Anders Björler Quits At the Gates

Anders Björler has quit At the Gates according to a statement posted on the band’s Facebook page. Nevertheless At the Gates is pressing forward with more new, lame material that nobody wants to hear as it won’t match the band’s prime period headed by Alf Svensson capped by Gardens of Grief and The Red in the Sky is Ours. Nobody was particularly fond of At War With Reality. The rest of At the Gates should join Alf Svensson and Anders Bjorler in throwing in the towel for good.

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At the Gates Members Form The Lurking Fear

Various members of the At the Gates have formed a side project known as The Lurking Fear. Former guitarist and primary songwriter of Gardens of Grief and The Red in the Sky is Ours Alf Svensson is disappointingly not among them. With At the Gates regressing to commercial speed metal after half of With Fear I Kiss the Burning Darkness, The Lurking Fear promise to play weird, evil, and twisted death metal again. We’ll see about that.

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A Playlist: Going Under

moria

Article by David Rosales

It is no secret that we believe that the best of metal has come out mostly of what we now call ‘the underground’, a tradition that has been characterized by standing outside of the wheel of commercial production in the arts. The moment a band signs a contract, lands big deals and makes a break through while effectively becoming shackled to the money-making industry, it has sold out. This is because as a commercially-oriented product, its main purpose is to be able to sell, it has to pander to the preferences of a certain audience, however whimsical they are.

It is true that music must retain a natural connection to man and its true test is how different people receive it. But this is not the same as the populist idea that the best music is that which appeals to the largest number of people, which is nothing more than a dumbing down to the least common denominator. The authentic underground stands between independence from commercial pandering and the need to communicate naturally through organized sound itself (Editor’s note: At the best of times, it furthermore isn’t simply content to dwell on its alleged authenticity; cue the endless mockery of albums that are too “kvlt” to be any good).

The following are short underground metal works released throughout the nineties. These represent specific moments and sides of metal that were, at that particular moment, true to their roots and the spirit of metal. They stand out in each particular moment as either outstanding examples in a times of superficial distraction, decadence or a complete lack of direction across the underground metal movement.

gardens of grief

1. At the Gates – Gardens of Grief (1991)

A favorite underground EP of many for the wrong reasons, this first official release by At the Gates stands squarely on the pillars of traditional old school death metal while innovating a unique approach to songwriting which built a whole platform on top of its basis, elevating the progressive art of death metal to a whole other level of refinement.

divine eve

2. Divine Eve – As The Angels Weep (1993)

This single nostalgic (inherently, not in retrospect only) release from back in the day by this Texan outfit brought together gestures from early Celtic Frost and Cathedral within a Scandinavian death metal frame, succeeding in climaxing in its own voice during certain moments in between.

trolltaar

3. Ancient – Trolltaar (1995)

A condensation and evolution of their soul-enchanting debut, this EP shows Ancient at its darkest and most minimalist state, while displaying its most potent emotional impact that reaches out as an invisible hand to clutch at the listener’s heart (Note: Infamous’ Of Solitude and Silence seems to echo the feeling of this ancient-souled EP).

absurd_-_asgardsrei

4. Absurd – Asgardsrei (1999)

Crude and rhythmic, a simple and punk-like punch to the face in the time of metal emptiness, superficiality and posturing, Absurd’s roughness disguises the poetry of the tribesman’s spirit, the man following his instincts untouched by modernist presumptions of what reading of history and human nature better fits their interests.

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Illusions Dead – Celestial Decadence (2016)

illusions dead

Article by Corey M

Illusions Dead put this descriptor on their Bandcamp page; “black/death metal with influences from bands like Gorgoroth, Anata, Insomnium, Intestine Baalism and more”, but what these Finns actually offer with Celestial Decadence is a shareware version of Slaughter of the Soul 2.0, now with even sappier melodies that won’t alienate the ex-emo kids who are looking for the next edgiest music culture from which they can leech a persona.

Generally, any given song on this album starts with two guitars playing some volleyball-style counterpoint with a relatively cool-sounding riff. The drums punctuate when necessary, and then the vocals come in and the whole experience deteriorates. Aside from the opening track (which features a more effective low-end growl), all of the vocals sound like a half-assed take on later Gorgoroth’s shrieking style, but more forced and less congruent compared to the brittle guitar tone. The vocals (and drum mixing) only deserve a minor critique though; the real problem with Celestial Decadence is the total lack of energy and motivation that bogs the entire album down.

The best riffs in the album are short-lived and are essentially half-assed plagiarisms of At the Gates melodies. Spontaneously switching between up-and-down single-string melodic patterns and chugging percussive cadences can’t save the utter lack of passion and purpose in every musical segment. When I imagine the recording process of this album I actually picture a couple of rock band guitarists being held at gunpoint and forced to jam out pointlessly “metallic” riffs that will later be organized by a randomizing program and pieced together by a computer that doesn’t know a thing about composition except for the absolute minimum level of human tolerance for illogical irregularity.

Lacking a single distinct riff (except for the particularly emo-sounding middle-and-end section of “Shadow and Flame”), this album flew right past me even after several listens. The musicians definitely have a refined sense of when a melodic pattern becomes too boring to repeat, but they seem clueless as to the efficacy of the melody itself in the first place. I can’t recommend this album to any sane person, except for maybe masochists.

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