which we do not have total control? Metal is, after all, not made of the same matter as intellectually and experimentally-driven traditions such as classical music. We may learn certain methodologies that will better focus inspiration and drive, but the metal way is the way of the mystic, the way of spiritual transcendence. As with any opposition to esoteric affairs, there will be outcries against the allusions to an ultra-physical dimension in the wording, perhaps pointing out that metal has traditionally been strictly realist to the point of nihilism. But for those who understand what it means, mystic references will carry the point home without there being any suspicion of a contradiction. The mystic way is the use of images as passageways to vantage points that are unreachable through common language and from which we can see behind the frontispiece of human constructions.
Simple statistical scans of data from bands in different countries and at different times that it is also not a the healthy “scene” that brings about excellence. Scenes bring about scenesters and poseurs, not better music. For the better part of this last week, I had been on a mission to try and discover lost gems from among Central American bands (that means Guatemala down to Panama, for the geographically impaired). The task is not so easy, but I thought I might cover a lot of ground by first heading to Metal Archives (a very useful resource worked tirelessly by the plebeian masses of metal underlings that think any third-rate metal band around the corner is worth documenting) and looking at the entries of lists by country. Although the number of entries per country varied wildly in relation to their sizes (from 30+ in Nicaragua to almost 200 in Costa Rica), after scanning the lists and listening to songs from each of the bands in the lists, one finds out that only a similar number of bands from each country would pass the high-level standards of metal we espouse here. That our “judgement” is suitable or not is not the point and is irrelevant to this point. The point is that a comparatively huge scene like Costa Rica’s did not yield more quality music in terms of composition than the meager offerings of Nicaragua or Honduras. Costa Rica’s larger scene, in great part fomented by a larger population and improved economic conditions, boasts of many albums with European-level metal production, abundant professional musicianship and and more gifted performers. All that is for nothing, at the end of the day.
This is also true for classical music, but it will not be discussed here for it requires a little more research about its particular condition to assert anything further. Metal flourishes not from fully-formed scenes, but rather from individuals in intellectually-challenging or adverse landscapes that choose not to fight social convention or status quo as such from within, but seek to escape it altogether after recognizing how nonsensical it is to submit to human imagination is if it were reality. Our minds are innately equipped with the machinery to see things in terms of illusions, essences and constructions. In the end, it is unavoidable. But it is in the individual to decide whether the illusion will dominate him or he will use it as a tool to carve his path through the uncertainty of chaos. Scenes, as human social circles that promote tolerance for the mediocre, are completely unfit to give birth or nurture creators — only perhaps shadows of them that bring more of the same or complete nonsense that does not amount to music.
Does this mean that we should stop trying to make metal as individual artists if we do not consider ourselves to be chosen? Not at all. Those we could consider somehow chosen (the patriarch Iommi, Hanneman, Quorthon, Warrior, Vikernes — frankly, I do not think death metal produced any such luminaries) were not self-referential assholes who believed themselves to be some sort of Messiah. Rather, they worked single-mindedly at their craft. While they were immersed in that and that goal remained the sole focus of their efforts, their music grew and expanded, building ever higher towers whose tops penetrated and seared the stratosphere in spite of scorching winds and burning ice. Experimentalists, retro-acts and self-professed proggers with no direction, on the other hand, kept running around in circles chasing their tails in a puddle of filth. Besting the destructive cyclones of hail that make short work of feeble-minded, the true leaders crossed boundaries and opened doors that were locked. But these accomplishments are built on two equally important pillars. The first is the struggle in the midst of intellectual adversity. The second is tradition.
From its very inception with Black Sabbath metal has always placed a special emphasis on a realism that looks beyond human “nature” and its caprices. We can safely ignore the hedonist tendencies of certain styles of metal imitators and detractors who musically, ultimately took more from the rock and hippie attitudes than from metal. It is also important to clarify that most modern bands, especially past the 1994 mark, are followers and imitators who were not born into the music out of a deeper mindset. In a rather tongue-in-cheek manner, they enjoy the music’s aesthetics while they jest about the lyrics and apparent driving motives of extreme underground innovators, naming them conspiracy theorists or deluded savants, because what the greats say goes against their own culture-dictated values. They ignore that Beethoven, the original creator, is born not when he starts to write great music (which happened at a relatively young age) but when he finds ulterior motivations(circa the sketching of his 3rd Symphony); transcendental visions of a greater humanity born out of fraternity and the individual struggle for self-improvement through suffering push his music towards new landscapes until the day he dies.
Black Sabbath is metal incarnate because not only is it from them that the genre evolves musically, but the very essence of everything that makes metal what it is is reflected in their lyrics. A curiosity for occult knowledge or mystic experience through various means, the so-called worship of power and an apolitical realism that attacked the establishment and that in its time was confused (and probably marketed) as hippie flower-power are all manifest in the band’s first few albums. The three elements ultimately boil down to the search for a truth that lies beyond human construction. Of course, because we are humans, all we have is our human brains and our human motivations — this is something we cannot escape. So what is there left to take a hint from? Nature. The same nature that gave birth to us as a species. The nature that produced an environment which gave rise to our own human “nature” (two different uses of the word nature, for those not paying enough attention).
Nature worship is misconstrued by cynics as either an extreme and retrograde cultural suicide that proposes we abandon the cities to go back to living in caves as wild animals, or simply a kind of replacement for any religion as a different set of beliefs that at the end lead you roughly towards the same goal. What a proper nature worship really entails is not a blind respect for other living creatures at the expense of human well-being, but rather an enhancement of the latter through a mindful and knowledgeable understanding of our relationship to the rest of nature as an ecosystem. In other words, beyond this bubble of social constructions that leave us oblivious or simply make us insensitive to the full extent of the consequences of our careless actions three or four generations into the future (think of uncontrolled population growth and greedy depredation of resources in order to get more money, yet another human illusion to maintain greater mirages).
Realism is here referred to not as the selfish conception driving a Machiavellian politics, but rather the philosophy of forming opinions and taking decisions based on a nihilist but profound understanding of the relative situation of ourselves as humans. The profound understanding is a necessary appendage to the nihilist mentality because otherwise it can very easily degrade into hedonism or other kinds of short-sighted foolishness. An understanding of the inherent necessities we have as humans, both physical and psychological, can lead us in a very few particular directions. As I see it, we either embrace the rest of the ecosystem as something to worship and live in as vital to us in our everyday lives and long-term decisions as a species, or we develop the technology to live independently from it. So far, we are at a crossroads where we are at the brink of destroying the balance of this planet’s system beyond repair, and we do not possess the technological means to live without Earth: precisely because our motivations have been too short-sighted, driven by immediate or selfish profit.
Rocket’s engines burning fuel so fast
Up into the night sky they blast
Through the universe the engines whine
Could it be the end of man and time
Back on Earth the flame of life burns low
Everywhere is misery and woe
Pollution kills the air, the land, and sea
Man prepares to meet his destiny
Rocket’s engines burning fuel so fast
Up into the black sky so vast
Burning metal through the atmosphere
Earth remains in worry, hate and fear
With the hateful battles raging on
Rockets flying to the glowing sun
Through the empires of eternal void
Freedom from the final suicide
Freedom fighters sent out to the sun
Escape from brainwashed minds and pollution
Leave the earth to all its sin and hate
Find another world where freedom waits
Past the stars in fields of ancient void
Through the shields of darkness where they find
Love upon a land a world unknown
Where the sons of freedom make their home
Leave the earth to Satan and his slaves
Leave them to their future in their graves
Make a home where love is there to stay
Peace and happiness in every day.
The direction from or mentality with which we approach problems is a non-trivial factor in the resulting answer. If we approach the matter of how we should conduct ourselves from the top-down viewpoint that what matters is this or that political scheme as a result of our “rights”(more human constructions) or needs only, and without acknowledging that our needs depend on and arise from our the rest of nature on Earth, then we will always lose sight of the whole picture. This human-only vision traps us in a political/theological game which gradually becomes more and more alienated from the real struggle for survival played against and within our place in the universe.
Metal was given birth by those who despise petty human society and is continued to be upheld as the greatest art there ever was by those who have come to this ultra-human vision. To us, every vacuous formality is a burden, every accepted social deception that is taken for granted by the herd can be confusing because we are expected to follow it despite the fact that even the sheep know it’s complete bullshit. Most sheep know it, but they know it is in place for everyone to be happy and shielded away from each other, but most importantly, from reality. True metal stands against all of that. Not as a statement of individuality like most modern bands who care about being politically-correct and are given free reign to pose as some sort of social-cause rebels, but as an acceptance of the harsher truths of reality and how they make the upsides even more intense and worth living for.
“This beginning then reaches out to future historical outreach, especially by teaching what humankind does not wish to comprehend, in spite all the immense hardness of history, does not want to understand, something that perhaps only latter days will learn after reaching the nadir of destruction and devastation — that life need be understood not from the viewpoint of the DAY, of life merely accepted, but also from the view of strife, of the night, of POLEMOS. The point of history is not what can be uprooted or shaken, but rather the openness to the shaking.”
–Jan Patočka, The Beginning of History
Only Death is Real
Blind lies rise
Eternal sweet fire
One with soul
Licking throne of gold
Soul of bricks
Plague of deaths
Hate rise/fill my eyes
Those with no eyes
Blind to see (him)
Those with no eyes
Come feel inside
Souls of fate
Those with no eyes
Blind to see
Breath now, worship (him)
Warm caress of fire
Breaks the pulse
Close your eyes