Can We Judge Experimental Metal?

May 20, 2015 –

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I used to spend a lot of time plagued by the question of whether one can really judge experimental metal. At first glance, this may sound silly, because the tools of music criticism don’t disappear from a little experimentation. You can still ask how derivative it is; what the structure is; if the riffs are any good; and so on. But problems emerge when one realizes that there have been pieces of music throughout history which really defy all convention. I’d put forth Gyorgi Ligeti’s “Atmospheres” as an example which has no melodic or rhythmic content (and in some sense no harmonic motion either).

Many of you are already screaming at your screen: “Atmospheres” makes you feel something. It is highly unsettling and successfully elicits emotions and responses in the listener. The only objective we need in evaluating music that breaks with tradition is if it successfully does what it intends to do or elicits an emotional response from the listener. I agree this is one possibility, but I reject the idea that abstract art has to have some objective or emotional goal to be worth engaging with. Think of beautiful paintings of fruit. Some may feel moved by it, but I think it is a stretch to claim this is where its value lies. Its worth is in the pure aesthetic experience it gives. Often this is beauty, but we could say “Atmospheres” is worth listening to for its coherent new aesthetic experience it provides. In fact, many other works of Ligeti do not have the emotive experience for justification but are all part of his unified aesthetic vision.

I should address whether this question is even worth thinking about. I think it is, because if we don’t have a way to distinguish quality, we’ll find ourselves randomly accepting or rejecting anything that defies convention. I’ve seen both extremes: the art hipster that defends to the death the greatness of a blank white canvas to the pop idolizer whose ears bleed at anything other than a I-IV-V-I progression over a 4/4 rock beat. Neither extreme is good music criticism, because both are ideologies that pre-judge rather than evaluate an album on its own terms. This means we have to give some thought to the question of whether it is even possible to judge music that pushes the boundaries. I’ll admit that basically no metal album, no matter how experimental, will be so extreme that we lack all ability to use traditional criticism. That’s not the point.

I, and most other reviewers, often get lazy and gloss over anything that is difficult to engage with. I find myself reviewing albums as traditionally as possible and only throwing in mention of experimental aspects without much thought. It usually takes the form of the above ideological lines by pointing out the experimental aspects as “original.” This tends to make any experimentation come across as a good thing in my reviews (when I’m being lazy).

One way I like to think of the messiness of experimentation in music is through an analogy to other arts, even though the analogy isn’t perfect or historically accurate. One could say that abstraction techniques in painting arose in part due to an identity crisis. Early paintings were very much about accuracy and representation of the world: portraits, landscapes, still lifes, etc. Probably in part due to the birth of photography (though it started a bit earlier), painters needed to add a human element to be able to justify its purpose. “The Weeping Woman” by Picasso may be a portrait, but it deviates from an accurate depiction of the woman in order to more powerfully portray her emotional state. A perfect picture of the woman couldn’t capture the tragedy and suffering so well. What I’m trying to say is that painters realized they could experiment in order to filter something through a point of view to create a messier, more human art.

Music usually lacks a subject, so in some sense the starting point is closer to abstract expressionism in painting. Strangely, music tends to be more rigid than painting for various reasons usually involving time. If your song is in 4/4, it is very difficult to make something sound messy, because members of a band are locked in an orderly pattern. One way to add a messy, human element is change up the time signature. This gets us to a value judgement. Take a stereotypical progressive metal band, Between the Buried and Me, for example. Often their use of varied time signatures comes across as tidy, carefully planned, and gimmicky. This is an example of bad experimentation, because it doesn’t fulfill its purpose of making something sound original, messy, or unexpected. Say what you will about Behold… the Arctopus, but at least they fulfill their purpose of experimenting with time to disorient the listener.

This brings us back to an earlier point. We can judge the experimentation on whether it fulfills its purpose. Theodor Adorno has probably written and thought about experimentation in music more than any other person. One of my favorite points of criticism from him is his explanation of how terrible it is when the sound of music is in contradiction with its purpose. He uses as an example Joan Baez singing protest music against the Vietnam War. She completely undermines her point about the senseless, incomprehensible violence of war by wrapping the song in a neat, easily digestible pop song. How can making war palatable possibly fulfill the purpose of a song that war is not palatable?

A great example of a metal album in which the sound fulfilled its purpose is At the Gates’ With Fear I Kiss the Burning Darkness. It isn’t quite experimental in the sense we’ve been discussing, but it serves as an example of metal where the sound reinforces the content (which, let’s be honest, was an important factor in much early death metal). We’ve reverted to easy cases again. Before tackling the hardest cases, I think one easy-to-spot bad thing is what I call an “experimentation poseur.” The album is fairly boring and uninventive, so the band tries to hide this and appeal to a certain crowd by throwing in some experimentation. Not only does this cover-up not work, it is embarrassing, because it is so obvious to an intelligent listener that you are trying to fool them. Something like Buckethead, Iwrestledabearonce, or much that self-identifies as “mathcore” work for examples. Harder cases are Jute Gyte, Psyopus, Behold… the Arctopus, and Cloak of Altering. These bands are uncompromising in their difficulty throughout the whole album. They also appear to have something like a coherent and consistent aesthetic vision which differs vastly from other metal. As proof, give me a new track I’ve never heard from one of those four bands, and I will have no difficulty telling you which one wrote it.

I often hear the complaint that anyone can create an ugly mess of noise with no structure or feeling, reminiscent of the complaint that anyone can drizzle paint on a canvas like Pollack. We’ve already addressed why this is lazy criticism. But it is also intellectually dishonest, because I don’t think anyone but the most skilled musicians could copy these bands. Anyone that thinks they merely “dripped ink onto a staff” and played whatever happened hasn’t really listened to them, and frankly, is so disengaged from honest discussion that their opinions can be dismissed as irrelevant. They sound nothing like Milton Babbitt, for instance, which basically wrote music using a dice roll. This is not to say any of these band’s albums are good. Figuring this out is the point of the discussion: how can we tell? Hopefully those who were skeptical about the question originally can see its relevance now. I must come back to this idea of the pure aesthetic experience. Now I’ll reveal that I stacked the deck with these four choices. I think we can give rough tiers for each of these band’s most recent albums.

Psyopus tends to be absurd for the purpose of being absurd. This means they have a lot of internal inconsistencies in their sound and musical language. One moment they play fast chromatic riffs, the next they glissando up and down, the next they drone with a girl shouting. It tends to be all over the place with the only goal to be different or weird. This is not a high quality aesthetic experience. I’d level the same charge at Cloak of Altering, but a step up. He is a bit more consistent, and I think the album has more worth.

Jute Gyte is much better. His musical syntax is more internally consistent. After a few listens, the album makes sense within its context. It isn’t microtonal for the sake of being different, it’s microtonal because that is a deliberate and consistent aesthetic choice he makes. I’ll reiterate, you may not personally find the experience worthwhile, but it is justifiable as a work of experimental metal. This is the whole point of experimentation. Sometimes it works, sometimes it doesn’t.

I know, 90% of you just shit your pants and decided to leave the site forever, because I’m about to say that Behold… the Arctopus is the highest tier of this list. It would take another post as long as this one to make the argument, but the key idea is the same. They have a consistent tonality, sound, style, musical syntax, and so on which creates a coherent aesthetic experience. I have no problem with someone listening to it and saying, “Nope. Still a worthless waste of time,” in the same way that I have no problem with someone looking at a Rothko and saying, “Nope. That’s just rectangles, not worth looking at.” The thing is, art criticism is old enough and mature enough that someone can separate that personal reaction from the idea that Rothko had a legitimate aesthetic program.

Thinking about metal as art is a bit too new. We tend to treat our personal taste and reaction to an album as the final word. All this is to say, I think there are ways to tell the difference between crappy experimental metal which tries to dupe a certain crowd into praising them and legitimate experimental metal which has a concrete aesthetic program being carried out in earnest. It is an important step in treating metal as art to have serious discussions on the worth of various experimental bands, but we can’t do that if we get stuck in the mindset that all the ones we don’t like are equally bad.

Grotesque In the Embrace of Evil plus At the Gates Gardens of Grief re-issue

April 20, 2015 –

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Hammerheart Records will re-issue Swedish black/heavy/death metal band Grotesque In the Embrace of Evil plus the first release of the band which shortly succeeded it, At the Gates Gardens of Grief. These will be released on vinyl on August 21, 2015.

Grotesque, like Merciless, Morbid, Slaughter Lord, Tormentor (Hungary) and Sarcofago, represented an interstitial state in black metal where bands still in the style of older speed/death like Possessed moved into a sound that approximated black metal without the musical developments of the full genre as came bursting out of Norway shortly afterwards.

When members of Grotesque moved on to form At the Gates, they took their music more in a direction of melodic black metal, starting with their first EP, Gardens of Grief, which showcases their unconventional approach to songwriting and solid melodic development.

Digging further into Abscession Grave Offerings

December 15, 2014 –
Comments Off on Digging further into Abscession Grave Offerings

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As the title suggests, Grave Offerings has a lot to give. In a metal world bloated with copycats, have-beens, hipsters, cultural appropriators invading the genre, imitators and true-blue kvlt types, it is rare to hear an album that is not only competent but has its own personality.

While most metal musicians focus exclusively on having memorized the major and minor scale shapes on the guitar neck, knowing the most common chord progressions and understanding the concepts of modulation and time signatures, the art of songwriting requires a different kind of technicality. Abscession rises above the herd in knowing the genre, having technical skills, and being able to write songs, but above that their repertoire is strained.

Almost every embellishment such as drum fills or guitar solos is fitting and never overbearing despite the obvious proficiency of the performers. This is not altogether uncommon but it is something that is appreciated by fans of proper music, as opposed to what my good friend Dionysus would refer to as “guitar-shop metal” or the kind of guitar tricks you show your friends but that get old really fast on an album. Grave Offerings displays a variety of Svenska Dödsmetal influences which range from the early foundational bands like Nihilist, going through Carnage, stopping by Entombed for an infusion of Death n’ Roll inclinations and all the way to fully-fledged Gothenburg sound while avoiding sounding like any one of them all the time and occasionally bringing out a voice of its own, although not often enough.

Abscession have the artistic sense to make the songs stay within an idea without wandering off topic. At the same time they do this too zealously and the music always remains so close to the germinating idea that it seems to shy away from any great variations lest they be seen as foreign. Since the songs are, on a general level, verse-chorus pop songs, there is a need for subtle ventures outside the strictly familiar to distinguish each song with a purpose unique to that song. It must effectively convey that purpose through its free expression (the previously mentioned ventures) parting from its stable basis (what was referred to as established idea and “known territory”, not foreign) as one needs a vector to have two points and a direction to effectively communicate information.

When a more distinctive idea does surface it often does so with scherzando overtones — playful, bouncy, not grim — which I find unpalatable in the context of the rigid intensity of death metal and especially in the context of Swedish death metal. This aura has traditionally replicated that of old school horror films in the best of cases and at worse has been borderline cartoonish. By indulging in the more humoresque-like passages Abscession ends up crossing the line into explicitly comic territory. This usually happens when the Death n’ Roll facet of Swedeath is explored as exemplified by the fifth track on the album: Blowtorch Blues.

Both while listening to Grave Offerings for the first time and after having listened to it seven times at the time of this writing, I had the strong feeling that the first four tracks were more than enough: there’s virtually nothing else added by the rest of the album. All in all, if we are going to allow ourselves to give safe mainstream metal from Scandinavia praise for some originality and inventiveness within their miserable sellout constraints, I would be much more inclined to extend this courtesy to the latest album by Björler’s At the Gates (as opposed to Svensson’s At the Gates): At War with Reality.

Interview with Adrian and Ola of The Haunted

October 7, 2014 –

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Back when At the Gates called it a day for the first time, a new band and a new sound emerged in metal. This hybrid mixed the late hardcore style of random and chaotic riffing with melodic metal and grindcore intensity, creating what most called “metalcore” with overtones of “math metal.” Unbeknownst to the band at the time, the entire industry followed their lead.

Almost two decades later, The Haunted return at the same time At the Gates is making a bid for return, and many remain curious as to how this band will continue its own evolution and contribute to the future of metal-punk hybrids. We were able to get in a few words with Adrian and Ola of The Haunted, thanks to Century Media’s Nikki Law.

The Haunted is returning with a new album and what seems like a new direction. Is that so? How does what you’re doing now compare to your previous album?

Hi there. Yes the new album definitely showcases a new style for the band. Its a return to our thrashy roots in some ways, but rather in a more modern version than what we were doing on the first few albums. It doesn’t really compare to Unseen. its just so far removed from that album on so many levels. Not strange though cause it was in sense a very different band with a different outlook and approach to what we are today.

The Haunted is widely credited with establishing metalcore, the style that took post-hardcore style composition and added in metal and melodic metal riffs. What is metalcore? How did The Haunted contribute to it?

I really have not got any clue about these genres. We just play the stuff that we like to listen to and the kind of tunes we like to play. Categories are really for people that needs to file music into compartments… For us they really are not that important.

Ola, you are in Feared as well, a band that sounds like Pantera performing Metalhead as performed by a deathgrind band. What influences your sound in Feared? How much of that will you bring to the new The Haunted record?

I keep my ideas separated; it’s clear to me when I start writing a song if it will be a song for the Haunted or for Feared. When I write songs for the band they were written a bit from a fan perspective initially before I started finding my role in the band. I bring youth and aggression to the outfit.

It’s impossible to discuss The Haunted without mentioning At the Gates. Why do you think At the Gates was so influential? What part of that sound lives on in The Haunted?

I really don’t know why. I guess it was a combination that we did what we wanted and did it with a lot of conviction. What we did hadn’t really been done by that many at the time when we did it… And then we disappeared. That’s what I think made it such a hype. My playing in The Haunted is way more open than what I do on the drums in At the Gates. When you hear the new At the Gates album i think you will be able to understand what i mean.

Adrian, you were in the original At the Gates lineup and founded The Haunted. How did the final At the Gates album, Slaughter of the Soul, contribute to the The Haunted sound?

It didn’t contribute at all. The Haunted was formed by Jensen and me the day after At the Gates split up and we wanted nothing to do with the last At the Gates album at that time. It was a fresh new start with brand new influences. I guess that the last At the Gates album contributed in the way that we knew how we didn’t want our new band to sound…

Slaughter of the Soul seemed like a break from the traditional At the Gates sound, and less death metal than a modern take on the melodic speed metal of Ride the Lightning or Don’t Break the Oath. Were those influences?

Slaughter of the Soul was influenced by a lot of different albums but mainly by the hardship and legal shit the band when through during the touring for Terminal Spirit Disease. We were so filled with aggression and wanted to make a full on album, a condensed more direct album than its predecessor.

How do you think The Haunted has changed death metal, and what is the nature of this change? Are the old school days dead, or did all of these genres (death metal, hardcore, speed metal) sort of merge into one?

Metal has merged in so many different ways and bands are combining different styles left right and center. I have actually stopped paying attention. My favorite metal albums are mostly from the 80s and early 90s. For The Haunted, we will continue mixing the different influences we have collectively within the band, play and write the kind of stuff we like regardless of what the style its called.

Ola, you have also played in Six Feet Under. How is it different to play in a Tampa-style band from a band like The Haunted?

Six Feet Under was pure death metal whereas The Haunted’s back catalog has so many different aspects to the playing and songwriting. I enjoyed Six Feet Under as well as shaping the future with The Haunted.

How does The Haunted write songs? Do you come up with riffs and then put them together, or use Jenga or another type of puzzle to make them all fit together, or is there some secret alchemy (numerology, occult symbolism) that explains these riff-mazes?

The songs are sometimes a contribution by one person that writes the whole thing. Sometimes they are a combination of someone’s verse and someone elses’s chorus and intro riff. There is no fixed formula. If the songs that takes shape is good then its a success.

You’ve got a new lineup and a new start as The Haunted. What do you hope your music will communicate, and how are you looking forward to sharing this with fans on tour?

There was no deep hidden meaning in the creation of Exit Wounds other than huge “Fuck off, we are not dead! Here we are and we are heavier than we have been in years!” Come and see for yourself at an upcoming gig! It will smoke you!

Thanks again for your support and hope to see you on the road!

At the Gates releases title track from At War With Reality

September 23, 2014 –

First observation from the newest At the Gates track is encouraging. This is clearly better than the sing-song candy-pop that blighted Slaughter of the Soul and ventures tentatively into the land of darker melodies and stark contrasts that defines the death metal approach to mood.

Approximating the descending chord progressions from Terminal Spirit Disease, “At War With Reality” reveals At the Gates applying the more popular aspects of their sound as a means of intensifying older-style tremolo riffs. The solo comes straight from modern death metal and incorporates many elements of older heavy metal and hard rock, and the song builds itself out of a strict verse-chorus loop with overlays and internal melodies via lead rhythm guitar. As such, “At War With Reality” does not return to the good old days, but mixes the later days of the formative period of this band with newer styles and produces a song with more depth and power than the singalong material of Slaughter of the Soul.

As far as those hoping for the complex arrangements and internal melodic dialogue of the first At the Gates album, “At War With Reality” does not go that far. It is however only one track from the album, albeit the title track, so the rest remains an unknown quantity. But this shows the band moving closer to a form of music which has greater intensity, and in the process tempering the lite jazz and post-hardcore/emo influences of recent death metal hybrids, and so takes a positive step for At the Gates and death metal as a whole.

At the Gates releases teaser for At War With Reality

September 12, 2014 –

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Something lurks in humanity that afflicts all of our best efforts. When we create something, and then start seeing it as a tool or means to an end, the principle of its greatness is lost. It seems to occur because when the object is directed at humanity, it attends to what we think and wish were true instead of what is. Thus metal bands go from creating vast fantasy to creating ludicrous self-prostituting visions of excess to make their audience feel important, and the beauty of the music itself is lost.

This gauntlet looms over every death metal band that makes a “comeback” album two decades on and claims it is returning to the old style. Recently At the Gates made such a claim, and in face of public skepticism and vast anticipation, released a teaser. This contains about 45 seconds of music amidst the visuals and branding, so any assessment of it speaks only to that portion. The album could vary from it, although smart money says that such a turn would be anomalistic given that this snippet is what the band chose to promote the album. Nonetheless, this tiny window into the soul of At the Gates may tell us what to expect, and showcases the phenomenal production and art direction this record has received. Clearly Century Media intend to make this the metal event of the year and have every chance of succeeding.

The excerpt provided shows us At the Gates using the type of melodies they used on Terminal Spirit Disease and the second half of With Fear I Kiss the Burning Darkness which would be at home on a 1970s jazz-infused stadium rock album but in power chords take on a more sinister mood. However, these are presented with the type of frenetic riffing using internal texture to bolster the otherwise sparse melodic pattern that we see on Slaughter of the Soul and the first album from The Haunted. The result suggests some promise but lacks the developmental depth of Terminal Spirit Disease due to the intensified speed and desire to keep phrases short and hookish in a conventional manner as was used on Slaughter of the Soul.

As noted above, this track shows us only part of the album but it reveals the part that the band, label and management likely think will most appeal to the audience they are targeting. It seems that their attempt is to make a version of Slaughter of the Soul which embraces the rhythmic frenzy of The Haunted and the slightly more musical approach of mid-period At the Gates, which taps into both metalcore and Opeth audiences and should produce a best-seller for this band.

At the Gates reveals At War With Reality cover art

August 21, 2014 –

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Swedish death metal/metalcore hybrid At the Gates revealed the cover artwork for their upcoming album At War With Reality and issued some details about the concept and purpose of the new work.

The artwork, designed by Costin Chioreanu, reflects the topical direction of the new album toward “magical realism,” a literary genre that emphasizes the fluidity of what we think of as a static and linear reality. Said Tomas Lindberg, vocalist:

The concept of ‘At War with Reality’ is based on the literary genre called ‘Magic Realism’. The main style within this genre is the notion that ‘reality’ is ever-changing, and needs to be constantly re-discovered and re-conquered.

The band also released some of the song titles from the new album, including “Death And The Labyrinth,” “The Circular Ruins,” “The Conspiracy Of The Blind,” “Order From Chaos,” “Eater Of Gods” and “Upon Pillars Of Dust.”

The album was recorded with Fredrik Nordström at Studio Fredman. Jens Bogren, who mastered the new work at Fascination Street Studios, had this to say about the musical experience that it promises:

At the Gates line-up:
Tomas Lindberg – Vocals
Anders Björler – Guitars
Martin Larsson – Guitars
Jonas Björler – Bass
Adrian Erlandsson – Drums

At the Gates finishes recording new album At War With Reality

August 14, 2014 –

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Swedish melodic death metal band turned melodic speed metal band At the Gates finished recording its latest album At War With Reality and plans release on October 27th in Europe and October 28th in North America via Century Media Records.

Vocalist Tomas Lindberg issued the following statement:

We are very excited to finally have finished this new album. An album that we’ve been working on for over a year now. It’s by far the most challenging record that we have made, but it’s an honest album and I think that you will feel that it is faithful to the legacy of AT THE GATES.

We have, through the process of creating it, been true to ourselves and our art. From hearing the first demos that Anders presented to the band last summer, through the extensive stages of songwriting, pre-production, rehearsals, recording and mixing, we now finally got the finished album in our hands.
We are very happy to have managed to produce an album that we feel is truly ‘us’. Something we can all stand behind one hundred percent. I can’t wait ’til you all get to hear it!

Recorded with Fredrik Nordström at Studio Fredman and mixed by Jens Bogren at Fascination Street Studios, At War With Reality shows the return of the classic At the Gates lineup with their first new material since best-selling but fan-disappointing Slaughter of the Soul, which showed the band drifting toward Metallica Ride the Lightning era speed metal given the melodic Swedish metal treatment.

The band recorded this in-studio statement:

Simultaneously, the band have announced an international tour for 2015. Dates are as follows:

AT THE GATES + support:
20.11.2014 – Tampere (Finland) – Klubi
21.11.2014 – Jyväskylä (Finland) – Lutako
22.11.2014 – Helsinki (Finland) – Nosturi

AT THE GATES, GRAVE, MORBUS CHRON:
27.11.2014 – Göteborg (Sweden) – Trägårn
28.11.2014 – Stockholm (Sweden) – Arenan
29.11.2014 – Malmö (Sweden) – KB

AT THE GATES, TRIPTYKON, MORBUS CHRON:
04.12.2014 – London (UK) – Forum
05.12.2014 – Manchester (UK) – Academy 2
06.12.2014 – Glasgow (UK) – Garage
07.12.2014 – Birmingham (UK) – Academy
08.12.2014 – Cardiff (UK) – Solus
10.12.2014 – Essen (Germany) – Turock
11.12.2014 – Hamburg (Germany) – Markthalle
12.12.2014 – Eindhoven (The Netherlands) – Eindhoven Metal Meeting
13.12.2014 – Leipzig (Germany) – Conne Island
14.12.2014 – Wien (Austria) – Arena
16.12.2014 – Aarau (Switzerland) – Kiff
17.12.2014 – Munich (Germany – Backstage Werk
18.12.2014 – Antwerpen (Belgium) – Trix
19.12.2014 – Cologne (Germany) – Essigfabrik
20.12.2014 – Berlin (Germany) – Postbahnhof

AT THE GATES – live 2015:
08.01.2015 – Istanbul (Turkey) – Jolly Joker
09.01.2015 – Athens (Greece) – Stage Volume 1
10.01.2015 – Thessaloniki (Greece) – Principal Club
31.01.2015 – Dublin (Ireland) – Academy
26.02.2015 – Oslo (Norway) – Vulkan Arena
29.05.2015 – Johannesburg (South Africa) – TBA
30.05.2015 – Cape Town (South Africa) – TBA

Codex Obscurum – Issue Five

August 4, 2014 –

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Codex Obscurum graces these pages frequently as one of few print zines who uphold the idea of the underground: a focus on music, not popularity, and insight into the motivations and mentation of those who pursue the unholy music of death. Issue Five from this promising zine takes its power to new heights.

Over the preceding issues, Codex Obscurum refined its approach to layout, personality and content and now appears in a fully mature form. Layouts are readable and densely packed with information, interviews dig into the thoughts and emotions of those who are active in the underground, and content selection shows a strong preference for the ancient spirits of obscure music as well as an inclination to pick from current music the few bright lights who understand it in spirit as well as mechanics.

Layout for example shows great evolution. High-contrast pages of black on white or its inverse use sparse but intense images to anchor smoothly-flowing, tightly-packed text. The result proves readable for those in a computer age who wish for a professional layout in a print magazine, and allows the content to pop out at the reader without interference or confusing background. The resulting more efficient use of these pages allows the staff to cram in more interviews, notably more reviews, and features that show a concise but outspoken style.

Issue Five begins with a stream of interviews including most notably Brutal Truth, Krieg and At the Gates. These show the seasoned journalist at work, avoiding most of the standard background questions of mechanics and instead querying the musicians in detail about their compositional and stylistic choices. That approach elicits answers which deepen the connection between band and reader by escaping the surface world of rock and looking at metal as a series of choices united by a shared identity and way of looking at the world.

The At the Gates interview reveals the workings of of legendary band as the questioner probes into the branches of its career and the resulting changes in the music. Focusing also on the upcoming At the Gates album At War With Reality the interviewer knits past and future through the words of the band. A candid Brutal Truth exploration follows with bassist Dan Lilker talking about his approach to music and his history with the second-wave grindcore act, after which a cerebral Krieg interview digs into the questions that metal finds troubling. Witness this exchange:

Where do you see the place of black metal in the greater context of the development of musical styles in human culture?

I don’t see it as culturally important to humanity as a whole, only some countries it’s made a direct effect on their history and even then in the grand scheme of this shit circus it’s about as important as that one time you jerked off that one day that you don’t quite remember but you know that you did. It was engaging for those few minutes but then you finished and went on with your life. That’s how I see it in the big picture. But seeing that we’re Americans and American society places incredible emphasis on solipsism, then for the individual it’s touched it could be the greatest cultural movement of his/her life and for however long that individual is alive it’s the one thing they carry that had the greatest significance possible.

A welcome change comes in the form of the reviews which pack the ending pages of this zine. These take a longer form and look more in-depth at the music and use less rhetoric and judgment than before, which makes them more informative. In this issue, an editorial of a true metal nature follows the reviews and brings up a number of significant points for any thinking metalhead to ponder. This type of fully-developed personality shows the strength of this zine in its second year and fifth issue and promises even greater heights for its future.

Sentenced North From Here: the album that exploded melodic metal

July 22, 2014 –

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Back in the chaotic early 1990s, most death metal bands were racing to catch up with albums like Morbid Angel Blessed Are the Sick and Deicide Legion. Bands increasingly experimented with complex rhythms and riffs but eschewed the radio-friendly sound of the last generations of metal, including the melodic harmonized guitar attack of Iron Maiden.

Enter Sentenced. Like At the Gates before them, this Finnish band decided to work with melody in addition to complex riffs, and to do so began to work with lead-picked single-string melodies. After their first album of Swedish-inspired primal death metal called Shadows of the Past, Sentenced improved musically and artistically and took the leap into melodic metal. At this point, almost no bands would touch this style as it seemed an anachronism held over from the 1980s where death metal was forging ahead with chromatic riffs and difficult tempi.

Sentenced took the Slayer approach to songwriting with verse-chorus songs interrupted by transitional riffs for emphasis wrapped around a lyrical concept and added to it the Iron Maiden style harmonized guitars producing a melodic effect. Following a lead from At the Gates, the band also allowed melodies to evolve over the course of a song, creating an immersion in similar sound in which slight textural and phrasal changes could take on greater effect. Along with other bands like Unanimated and Cemetary, Sentenced forged a different path which succeeded because it kept the alienated and dark sound of death metal.

Just a few years later, this sound would explode as bands like Dissection mixed more of the NWOBHM melody and even more abrasive death metal and black metal technique into the mix. After that, clone bands like Dark Tranquillity and In Flames took this style further toward radio metal, but for a few years, this small group of melodic death metal bands revealed the potential of this style. North From Here much like its iconic cover transports the listener to a consciousness beyond the everyday in which union with the empty cosmos and the potential of transcendence of the everyday propels the mind through not only darkness but into a sense of magical light which rediscovers life as a visionary journey. Without losing any of the intensity of their earlier album, Sentenced layered emotion on top of aggression and produced a lasting and unsurpassed testament to the power of this genre.