These antiquated tapes came out of an ancient closet, were remastered on modern equipment, and serve as interest only to Beherit fanatics who want to see how this band grasped for a clue about songwriting during the early days.1 Comment
Trailblazing Finnish black metal and ambient pioneer Beherit unleashed its latest creation, Bardo Exist, on November 12. Given the complete autophagy of black metal, this redirection of the genre shows it how to continue as itself in spirit while the carcass decays.26 Comments
Obsessive-compulsive Beherit maniacs should take notice: Beherit’s first demo, Seventh Blasphemy, has finally seen a CD reissue courtesy of Brazilian Ritual Records.No Comments
The English translation of Tero Ikäheimonen’s comprehensive Finnish black metal book, Pirunkehto – Suomalaisen black metallin tarina, is coming out September 15th on Svart Records with the English title The Devil’s Cradle. The book features interviews and career retrospectives of Beherit, Impaled Nazarene, and a bunch of other bands who do not count and have no reason to be in the same book as they suck and play crossover thrash with high-gain guitar pedals and RAC/oi themed pop-punk . These modern black ‘n’ roll bands aren’t even from the same era; they are just poseurs.31 Comments
Tags: archgoat, beer metal, beherit, black 'n roll, Black Metal, book, cosmic church, Finland, Finnish Black Metal, goatmoon, Grindcore, horna, impaled nazarene, metal books, pop punk, poser metal, posers, poseurs, RAC, rac/oi, ride for revenge, satanic warmaster, svart, svart records, tero ikäheimonen, upcoming release
Death Metal Underground staffers Lance Viggiano and Corey M. reviewed Marko Laiho’s new ambient mix he created for Radio Helsinki.
Marko Laiho’s forays into electronic music can be described as anything but explorations of the myth of the machine. Though his aesthetic pallet draws from future invocations – anything we say of the future is always about the present – he blurs the line between the biological and mechanical unlike so much of the greater genre proper. For this mix, created for Radio Helsinki, the bohemian devil troubadour crafts an enveloping near-ambient journey using samples of original work and that of other artists as well. The success or failure of music in this mode is dependent entirely upon pacing over the course of an unbroken set which in this case does not falter. Broken into halves, the latter is more recessed while the former is more pronounced.16 Comments
Finnish label The Sinister Flame is rereleasing the legendary underground Wine of Satan black metal compilation featuring Beherit, Master’s Hammer, and Mortuary Drape! From The Sinister Flame’s Funbook page:
Article by Lance Viggiano.
Burzum and Beherit each represent two summits of black metal’s many perspectives – in particular its looking back to look ahead ethos. The work of Laiho is exploratory and spiritual while the work of Varg is seeking and religious. Each composer followed a similar trajectory of mapping this landscape through metal first, then ambient. Each phase reveals strengths and weakness in each of their aims which results in a somewhat complementary synthesis between two highly individual bodies of work.12 Comments
Article by Lance Viggiano
Metal, like nearly every form of contemporary western music, carries legacy traits from western classical music. Noting these inherited qualities and their contribution to metal’s identity is a fruitful venture worth study. Yes, some artists such as Emperor created music that may as well have been performed by an orchestra. Nevertheless there is a distinct tendency among metalheads to validate metal through this heritage. The logic behind this is eloquent and simple: Classical maintains an esteemed position and metal retains compositional/artistic characteristics of classical; therefore metal is good (insert adjective for good: High Art, Quality, etc.). This does a disservice to metal however as it forsakes the baroque for the succinct while deriving much of its power from textural aesthetics. Metal needs to be qualified and judged according to its own merits.
Both forms of music arrange motifs according to an underlying narrative. The pathos of western classical music is derived out of experiments in harmony that attempted to imitate a well ordered and intricately planned cosmos. The composer embodies the role of the One God who conceives and executes a nature in which each of its parts cooperate in accordance with divine law or in the case of music: its score and story. Metal however is all about the riff; not just its position in the score but also the way it sounds and the way it feels. Downtuning a guitar, plugging it into a bass amp, and dialing the gain knob to its upper limit are not trivial or accidental decisions. The textural component gives the music body which allows for succinct motifs to achieve significance out of relative simplicity. On the other hand, classical must take on a ”notey” characteristic to give the music weight. The roar of an ensemble is a force of its own, yet it is comparatively tame next to the bludgeoning delivered by an amplifier and a few pedals.
Classical entices the mind with intricate and ornate patterns while metal ignites the heart by delivering an unabashedly barbaric, vitriolic and brash force of will. With each occupying distinct but equally valid dimensions of the human experience – The mind and the heart, respectively – it becomes clear that using one to validate the other does a great disservice to each form of music. Unplug metal and survey its patterns next to classical and one will find that it sounds as if it was composed by intellectually immature children. Plug classical patterns into metal and one finds that the need to make tonal sacrifices to retain clarity while distilling patterns down so as to be performed by fewer instruments results in sterile powerless wank which exists without proper support.
The Romantic movement turned its gaze back to the primacy of nature from the perspective of the civilized man who took all of his habits of thought with him; retaining his clear, distinct abstract patterns and hard mental boundaries. He walks at a distance from the forest so as to keep his boots from the blemishing mud and his coat from the shearing thicket. The Romanticism of metal walks barefooted against the cold soil, barely managing to escape the weather but never the bonds of nature. His damp stone refuge is aerated by a primate musk so thick that the festering gobbets and searing tendons of his kill cannot penetrate it. The civilized man understands nature as an idea from which he is blissful detached and divinely endowed to understand while the uncivilized man understands nature as an irrational outpouring of desire against which his only freedom is attained by projecting his own will against the world. Each vantage point offers a unique view of the same landscape. From that summit the artistry of metal ought to be discussed and ultimately, loved.37 Comments
According to a source at Blabbermouth, the owners of Candlelight Records in the UK have recently sold their assets to Spinefarm Records in Finland. By doing this, they have consolidated even more label power into Universal Media Group. For now, former Candlelight members keep their previous licensing deals, and the deal has prompted the usual pieces of corporate rhetoric; what becomes of the former label’s assets is really more of a question for the roster. Spinefarm and Candlelight Records have both made indelible marks on metal history by releasing many famous metal recordings. In Spinefarm’s case, this includes formative works by Sentenced and Beherit, while Candlelight brought out Emperor’s studio work, as well as the debuts of Havohej and Opeth. Both went on to even more commercially successful artists.No Comments