A hidden influence on neoambient

lord_wind

The movement that some are calling “neoambient” — a fusion of dark ambient, Conan soundtracks, and neofolk — generally arose out of the metal community. The classics of the genre converge on Lord Wind (Graveland), Burzum and Black Aria (Glenn Danzig). In addition, metal bands contributed to related forms of epic ambient, like Beherit (Electric Doom Synthesis) and Neptune Towers (Darkthrone). Newer entrants like Winglord and Hammemit explore different paths along similar directions.

But how do we trace the influences and evolution of this genre? Glenn Danzig (Misfits, Samhain, Danzig) launched a partial revolution in 1992 with his Conan-inspired Black Aria. Several years later, Burzum followed this with Daudi Baldrs and Hlidskjalf, both of which used Dead Can Dance-themed ancient world music to frame the epic nature of its compositions, giving it a feel not just of Conan-styled epic conflict, but of a cultural basis.

There’s another influence lurking just a few years before Danzig — affirmed by Rob Darken as an influence on his music in Lord Wind — which was the music of Clannad as used in the BBC series Robin of Sherwood:

https://www.youtube.com/watch?v=wha5YXUj-uo

https://www.youtube.com/watch?v=Vp925EVOlCo

https://www.youtube.com/watch?v=lkHGGMXdZWs

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Suuri Shamaani – Mysteerien Maailma

suuri_shamaani-mysterieen_maailmaThe esoteric ambient/organic noise project of Beherit‘s Nuclear Holocausto Vengeance, Suuri Shamaani, will see its Mysteerien Maailma re-released next week by KVLT in Finland (€ 11 pre-order).

Like Justin Broadrick project Final, or post-Napalm Death project Lull, Suuri Shamaani attempts to shape sound itself using overlapping drones and ambient noises to create internal harmonies. Mysteerien Maailma (commonly called the “mysterious mailman” album for its resemblance to that phrase in English) represents a more ritualistic and ordered vision of that approach.

Those who enjoy the later music of Beherit, especially Electric Doom Synthesis, may appreciate the extension of ideas here. Like other post-black metal ambient project Neptune Towers, Suuri Shamaani discards what we recognize as music to shape an adventure or topography out of sound.

It is more like poetry made with discovered noise organized into a music-like language than it is composed music as we know it. Because its sonic texture is lighter than that of booming guitars or bright keyboards, Mysteerien Maailma requires a quieter listening environment and more investment of attention from the listener.

Limited to 300 copies.

    Tracklist

  1. I (3:52)
  2. Valve (14:32)
  3. Tähdet Ja Avaruus (9:58)
  4. IV (4:24)
  5. A17 (4:39)
  6. Jännite (3:33)
  7. Säde1 (3:03)
  8. VIII (3:21)
  9. IX (7:39)
  10. Okkultismi (4:44)

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The relationship between black metal, ambient and neoclassical music

nordic_dark_ambient_neoclassical_black_metalIn the mainstream press, black metal has a reputation for being solely misanthropic, heavily distorted anthems of aggression and despair that are defined by their primitive minimalism.

While this may hold true for the majority of contemporary bands, this view overlooks the foundational bands of the genre, who possessed a deft sense of melody and the focus to create longer compositions that allowed for more introspection.

Just as black metal musicians created a more minimalistic form of death metal, some were able to apply the same approach to the ambient and neoclassical genres, crafting tracks that through the use of repetition, stirring melodies, and tonal variation reveal the genre’s primal elegance without need of layers of distortion.

Given the news that Neptune Towers is being released on vinyl and Burzum is releasing an album comprised entirely of electronic music, now seems a fitting time to investigate this interesting subgenre and how it arose from black metal in several instances.

Burzum

Favoring simple but expansive compositions, contemplative melodies soar over mild arpeggios; in addition to a few tracks of industrial nihilistic deconstruction. Through the utilization of modern technology, Burzum makes narrative and meditative music that like its inspiration Tolkien, takes the participant on an internal journey to another realm.


http://www.youtube.com/watch?v=BajdtSD0eWk
http://www.youtube.com/watch?v=30lt14WQ1w0

Neptune Towers

A side project of Darkthrone‘s Fenriz, in Neptune Towers haunting melodies glide over dark drones while otherworldly noises color the backdrop. Evocative tracks signal the coming to Earth of a yet-unknown alien species or perhaps the future evolution of humanity, the soundtrack to the future.


Beherit

This band fuses its earlier black metal style with the industrial, pop, and ambient genres, featuring melodies that would not be out of place on a metal album, but pairs them with repetitive trance-like drums, synths, and found sounds that coalesce into epic moments before fading away like the rays of a burned out sun. Fans of multiple genres should appreciate this one.


Ildjarn

Elegant and skillfully composed tracks celebrating the beauty of nature in their simplicity reveal a greater depth of expression than would be possible with over-produced tracks. Just as he did with black metal, Ildjarn with compatriot Nidhogg reduces neoclassical music to its most basic form and builds from it an enchanting structure.


Lord Wind

A side project of Graveland, with Lord Wind martial drumming and heroic melodies bring to mind the battles of old, while synths and choruses expand the project’s horizons, providing reach to contrast with the grounded and earthy rhythms. Well-crafted neoclassic folk music, this is the further continuation of Graveland‘s second stage.


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The Best Underground Metal of 2012

The year is done. It brought many things: a new wave of hipster metal that blipped and died, an old school revival that’s been percolating for years, drama and sadness with the recent death of Rigor Mortis’ Mike Scaccia. Above all else, however, it brought us some quality music, some of which is heavy metal and some of which is metal in spirit only. Enjoy this survey of the best of 2012.

The Best Metal (and related) of 2012

  • Abhorrence – Completely Vulgar This legendary band existed before Amorphis and plays a grittier style of the bold, warlike and heavy yet melodic music that graced Amorphis’ first album, The Karelian Isthmus. These Abhorrence tracks show the band that would later write that album as they emerge from early grind/death stylings and gradually work more melody into their work. This is metal’s holy grail: how to be both epic and amoral in the nihilistic sense of worshipping power, darkness and nature, but also use melody and harmony to give the works some staying power. As this collection of re-released demos progresses, the fusion of the two gets more confident and deft, leading us up to the point where the greatness of the first Amorphis album was inevitable.

  • Angel Witch – As Above, So Below After a lengthy absence, this classic NWOBHM band returns with an album that shows integration of more recent influences, specifically American heavy metal and progressive metal, but still keeps up the power. These songs are not as distinctive or as oddball as the heavily personalitied offerings from their self-titled album, but As Above, So Below is important because it takes disparate influences and places them under the control of one voice and style, which gives others room to build on. The oil-on-water aspect of bands switching between influences is gone and replaced by a smooth enwrapping of these styles into the substrate of Angel Witch’s lauded and learned evil heavy metal.

  • Beherit – Celebrate the Dead If death metal was modernism, with its emphasis on structure, black metal was postmodernism, or an attempt to show through atmosphere the many facets of an idea in a clarity which could not be confined to a single statement. This was a quest as old as humanity, which is how to communicate in such a way that people who do not understand it do not simply imitate it from the outside-in and make something that looks about like it, fooling most people. Since the late 1990s Beherit have been at work inventing the next wave or movement of metal, one in which multiple statements co-exist in contradictory opposites that reveal the shadow or silhouette of an underlying truth. Two forms are in tension here: the “loop” form of traditional ambient music, in which layers are poured on top of a basic dub to create a simple sonic tapestry, and the pure narrative form which electro-acoustic music (and even some dubstep) touches on, in which a story is told through the change of riffs. This is closer to the original death metal idea of structure, but it is structure created through atmosphere, like old Tangerine Dream and Brian Eno albums, or even classical music. To this end, Beherit has re-released two demo songs from Engram which are ambitious longer (13- and 15-minute) works which show a deepening and changing of atmosphere, using both looping and narrative constructs at the same time. This is a valiant and clear-headed attempt to resurrect black metal, which has fallen into the hands of those who imitate the “external” aspects of the early classics like simple riffs and fast songs, but understand none of the underlying ideas or songwriting methods. While it seems unconventional at first, Celebrate the Dead is a return to the truest form of black metal by expanding its orthodoxy to include the transcendental narrative of those more experienced in both this world, and the realms beyond. Be not fooled — evil pervades this release, so subtly that you will not know until it has seized your soul.

  • Dead Can Dance – Anastasis For their return after some absence, Dead Can Dance have taken the style on Spiritchaser and refined it even more with the sensibility of modern club music and soundtrack influences. Rhythms and tempo work like you might expect a big label ambient album to work, fitting very much into the slightly picked up chill-out range with gentle backing beats that are still identifiable enough to make it easy to listen to. Consistent with even earlier work, songs use extended structures, but they fit the pattern of an early MTV video or short film more than a musical one. The result is that these are immersive little sonic ventures that are both easy to hear and not surprising, and also, rewarding in their consistency and adept arrangements. Melodies themselves are not as adventurous or period/locale-specific as older Dead Can Dance, and in fact more lifts from earlier influences can be heard (check out the Doors “The end” inspirations on the first track). For a purist, this will not be the best Dead Can Dance album, but for something that has stepped into the Loreena McKennit or Enya range of “accessible,” this is far beyond what most would encounter otherwise and makes for a pleasant listen on its own.

  • Demoncy – Enthroned is the Night Along with Beherit, this shares the top spot as album of the year. In 2012, a wave of bands like Cruciamentum and Heresiarch rediscovered the sound of classic Incantation from the Onward to Golgotha area. Having come from the same school, joined to Incantation by Ixithra’s former band Havohej’s primary composer, Paul Ledney, having been an original member of Incantation, Demoncy launched into the same by creating a faithful followup to 1996’s Joined in Darkness. In this case, Demoncy add a bit of melody and atmosphere, channeling from first album Unleashed and other Swedish death metal classics, thus combining the two most intense areas of death metal into what is really a death metal album with a black metal sense of atmosphere. The result is a descent into a dark and primal place in which occult spiritual warfare transpires through the battling of motifs in this complex album made of simple parts. Like Joined in Darkness, it is otherworldly and foreboding, but a bit less purely alienated; instead, this album creates a sense of symbolic significance emerging like melody from the clouded obscure. Very little black metal of this intensity has been made since the mid-1990s which makes this both faithful to the spirit and pushing the boundaries of the genre, a simultaneous advancement that eludes most musicians and fans alike.

  • Derkéta – In Death We Meet Arising from the ashes of Mythic, the all-female doom-death band from the early 1990s, Derkéta follows in a more purely doom metal path including some of the juicy 1970s heavy metal style doom metal that audiences enjoy with bands like Pentagram and Witchfinder General. 24 years later, this album is the first for this promising band, and holds back nothing. Like Mythic, the music is formed of giant bolsters of tunneling power chords colliding slowly over a changing melodic landscape. Atmosphere emerges from within. The simplicity of it removes the glitz and contentless enhancement of current doom metal bands, and takes the listeners back to the essence of the genre, which is an unsettling sense of pervasive dread. A prominent Candlemass Ancient Dreams influence seems to be present in these compact and droning songs.

  • Desecresy – The Doom Skeptron Desecresy approach Finnish death metal the way others might approach doom metal, using melody and abstract song structures to convey an experience not unlike watching the helmet camera of a pilot flying through a vast and ancient underground cave in which demons seem to lurk behind every stalagtite. Comparable to a hybrid between Amorphis and Skepticism, this album nonetheless keeps up the umptempo riffing and lets its melodies emerge to construct an emanating atmosphere. The result is both aggressive and enjoyable from a purely death metal perspective, but where appropriate, it uses the moods of doom metal to complete that raging insanity to produce an experience that is like a journey. There are doubts, fears, joys, rage and sadness, but pervading all of it is a sonorous melancholy which indicates a change in viewing life from orientation toward what is safe, to prizing what is adventurous and as such being alone on a planet of people concerned with safety labels and microwave cooking.

  • Drawn and Quartered – Feeding Hell’s Furnace Imagine a hybrid between Angelcorpse and Num Skull. These songs are extremely basic, like the melodies of horror movies, but are put together with interlocking rhythms that propel them forward and give them atmosphere. As a result, their themes feel intuitive like paths through a forest remembered from a childhood story. There will not be surprise at the ways these tunes twist and bend, but appreciation for a well-done interpretation on a necessary idea. In the same way you might appreciate an excellent sword or well-executed painting of a familiar subject, these songs will be appreciated for how well they do what they love. Just as most musicians make their best work when they design it to be enjoyed repeatedly by people with their own tastes, this faithful and yet creative interpretation of the old school death metal genre will be shared among those who can appreciate it, for taking the past and making it live on by keeping it current to itself and through inventiveness, an enjoyable listen.

  • Faustcoven – Hellfire and Funeral Bells This release is not particularly metal, or at least underground metal, even though it aspires to the aesthetics of it. Rather, this is like Marilyn Manson interpreting classic heavy metal in a gothic doom metal context as informed by death metal aesthetics but not technique. It’s basically blues rock with short phrase power chord riffs and highly compelling rhythm, underneath leads that are reminiscent of a friendlier version of St. Vitus. Good use of theme allows this release to be a faithful listen and also have some staying power for those who like this style. Like most doom metal, it is designed to build a repetitive atmosphere that is part curl of enjoyment, and part linear path of a melancholic mood. The death metal vocals would normally be out of place here but with the heavy reverb they take a backseat and let the guitars talk, which is the point of this band. It will probably not delight those who like underground metal, but if you’re looking for someplace to go for your next Cathedral or Sleep fix, this furry doom band holds the ticket.

  • Grave – Endless Procession of SoulsGrave return to the Swedish style which they helped make famous. Like later Fleshcrawl, this music is simplified from the original riff-salad which was reverse-assembled to make a journey into darkness emerge from thin air, but although it uses plenty of verse-chorus segments, they are not the entirety of each song. There are enough labyrinthine twists and turns to be fun, a good motivational rhythm, and an atmosphere of darkness and aggressive that is also (oddly) comforting and natural. Although musically this is fairly basic, like early Grave, it shows more use of melody and harmony, which adds an appreciable dimension of compactness and centering without falling into standard rock music. The result is easy to listen to and yet brings out its power in moments of sudden clarity which, as in life, make the listener think there might be more afoot than the obvious.

  • Imprecation – Jehovah Denied This four-song EP shows the resurrected Imprecation: more consistent in its songwriting, slightly less manic, and more inclined to create a pervasive atmosphere of darkness. The occult death metal founders from Houston originally shone in the early 1990s, when their demos and later CD were released, but returned after inaction and the lending of band members to other acts. Their earlier material had more of a Morbid Angel influence and presented itself as clear occultism, where the newer material goes back more toward where Possessed and early old school death metal (Morpheus Descends, Massacre) were headed back in their day. Mood-enhancing use of background keyboards gives an aura of the mysterious to these dark melodies and the organic rhythms which suffuse them. Influences on this music span from pre-death metal, through the walking and stalking rhythms of speed metal, to the later black metal works in song structure and atmosphere. This EP presages a killer full-length but stands on its own as quality music with a voice particular to its worldview.

  • Incantation – Vanquish in Vengeance With new personnel and possibly the strongest sense of unity in a long time, Incantation very sensibly took influences deliberately from their own two greatest successes: Onward to Golgotha and Diabolical Conquest. The result is an album that self-consciously borrows from those albums in style but tries to create new songs to wrap in that style, and with the aid of new guitarist Alex Bouks (ex-Goreaphobia) shapes its works around melodic shapes but does not adorn them in melodic riffing, creating a sense of an inner region of hidden energy within the exterior of rugged chromatic shapes. The result is one of Incantation’s most conventional albums but also a festival of the methods that made early Incantation so distinctive and powerful, which combined makes for a good later death metal listen.

  • Legion of Doom – The Summoning of Shadows This oddity of an album begins with some form of sung prayer and launches into songs that are both adorned in the harmonic glaze of melodic playing and also possessed of the manic simplicity of early black metal. Like the primitive era of black metal, these songs are specific structures fitting the content of each song, with droning riffs that interact and build to a culmination before dissipating. On this album, Legion of Doom use more death metal and speed metal technique in with their Burzum-inspired black metal, ending in a result that sounds more like an ornate and elegant version of Gorgoroth’s Destroyer. Like all Legion of Doom releases, The Summoning of Shadows features songs that accelerate thematic intensity in layers and produce an immerse, ambient experience that suspends reality through the sheer dominating power of its riffs. This album is more efficient than the last couple of releases of this band, and by embracing a listenable style, makes the type of outsider album that Marduk or Watain wish they could.

  • Lord Wind – Ales Stenar If you want to immerse yourself in ancient sensation, Graveland axeman Rob Darken’s ambient/neofolk/soundtrack project Lord Wind is a good place to start. Unlike previous Lord Wind efforts, Ales Stenar mixes real vocals and violin with electronic music that is roughly inspired by the Conan and Red Sonja soundtracks. The goal however is less like the rock-ish folk songs of neofolk, or the grand accompaniment for cinema provided by soundtracks; this is music like Burzum or Graveland that is designed for the listener to lose themselves in its repetitive hypnotic surges, like a catechism or mantra. Its soaring melodies and plunging dynamics give it a familiarity like the rush of blood through veins in the ears, and the result feels natural and yet inspired to rise above the mundane at the same time. Like entering a forest, the songs open up to repeated listens and soon each part is distinct, but our natural way is to hear it all at once and derive a sentimental feeling, perhaps warlike, from it. This is the most proficient and perhaps most profound of the Lord Wind albums, proffering a complete escape from reality to a world that is both fantasy and more real than the stuporous dream of modernity.

  • Master – The New Elite Over the past few albums, punk/heavy metal hybrid Master has steadily been migrating toward late-1990s death metal. This new album presents a more technical view than the verse-chorus-exposition songs that Master (and related Speckmann projects) evolved from. Much like On the Seventh Day God Created…Master, riffs are strummed with precision at high speed and tend to lead away from stable grouping by adding riffs to the existing loop. These riffs use longer progressions and more chromatic fills, giving the music a mechanical terror that makes it sound like technocracy taking over. Speckmann’s vocals are tighter than in the past and urge the music along, but somewhere in this musical process of evolution, his overall tone has started sounding less like protest music and more like a cheering of the coming conflagration. Seeing that Master keep improving over time provides a great incentive to follow this band as they evolve further.

  • Profanatica – Sickened by Holy Host / The Grand Masters Sessions Sometimes, in order to reach your next aspiration, it is necessary to part with the past. Profanatica have done this in grand style by accumulating old tracks and re-working them in parallel, with one disc containing newer versions done in the early 1990s style, and the other containing older session takes on the same songs, interspersed with acoustic landscapes by Aragorn Amori, the band’s much-admired deceased former guitarist. Through its long history, the entity known as Profanatica/Havohej (or: Paul Ledney and friends) has consistently released material showcasing a truly artistic brilliance. Usually, between moments of brilliance there are experiments and less intense offerings that make it easy to forget that when they are in full swing, these musicians are unstoppable forces creating a unique type of black metal that is closer to ambient death metal but unlike most black metal at this time, possessed of a full mythos and unique view of the world. Like the best of Profanatica/Havohej, these two discs are ripping sonic terror that transcend daily life and divulge the essence of the feral spirit of pre-civilized humanity. In that vision of evil, Profanatica offer us something both inspiring and instructive, and do so through some of the best music of their career.

  • Terrorizer – Hordes of Zombies People love change if it is constant and hate it if not. Terrorizer misstepped with their first post-World Downfall album, but came back with a strong contender on Hordes of Zombies. It does not attempt to be World Downfall II which is intelligent since outward-in emulation of the past usually produces hollow shells, and a good many classic bands have gone to their graves in disgrace by doing the same thing. Instead, this aims more at the territory scoped by Napalm Death with Fear, Emptiness, Despair: a modern form of grindcore that is musical and listenable without being commercial, and aims less at creating an atmosphere of terror and misery than creating motivational, energetic and yet literalist/realist music. These songs convey a desire to look at a dangerous situation with hopeless odds, then jump in and fight it out. It’s war music, but music of a normalized war, like going out into a declining civilization and fighting for mundane survival. Hordes of Zombies does this through a somewhat overused metal metaphor, that of the zombie takeover of society, but as a movie/musical trope this theme has remained consistent since the 1960s because it so aptly describes egalitarian society. Consumerism, mass trends, fads, panics, elections, Black Friday sales, save-the-children; it’s all in there. Terrorizer may be brilliant satirists for transforming all of that mass neurosis into a simple symbol and then making these engaging songs about it. Each piece uses a combination of rhythmic and slight melodic hook to lure us in, then pits grinding riffs against one another while fitting them into bounding rhythms that unleash an inner fury in their conflict between the fear and the mundane. The result is a stream of ferocious riffs in songs that hold together as songs in the Terrorizer tradition, creating an experience of immersion in conflict that is both justified and everyday. For a genre such as grindcore, this more stable form is preferable to re-living the past or trying to “innovate” by including outside elements. As a result, Hordes of Zombies is not only a great listening experience but an archetype others will follow.

  • Thevetat – Disease to Divide One of the more interesting entries comes from ex-Ceremonium musician Thomas Pioli who has assembled a new team to make music that sounds like early NYDM mixed with the melodic undertones of heavy but intriguing bands like Montrosity, Malevolent Creation and Gorguts. The result hits hard with a rushing wall of chords and then drops into socketed rhythms that invoke a change in riffs, causing a twisted inner torment to emerge in Protean form. This gives old school death metal a new life without giving it a new form, since the form is the result of the content, which is essentially unchanged but slightly updated since 1992. No concessions to “modernization” (a/k/a mixing death metal with rock, jazz, metalcore, disco, punk, etc.) occur here, which allows this music to be in touch with its own spirit and flow freely from the source of its own inspiration. It is thunderous and yet perceptive, bringing with it the spirit of doom metal and its introspective melancholy. Although a three-song EP, this release beats out most albums released this year for pure death metal intensity.

  • Timeghoul – 1992-1994 Metal developed its own sense of “progressive” and “technical” music long before it imported jazz-fusion in order to help it. In fact, part of metal’s birth was from the original progressive rock in the 1970s and the soundtracks of horror movies, which gave it a predilection for this direction. “Progressive” itself is a misnomer since nothing new gets discovered in music, but probably more accurately means “complex”: music with unconventional song structures, extensive use of harmony, melody and key; possibly linked to some kind of story outside the music itself and the usual topics (love, sex, drama) of pop songs. These songs craft winding riffs and intricate structures, using embedded melody to transition between more chromatic riffs, and culminate in odd twists of fate that translate them into seemingly the reverse of their initial outlook. Culminating in the epic 10-minute “Occurrence on Mimas,” this collection of early works by this band showcase the enjoyably weird variety of death metal in its early days.

  • War Master – Pyramid of the Necropolis This modern band attempts to revive the death metal style, starting with the deathgrind of its namesake Bolt Thrower and incorporating influences from many of the bands of the era, and succeeds by staying true to its own enjoyment. As a result, it’s working in a style, and not from a template; the band want to create old school death metal, but aren’t doing it by imitating songs or styles, but by writing in that style based on similar inspirations. As a result, this band has its own voice despite being very familiar in technique, and has chosen its own path for subject matter and thus the arrangement of many of these songs and the types of riffs used. Its aesthetic mixes the grinding mid-tempo riffs and repetitive choruses of grindcore with the circuitous riffing of death metal and its tendency to unveil changes in layers of rhythm, guitar and vocals. While the style shows the influences of later death metal, its sensibility is firmly grounded in the early years, which makes this a great old-school death metal experience. However, its most salient factor is that it’s also interesting music. Songs are formed around their topic, with riffs and structure contorting to resemble the object, and riffcraft shows learning from the past but creation of its own new forms. Guttural vocals which maintain an ascetic detachment from the emotional content of the music help to give Pyramid of the Necropolis the ultimate death metal point of view, which is as a dispassionate observer amongs the ruins detailing the conflict that created this mess, and must endure after its collapse.

Disappointments of 2012

Abigor – Quintessence

Apparently this is new and old material. The shift between the new and old is like jumping out of a sauna into the snow. The newer material shapes itself to an expectation, much like the newer Swedishy bands in the style of Watain, that combines melodic punk with raw and random riffing in catchy rhythms. The result is like a painting made of painted dog turds, in that from a distance it is appealing, but as you get closer its mundane nature is revealed. Abigor have always suffered from being too quick-thinking and inventive for their own good, because they can always throw together a bunch of quality riffs and make most people think a song happened, but here that model breaks down. The songs feel more like slide-shows than organic wholes. The older material is good however.

Absurd – Asgardsrei

This remaster of the 1998 album was in theory supposed to improve sound quality. Had they simply done that, this would have been a shining victory. Instead, it has been standardized. The drums have been pumped up to emphasize rhythm, and the guitars doubled and bass-maximized, with vocals shrouded in reverb. Alone that removes much of the distinctive sound, but attempts have also been made to lower the volume on elements that are not orthodox black metal-cum-oi that Absurd makes now. The result is a loss of detail and an emphasis on the simpler parts of each riff, not the interesting interplay of riffs. They’ve made this album sound more like their remakes of earlier material and by pandering to one audience, lost a lot of what made Absurd interesting.

Acephalix – Deathless Master

A highly-praised release, this album purports to combine Swedish death metal and crustcore. What it ends up with is neither, but a mishmash of riffs around a rollicking beat, changing entirely at random. You hear a little bit of old Entombed, some Dismember, and a lot of filler riffing that really goes nowhere. For about three songs, it’s pleasant listening because you can tap your toes to it and it reminds you of Left Hand Path. Then you realize the songs never went anywhere. They’re like wallpaper. And to the horror of any crust fan, this is built on the bouncy beats and song structures of pop-punk. It’s closer to Blink 182 than Entombed or Amebix.

Aura Noir – Out to Die

Once upon a time, I referred to Aura Noir as a black metal Britney Spears because their music is pop dressed up as black metal. However, it’s normally fun pop with high energy and catchy riffs, even if in verse-chorus structures so repetitive that you have to background it. But with this album, they go into the boring zone. This is almost like a drone with a horse galloping in the background to keep up energy. And yet, like the lady that doth protest too much, the more “energy” you need to inject, the less the music is actually compelling. And on that level, this album is basically the same speed metal/Motorhead style riffs that bands were rehashing back in the 1980s, but now revived in an even more exhausted form.

Coffin Texts – The Tomb of Infinite Ritual

The people behind this band are good, and their intentions are good. The result of their efforts however is bog-standard death metal, not so because it imitates anything else, but because it is unreflective of any purpose outside being death metal. It’s predictable in the sense that nothing is surprising, and yet, it doesn’t really gesture at anything more than being death metal itself. I hope these guys stop trying to be whatever they think they should be, and find whatever they actually enjoy instead. Best yardstick for your music: what you enjoy and would listen to on your own, even if you knew no one in the band.

Graf Spee – Reincarnation

Some things should stay in the 1980s. This is prescient in that it emphasizes the kind of bouncy riffing that fits on the spectrum from Anthrax to Meshuggah and onward to metalcore, but it’s disorganized, inconsistent with the vocals, and feels more like a pile of spare parts than a smoothly running engine.

Hellevetron – Death Scroll of Seven Hells and Its Infernal Majesty

2012 was the year everyone rediscovered Onward to Golgotha. I agree, it’s a killer album. There’s nothing wrong with Hellvetron, who seem like competent musicians, but this album attempts to imitate the outward form of Onward to Golgotha without grasping the underlying tension in the music that makes it work. As a result, Hellvetron impose current song structures (loops) and standards onto the aesthetic of the past, which makes for a decent listen until it becomes apparent that it’s not really about anything except itself.

Impiety – Ravage and Conquer

It’s hard not to enjoy this album, which is like a hybrid between Angelcorpse and Mortem with a squidge more melody. However, it is highly repetitive because it doesn’t go much beyond that concept. Like Krisiun before it, the concept is full speed ahead skull-crushing aesthetic, and this is so powerful it squeezes out most artistic content. This leaves you with some creative riffs, some talented use of tempo, but nothing that holds together long enough to listen to for a decade.

Inverloch – Dusk | Subside

These ex-Disembowelment musicians have a bit of a cult formed around themselves. Part of the reason is that unlike almost every other band before black metal, they knew how to write melodic music, which they do here as well, in something that resembles a cross between death-doom like Asphyx and melodic doom like Candlemass or Paradise Lost. Crashing riffs coexist with gentle melodic fills and overlays that create a dense atmosphere of nocturnal wonder. However, beyond that, the direction seems confused, which is appropriate for a re-entry EP but excludes it from this year’s best of.

Mantas – Death by Metal

Before the first Death album, Chuck Schuldiner tried out his riffcraft in Mantas, named in tribute (by educated guess) to Venom. There’s a reason these sort of re-releases are confined to collectors, and that is that these demos show a young band trying to get the order of riffs in its songs correct and at the same time develop an image, sound and voice. The result is great, if you like listening to parts of the same six songs 18 times each. A true-blue die-hard ultra-kvlt collector will put this on the stereo next to “Scream Bloody Gore” and “Spiritual Healing” and start working out each riff until he’s sure how everything works. Then again, with the hindsight of nearly thirty years, we know exactly how it should turn out, which means that for the rest of us, this will sit on the shelf in perpetuity except as a conversation piece.

Maveth – Coils of the Black Elite

This album reminds me of middle period Immolation, in which creative riffing often fell into very similar rhythms and as such, the songs sort of became a continuum which resembled pulled taffy: cut off a length of Immolation, let’s listen to that. Oh look, sliced Immolation! It’s the same way here. Maveth has very creating riffing with excellent right-hand control, but the songs themselves are a muddle because the riffs are the direction and as such, there’s not really a way to put the riffs together that makes sense, so the band converges on a mean and drops into very similar trudge rhythms to make the songs catchy. At first listen, especially the first three tracks, promise is everywhere; by track five, it’s clear that circularity has occurred.

Purtenance – Sacrifice the King

This EP suffers from a primary flaw, which is disorganization. It’s not random, but it’s what happens when you decide to make death metal and so treat that as a container, and then “write to fill” and twist the riffs into place so they work with each other. It’s not about anything, and thus is “random” in the sense that it could mean anything. As a musical experience, it mostly conveys a sense of disorganization and frustration. The best bands mold that sort of raw emotion into something which rises above the confusion and achieves clarity. If not beauty, truth, goodness, etc. at least something that is desired more than it is hated, and so inspires them, even if that goal is hatred itself.

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The Best Metal of 2011

I’ve just completed reading the 2011 “best of” lists from a number of popular websites. The results are predictably dismal. Are these people incompetent or just deaf?
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Sadistic Metal Reviews 7-23-10

Being a music reviewer is like playing a neighborhood game of softball. Most people just toss the ball at you in an underhand heave, figuring you’re probably too incompetent to hit it most of the time. Every now and then one comes in at a crazy angle, either because it’s the one kid who can pitch even if he’s tossing you a giant rubber ball with the aerodynamics of a bison turd, or they let the retarded kids play. Either way, that crazy pitch is one in a hundred, and I live for those. Either it’s the rare CD that has some intent behind it, and some feeling to it as a result, or it’s some immaculately oblivious basement dweller here to amuse us with failure. The rest fail just by being ordinary, unexceptional and therefore, completely forgettable.

Kayo Dot – Coyote: This King Crimson tribute project likes to use diminished melodies, atonality, and chaotic combinations of instruments, but at its heart it is pop music with a simple variation on a common theme — instead of using pairs of riffs, the band assemble their phrases in groups of three so that you can shift between them and feel a sense of motion without unnecessarily complexity intervening. Many songs rely on long passages of “building up” harmonic energy through texture, which are like fun jams that then dissolve into structured song again. Songs vary enough to keep interest but are aesthetically unfulfilling as they aim for an aesthetic of randomness and barely remaining organized, which flattens the emotional dynamic possible because every moment is a cliffhanger. In addition, the vocals are like a really bad version of Sigur Ros and will annoy most people who like aesthetically coherent experiences. The most common mistake in making progressive music is to throw everything but the kitchen sink into the pot and hope it sticks, but the best bands always worked from a very simple plan and then spun layers of detail off of that. The horns dominate and guitars are relegated to rhythm and noise. Individual instrumental performances are excellent however so if you are a basement guitarist hit this like a cuffed protester.

Aggression – Forgotten Skeleton: If you crossed Nuclear Assault with Dissection, and gave it punkish choruses borrowed from Cryptic Slaughter, you’d get Aggression. Lots of classic speed metal riffing that will delight anyone who really loves the period after Metallica but before the Dark Angel/Kreator/Destruction/Sodom influenced morphed into death metal, and linear riffing that’s reminiscent of Powermad. On the whole, it’s somewhat random like Destruction and the chanted choruses over the offbeat kickhappy drums sometimes makes me want to make origami out of an IQ test, but this is a credible effort. I just don’t want to hear it again.

Daughters – Daughters: If you crossed Mindless Self Indulgence and Talking Heads with the Beastie Boys, you might get this whacky indie band that uses drums like an industrial band and keeps a theatrical, almost vaudeville level of hysterical intensity with lots of background noise. The vocalist half-talks half-sings and the guitars follow a song structure of extended versions textured in found sounds and different guitar riffs but essentially like all good dub following the same rhythm. Unfortunately, it’s also abrasively annoying because it is essentially simple with many distracting sounds packed into its core. “Daughters” has a spacious sonic profile and weaves some catchy riffs cloaked in noise throughout it, delighting those who thought post-rock should be weirder than slowed-down shoegaze/emo mashups.

Battalion – Winter Campaign: I keep a clay pigeon launcher next to my reviewing station, and when a disc irritates me beyond all reason, I send it flying out over an oblivious world. This is bounce metal, this Battlion stuff, which means it’s like Exhorder crossed with something jaunty and stupidly hard rock like Motley Crue. Although they use a lot of death metal riffs, the majority of playing time goes to riffs which are straight out of the most cliche days of speed metal: chuggachugga chuggachugga chug chuggachugga chuggachugga chug, chug . It is so obvious you have to hold your head up to avoid slumping into a stupor. Not sleep — who can sleep with all of this noise? — but a stupor as if you had someone present to you a 19-hour lecture on how to pick your nose. Mundane is the word. Throw this out as fast as you can find it.

Grave Miasma – Exalted Emanation: There’s a recent spate of these “simplified Incantation/Demoncy” bands. The only one I like so far is Cruciamentum; they vary just enough to be a solid B level death metal band. Teitanblood and Grave Miasma are so obvious it’s just painful to listen. Grave Miasma in particular seems to draw inspiration from Grave, who would use basic chromatic progressions in the most obvious way in rhythmically very basic ways, such that the boldness of it made you want to like it, as with early Napalm Death. But then you’d reflect on it and realize there wasn’t much there unless you really enjoyed the guitar tone. So it is with Grave Miasma: standard song forms, plodding progressions, little harmonic or melodic development, and not particularly compelling rhythm — unlike Demoncy and Incantation, who used minimalism creatively, this is just minimal. I’d like to love this, or I’d love to like it, but I don’t want to listen to it again.

Zs – New Slaves: Tribal drumbeats with metallic noises for harmony, deconstructed sound and effects, and a wailing saxophone make up this experimental band that uses the dub structure of layered sound. The beat established early in a song almost never changes, although it may cease at strategic moments, as in a primal ritual; within the spaces between beats, additional percussion instruments lend their timbre as an electric guitar and/or saxophone make repetitive oddball sounds with minor textural variations, giving the sensation of the album slowly surrounding you like chocolate icing. While most will not have the stomach for the abrasive wall-of-noise technique, the ritual rhythms and ceremonial pacing to each song make it an enigmatic sonic wallpaper for the background, reminiscent of the K.K. Null/Merzbow project “Absolute Null Punkt” if hybridized with The Electric Company.

Diamondsnake – Diamondsnake: This band cracks me up. Well-known ambient dude Moby created it with some of his friends from non-succeeding metal bands. It sounds like middle period Motley Crue done by pop punk brats Blink 182, with lots of extra cheese and sleaze, more with tongue-in-cheek irony than attempting to really provoke a parent or legal guardian. For hard rock listeners, this album is about as clear as anything else in the genre, and has some retro appeal with its very “Quiet Riot 1985 turned up to 11” sensibility. One oddity is that the production is so thin and designed to resemble a pop band, because the reedy hum of guitars cannot compete with today’s louder and thicker sound. However, it captures vocals, which with infectious four-note melodies are what really drive this band, since the riffs are if not generic at least cut from historical archetypes. Like most popular music, it’s children’s songs — really basic 3-4 note patterns repeated as “melodies” — but it’s catchy, fun, and not half as bad as most of the trve kvlt releases we get here.

Catapult the Smoke – Unearthed: Stoner metal is about half Black Sabbath, with the other half being filled by the rock heritage that comes into metal through bands like Cream, Led Zeppelin and Iron Butterfly. This CD contains competent stoner metal with unsteady wailing for vocals, but its essence is rock ‘n’ roll wrapped up in a bunch of metal riffs. In fact, it could well be a case of regression to the mean; this band is not substantially musically different from the Night Ranger clones of the 1980s, but they used lower tuning and have a greater vocabulary of metal riffs, namely Candlemass and Cathedral. Song structures are very much radio rock and these songs suffer greatly because there’s no emotional dynamism in them, where we feel a sudden change in difficult emotions that has the effect of stepping onto a three-story water slide and riding out of control. Instead, these songs claim a space and fill it, but there’s not much internal change or feeling of any emotional conflict, so they end up being more like leaving a fan on at night for comforting white noise.

Vuohivasara – The Sigil: Sounds a lot like Niden Div 187, namely fast melodic violence with lots of chromatic fills and a basic riff/chorus construction. Not bad, not as good as Mythos.

Trauma – Daimonion: Metalcore-influenced modern death metal, reminds me of a cross between Pestilence and Eisenvater, but it does the thing every bad metal band does which is repeat a basic rhythm through everything. Vocals/guitars synch and chant. Riffs are very similar too.

Master – Slaves to Society: Paul Speckmann is a genius of metal who sometimes leaves things half-finished as he does with this album. Riffs are similar, and guitar wankery fills in the gaps. In addition, his chorus-chant heavy metal just makes for repetition. There are some awesome moments but it’s not Master’s best.

Beherit – Unholy Blessings: Compilation of demos. The early demos sound like the first album, the second album demos sound like the second album played hastily, and the live set is chaotic and brilliant but not really something you need recorded. Blasphemy cover is a nice touch. I love this band but don’t see the point to this bootleg.

Skeletonbreath – Eagle’s Nest, Devil’s Cave: I like this because it reminds me of what Carbonized attempted to do on their second and third albums, which is leave rock music and jazz behind by giving songs a pattern of development more like that of a movie soundtrack. Using drums, adroit bass, and a violin, Skeletonbreath create carnival-esque longer songs that resemble soundtracks for the greatest movies you’ve never seen. These songs have clear theme and develop through a series of melodies that comment on one another, creating a real sense of atmosphere and through change, emotion. One of the more interesting CDs I’ve heard recently and musically, head and shoulders above the rest.

Xasthur – Demo 2005: Xasthur is easy to like, at first listen, because it’s actually musical in the formation of its riffs and use of vocals. The problem with Xasthur is that songs don’t go anywhere; this is the same problem every “Burzum-influenced” band has, which is that it’s much harder to string together riffs into an atmosphere than maintain it with one riff and a few breaks. This demo represents the furthest evolution of Xasthur in that songs vary between several moods, like how in your average house, you end up in one of three rooms most of the time. It’s very pretty but doesn’t stand up to repeated listenings.

Wiht – Wiht: First track sounds like a cross between Capricornus and Celtic Folk; it’s very bouncy and very intense on repetition with layers of simple technique on it. Sounds a lot like early Abigor mixed with Samain and early Hades. Not bad, but needs more direction.

The Austerity Program – Backsliders and Apostates Will Burn: Melodic punk music interrupted by extended periods of bass/drums while some dude sings a faux Jim Morrison/David Bowie melodic ramble which is not so much directed as responding to itself. The chaotic result is really abrasive for the most part but has its moments of beauty. I’d like to like this CD but it forgets about the listener and has made a theoretical object instead. Most people will as a result find it annoying.

Antediluvian – Under Wing of Asael: This is like a death metal version of war metal. Take some of those two-chord rhythm riffs that Blasphemy made big, add a musically unrelated fill, and make it a song… then repeat. It’s not bad, it’s not great, it’s on the low side of good but too repetitive to listen to again.

Pyramids with Nadja – Pyramids with Nadja: Often when reviewing failed black metal projects, my thought is that the musicians involved are simply in the wrong genre. Our personalities determine our ideologies, and from that what we find good and what we find bad, and if those don’t match up with the genre, we’re out of place. Nadja the shoegaze emo black metal band is insipid crap; here, however, with personnel from Pyramids as well, the Nadja people are in their element and a great album results. This most reminds me of Mick Harris’ Lull fused with post-Godflesh project Final, if supervised by My Bloody Valentine, because it is layers of organic sound like distorted guitar usually not even playing notes so much as skimming strings and using vibrato directly; they use bass as percussion much like Final does, and layer their distorted waves like My Bloody Valentine, but the sense of songs arising out of silence through chaos into pleasing drones is pure lull. Piano serves here as a guiding voice that brings the surging noise back onto something resembling a melody; voices can be heard, like a Greek chorus in distant space represented by reverb, filtering through. The result is pure texture like noise music, but it’s a texture that takes harmonically related notes and builds from them a fullness that is gentle and intricate enough to hold the attention. This is where these musicians belong; burn your Nadja CDs, because they are nothing in comparison to this.

Aosoth – Ashes of Angels: This is very similar to Anael, in that they use a couple of additional power chord shapes to fake a sonic tapestry. Dissonant chord, consonant chord. Always a binary, like a nu-metal band: here is soft and sensitive, and now it collides with rough and tumble. This technique is as old as 1987, which is when I first heard it and these chord voicings used by emo bands. This release doesn’t understand the spirit of old school death metal, or how it’s composed, and the result is a boring, lukewarm, soulless and repetitive listen.

Cleric – Regressions: Metalcore mixes hardcore, emo and metal into music with the compositional style, pacing and chord shapes of hardcore, but often throws in metal riffs, textures and vocals. The result is like a bag of kittens, each one scrambling to be nearer to the top, and the result is pure chaos. Cleric throw in some droning guitar feedback that’s quite pretty, some odd pauses and lots of prolonged open chord strumming, but musically this is no different from 100,000 other bands since 1987.

Apostasy – Sunset of the End: This album inherits the worst of speed metal, which is lots of strumming in the background while drums race to keep up and some dude “white guy raps” over the top. They’re good at their instruments, and know that intersection of riffing between Artillery and Destruction that is so fertile, but it doesn’t hold together. My head hurts.

Blut Aus Nord – Memoria Vetusta II Dialogue with the Stars: When an album like this comes out, Mossad should be dispatched to the homes of the perpetrators to find the “Black Metal Paint by Numbers” kit they used to make this. Even the worst band made by 15-year-olds is preferable because in its randomness, it is not predictable. This is entirely linear and pulls every trick to sound black metally. There is no direction; it’s a school assignment, “write a black metal album.” And it takes forever to end.

Angel Eyes – Midwestern: Alternating between droning higher-end sound that resembles a siren Doppler test through a smoky sky, and a very basic hybrid between sludge metal (Eyehategod) and stoner doom (Sleep), Angel Eyes create a post-rock opus that almost escapes its roots in indie, emo and modern hardcore. Songs unfold like a rambling house with rooms of different sizes built onto one another in a gradual process of accretion. There’s a room for spacy electronics and heavily reverbed guitar throbbing across a mostly empty sonic platform, and there’s a room for metalcore riffing with about 50% more indie rock taming it from incoherent raging into sensible sound. There’s even the room — shows up frequently, like a storage room linking two wings — for a lack of distortion while simple sweeps echo radiant through the ears. Much of this material succumbs to the linearity of non-linearity, where it both tries to be out there and because it needs to be listenable, shapes its deviance around a very simple core. However, many songs develop in interesting and poetic ways. The weak spot in this band are the predictable elements it inherited: the metalcore riffs are predictable and don’t add much to the song, and the vocals are really pointless. Dropping those would let these guys do what they’re good at, which is designing sound like a playground, with interesting nooks and slides and tunnels and bridges to explore even though you know you’ll end up back at the sandbox eventually. If you want an example of post-rock you can believe in, this would be it.

Cenotaph – Saga Belica: Bands commit suicide after albums like this. The interesting facet is that it’s a cross between later speed metal, like Destruction, with symphonic metal like Emperor or Therion. That means lots of Testament-style riffing that bounces around a chord while vocals rage all over the place, then the verse/chorus slurry runs straight into a pause and keyboard fill, then accompanying guitar/keyboard melodic run. It’s as ludicrous as it sounds, and this album is as directionless as you might imagine. Sad as this was a once-epic band.

Harvey Milk – A small turn of human kindness: This music is really obvious. It’s really stylized, but really obvious. I don’t think anything else matters. If you fall for this, you like listening to first-turn-off-the-main-road variations on metal riffs from the 1970s which, because they’re in a dramatic format full of lots of high school drama student Pauses, are assumed to constitute songs. But songs don’t happen here. Loops of riffs do, and then there’s a bunch of noise and something that sounds like a Walrus on PCP howling, and then the song “peaks” by being super-chaotic then smooths out into normalcy, which is the usual boredom. If you were fooled by Boris and Opeth, you might like this, but otherwise it’s just a treacle of boredom tugging at your heels.

Cerebral Effusion – Impulsive Psychopathic Acts: This is straight off-the-shelf deathgrind of the Y2K+ variety. Breakdowns, pauses, lots of long battery runs with blastbeats. Not incompetently composed but the style is so painfully blockheaded that it’s hard to want to hear.

Dark Half – Reborn: Standard punk music played with metal flavoring, namely a minor key and some metally riffs. For the sense of tempo alone this band should be shot over an open pit, but the completely shrinkwrapped standard black metal riffs dumb this down even further. For bonus points, it’s half speed metal so you get the same hackneyed fifteenth-rate ripoff riffs that have been around for thirty years. Songs go nowhere, but you guessed that by now. If this band were an individual, it would be on the police blotter for stealing empty safes. People waste their lives trying to make themselves like crap like this.

Desexult – Demo II: For your convenience, we have compiled all of the blockhead riffs from the first month’s practice of every metal band ever created. It’s like Hellhammer, but without the insightful incompetence; it’s just sort of part of the ride. I can’t imagine why anyone would keep this around.

Disaffected – Vast: Painfully predictable technical speed metal/death metal. Obviously, these guys listened to a ton of Testimony of the Ancients, but never got their act together to find a style or direction. Lots of speed metal riffs and “wait for it” off-time paused-based riffing, like Pantera on a Dream Theater kick. Plenty of shredding but little going on. Save yourselves before it’s too late.

Disgorge – Consume the Forsaken: Standard totally incomprehensible deathgrind of the Y2K+ variety. Breakdowns, chug-a-lot, blast beats, gurgling vocals and very similar riffs. In fact, this band seems to specialize in the non-riff, or the linear chord progression played with different rhythmic emphasis. It’s a real brain drill, this CD, as you try to remember what you were thinking before the incessant chug-gurgle-blast invaded your mind. What was I saying?

Eradication – The Great Cleaning: Much as I stand behind the idea of killing off the stupid, this band missed at least one, which is this album. Predictable melodic black metal with dramatic pauses and blasts. The result is insipid because it recycles the past without a direction, so you feel surrounded in make-work interpretations of other, better bands.

Ereshkigal – Ten Years of Blasphemy: God is safe from these blasphemers. Really, really safe. This really lukewarm black metal merges the truding mid-paced sound with the goofy, placeless keyboards that Master’s Hammer could use to effect but Ereshkigal manage to use like some bizarre punctuation that intrudes wherever, somewhere, a retard shits himself. It’s not even interesting enough to be random. How did they not fall asleep when writing, or recording this stuff? Oh well just send it to the pressing plant, someone will like it. Anyone… anyone…?

Execration – Syndicate of Lethargy: Guys, you didn’t forget anything. You didn’t leave anything out. This brutal blasting death metal incorporates melody, Gorguts-style odd timings and melodic fills, and New York style harmonics and stop/start riffing. The problem is that it’s disorganized, so you get a ton of unrelated crap that has to streamline into the linear to complete itself. And then it’s boring.

Exmortem – Nihilistic Contentment: For a metal band, it’s easy to confuse “frenetic” with “has content.” This very busy — “chaotic” — thrashing madness has constant clanging bass, battering drums and whirring guitars. What it doesn’t have is any particularly unique or insightful view of the world, or an aesthetic experience that rewards consciousness with an expanded view of life. Instead, it’s like cramming your head into a tiny box and then beating on the sides with your tiny impotent fists.

Fatalist – The Depths of Inhumanity: Oh fucking awesome, it’s just like the early 1990s when the Swedish death metal gods ruled the world. Except that somewhere along the way, Fatalist lost its soul. They’ve aped the sound of the guitars, and play derivative riffs at the same pace, but the songwriting is a mess. Sure, all these riffs are in the same key, but they don’t relate to each other that well and aren’t that interesting. To compensate the guy doing the vocals rants in a really predictable cadence. The result is mind-numbing and lacks all of the interesting song structures, melodies and atmosphere of the original Swedish death metal, or any music more competent than jingles in commercials for cleaning products. If you wanted to know what it’s like to be a retarded child, listen to this extensively.

An Albatross – The An Albatross Family Album: This CD tries to capture the experience of taking bong hits while you flip through a random selection of cable TV channels, with a metal CD going in the background and something really intense on your mind. They patch their songs together from metal, punk and indie riffs broken up with sound samples, keyboards, and radically sonically different interludes and transitions that resemble the intensely emotional conclusions of nature channel documentaries. Much of this music plays with being on the edge of deliberately super-annoying, and so will fail the “do I want to listen to this again?” test, but as an exploration of pushing the limits of style, it raises some interesting issues that someone else could develop in a more coherent and expressive way.

Faust – From Glory to Infinity: Very linear music, embellished with technical metal frills, but this cannot disguise the basic blockhead approach and lack of aesthetic opening that defines this music. Reminiscent of a faster and harder version of later Rotting Christ, this is melodic metal trapped in the middle of absolutely predictable overractive rhythms. It’s a mishmash of speed metal, Meshuggah, and death metal riffing that ends up just wearing you down with its insistence. This band really needs to just step back and figure out what they’re expressing. This is a highly competent mess.

Faustcoven – The Halo of Burning Wings: This is hiking music, meaning that it keeps building on a single two-step throbbing rhythm and hopes you follow along. I’m sure there are tasty granola bars, and maybe topless female hikers at the next rest stop, but this is boring as hell. Trudge, chant sing-song verse, then chorus and dick around with some riffs before you end the song. I’m trapped in that two-dimensional mirror thing they used to store bad guys in the Superman movies. LET ME OUT

Child Abuse – Cut and Run: The postmodern music of the late 1990s onward has confused cause and effect. When music is unique, the cause is a unique view of life and a burning desire to express it (put it into symbols and sound). When music is not unique, you cannot make it unique by dressing it up in everything “different” without making a mess that’s both chaotic and annoying. Child Abuse sounds like what would happen if a nu-metal band decided to make grindcore with math-metal and metalcore influences. Lots of odd noises, weirdly bent guitar riffs, and then standard grind/punk riffing while vocals shriek and feedback imitates the stall warnings of a 747. This really is not a path to success.

Faustrecht – Demoniak: Now that every metal band has an intro, let’s be sure to include one. Make it especially wandering and pointless. Then speaking of wandering and pointless, let’s put together high-speed Venom-style riffs and Donald Duck quack over the top. Even better, let’s keep it as verse/chorus as possible. Minimalism is like being closer to Satan. Then a really catchy chorus, but don’t make it too distinctive, or it might offend our advertisers (lobotomy wound care products, no doubt). So it ends up insipid, but that’s convenient, because so is the rest of this disaster of an album. I’m sending it to the Large Hadron Collider people because “Demoniak” is so bad it will make time itself slow down. Hope you’re not feeling your mortality while you waste irreplaceable seconds on this turd.

Fear Factory – Mechanize: Staying true to the title, I think they outsourced this album to a Perl script. It does that annoying white boy rap thing for the verses, and then choruses are the dude howling three syllables over and over again. It’s like the worst parts of Godflesh and NIN, but they added VNV Nation style techno touches. But we’ll be DIFFERENT and throw in some singing to make you know hey, it’s not like the other brick-stupid obvious stuff out there; there’s SINGING! Did we mention the SINGING? Still it’s so driving yet invariant and depthless that it’s good for nothing more than driving your parents, if you’re deaf and so immune to this wreck. I think they clearly designed this for people new to music who don’t mind really obvious and prosaic music so long as they get the message. And with this degree of high volume repetition, there’s no way to miss it.

Fractal Gates – Altered States of Consciousness: This sounds a lot like early Nuclear Assault to me, but with death metal vocals and uptempo. Good melodic hooks, riffs are obvious but not out of place, and there are some pleasant melodic diversions. Very Gothic in its use of melody, like a short bus version of Gehenna or later Rotting Christ. I wouldn’t call it profound, and as a result, wouldn’t listen to it again, but it’s far more “together” than most of the shit in this review pile.

Funeral Moth – Funeral Moth: The good thing about a gimmick is that you don’t have to work on the content of what you do. Let the gimmick sell it. You’re a Japanese doom metal band; what else do you need? Never mind that Winter, Thergothon and Skepticism all did the very slow riffs thing better and they did it by developing those riffs. Just get totally linear. No one is going to be listening anyway, because they’re too busy talking about how you’re a JAPANESE DOOM METAL BAND. Exotic, dude. Pass the PBR, and continue half-listening to this insipid hipster nightmare.

Gammacide – Victims of Science: You wanted some chaotic speed metal? Good, because this is pure chaos. Fast riffs flow into faster riffs and then they get into the staple of 1980s speed metal, the trudging riff that’s basically a lot of fast strumming of a recursive but rather slow progression. Chanty vocals with jaunty rhythms are par for the course too. But there’s a reason this band never really took on the world. This stuff has personality, but you wouldn’t say it really nails it, or expresses anything interesting about life. It’s there and it’s metal.

Gorgoroth – Quantos Possunt Ad Satanitatem Trahunt: Droning misery. Constant drumming. Harsh background screams with predictable rhythms. If this is Satan’s music, I’m getting a Bible. Interestingly, other than the fast strumming, this music is identical to the mediocre crap that came out of the late speed metal era, including the riffs that are based on Slayer patterns but, to distinguish them, random notes get tossed in. When you think it can’t get any worse, they do a “dramatic” pause and then start up, or throw in melodic black metal riffs that are about as new as erosion. If you are busy doing something really difficult, you won’t notice this background noise is pointless and boring. But listen to it? It has the soporific effect of a televangelist’s sermon.

Grabnebelfursten – Schwarz Gegen Weiss: It must be that Reader’s Digest is offering a series of helpful articles on handy home repairs and making symphonic black metal. These riffs sound like the guitarist is feeling them out and just trying semi-random stuff as he goes, and the composition modus operandi of this band is to find something they like and pound it into the ground, then toss in something totally different so you don’t get bored. The result is circus music that’s comedic in how little it relates to itself, or anything else. Vocals are also of that ptomaine poisoning hurl that sounds like the vocalist is straining to keep up with the random clatter beneath. I think they should refer to this as “suicidal black metal” because unless you have the option to turn it off, death may be your only deliverance.

Gravferd – Demonized: Hi everyone, I’d like you to meet my Down’s syndrome child, Gravferd. He sits in his room and practices stuff he knows other bands have done, and then vomits it back in a random order so that there’s enough for an album. Any time he gets confused and starts to cry, we just double the tempo and then he starts barfing out incomprehensible lyrics recycled from a giant pile of cliches we keep in the diaper room. You might recognize intense moments from the last twenty years of black metal, stripped of all context and power, rendered incompetently. But he’s my tard, so I’m going to put a gold star on this fucking thing and publish it. File under G for “glazed over.”

Greymachine – Disconnected: People love ambient music because you can turn on the drum machine, start jamming over a simple progression, and by dumping layers of noise, found sounds, keyboards, vocals and guacamole on it you can gradually shape it into a song. Then you turn off the tape machine and mail the thing to your record label, who start talking about it like it’s the esoteric holy grail of lost musical genius. Let’s dial it back to reality: this is very stoned people dicking around in the studio, and it shows none of the genius that occured on Streetcleaner all those years ago.

Holocausto – Campo de Exterminio: You have to get this, it’s a classic! Undiscovered cult metal from the early 1980s… and there’s a reason it was undiscovered. Do you remember those record players they made in the 1970s for playing Disney records? They were all plastic and had cartoon characters molded into them. This album belongs on one, because it’s kiddie music. It’s super-basic, not in a profoundly disturbing way like Discharge or Sarcofago, but more like a cross between old Sepultura and Anthrax. Like Anthrax, it’s simple-minded. Like old Sepultura, it’s fast and blasphemous with incomprehensible vocals that sound like tearing Kleenex. Like much of 1980s speed metal influenced material, it has the uncanny ability to kill time by hanging out on a very linear, obvious series of variations on a rhythm. I really wish this was buried treasure, but it’s not.

I – Between Two Worlds: Predictable hard rock, meet black metal vocals. Yes, it sounds like a toad on meth, and the riffs that came out of the 1970s but now come at you twice as fast just make the ludicrous more painful. Even worse, the increased tempo means that there’s no breathing room, just constant cliche at top volume. Then when you think you’ve heard enough, the shitty guitar solo comes in to make you long for peaceful silence. Unless you’re a moron. Then this must seem like it was made just for you.

Homicide – Dale of Lost Souls: Here come the police — where can we hide this collection of stolen ideas from the FAIL file of bad 1980s speed metal? Oh look, we can stuff them into this blackened death metal band and no one will notice. Mainly because no one is listening because this sucks. It’s all over the place and to hide the fact they have no idea to develop a song, the musicians here rely on repetition to remind you which song you’re listening to. It’s the one with that borrowed, dumbed-down Exodus riff. Oh wait. That didn’t help. It’s the one that’s a microwave TV dinner version of Devastation… that won’t help either. Throw this out.

Ignivomous – Death Transmutation: I wonder how these musicians memorize these songs. Since the riffs fit together in tempo and key only, and make no sense as a metal tune, and the only transitions possible are dramatic pauses, it’s likely they have a mnemonic to this. Probably something like GDHJJKFLX because the whole album is incoherent. Good guitar tone, zero on the content, and like all shitty metal bands they have to shout it at top volume to try to distract you from the suck. The best course of action is to go do something more stimulating, like mow a lawn or punch out gargoyles.

Impurity – Lucifer Vomiting Blasphemies Over Christ’s Head: No, it’s Impurity vomiting inconsequential noise over your head, and over your wallet, if you bought this. This noisy foray into basic death metal sounds like war metal, which is to say that it’s near constant tempo incoherent riffing with a drunk guy gurgling while the drummer does basically whatever he wants because no one is paying attention. You can do better than this, probably with a pair of castanets and a broken fan to howl in the background. This album is the comical disaster that your parents would imagine upon hearing the title. Well, at least it presents itself accurately.

Infected – Crawlspace: Sometimes, when you get infected, you get a bad headache and you lose 20 IQ points. That’s what happened to this band. This is stop-start “wait — I’ve got to crap — look — some open ground” style semi-skeltonic brain-absent chanting over recycled riffs from failed Exhorder clones who perished in prison where they got sent for ripping the warning tags off of mattresses. The total failure of imagination, or connection to what makes music good, gets us this headache which has zero flow and zero appeal.

Inflabatan – Wanderer of Grief: Every melodic black metal album, boiled for 12 hours to ensure no flavor remains, served with peas steamed in dishwater and a tasty glass of fortified wine gone to vinegar. It’s not bad, it’s far from good, it’s just there. Kind of like when you have a late assignment so you write I ATE MY OWN ASS AND LIKED IT on a sheet of paper and hand it in so you at least don’t get a zero. It’s not a zero, but maybe like a 36.

Inquisidor – Inquisidor: You know, disco had its moments. It had melody. The songs often were distinctive, and sometimes, reminded you of a moment in life where you felt clarity and got excited about what was to come. Inquisidor is “generic” in the oldest meaning, which is that it fits into its genre dead in the middle and is exactly what you’d expect. Fast Kreator riffs, in songs structured like those of Sodom, with urgent blasphemous vocals. If it were the first of this type I heard, I might like it but find it a little boring. Now I just flee.

Inquisition – Magnificent Glorification of Lucifer: I can see why people like this — it’s competent. The rhythms fit together, and riffs work together. The problem is that it’s composed in an idiotic style, and is as a result limited. This is the fusion of war metal and Judas Iscariot-style slow ambient black metal, so you get (a) more repetition than you know what to do with (b) simple riffs on a bouncy rhythm and (d) detached, disconnected vocals. It’s about two riffs per song, often variations on the same theme. While they all fit together, and the result is pleasant to listen to because these guys are five times as competent as the average black metal band, it’s still boring. Nothing happens: what is going on when the song starts is what happens when it ends. That result doesn’t feel evil, or challenging, but kind of dance-y like later Napalm Death.

Wreck of the Hesperus – The Sunken Threshold: Imagine an indie-metal/doom metal hybrid. What you’re imagining even with half a brain is what you get with this release. Slow limbs of chord progressions rise and crash while drums keep a busy, jazz-inspired distraction going. Songs move slowly, verse/chorus, then conclude in a trailing out to insignificance. If Winter, Thergothon and Skepticism did it too well for you, here’s a generic version.

Vektor – Black Future: Hipster music. I say that because it’s dressed up (ironically) like Voivod worship on the outside, but it’s pure aesthetics; there is no understanding of the composition or content that made Voivod great. Instead it’s standard war metal, slowed down by 1/4, played with some of the chord voicings Piggy used. Songs are standard format, very busy with lots of chaotic drums and messy riffing, but no concepts that tickle the brain or even amuse the gut. On the surface, it’s Voivody. Beneath, it’s the standard punk/metal/rock that hipsters like, dressed up in a unique way. Watch this band disappear quickly.

The Shadow Order – Untold: This is probably the best Burzum clone I’ve ever heard. If you can imagine Burzum writing songs that transition from state “A” to state “B” directly, you’ve got roughly what’s going on here. It’s simpler, similar in spirit, and slightly more ear candyish (e.g. confines itself to conventional consonant voicings) but on the whole is pleasant to listen to. It’s unlikely to stand up to repeated listens well, but will occupy a position like the first Infernum album of being a reasonable alternative.

Inveracity – Extermination of Millions: This is a good solid release in the Deeds of Flesh/Suffocation percussive death metal style. It’s more linear than Doug Cerrito’s inspired riffing, but has a good sense of putting together a basic song and stacking up parts that contrast each other, so doesn’t fall into the monotonous camp of most material in this genre. While it is good, it falls short of exceptional and thus radically distinctive, so it’s always going to lurk in Suffocation’s shadow until it develops more of its own voice.

Insect Warfare – World Extermination: If you crossed Terrorizer, Assuck and Nasum you’d get something a lot like Insect Warfare. This is grindcore that sounds like some very energetic people dropped whatever they were doing, rushed to their instruments, and bashed out short but furious songs. These songs are well-composed; however, they’re also extremely basic and rely on riffcraft that alludes to much of extant grindcore. As a result, it’s kind of a neat album if someone hands it to you, but hard to want to reach for it when much more personalitied and diverse offerings like the early Terrorizer material exist.

Kaamos – Lucifer Rising: Pure speed, awesome Swedish(tm) production, and intriguingly blasphemous sound titles cannot compensate for having depth to your music. Kaamos is, like almost everything but the original wave of Swedish death metal, screamingly obvious. These riffs are almost entirely linear and capture no melodic or harmony; not only that, they aren’t shaped into interesting phrases rhythmically. The result is a CD that instantly descends to background noise. It’s pleasant-sounding but empty.

Liturgy – Renihilation: Get the hipsters out of metal. If you like emo-style melodies played really fast over chaotic drums, or the former hybridized with riffs from old Metallica clones but played in a kvlt black metal style, you may like this. I find it really obvious, although clearly musically more erudite than the trve kvlt types. The problem is that despite all of these interesting elements, the songs express nothing, and chord/note progressions are very similar from track to track. The frenetic drumming and vocals only accentuate, not conceal, this deficiency.

Malign – Divine-Facing Fireborn: You and I would really love to like this. It has all the promise of older black metal: a cross between Sarcofago and Merciless, interpreted through the filter of later Mayhem (lush chording, odd slow tempo changes, murky sounds) with the viciousness and yet very pop sense of melodic hook that all the Swedish black metal bands wield. Yet, that’s it. The surface traits are all; what’s underneath is unmotivational. So you end up with black metal wallpaper and an empty soul, but also, a bored one.

Maim – From the Womb to the Tomb: These guys have an interesting approach, aesthetically, in that they try to be Autopsy but mix in the speed and pacing of older Entombed. Sonically, it’s a great approach but not much changes in the song between the beginning and the end. It’s less like a big loop than a spin cycle: you start looking at something, then rotate around it and hey, there it is again. In addition, riffs are really basic variants on forms we’ve seen before from Kreator, Destruction, Atrophy and numerous death metal bands. They are very basic, very interchangeable, and lack the feeling of having been designed to fit together into something distinct with a meaning of its own. That depthless nature to these songs makes this album an endurance contest.

Perished – Seid: Strip away the death vocals and fast drumming, and this is plain boring hard rock like you might find on a Motley Crue record. Aesthetically, it sounds like Immortal, but without the greatness of personality that made At the Heart of Winter a great album, or the spark of insight that made earlier Immortal even superior.

Pathology – Incisions of Perverse Debauchery: Cross Deeds of Flesh with Dead Infection, and you get this gurgling deathgrind which is relentless and not bad, but also not exceptional enough to merit a re-listen. In particular, songs are streams of thudding riffs and relatively similar textural shifts, which makes it difficult to distinguish between them, although the radically varying production helps. I respect this more than most bands because it has a simple goal and fulfills it, although it’s hard to want to go through the experience when there are more interesting listens out there.

Pantheist – Amartia: If Paradise Lost and Skepticism had a baby, it would be this ponderous doom metal band. Songs are glacial with melodic underpinnings and a bit on the pop side, although they love their sonic dynamism and intense distortion. It’s competent but not particularly compelling in form or content, and the vermicular pace does not help us get over that.

Overthrow – Within Suffering: It’s a hybrid of Beneath the Remains era Sepultura and early Sadus, and it’s well-executed but not a standout in that these songs follow fairly cookie-cutter speed metal patterns. Riffs: you’ve heard their archetypes before. Vocals: they do that thing where they chant on the beat as the kickhappy drums crazy go nuts next to some chugging guitars — fucking annoying. On the plus side, they change riffs like Dark Angel so that there’s always tempo, harmonic or phrasal motion (or when disordered: commotion) going on. And lots of solos that sound like later Nuclear Assault going hog wild on the pentatonics. Ultimately, I find this really annoying but if you would let Sadus mount you from the rear, you’ll love it.

Pensees Nocturnes – Grotesque: This promising band confuses aesthetics and content. They’re good songwriters, with an apt grasp of the technical side of the music, but because they have never found an aesthetic “voice,” end up piling random types of stuff on top of one another hoping that summing up parts magically makes the whole bigger. This sonic collage features crashing slow metal riffs which give way to fast melodic riffs reminiscent of Enslaved’s Frost, and are periodically interrupted by transition material with piano and string instruments. On top of this, some guy is bellowing like he is getting raped by an elephant. While in general I’m all for overlooking aesthetic dislike to get to the core of a band, in this case the lack of aesthetic ties an arm behind this band’s back as far as songwriting is concerned — too much is lost as they try to conform to this bizarre format. In addition, they’ve picked up some of the chord progressions and bad habits of post-rock bands, with huge parts of this album resembling the lost Maudlin of the Well “Dave’s got the purple shrooms” sessions. When they are able to put together an aesthetically coherent part of a song, it flows well, but then drops back into their bad habits and crutches. My advice to Pensees Nocturnes is simple: standardize your vocals, become a doom band, and use other instrumentation at strategic points in each song instead of as a general technique — look at the first At the Gates album. Less is more, if that less is more organized than the more. But use more oboe.

Prevalent Resistance – Dynamics of Creation: I’d like to like this because it’s easy to listen to, is pleasant and comforting. Patterned after Dimmu Borgir’s Stormblast (the first version, with the video game music) and a smidgen of early Dissection, this album is candy for the ears. But that’s the problem. There is no tension, no moral conflict, no desire even for pointless destruction. It’s trying to make friends. Like a warm puppy nose on the leg. In fact, it resembles the indie rock of the last decade: slick, studied, and very good at writing a melodic hook into the end of a three-step phrase so that it gets that Hallmark(tm) “uplifting” feeling. I think if I wanted smoke up my ass, I’d just listen to indie rock. Musically this is adept, artistically it gives blowjobs for $10 at streetcorners.

Diabolicum – The Grandeur of Hell: I have tried to like this 1999 album for literally 11 years. It has all the right elements, and it starts well, but becomes shapeless in the middle. I don’t think this has anything to do with how industrial it is. I think it ran out of steam in terms of songs and what they are about. Typical of Swedish bands, Diabolicum write great melodic riffs and then have no idea how to develop them, so end up in circular song structures that leave you unsure of why a song ended; it just ended, when it did, semi-arbitrarily. The result is that there’s no reason to keep these songs in your head other than as a pleasant distraction.

Oxbow – Fuckfest: This music is both spectacularly annoying, and good but fairly standard. If you took a Motorhead/Black Sabbath crossover, made it more rock ‘n’ roll early friendly, then chopped it up with fast rhythms and dissonant syncopated riffing, you’d get this. The vocalist howls like he’s in the Bad Brains but with little of the musicality. I think they believe this is revolutionary. Musically, it’s not terrible but aesthetically it’s like a screeching siren in your head, making you wish the world would end.

Die Apokalyptischen Reiter – Licht: Most people are going to identify this band as a heavier version of Rammstein, but that’s only half the story: this ostensibly industrial band is a three way hybrid between pop punk, melodic death metal and very danceable industrial. They write their songs like At the Gates, with several riffs cycling during the verses after the first introduction, and they shift between these like rally racers taking shortcuts through the old neighborhood. Vocals are very pop punk, with a rhythm similar to Bohse Onkelz or other brainier punk, and riffs are often power chords staggered in the death metal style with an emphasis on the stop/start rhythms that industrial, speed metal and rock favor. However, this is in a very literate musical framework where subtleties emerge from what are initially very basic melodies, and songs develop around this melodic core and end up being quite beautiful and infectious. After about ten minutes, you no longer hear the heavy riffs, and you feel like you’re listening to a more touch-and-go version of Wolfsheim on guitars. This isn’t my type of music, but I respect it — which is more than I can say for most versions of most genres.

Droids Attack – Must Destroy: We were chilling on the porch trying to figure out what to call this new style, not yet quite a genre, where they put bands like Red Fang and Droids Attack. It’s like fast, bombastic, hard attack versions of stoner doom songs; this CD, “Must Destroy,” sounds a lot like the first couple Sleep releases: bluesy, hard without being aggressive, bounding party rock. It’s like they took the Detroit underground rock/punk sound from the 1980s (before The White Stripes) and merged it with Motorhead and the MC5, and got out of it this entirely rockin’ style that isn’t metal but borrows a lot from it, and isn’t punk but attacks with the same sheer verve, but then sticks into the heavy bounce of guitar rock like Grand Funk Railroad or Iron Butterfly. It’s easy to listen to but more motivational than techno, even, so makes great music for partying or cleaning the house. On this CD, the style is expertly implemented with lots of space between bounding riffs for introspective parts, like the calming parts of the ritual of a rave, so that you can listen without getting washed out by pure bombast. I see a great future for this style and this band as people get sick of the twee effete hiding-in-basement styles that have been popular for the last decade.

Nun Slaughter – Goat: When most people talk about old school metal, they’re thinking of bands like this that combine the barebones essentials of heavy metal (Venom), death metal (Master) and speed metal (Nuclear Assault) into one high-energy package. What propels this CD is its ability to keep momentum. Riffs follow each other logically and transfer energy like a locomotive hitting a truck full of bowling balls. This energy conservation is harder to do than one might think, because if a band just plays really fast, it doesn’t happen. It takes an awareness of the music and a love for the metal craft of putting riffs together so that they talk to one another and keep kinetic inertia. Clearly this band know their metal, as the riff forms — the basic phrase and arrangement upon which these riffs are based — descend from all generations of metal, but have been adapted to fit the song and NunSlaughter’s trademark crude but adept songwriting. Most songs are verse/chorus riff cycles with discursive bridges that lead back to triumphal restatements of theme, but given the rawness of the music, nothing else would really fit without making this a modern animal. If you like bands like Onslaught, Sodom, and Merciless, this band stays within the same range but is immediately distinctive. Like fellow midwesterners Cianide, they hide their subtlety and distinctiveness underneath a desire to make a riff language out of metal’s heritage and use it to sing of their specific experience, which seems to be a conglomeration of Satan, rape, blasphemy, violence and sodomy. Given this framework, however, it’s clear this band is a thoroughly enjoyable ripping ride through the dark recesses of human visceral emotion, and no matter how much people wail about it being derivative or lowbrow, it’s great stuff.

Morser – Two Hours to Doom: We should christen this band the German version of Human Remains. They play in the modern metal, or proto-metalcore, style innovated by those founders, meaning that they put metal riffs in punk-style songs. The result is an emphasis on individualism through deconstruction shown through the juxtaposition of random images, which if you think about it is the origin of all modern art. Instead of continuity and order, they show you many individual perspectives which don’t agree, further isolating you in yourself. 1980s crossover thrash on the other hand tried to make radically different riffs fit together like a storyline. While this style provides unbalanced listening as a result, it exceeds the competence of its genremates by making these songs fast and to the point, even if that point is a binary song with a fairly random third option introduced in the last third of it. Later on, bands took this style and threw technical death metal done in one dimension into the mix, but for now it’s honest punk borrowing from every style under the sun in a fast and precise but not show-offy fashion. You’ll hear the blues riffs, funk bass, prog trills, and even quotations from soundtracks and ethnic music, all done at high speed in blisteringly distorted guitar. It’s no wonder this release has, for a flavor of the day genre like modern metal, stayed in demand over the years.

Black Funeral – Vampyr: If you put a simplified Emperor/Ancient hybrid to Darkthrone percussion, it might sound like “Vampyr” — an unknown quantity of death metal rhythm, and ambient black metal made with the flourish of symphonic metal, but in the simplified and abraded sound that also qualified early American bands like Havohej and Demoncy. This is a very American thing, both North and Sound hemispheres, to simplify song structures to a standard form like in hardcore, where much of what made early Nordic black metal beautiful was that song structure was defined by content — in the way that early American phrasal death metal like Incantation was. While this album makes for more recognizable listening, and is clearly the musical peak of this band, for artistic reasons a discerning listener may prefer other works.

Chthonic – Seediq Bale: This symphonic metal band from China sounds like Dream Theatre melded with Cradle of Filth, as played by later Therion. More focused than any of those acts, it takes advantage of compiled conventions from the various constituents of this genre, and makes a distinctive version of them. If they more seamlessly integrate this with the indigenous music of China, it could be a powerhouse; for now, it’s a better option for Dimmu Borgir fans.

Blazemth – Fatherland: This short release charms the listener with its beauty, brave pasted-together emulation of black metal heroes and honesty in expressing something of significance even if at times the methods are crude. In essence, this band is a hybrid between early Emperor and Graveland, hoping for sweeping melodies interwoven with keyboards and spoken/acoustic dirges, creating an atmosphere that it then delights in breaking with riffs sounding like they come from the melodic heavy-metal-influenced black metal of Rotting Christ and Hades. This band specializes in contrasting textures of riffs: a mostly open simple riff will abrade when a flowing tremolo melody follows it, and chromatic death metal shredding offsets windswept sweep picking. While the individual parts are less graceful than their archetypes, they are nonetheless beautiful in the same way early punk was: individuals captured in their striving for an ideal that they may not achieve, while enjoying the struggle.

Blazemth – For Centuries Left Behind: Template driven from the early works of black metal, this band achieves an ambient black metal sound by attempting a simplified version of Emperor and other early black metal bands. Riffs are simple, production distorted enough to background guitars into a roughly harmonized blast of noise, and keyboards unite the rest into a smooth flow of sound. Emblematic of this album is the spoken introduction with which it begins; this is a guileless take on black metal that is not afraid to be ridiculous, but because it is earnest, never irks like the commercial cluelessness that followed. Its strength is an immersion in mood, but its weakness is that individual parts ape classics like Emperor and Burzum, just in an interpretation specific to this band. Although this will not blow anyone away with its breaking of ground, it remains more convincing than most post-1996 black metal because it has a clear ideal in mind and pursues it making creative use of what techniques and elements are within reach. Their followup, “Fatherland,” reflects more development; on this short CD are themes you have heard before, done uniquely in the homebrew style by this straightforward and committed band.

Jodis – Secret House: You have to have a high tolerance for slowness with this album. A chord plays, rings out, the distortion crumbling as the sound loses its solidity; then, two notes jangle with the seeming discordination of a snapping clothesline or the slow decay of metal in abandoned factories. Someone bellows. More noises, feedback zoning in and out like lawnmower noise across the street as you try to nap your way through a summer day. More bellowing. The songs are like hailstones, formed of layer after layer deposited upon the last. If you unfold the surface it forms a great linearity, like a giant strip of paper covered in words that blur together. Time goes by unheeded. You get up and change the CD.

Nihill – Grond: Standard uptempo Darkthrone black metal clone with really emphatic, dramatic, emo-style vocals still done in the guttural end of black metal sound, Nihill is technically competent but makes binary songs, meaning that they alternate between two moods until the vocals are done ranting and the song can end. When Darkthrone did this, it was to great effect because their songs centered around a contrast that conveyed a greater sense of mystery or discovery. Nihill is just cyclic and offers no hope, only a sense of inevitability. I could see this appealing to fans of Judas Iscariot.

Eradication – The Great Cleansing: An attempt to merge “Following the Voice of Blood” era Graveland with “Ugra-Karma” era Impaled Nazarene, for the most part this album works. The randomness of its melodies and the drone-strum technique from the Graveland side gently obscure some of the rough edges and more obvious riffs, which feed nicely into the full-speed-ahead woodchipper riffs from the Impaled Nazarene side. It’s a solid B+ for content, maybe a A+ for technique for being both original and nuanced enough to give this band its own voice.

Vile – Depopulate: If the Deeds of Flesh style second-wave percussive death metal bands simplified things a bit to the level of the first Deicide album, and chose very basic bouncy riffs with melodic accents like Brutality, you could well end up with Vile. It is both good and bad; it is good insofar as it develops, but it is bad because that’s often two steps of thinking away from a double-strum on an E5 chord. Chortling vocals battle it out with gurgling rasps over pleated sheets of power chords where the offtime notes are played in a muted strum, giving this a pirate shanty bounce which is then torn apart by drums like a multi-legged battle robot scrabbling through the ruins of a city. There are messy leads, and often ludicrous “my attention shifted suddenly when I noticed the shotgun” song structure deviations. While they do what they do well, this style of death metal limits itself too much for repeated listening.

Gifts from Enola – Gifts from Enola: Someone crossed Kyuss with uptempo indie heavy metal and threw in the developments in the last ten years of stoner doom metal, creating a jazzy and fluidly composed album that moves about at the pace of early Black Sabbath. With very little intervention from vocals, the band jam in this style with droit, jazzy changes and variation in riff types from psychedelic lead-picked atmospheric to droning power chords to harmonizations on par with what Iron Maiden did. These songs are relatively linear, with breaks and resumptions, but form a kind of sonic texture that is easy to absorb, comfortingly varied, and most of all — unlike most post-rock — pleasant to listen to because it contains an internal balance and musicality. If you’re familiar with the jazz fusion of the late 1970s, nothing here will be a surprise musically, but it’s in a new form with more force behind it and the crossing over of the loud and abrasive with the subtle and beautiful gives it an elegance jazz fusion could never hope to have.

Urna – Iter Ad Lucem: Cross Ras Algethi with a post-rock band and you have this mess. The chord progressions are typical of that emo, shoegaze and indie rock fusion that is “post-metal,” which in most cases but not all has nothing to do with metal except that thanks to black metal’s extremity, it’s what the angry activist life-did-me-wrong failures are listening to these days. The worst sin here is that nothing really goes on in these songs. A few notes go up; a few go down. This is repeated with layers of vocals, a la Teitanblood but more artsy, and drums that keep busy outside the main event like those in a doom band, but ultimately songs don’t evolve and only gain structure through linear variation on known themes. In addition, if you step back and listen to this, it’s ludicrous. Like Krallice, it’s soft rock trying to be evil and as with all paradoxical and half-witted goals, has instead made a squirting fecal mess of it.

So there you have it — like a cheap buffet lunch, mostly FAIL with some tasty nuggets stuck in there, only half of which will come out whole in your stool. If I had to design a record-shopping trip from this, I’d pick up the Nunslaughter and Gifts from Enola and call it a day.

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Interview: Nuclear Holocausto (Beherit)

The Syriac language provided the greatest historical conduit for Christianity, and early Christians knew its words as literal symbols from the world beyond. Beherit was its name for the god of evil, sometimes called Satan. Fast forward two thousand years and occult-literate Finns made this ancient word a conduit for a new form of aural evil, a simultaneously deconstructive and reconstructive ambient aura of apocalypse and a literal, fearful reality hiding beneath the neurotic cloak of our modern society. We were fortunate to be able to speak to Nuclear Holocausto about his motivations, the nature of music, and the forthcoming 2009 Beherit album.

For a musician in this time who has understood his own experience, what are the most important aspects of art? (Or is it even possible to create a universal list?)

It’s a bio harmonic resonance, but BEHERIT is back to destroy art. I had very intensive two months, by writing new songs and re-creating the spirit of the BEHERIT sound. I think it turned out to be quite okay, kind of a mixture of all previous releases. It’s yet to be mastered and is missing booklet artwork… but hopefully will be released in the second quarter of 2009 by Spinefarm Records. I don’t have plans to reveal any detailed information regarding the coming album, its style or maneuvers behind the concept before the release.

You’ve just created a new BEHERIT album. Did you design it to be like previous BEHERIT albums, a continuation of an idea, or something new entirely?

Yes, the album is called ENGRAM. It’s a time warp to THE LORD DIABOLUS continuum.

How did you record the new album? Did you write all of it, and then meet collaborators to get it on tape?

I wrote and composed the album by myself. I recorded a demo version in my home studio with tablatures and a few written notes about what kind of spirit I was looking for in that song. Then we went to the rehearsal room and for the next week I made some small changes in song structure that made it easier and more natural to play live. Rehearsal period was about three months. We had 60 minutes of raw material when entering the studio. Couple of tracks we didn’t have time to finish.

Outside of music, how are you exploring the concepts which motivated you to create BEHERIT?

I recently bought a new video camera and have found this hobby very compelling, the use of sound and visuals to create deep atmospheres/altered states.

Why do you usually work and release things in the phases of the moon, or is it something you cannot control?

I like to plan my projects in the phases of the moon. For me, there is a natural difference between the things you process on waxing or waning gibbous. Especially on nights of the full moon, it’s good to pay extra attention on your karma.

With Suuri Shamaani, you are playing with raw sound, but the question becomes not your tools (raw sound, or scales) but the organization of that sound to express some difference of outlook achieved through experience. How do you organize this sound, and how does this process compare to that of writing metal?

I am very fascinated by the potential to experience some ueber-crossover between genres like black metal, dubstep, doom metal and ambient. There’s some artists who have successfully melded electronic music to rock, but I think most of their audience is still very average type of people (whom see the music more like entertainment or a consumer product of show business). Perhaps the biggest challenge is in a composition. For a basic metal head, it could be pretty challenging to listen (much less to write) non-standard music, I mean something outside of popular radio song structure (verse/chorus/bridge…)

What degree of familiarity with music theory do you have, and has this changed since Drawing Down the Moon?

I know only very little of music in theory. Maybe I have learned to tune my guitar faster, but not much else. In BEHERIT, we keep things primitive.

When you write songs, do you start with a (visual, musical, lyrical) concept for the whole song, or do you save up riff ideas and fit them together?

After the initial idea, I have a riff and couple of variations. Then some words that stimulate my mind to visualize the atmosphere. Later some variation in tempo, bassline and rhythm. The last part is to rewrite some lyrical content. This may vary a lot depending on the project.

Do humans live through experience?

Living entities look for happiness, and to avoid suffering. This is true not only for humans, but animals as well. I think this is the very basic principle. Animals have a hard enough time getting their food and avoiding getting killed, but humans seek their happiness from materialism or very temporary states of happiness, like sex, drugs or love…

I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?

All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood and even go back to the beasts rather than overcome man? What is the ape to man? A laughingstock or a painful embarrassment. And man shall be just that for the overman: a laughingstock or a painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape.

Whoever is the wisest among you is also a mere conflict and cross between plant and ghost. But do I bid you become ghosts or plants?

Behold, I teach you the overman! The overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth! I beseech you, my brothers, remain faithful to the earth, and do not believe those who speak to you of otherworldly hopes! Poison-mixers are they, whether they know it or not. Despisers of life are they, decaying and poisoned themselves, of whom the earth is weary: so let them go!

– Friedrich W. Nietzsche, Thus Spoke Zarathustra (1885)

Do you compose on keyboard, guitar or in your head?

New BEHERIT songs emerge and are developed in my head. That material I try to save as quickly as possible by guitar or keys to a recorder. A year ago I invested to Ableton Live software. It did help a lot in my productivity. For a musician like me, there’s a big difference with Ableton compared to older, a linear time scale based sequencer.

On Drawing Down the Moon, you achieved a unique dark and bassy sound which was not in favor in black metal at the time. How was this done? Did you replicate it on the new album?

Back in 1993, recording studios were still mostly analog. The guitar sound was as simple as Boss Heavy Metal guitar distortion pedal through an old Marshall bass amplifier and cabinet. I don’t remember what microphones were used, but everything was done in a few days. No time to remake or mix, thus the raw sound. The studio is still up and running. Very professional people there. The home of Tarot.

We didn’t want to reproduce the sound of Drawing Down the Moon, but as always try look for new soundspheres.

How was the early blackmetal scene different from how people perceive it now, and what were some challenges you faced as one of the few early blackmetal bands?

People used to describe our bands, like “some satanic stuff”, but today Black Metal has become a well known symbol for the majority, mostly because of the Internet. Most of these younger fans have pretty twisted image of the scene of old days. People didn’t like black metal at all, everything was so small, you kind of know all the music makers in the scene (via flyers in tape trading scene, + fanzines) Most of the people fucking hated us BEHERIT, IMPALED NAZARENE… Drawing Down The Moon was self-funded by me and I had to sell my car, became homeless, and everything I had was that master tape and no label interested to release it, before Spinefarm. I am still thankful to ’em, because of the advance royalty.

Do you think that given the same stimulus, two logical beings will have similar responses?

The response to given stimulus is much about the previous experience to similar contact in sense.

And if this is so, does it not mean that anyone who encounters a similar experience to someone else, has the same forces interacting on them? That if we have one stood out in the rain, we can all know what it is like? Maybe this shows how experience and intuition can exist on the same level. Experience is also important, because it enables us to store memories as symbols, and then trade on those symbols in law, art and conversation.

Like those others have never experienced of getting wet in the rain? They would still feel the same as the one who’s in the rain? Then there should be a sense contact within this tribe that can somehow communicate lower/higher states. I know this is possible, but very rare in normal conditions… we cannot “release the self” that easily, because of our fear (of dying).

What are your influences, and are these shared among band members, and if not wholly, what other influences do they have? Other metal musicians have mentioned Kraftwerk, for example; were there metal and ambient works that influenced you more than anything else? Any classical or folk music?

We all four are big fans of BLASPHEMY, BLACK WITCHERY, IMPIETY, MANTICORE and other fast stuff. Sodomatic plays drums in punk bands and listens to industrial music. He’s a vinyl collector. Abyss, the bassist is very much into Viking stuff, like BATHORY and FALKENBACH. He has also his own projects, more technical style, like he could have more riffs per song than BEHERIT on entire album. Serpent is working on Spikefarm and listens mostly to rehearsal and demo material from unsigned bands. THE LORD DIABOLUS was the biggest influence on this new album.

Is our fear of “evil” hardwired? For example, humans seem to fear snakes without having ever seen one, suggesting that fear of snakes is wired into our genetic code.

The fear of reptiles might be encoded in DNA — I don’t know. But when a man walks in the dark woods, fear of the unknown makes a wooden stick or a rope to appear like an image of dangerous snake. That’s why we should not trust our senses.

Is it possible then that some experiences are defined by the similarity of contact, and are inherent (in the sense of “emergent”) to the design of the universe itself?

I do understand the logic in fractality of universe, like many universes in smaller scales. The most of the cultures of our civilization is based on wrong believes of gods and myths. We simply have wrong views of life. The problem is that only very few people have seen the truth, the nature of time existence. Parents put their kids to school to teach ’em reading and mathematics, but too often they think it’s enough to make those kids to survive in a modern world.

We have built our cultures to praise the bold and the beautiful; the weak and ugly easily drops out from the so-called “easy life” because of the competition (evolution). I don’t care much about this, because it’s somehow universal, “natural evolution.” But this system leads to very problematic scenarios in the world we have built, because the weaker get many and they can get temporarily very strong by modern weapons.

From that comes “terrorism” and “the police state.” And all this mostly happens because society is from the very beginning based on incorrect views. Ouch, I am getting to off topic now…Yes, the nature of the world of the senses is polycausal, indeed.

Human ability, even really stupid humans, to retain music has always seemed magical to me, as if it had some inherent function in the universe. What do you think it is that humans unconsciously perceive?

The resonance.

Heavy metal seems to share many values with Romantic art and literature from two centuries ago, right before Nietzsche began writing: reverence for nature, belief in a transcendental but not dualistic life, independence from humanist morality, desire to create the beautiful and eternal, searching for truth with the self as the lens but not the focus. Do you feel any of these in your own creation?

I have an artistic desire, but haven’t thought much of connection to Romanticism. I think most of my creations are born in some sort abstract space with no human wrong or right. I don’t have a personal manifesto or any political interest in my music, but this does not necessarily mean that our songs are utter headlessness. I always try to be very mindful in a work I am doing. Even with BEHERIT.

After the initial BEHERIT surge, did you continue liking metal music?

I end up liking new fake bands that turn out to be nothing but boring. I did not stop listening to metal music entirely, but I found more interesting and deeper aspects of art in noise and electronic music.

“Behold this gateway, dwarf!” I continued. “It has two faces. Two paths meet here; no one has yet followed either to its end. This long lane stretches back for an eternity. And the long lane out there, that is another eternity. They contradict each other, these paths; they offend each other face to face; and it is here at this gateway that they come together. The name of the gateway is inscribed above: ‘Moment.’ But whoever would follow one of them on and on, farther and farther — do you believe, dwarf, that these paths contradict each other eternally?”

“All that is straight lies,” the dwarf murmured contemptuously. “All truth is crooked; time itself is a circle.”

– Friedrich W. Nietzsche, Thus Spoke Zarathustra (1885)

Have you ever considered writing a symphony (or: quartet, trio, sonata, et al)?

Yes, but I have yet to find people and a unique concept worth to start such a big project. Especially interested in video, together with musical performance on the front of live audience.

Ambient is a broad category; dubstep is more limited. How would you combine black metal’s cadenced rhythm with the jauntier, syncopated-expectation structures of dubstep?

On various layers of soundscape. I think there will come such a crossover projects in this near future. It may not please the old school metal purist, but the next generation of audience who search for an aural experience rather than a general idol worship of rock band.

Electric Doom Synthesis was black metal thematics in violent EBM, with metal song structures. How do you envision a future fusion between metal and ambient music?

I didn’t have much knowledge of making electronic music at the time of recording Electric Doom Synthesis. I composed it on the very simple sequencer of E-Mu Emax II sampler. Of course if I had to do it again now I would do some parts in a different way, but the album has a lock on time and atmosphere that I was living that time. After that my interest moved towards the other edge of music, experimental sounds, drone and minimalism, thus the release of Suuri Shamaani which were recorded without any real instruments, most of the sounds sampled from radio frequencies.

I used to listen to hours and hours of simple waveforms on evolving space, not so called music at all, more like mathematics and experience of altered states. Calculating planetary system and trying to put these parameters to sounds. I even did some gigs playing those test frequencies to large audiences, but quite soon I found myself playing on the front of max. twenty people. Soon I was kicked out from every chill out room because people complained my stuff was more like brain fuck than any chill out. I think they were right, I went way too far with that shit.

Nowadays I try to keep these things more in a balance. I am interested for some thing like a band playing metal music with no riffs or metal song structure, but it’s not easy with people who lack experience of the dub of deep house, AND who also understand The Black Metal aesthetics. I’m not sure of this last word in English, but I mean understanding what is “cool” and what is not. The last one is where 99.9% of those demos fail that are otherwise potential to make a major success. Quite likely that it will happen in the industrial music scene, but it’s still yet to come?

What distinguishes great music from bad? Can it be distilled into technique, or is it something less easily defined?

I think it’s not about technique or a lack of it. For me, it’s about originality and functionality.

Do you think that those who have similar values, and express them to similar degrees, will find similar voices in music?

Okay, this sounds very likely. But due the polycausal nature of life, there’s always some variation in detail… I couldn’t make any final conclusion. I even went through the conditional nature of sounds, acoustic waves that are frequencies like all the other objects in the universe. The sound object itself has no clear “soul,” but it’s fascinating to think of a scenario where the creator (composer) has a causal relation to soundwork put in a distribution, and that the listener receive the given mental sight by this kind of energy transformation, as they both (artist + listener) have same focus point… Something like used on those shamanistic journeys or people told to get a trance-like state on live concerts.

Emotion in music shares one thing with words: it is a language,and when the words have meaning, they create feeling. There is no feeling to the sound itself. It is twelve symbols in three octaves. But it has an inherent symbolism which makes our nerves twitch, like words resemble our thoughts and video, our dreams. From what comes the “meaning” in music?

Mental objects. I was hoping to put this in action on the upcoming BEHERIT album, but it turned to be a way more complex than I first thought. I decided to make an another project for this one, conveying extrasensory perception (ESP) through the sound itself. Coil had this album Time Machine in the early nineties, one of my favorites, that included a pack of cards/ESP stickers…And I had an idea to transfer these mental symbols for listener, but in the studio I found we were running out of time, and that it would work better with more minimalistic material. Well, it’s good to have some ideas + concepts for future projects.

Are there symbols which do not convey experience, but things inherent to the cosmos or wired into our consciousness (intuition)?

Yes and no. Somehow it would be disappointing if humankind doesn’t have a single symbol beyond this life experience, destiny. Even, this symbol of destiny that he created by himself in a past, it is yet to be experienced, in the cosmos? I know the meditators use techniques to visualize the symbol to guide the soul entity on bardo1 states.

Most people are born in ignorance, but it is said the arahant2 ones are able to recall past life experiences. The maya3 of self is generated in microseconds and is stuck in time, when the other end of the string in the cosmos, is in the dimension with no linear time scale. Therefore it’s logical to have symbolism without one’s own experience, but the watcher has to be on the same resonance in space where the manifestation of certain symbol is created.

The world hasn’t changed, nor in the bigger picture, has human life since we were cavemen. Does this mean that our old symbols are accurate, but their meaning unknown, or that we need new symbols? Can the association of a symbol change over time?

We have been drowned into abuse of symbols in logos and trademarks of modern time. The Swastika is a good example of how differently people may feel when seeing it. In older cultures it’s still a holy and very respected symbol painted in important buildings, but in Europe it’s a bit different case. I think the way of life has change quite alot in the last century. You don’t need skills to hunt or make fire, survive in the woods. Now it’s about being a beauty and famous. Anyway, the very basic principles of life are still the same, thus humankind would need no new symbols.

With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
“Beauty is truth, truth beauty,” – that is all
Ye know on earth, and all ye need to know.

– John Keats, Ode on a Grecian Urn (1819)

If sound is like paint, and we use different techniques and portray different things in our paintings, what does it say when a genre sounds similar and has similar topic matter and imagery? Can the genre be said to have a philosophy or culture of its own?

Yes, perhaps we could call the true black metal movement a subculture, because of its extremity in narrowness. If you go deeper with other genres you will find they have quite similar group policies, but black metal has developed it very strictly and merciless, elitism? Happily I am already old enough that I don’t care to belong to any groups. But for new bands, I can see how it would be serious business. How true they can be, and for how long? Is evilness restricted only to their internet communication or also to other depths?

Some suggest there is a God outside of this world, and others suggest, in response, that there is no God. If music moves like nerve impulses, and music is inherent to the universe, is it possible the universe itself has a consciousness?

The universe may therefore need an other parallel universe? I think everything is possible, but not necessary.

A friend I respect greatly referred to black metal as possibly the only viable artistic movement of our generation (births 1970-1978). My question would be: what was the fundamental artistic statement of black metal? For example, the Romantics wanted to create a type of existentialism that aimed for an aesthetic and not moral goal, so that it did not fall into either individualism or collectivism, but stayed focused on the beautiful as a way of summarizing multiple aspects and avoiding falling into linear thinking. Is there such a statement for black metal?

Not so long time ago, I wrote to internet forum that black metal is antichristian, but some fellows denied it totally and went to politics, racism and other weird NSBM topics that had nothing to do with black metal of old days. Nowadays everything seem to be much more complicated when kids are seeding their own beliefs and opinions to the scene, even if they are not music makers themselves. We (BEHERIT) wanted to create the most severe and bizarre sound dealing with the dark side of occultism. That’s still one of my main points when writing a new song, but I don’t mind if they label it black metal or not.

Do you think a genre of unpopular “popular music” like death metal and/or black metal can be a form of art? What distinguishes art from entertainment, and if they overlap, is there a difference in goals between the two?

Yes, at least in opinion of real music lovers, but artists of today live in poverty and are likely to die in poverty. Entertainers try to maximize money making in every way. It’s very rare to see any art happen in entertainment business.

There seems to be a relatively stable, cyclic effect of black/death/speed metal bands breaking up and then reforming for new material approximately 10 years later. What is the cause of this?

It’s the great wheel of artistry. Girls have their periods, sun has its spots, Chinese astrology is a cycle of twelve. Artists have been cursed by the desire of creation.

Is there necessarily a disconnect between how metal viewed things in 1992 and today?

No.

BEHERIT’s dooming sound reminds me of how William Gibson spoke of his post-apocalyptic Neuromancer: it is a horrible world, but you can see yourself wanting to live there, if for nothing else to finish the fight you see characters embarking on. Does this fit in your worldview?

I like William Gibson.

Some argue that love is “sui generis,” or an invention of itself that justifies itself and has no precursor. Others tie love to some form of God and claim he/she/it metes out love where appropriate. Some slightly cynical people see love as a biochemical reaction and nothing more. Still others (cynics) see love as something one can only have for life itself, and as being more of a thought process that unites the irrational (emotions) with rational (thoughts) to give a balanced view of the unquantifiable, and that one has love for life and in it, love for people and places and things. Since the symbol of love is worn out by years of popular music, does it have any meaning now, or must each artist define love before speaking of it, or risk becoming an elaborately removed Britney Spears?

Love is a very powerful state for beings in these sense worlds. For sure it has moments in lucid oneness, beyond time, like loving kindness (metta)4 is a good technique for entities looking for happier abodes. But “love and loving of lovers” represented in popular culture is a broad highway to misery and sadness, endless craving in the wheel of Samsara5. Loving life is not a right way. My advice is to see the conditional structure of love. Go and see the mutilated, dead bodies. Go and get a part time job in a local hospital or at coroner’s office.

Mankind does not represent a development of the better of the stronger in the way that it is believed today. ‘Progress’ is merely a modern idea, that is to say a false idea. The European of today is of far less value than the European of the Renaissance; onward development is not by any means, by any necessity the same thing as elevation, advance, strengthening.

In another sense there are cases of individual success constantly appearing in the most various parts of the earth and fro the most various cultures in which a high type does manifest itself: something which in relation to collective mankind is a sort of superman. Such chance occurrences of great success have always been possible and perhaps always will be possible.

– Friedrich Nietzsche, The Anti-Christ (1895)

Do you separate intent/goal from method, in that a goal can be good and methods “evil,” and how does that influence your view of good and evil?

Things we intentionally do (with a will), speak or think are wholesome or unwholesome in causal perspective of self. I am very trustworthy and generous man in my friendhood. I would not recommend strangers to come with me, if they are not pure in their hearts.

Environmentalists argue for preserving the earth, but many black metal musicians argue for its destruction. Yet earth permits consciousness, and enjoyment of among other things, black metal. Is the statement “blow up the world, I don’t care” a symbol or a real wish?

It’s a perfect time to enlighten oneself. It’s crazy that still, only very few people ask real questions in meaning of their existence. There’s a fucking internet where one can research the occult, but they rather go see funny movie clips? I would not hesitate a second to detonate this planet to pieces6. Things are already pretty fucked up, but it’s just a beginning of the end times. There has to become more disease and virus, that force ’em to take their precious time much more seriously.

Metal music could be construed as a duality, one side being that which attracts a big audience like Def Leppard and the other side being crypto-art like early Gorgoroth which is “outsider art,” or that which does not base its arguments on the idea that our society as it stands now is doing OK. Outsider art however does not tend to be “protest art,” which issues a negative political statement on aspects of society. Def Leppard and others however can be seen as making negative statements through escapism. Does this duality hold metal back?

A good point. I was thinking about other rock genres, like punk, but there even the smallest underground bands usually have a political manifesto. What about electronic music? Underground techno acts hardly never have a message, but the bigger they get the lyrics become to statements of better world. Actually I don’t know much about normal music they play on the radio. Hmm…

The eye with which I see God is the same with which God sees me. My eye and God’s eye is one eye, and one sight, and one knowledge, and one love.

– Johannes Eckhart, Sermon IV

Richard Wagner both turned classical music toward ancient themes and, by using leitmotifs7 that resembled more the way plays and later, radio,would work, liberalized it and laid the foundation for the movie music that would later inspire Black Sabbath. Is this some type of universal balance where each thing contains its opposites, or was his intent even more cryptic than that, in that he knew what would result and wanted to hurry it up?

Usually, it’s enough that the man intends to create something original.

Is art a celebration of life, a social guardian, or a celebration of the artist?

Some artists may think art is a sickness. Are they reborn entertainers?

Schizophrenia, or having a divided mind, is seen by many as being the major psychological disease of the modern time. Is there a way to benefit from the perspective of schizophrenia?

I am not sure of a benefit; it probably depends on the person and the social network around them? This is an area which should be studied: two steps beyond nibbana8, in hallucination of self existence. We are all doomed!

Have you had contact with the underground music of any parts of the world other than Finland?

I have spent a lot of time in South-East Asia. I see young people are in general pretty much same, but for example their lack of (Western) music culture, their understanding in extreme music usually fall down to those major bands shown on MTV. But then on the other hand, there’s real underground vibes, especially in punk scene, f.ex. Bangkok Alcohol and those young punks are well aware of their original roots. The Black Metal scene is much smaller, but I know the guys from Surrender Of Divinity, and they are cool. There’s no much need to antichristian movement here. Hahaha!

Can you describe some of the early influences on the band that might not be obvious? Specifically, where do BLASPHEMY, HOLOCAUSTO and SARCOFAGO fit in?

In the very beginning, under the name of PSEUDOCHRIST, we rehearsed with cover songs from bands like DEATH, SODOM and SLAYER. Later that summer of 1989, I started to trade vinyls from Brazil and Cogumelo Records. Those bands were so primitive and brutal in a style of music we didn’t know existed. They had this unique sound of underground metal.

We changed our name to BEHERIT, started to paint our faces and radically simplify our songs and playing technique. No more pussycat rock mentality with dreams of large audience or positive feedback, and understanding from society.

I remember the day we got BLASPHEMY Blood Upon The Altar cassette in postal package. We kept listening that tape over and over again on our rehearsal room. We all three came to the conclusion that it was the most fucking severe black metal ever made, and it’s still true after 20 years. We recorded our second demo to honor these Canadian godz of brutality. Three months later we went to the studio for Dawn Of Satan’s Millennium, which had a bit more of our own sound. SARCOFAGO and BLASPHEMY, together with BATHORY have been the greatest influences in the history of BEHERIT. No doubt.

When did you start playing guitar, and was it your first instrument?

Electric guitar was my first instrument. I was 13 years old.

Did you listen to any of these: Kraftwerk, Tangerine Dream, Einsturezende Neubauten, Autechre, Biosphere. Did they influence you?

Sure. I did produce an ambient radio station for five years, so I have a quite nice ambient music collection. Kraftwerk and Autechre I have seen playing live and they were cool. About influences, not much on this new album.

The feel of Drawing Down the Moon is one of ritual; the atmosphere commands a hypnotic ambience, and the entire creation, down to minor details of the presentation, is meticulously interconnected. How did you achieve such a vision, one that seemingly has not been mimicked since?

That winter I listened often to the discography of BATHORY, and read books on Odinism and Asatru. We held pagan rituals. I hardly had any contact to normal society. In the door of my apartment, it read on big letters: EMBASSY OF EVIL.

Individualism: The basis of its error is to mistake the notion of the person with that of the individual and to claim for the latter, unconditionally and according to egalitarian premises, some values that should rather be attributed solely to the former, and then only conditionally. Because of this transposition, these values are transformed into errors, or into something absurd and harmful.

– Julias Evola, Men Among the Ruins (1953)

Can you please summarize the history of GOAT VULVA and the ways which it was relevant to BEHERIT?

Hahaha! Goat Vulva was only a booze project. I recorded those demos on normal C-cassette recorder by putting a piece of tape over the eraser head. I don’t remember how many so-called demos were released, but they came in very limited quantities, perhaps 10 or 20 copies of each. Messe Des Morts was recorded in same studios where Erotic Worshipwas, but otherwise, it was very much a project of its own.

Is it important that metal be considered as “serious” (in any sense) by the outside world?

I don’t mind outsiders. I see them in busses and walking on the city streets, but I never talk to ’em nor do they come talk to me, and even more rarely do we discuss music.

If you are in a metal band, that nobody — of the people who you think should — takes seriously, there’s something wrong with your music, image or both. Make the difference, make the art happen. I don’t mean to murder or burn the church, but use your imagination and live in it. The mind is the strongest weapon.

Are you in Thailand permanently?

I am on a long journey. Now in Thailand, but leaving next week down to Malaysia and then to Oceania. At first, I will meet the people from PORTAL in Brisbane. They have a new project called OLDE GUARDE. Nomad life, traveling with a notebook + ultramobile music studio.

How do the lunar and solar tendencies manifest themselves in your life and art?

I try my best to arrange all our contracts and release dates on lunar dates, not to forget numerology and other aspects of magic. I have done that for years. Life would be boring without little of superstition.


 

1Bardo states: transitional states of consciousness that correspond to stages of life or the development of awareness
2Arahant: a spiritual initiate who has realized nirvana and so no longer needs to be be reincarnated into the karmic cycle
3Maya: the illusion that people and objects exist independently from a continuum of interacting, inter-related and contiguous causes
4Metta: “love without attachment,” meaning a benevolent kindness toward the world that also accepts the chaotic nature of existence and so does not seek the perpetuation of its object
5Samsara: the karmic cycle of reincarnation and death in which individuals attempt to move “up” a karmic ladder toward higher states of consciousness
6Because I don’t have children, otherwise I would use a human logic and say the anger is a symbol. “Because, I just fucking hate this world.”
7Leitmotif: a musical phrase symbolically associated with a character or idea that is reintroduced in a narrative piece whenever that object is referenced.
8Nibbana or nirvana: a psychological state of being free from attachment to earthly resentments, namely anger, greed, craving and television.

 

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