Interview with Utvara of Zloslut

December 28, 2014 –

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Serbian black metal band Zloslut has created some of the more interesting music to emerge from the underground of late and stand on the verge of releasin their second album, U Transu Sa Nepoznatim Siluetama in spring 2015. Main composer Utvara took some time to talk with us about the upcoming album and future of this innovative act…

What first attracted you to black metal music?

I would say it’s atmosphere, and its attitude toward all opposition.

What does black metal music communicate, represent or have as a value?

This depend from person to person, band to band and from era to era of the genre itself.

For me black metal represents all negation that “normal” people can’t stand. Primitivism with a way and a goal.

Its value was lost long ago. There are some good bands today of course! Even if I didn’t have the chance to experience black metal in the 90s, I can feel that it is not now what it was intended to be, judging by people who been through it, interviews and some well-documented movies.

Are you the sole creator of Zloslut? How did you decide to go ahead with this “lineup”?

Yes, Zloslut is me, Utvara.

The faithful individuals that follow me on shows are live session members.

You write and sing in your native language. Why did you make the choice to do this and not just use English, German and Norwegian like most black metal now?

I do this because I live in Serbia currently and I think it is an opportunity to know another language than English.

Many bands sing in English; I think it’s more original to sing in your native language, other then English if you have that privilege.

For those who don’t know that language, it will give them an esoteric feeling. As it gives me too when I listen to some Norwegian, Polish, German bands…

Zloslut have songs in English (three on the demo, one of them was re-recorded, it’s “Abyss of Eternal Deception” the track that closed the EP “Pustoš i prevare izgubljenih duša”) and two in French (one on the demo, and one other that was on the split “Anti-Human Manifest” with the song “Le Tonneau De La Haine,” with the text of Charles Baudelaire from Les Fleurs du Mals).

But I’m pretty sure that a musician who speaks several languages will agree with me that it depends from song to song.

Some sound better in English, but some must be in their native language because of its uniqueness.

Are you self-releasing your work as Dark Chants productions? Why this route and not another label?

Yes. Why? Because today anyone can be a label and many of them don’t take this work seriously. I have a problem with trusting a guy who runs a label on the other side of the planet. I don’t want someone to release my work and make a mistake. So I prefer to carry that burden myself.

I feel more safer when I do the work. I would rather support a mistake made by myself than by somebody else. The day I would let someone do that work is the day I will sign to a serious label who knows how things must be, but I have not had that chance yet.

What would you say inspires your songwriting, as in topics or emotions?

It depends; I guess that the lifestyle has a big impact in the work of a one man band.

The majority of my days are passed in reading, listening to music, and playing instruments. I’m not an “evil misanthropic” guy… It’s just that I enjoy times of loneliness. The feeling of melancholy gives me a lot of inspiration to write lyrics, music…

Or I let the intuition guide me. More people should try that, it’s amazing!

Too many bands today want to be like their idol, or for example the Disney band Watain. This brings us back to the second question, haha.

You’re about to release a new album, U Transu Sa Nepoznatim Siluetama available in 2015. How will this differ from your past work?

A lot. I think that this album is what I wanted to make since the creation of Zloslut, but couldn’t because of many obstacles, such as maturity, money, time and countless other factors.

Basically, everything is how I imagined it, so I think this album is the stamp of Zloslut, until further work.

This is definitely the most mature album and songs I’ve ever made.
I’m generally very negative when I make something. I always think that it should be otherwise, but I didn’t let that feeling overtake me.

What other styles or ideas influence you outside of black metal? How much does the history and current social/political/economic situation in your nation influence your thinking?

Literature (especially poetry), classical music…

I don’t let politics affect me in my musical world. I have some political opinions about Europe which are extreme for some people I believe. But I prefer to keep that for myself.

I don’t want to mix politics with my music, because they don’t have a connecting point. It’s pointless. Even if I love some bands that have some connections with politics.

What bands primarily influenced your basic style, and has this changed for U Transu Sa Nepoznatim Siluetama?

The bands that influenced me for Zloslut have not really changed since I created it.

When it comes to black metal, bands that influenced me the most were Burzum, Judas Iscariot, Taake, Peste Noire, Inquisition, Drudkh, Urfaust…

And I can’t hide my appreciation for the Finnish black metal scene. Almost all of them have something melancholic in their sounds… So Baptism, Sargeist, Noenum, Satanic Warmaster, Nattfog, Horna… I think that today they are the bearers of the “black metal flag.”

But the band that made my path into metal was Iron Maiden, and still today after more than fifteen years, I listen to them everyday at least once.

Classical music is also tied to me since I was a child. I was in music school for seven or eight years as a kid.

I love minimalistic pianist such as Philip Glass, Eric Satie (but just a few composition from him), but also the famous Tchaikovsky, Strauss…

And from time to time I like to put some OI Punk bands in the player, simple riffs, nervous voice with good messages.

Where did you record this latest album, and what techniques did you use? What were your goals for the sound/production of the music?

It was recorded in Belgrade, Serbia. I wanted something between crystal clear and raw sound, how to say, to keep the atmospheric spirit of Black Metal.

I’m not a gearhead, to be honest, I’m more into music creation. Knowledge of technical sound production was never my interest (until recently). I leave that to the producers in general, in this case for this album was Nemanja Krneta (a.k.a. Zlorog). I tell him what I want, and then we together explore all the possibilities.

And I’m very happy with how everything turned out.

How do you compose? Do you start with a riff, an idea, an emotion or something else? How do you link together your riffs?

Oh, this depends from track to track, generally with a riff, then I slowly start to create a text, and then assemble everything until it sounds well-arranged for my taste.

What comes next for Zloslut? Will you tour, or record again?

Well after U Transu Sa Nepoznatim Siluetama will be released around spring 2015 we plan to tour in Europe to promote the new album. We have some offers, but much more details will come after the release see the light… And maybe some summer festivals.

For more recording, definitely I have some ideas, but nothing for 2015, since I really want to promote the album as it should be.
I don’t want to drown the fans with many albums, EPs, splits, singles etc…

The Best Underground Metal of 2014

December 26, 2014 –

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William Burroughs often wrote about the “edge,” or the liminal threshold between states. The last real edge year for underground metal was 2009 when strong contenders and new voices united to defend extreme metal against the onslaught of imitators making Potemkin village metal from hipster flair and lite-jazz fireworks but underneath it, nothing but disorganized songwriting and an absence of something to express. As the underground has come back with a vengeance, it has begun to displace the imitators because their music simply does not measure up. This has created a backlash as the hipsters defend their territory with guilt, ostentation, pretense and surface-level novelty. On the other hand, the underground has produced some strong contenders. And so we move forward through the past to the future, remembering that what is true is eternal, and trends, novelties, fads, hipsters and other transient moments pass quickly away…

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Blaspherian – Demos (Compilation of Death)

Compilation of Death Records has re-issued the a classic demo and rehearsal from a band of recent vintage but oldschool origins, Blaspherian. Their thunderous death metal sounds like Incantation and Obituary covering Deicide but has a voice of its own and unique perspective. It also carries forward the old school sensibility of building intensity and contrast in a morbid mood that is not self-echoing and redundant. Songwriter Wes Weaver (Imprecation, Infernal Dominion) avoids solos and other adornments to focus on tunneling riffs that are distinctive and create interplay with others in each song to give every song a unique feel within the lexicon of symbol and emotion that death metal addresses. Like the bands that inspire it, Blaspherian aims to create an immersive atmosphere of doom and morbidity in which it can bring forth other emotions in layers, such that the “mixed emotions” feel common to much music is not something achieved at the peak of a song, but is a constant in which the emotions mixed vary like a texture, revealing new combinations under the shifting striations of darkness.

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Blood Urn – …of Gory Sorcery and Death (Terrorghoul)

Death metal of the classic style fascinates this young band who write music much like the early years of death metal but with more of an emphasis on melodic bridging material, avoiding the pitfall of using melody as essentially a production technique and instead causing it to highlight songs that come alive with a ferment of conflicting riffs. Vocals use the old-school method of shadowing riffs and the salad of phrases itself fits together and creates a deepening mood. While on the heavier and slower side of death metal, this demo is varied enough to touch on all areas of the genre, assembling rich textures as a means to develop depth to the emotions in each part of the song. Unlike many newer bands, Blood Urn decided not to follow a single identifiable influence but instead sound like a study of European and American death metal rendered by someone approaching it with a fresh vision.

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Cenotaph – Riding Our Black Oceans (Chaos, re-issue)

A re-issue of this album restores it to its rightful place in the death metal canon. After the immensely powerful Gloomy Reflections of Our Hidden Sorrows, the thunderous Mexican death metal band Cenotaph changed their style to an airier and more intense high-speed melodic death metal sound. Unlike contemporary “melodic death metal” this style embraced the vigor of death metal by expressing it through sequences of tones that added melody without obscuring structure and darker moods, and Cenotaph displayed its customary acumen for songwriting by keeping each track centered around an idea that came forth not only in the whole but in the shape of its riffs. In the years following Sentenced North From Here and At the Gates The Red in the Sky is Ours, many bands attempted this newer style but few made it as vicious and uncompromising as Cenotaph.

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Conquering Dystopia – Conquering Dystopia

Conquering Dystopia creates instrumental mental that hybridizes death metal styles with progressive heavy metal and some of the newer progressive styles like that of At War With Self. The result often sounds a lot like Joe Satriani’s older works in that clear theme is expressed and highly repeated, but varied with other instrumental detours which strengthen it as the song progresses and all the pieces fit together more an in interrupted linear way than the geometries of pure death metal. While this is like most commercial rock indulgently emotional, the underlying music is good and the technique interesting without leaving service to what each song needs, which keeps it not only topical but interesting.

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Dead Congregation – Promulgation of the Fall (Martyrdoom)

Although this band gets mentioned as the foremost in the “Incantclone” series of bands inspired by streaming columnar detuned tremolo underground metal in the style of Incantation, Demoncy and Havohej, Dead Congregation draws influence as well from the subtler structuring of older Immolation in its use of melody to underscore is otherwise a thunderous series of chromatic rhythm riffs needing a center. Although songs vary in completeness throughout the album, generally these storming high-intensity dirges fit together well and produce an encompassing atmosphere which both crushes and awes the listener. If anything, this band could let up on the classic technique and float more of their own aesthetic ideas now that they are established.

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Demilich – 20th Adversary of Emptiness (Svart, re-issue)

Back when death metal was viewed by just about everyone as an incompetent genre of malcontent losers who would go nowhere and who were complaining about our new consumer+hippie paradise, a few bands emerged who saw the emerging genre not as a style but as an artistic voice with unlimited possibilities. One of these, Finland’s Demilich, created an album so circuitous and bizarre that the metal press basically dropped it and ran in fear, as did many fans. For those who discovered it however, Nespithe presented unlimited potential as to how death metal could adopt technicality and yet not be mastered by it and forced into the type of generic jazz-blues-rock theory that served to actually limit what musicians could conceive of and execute. With its twisted passages and seemingly erratic rhythms, Nespithe resembled a strange machine risen from the bowels of earth to conquer humankind. Instead, it inspired generations of fans and musicians to visualize death metal as a broader language than many wanted it to be. This re-issue pairs up older works with a handful of newer songs to make for a complete experience of this distinct voice and its concept.

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Desecresy – Chasmic Transcendence (Xtreem)

Desecresy combine Swedish death metal, doom-death metal and atmospheric influences from black metal to create towerlike scenes of dark moods in collision. With Chasmic Transcendence, the band update the formula with more easily separable rhythms to riffs and use of melodic transitions to intensify the building sense of doom. It builds grinding tension and discharges it in lengthy melodic passages which expand beyond their origins into new landscapes. Add to this a tendency to use lead melodic rhythm guitars over its power chord riffs and this makes for a haunting listen that resembles a descent into the underworld. With this third album, the band shows not only its staying power but the depths of the well of its creativity in not just re-inventing older styles but finding a new combination of them and using that to express a perspective which elaborates upon the basics of the genre and gives them new elegance and power.

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Enthroned – Sovereigns (Agonia)

Famed for their high-speed melodic black metal, Enthroned take the populist approach of middle-period Dimmu Borgir — before it went into its final stage as warmed-over hard rock — and craft it with greater urgency and the instrumental approach of older black metal. The result more resembles the later Bathory albums where heavy metal, proto-black metal and post-Slayer death metal influences merged to create a potent ferment. Sovereigns does not achieve the vast contrasts and epic sense of loss of earlier black metal, but upholds a battle-spirit and pushes it into song with strong melodies that do not lapse into the cloying saccharine world of “feelings” — personal observations based on personal perspective — but instead appeal to emotions, or the shared sense of importance and value to certain things which might be eternal. This album breaks up the formula slightly with slower songs as the album expands, in the style of Hypocrisy Penetralia.

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Entrench – Violent Procreation (War Anthem)

Following in the steps of Merciless, who could be seen as the stylistic ancestor of this band, Entrench craft speed/death metal with melodic underpinnings and a frantic but strident voice which guides riffs much in the way Dio narrated his own songs. To the Merciless formula of adroit ripping riffs concluding in both ambiguity and alignment, Entrench adds a Kreator style of finality to both vocal and guitar phrase, making these songs less emotional but more solidly violent. While speed/death hybridization usually ends badly, here the essence is speed metal riffs played as if by a death metal band in the context of a rhythm more like that of death metal. The result is satisfyingly impact-oriented but for it to take the next step to where Merciless is, it will have to coordinate its melodies and cultivate ambiguity both for it to resolve and preserve to keep the dark sensation produced by the riff-style of death metal, minor key melodies and mentalities outside those of the herd.

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Heresiarch – Wælwulf (EP, Dark Descent)

Attempting to forge a niche for itself in the Incantation/Blasphemy inspired style that has become a de facto underground currency during the past few years, Heresiarch create a muddier and more obscure version of their previous works, focusing less on tunneling riffs and more on simple two-chord riffs introducing songs that expand to greater degrees of structure with the slightest hints of melody. The band, in hoping to take war metal to the next dimension, probably consider their work to be unstudied and arising on impulse, but these songs show a clear pattern of development from the grinding to the structural and as a result, take the listeners with them on a journey of finding beauty in darkness and coherence in chaos. The violent slamming intensity remains but by lessening its consistency the band achieves a greater sense of contrast, like raising a sacred object higher above the marble floor to ensure that when it shatters the pieces are irreducible.

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Kever – Eon of Cycling Death (Dark Descent)

Perhaps one of the most inspiring releases this year, Eon of Cycling Death wears its old school influences in Suffocation and Morbid Angel on its sleeve but without imitating them in pale imprint of their technique without understanding their essence. Instead this band forges on with a kind of fantasy death metal that shows them living an alternative and parallel timeline to these bands, developing the basics they innovated with a voice specific to these individuals regardless of what time they are born into. Percussive riffs give way to an ensemble of death metal styles united by rhythm and space which convincingly outline the ideas of each song and then give them depth through internal dialogue. On top of it, an abrupt and croaking vocal gives new life to a very familiar technique with its guttural but carefully sculpted sonic enunciation.

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Massacra – Enjoy the Violence (Century Media, re-issue)

One of the great classics of death metal, long passed-over for more dramatic acts, gained new life with this re-issue. Massacra created their early music in the style which stretches from Slayer through Morbid Angel and emphasizes fast strumming of rapidly-colliding riffs which emphasize ambiguity and openness over the kind of certainty that works well with more percussive styles. Enjoy the Violence is like a rollercoaster between extremes where all things lead back to the same point, but the experience is changing enough that it is almost unrecognizable as the same. With the remaster, some of the weaker sound from the earlier recording is corrected and bonus tracks are added, giving new life to this under-recognized classic of the genre that was more highly influential among musicians than fans, and took on new life in the bands it influenced.

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Massacra – Final Holocaust (Century Media, re-issue)

This foundational album of death metal by Massacra has been re-issued by Century Media with bonus tracks and a booklet rich in information. That provides a good introduction to this view of the death metal style, which instead of attempting to be “heavy” aimed for shock and awe with fast riffs and convoluted songs that somehow emerged into an almost peaceful calm after chaos and combat. Massacra derive their strength from the ability to write fast-fingered riffs that capture the thrill and terror of being alive into a single moment and use this to make basic clashes within life into a mythology of trying to conquer empty spaces with the will and sensibility of a warrior wandering a dystopian wasteland. While this album was forgotten in the day mostly due to its mids-heavy (in contrast to bass-heavy) production and relative availability through distribution contracts more circuitous than its riffs, it rides again in new form.

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Massacra – Day of the Massacra (Century Media)

Century Media compiled several early Massacra demos into a single disc, paired it with extensive liner notes and pictures, and remastered everything for an insight into the rise of the Massacra sound while it was recognizable as what would emerge on the first two and most influential Massacra albums. These recordings show the band merging its early influences into a style and then finding its own voice within that beast, allowing it to compose distinctive and evocative songs immediately including several pre-album tracks with some duct tape still visible. While this might appeal most to Massacra maniacs, it also serves as a useful introduction to new fans who may appreciate the heavier production and more aggressive primitive approach here as a means of transitioning to the albums that follow, which focused not so much on slamming impact as a kind of sky architecture of riffery.

CD Booklet

Nausea – Condemned to the System (Willowtip)

Straddling the line between grindcore, crust and old-fashioned hardcore — which are inches apart as it is — Nausea return with this recording of older and newer tracks alike. Carefully pared down to incorporate only necessary elements and keep energy high, Condemned to the System demonstrates the simpler style of punk composition with all of the riff power of early grindcore, including several tracks (and pieces thereof) that later made it to the first Terrorizer album, World Downfall. The listener who can forget that heritage however will discover merely a crushing, efficient and streamlined album of enjoyable but hard-hitting punkish music that will not win awards for extremity or technicality, but shows care applied to songwriting so that a listener does not feel lost in a sea of riffs or drone, but can isolate each song in the mind and appreciate its individual attack.

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Nunslaughter – Angelic Dread (Hells Headbangers)

While some may be tempted to categorize Nunslaughter as dinosaurs, the fact remains that this band takes the raw ingredients of power metal, speed metal and most death metal and makes a stripped-down, hardcore-punk style ripping version of this that remains highly listenable even if not particularly distinguishable on a song-to-song basis. Like other collections of many short songs, such as Dead Infection or Carcass, Angelic Dread operates like many small insights into roughly the same idea. Somehow, what this band creates never gets old, in part because they understand their riffs as a language from the same basic source, and in part because like a thrash band their song format carefully fits the particular clash of the two riffs (with a few budget transitions, and sometimes rhythmic variations, Nunslaughter uses two riffs per song on average) and the need of presenting them in the best light. The result is compelling and enjoyable and upholds the best tradition of riffcraft and expressive violence in underground music.

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Oppression – Sociopathie & Gloire (Preposterous Creations)

Merging Oi!-style punk with some enhancements from black metal, tracks are short (2-3 minute) affairs. Melodies are catchy, yet wistful lines grounded in simple guitar and bass riffs, with vocal alternating between manic shrieks and an idiosyncratic, youthful attempt at melodic singing. Using the more linear style composition of punk, as opposed to the riff-stacking song construction used by much of black metal, each song contributes a sense of motion that builds the album up over successive tracks. Production values are what one would expect for this style of music; clear enough to make out each instrument, but raw enough to preserve low-budget ethos. This is a release that is not attempting to invent a new genre, but rather one which seeks to renew genres that had collapsed under their own entropy. The strange aesthetics may be off-putting to some, but if those can be sublimated into the spirit of this album, a refreshingly honest work will open itself for enjoyment.

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Personal Device – Microorganismos del Mal

First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range.

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Ripper – Raising the Corpse (Underground Defenders)

Much like Merciless, Ripper know to invoke a melodic hook with a rhythmic hook and gradually bring a song into unity, at which point they hammer home the infectious chorus until the audience is ready to carve it into their own flesh. While some may point out that little new occurs here stylistically, and many of these riff forms can be traced back to Slayer or Destruction, what Ripper does well is keep this music high-intensity without falling into sameness and to streamline into an effective delivery mechanism that outgrows the confused collision of styles that was the mid to late 1980s. This approach fits within the early speed metal model that formed the basis of great hook-laden German bands like Destruction and Sodom, and this tradition continues with Ripper. Where Ripper succeeds is in removing extraneous material and cutting to the core of its music, eliminating some of the distraction and randomness that blighted later work from the German bands.

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Sorcier Des Glaces – Ritual Of The End (Obscure Abhorrence)

Flowing dark melodic forest black metal band Sorcier des Glaces burst onto the scene as any appreciation for this style of Graveland and Immortal influenced black metal fully waned as the initial loss of momentum in the genre caught up with its inertia. Since that time, the band has continued its path of making naturalistic long-melody black metal with the distinctive wandering tempo and phrasal development that many of the French bands also explored. With Ritual of the End, Sorcier des Glaces present their vision in a more focused style that nonetheless preserves the inconclusive nature of their earlier music, becoming like a vision of the woods at twilight equal parts promise and ambiguity, revealing the continuous nature of life through its inability to achieve finite endpoints. When metal mistakenly went toward faster/more extreme variants of the past, it lost the majestic beauty which inspired imagination as well as aggression, and Sorcier des Glaces return it.

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Varathron – Untrodden Corridors Of Hades (Agonia)

One of the original Greek black metal bands, Varathron returns with higher speed and more dominant melody in a style that approximates what Borknagar and other later black metal bands tried to do, with some nods to music since but fundamentally a sensibility closer to Rotting Christ Thy Mighty Contract. Keeping energy high with frequent changes but return to theme and focus on a melody or progression at the heart of each song, Varathron expand their repertoie and craft an album that speaks enough of a contemporary language to dominate that style with the vocabulary of the older era, invoking both a return to and a continuation of the past. While the influence of the present time makes itself known, it remains under control of the guiding forces behind this band that seek to open the imagination instead of gratify self-image, and as a result more possibility emerges here than in other contemporary works.

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Witchblood – Hail to Lyderhorn (Aurora Australis)

Attempting to uphold the values of classic black metal while introducing to them some of the more recent developments in tradfolk-inspired music, Witchblood combines the catchy attack of Venom with riff technique from mid-90s black metal and adds its own voice, which consists of equal part narrative bardic style and an idiosyncratic ability to make memory-haunting tunes. The result features a range of techniques from the history of metal, including NWOBHM-inspired riffing right alongside streaming tremolo picked melodic riffs, but this band makes it work by keeping focus on an essential melody in each song paired to a vocal rhythm designed to deliver a foot-tapping chorus, as bands like Sodom or Destruction did years ago. The result takes the Venom school of metal, upgrades it with black metal, and restores it to a 1980s delivery that is both clear and dark and then infuses that with the type of ancestral identity and epic sensation of purpose that arises from folk music. Through this, Witchblood creates its own form of metal that shows clear roots in much older traditions.

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Woodtemple – Forgotten Pride (Sacrilege)

Showing more of an influence from Following the Voice of Blood era Graveland, Woodtemple return with a more focused version of their flowing black metal. In the past, the music more resembled flowing hills in a landscape of vast breadth, but now greater internal contrast makes what is portrayed closer to a mountain range with ragged crags over deep valleys. The addition of floating female vocals and gentle keyboards allow the band to put more aggression into guitars and bass, keeping vocals semi-backgrounded which produces the effect of reducing the “human” feel to the music. As a result, songs come together with more focus, making this the clearest statement from Woodtemple yet made. Like most metal in this style, Forgotten Pride creates an effect of distance from the human world, isolation and a focus on the larger picture through a lens of large leaps in time, but now creates another hypnotic effect in a distancing from humanity itself. This band, while not a Graveland side project, features Graveland composer Rob Darken on bass.

Album of the Year 2014

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Sammath – Godless Arrogance (Hammerheart)

Godless Arrogance features nearly constant high-intensity rhythmic riffing and finally has a production to match which emphasizes internal harmony but projects vocals and guitars to the forefront, creating an enveloping wall of sound. Drumming is violent martial battery without the happy kickbeat tendencies of overly rock-trained drummer; percussion here is more like punk, hard-driving intensity to channel the guitars, which alternate between abrupt chromatic confrontation in the Demoncy style to gentle unfolding melodies much like were found on Strijd. Bass folds into the guitar, and vocals are the high-volume bluster that reduces distorted vocals to a sound like a whisper spoken close to a microphone in high wind. The result is incessant and unrelenting but also has an inner life of melody that gives it depth and allows it to manipulate riff context like a death metal band while evoking ambient atmosphere in the best tradition of black metal. For resurrecting the black metal spirit of great beauty hidden within massive aggression and alienation, Godless Arrogance deserves to be seen as the best album of 2014.

Related:

Algaion – Exthros

December 19, 2014 –

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Black metal has been taken over by cocktail parties. I used to be able to say, “You know, everything but black metal is a copy of a copy at this point,” and the point would drop. Now people start digging out their Prada notepads and Christian Dior iPhone cases and rattle off a list of their favorite new (or is that “nu”?) black metal bands. I dutifully make note and brace myself for disappointment.

I was not disappointed with Algaion Exthros. That is, my disappointment was not disappointed: this albums is bad beyond terrible. Its worthy contribution can be found on the first track where the band covers one of those Greek melodies that tourists and tour guides alike recognize that a crowd will recognize as Greeky Greek, and they make it into a ripping black metal tune. It was not excellent, but it far surpasses the absolute desert of songs that one could possibly enjoy in “nowadays black metal.” What follows is an abomination of taste and content.

Taking a page from the At the Gates book, this band write melodic hooks for the verses and then have vocal hooks lead the otherwise straightforward and grinding choruses, but they keep the whole thing in rock harmony — including extensive (yawn) pentatonic leads — so that the power of all of this is muted. The vocal hooks are of the Pantera variety, which is the kind of simple song you sing to yourself when doing the laundry or trying to give your pet an enema, infectious but brain-numbing and here taken to new extremes of repetition and sing-song cadence paced with war metal tempi and modern metal style regular open-throat vocals, as distinct from the closed-throat guttural of death metal or open-throated but sonically-shaped vocals of black metal. Excruciating, this is. I weep for the landfills which have already filled or shortly will fill with this terrible, predictable, mind-destroying disc.

Fanisk – Noontide

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Normally I refuse to review NSBM because in my view, if your politics must be understood to like the music, the art has failed and we have ventured into propaganda. Nonetheless I attempted to listen to Fanisk because so many people swore by its value, including those I respected.

Let me quickly set your fears to rest: this is a band endorsing Nazi sympathies which can be entirely forgotten for reasons of artistic content, independent of any message it may carry. Unlike Darkthrone, Burzum, Morbid Angel, Incantation, Infester, Graveland, Mayhem and other bands which have flirted with the triskelion, Fanisk is a proficient form of terrible that combines post-metal, excellent neofolk keyboards, and boring droning black metal with chromatic fills elevated to the level of riffing as happened on later Gorgoroth albums. In many ways, this is like neo-Nazism itself: a backdoor by which low-quality material can declare itself faithful to The Cause and achieve inclusion to social circles that were denied to it before.

The best part of this release are the keyboard intros and background Summoning-style keys which accompany the slighter guitar riffs to fill out the atmosphere, although sometimes these mistake the mood are come across as inappropriately cheerful in the style of Master’s Hammer. If Fanisk stitched together the keyboard-heavy parts of this album they would have a killer 15-minute song, but as it is you have to listen to post-metal melodies set to black metal textures, which establish a good energy and atmosphere then fail to figure out where to take it, and substitute chromatic fills and bouncy crowd-pleaser riffs to try to take it home. Obviously the Deathspell Omega style has had a huge influence here but it is similarly directionless.

The only way to fight politics in metal is to call out these bands on their garbage. Christian metal is garbage, SJW post-hardcore “enlightened metal” is boring and directionless, and this festival of NS fidelity and love lacks a purpose as well. With Burzum, the Nazism came out of the art and a hatred for the mediocrity and cowardice of humanity; here, the band heads the opposite direction, and tries to invent the art out of the Nazism and collected impressions of what is hip. The result is uninspiring.

Demoncy to release Risen From the Ancient Ruins and re-issue Empire of the Fallen Angel

December 15, 2014 –

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In addition to unleashing a re-issue of its classic Joined in Darkness, nocturnal subterranean black metal band Demoncy plans to release a new EP entitled Risen From the Ancient Ruins and a re-issue of its full-length Empire of the Fallen Angel a/k/a Eternal Black Dominion.

Forever Plagued Records intends to release both of these “this year,” according to an announcement on its email newsletter, but this language does not clarify which year this is since 2014 is nearly done. Most likely, this announcement was intended for early 2015 and reflects a 2015 street date for these albums.

Here is the full statement:

Forever Plagued Records is also very proud to announce DEMONCY will be releasing a new EP this year entitled “Risen From The Ancient Ruins”, it will include three new tracks and one ambiant. As a follow up, another DEMONCY release FPR has planned for this year, namely, the new rendition of “Empire Of The Fallen Angel aka Eternal Black Dominion”. Both releases will feature IXithra’s voice of unclean spirits.

Winterfylleth – The Divination of Antiquity

December 11, 2014 –

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When something great passes, people stand around wishing for more of those moments of power and beauty that it brought. And so we get the black metal equivalent of Django Wilson and his Electric Band Play the Hits of the Beatles, except that now it is a black metal version which revisits the greatest moments of early Gorgoroth through a filter of Ancient and Graveland. Nothing here is poorly executed but the whole misses the driving spirit of black metal that gave it its profundity and instead works on recombining known tropes that once gave it great intensity.

All of the classic attributes are here: the minor-key trailing melodies, the bombastic resurgent themes, the shifting between riffs conveying a sense of hope and thus returning to a feral despair, but the animating force that holds them together does not appear. Like a musical version of Frankenstein’s monster, The Divination of Antiquity is the most beautiful black metal album ever made from pieces of its best, but it lacks the soul to see beyond the immediate and material and touch the conceptual ground of actual black metal. Winterfylleth make songs with the basic feel and sensation of black metal, but without the intention behind it, they never develop to any conclusion sufficient for black metal and instead detour into the semi-circular wistful feeling that indie-rock and post-metal — both witnesses to the decline of human society in lugubrious ways, but helpless observers and not soul-participants in the counteraction — create that are the artistic equivalent of euthanasia. Like back, watch it happen, relax and let the waves wash over you. It will all be over soon.

As the album progresses, The Divination of Antiquity starts falling back on more rock and jazz tropes to supplement its diminishing store of black metal landmark moments. The result is pleasant to listen to and evokes many of the old feelings, but like uncompleted thoughts they linger in conversation outside the French coffeehouse and dissipate on the car exhaust and cold air of the morning breeze. It would be wonderful to find in this “what once was,” but that would be the equivalent of concluding the recent Star Wars movies will have the impact of the original out of nostalgia, and ignoring the obvious missing elements which, and not its accessories and techniques, made the original so powerful.

Demoncy – Joined in Darkness to see re-issue in February

December 10, 2014 –

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Classic hybrid of aggressive black metal and tunneling death metal in the Incantation style, Demoncy Joined in Darkness not only set a new high point of intensity for the genre, but also created a feeling of dark ritual foreboding that remains distinct to it. On February 9, 2015, Forever Plagued Records will re-issue this classic album.

The new Joined in Darkness will feature cover art by underground artist Chris Moyen and be remastered so that fans may hear it “as it was always intended.” While the re-issue will be a digipak, a format not beloved of fans or collectors, this will allow more of the artwork and imagery to show through where it would otherwise be obscured by the spine plastic of the compact disc case. As this release is the second re-issue of this classic album, care has been taken to show the original intent.

Demoncy manifested out of the mind of Ixithra, who previously served in Havohej/Profanatica, and shows the influence of the style that Ledney-linked bands Profanatica, Revenant and Incantation developed of long phrasal riffs with internal structural counterpoint, but takes this further with the incorporation of melody and a Celtic Frost styled setting of theatrical transitions in song, creating an atmosphere changing like scenery at a Wagner opera.

    Tracklist:

  1. Hymn To The Ancients
  2. Impure Blessings (Dark Angel Of The Four Wings)
  3. Demoncy
  4. Joined In Darkness
  5. Winter Bliss
  6. Hypocrisy Of The Accursed Heavens
  7. Spawn Of The Ancient Summoning
  8. Hidden Path To The Forest Beyond
  9. (Angel Of Dark Shadows) Goddess Of the Dark
  10. The Dawn Of Eternal Damnation
  11. Embraced By The Shadows
  12. The Ode To Eternal Darkness

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This tracklist adds “The Ode To Eternal Darkness” which was not present on the original Joined in Darkness.

Fallen Temple Records compilation includes Betrayer single

December 5, 2014 –

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This small label sent over a few of their releases in compilation format. Fallen Temple Records releases tapes and vinyls of rather obscure acts with specific audiences and put a range of stuff together for this compilation, which shows how wide the tastes of this label and its audiences are.

Betrayer/Neolith – Split

Long-time readers may be familiar with our obsession with Polish band Betrayer, whose 1990s debut Calamity remains an excellent but mostly overlooked piece of melodic death metal with speed metal influences. Betrayer return with a single track, “Beware,” which shows more of a late Morbid Angel (Covenant era) influence, specifically in vocals and rhythms “The Lion’s Den,” as well of more of a reliance on the more aggressive mid-paced speed metal rhythms to emerge in the 1990s. The musicality that allows melody to unite disparate elements into a single experience remains and so despite initial concern over style, listeners will find this track hard-hitting and rewarding after multiple listens. The noodly solo does little for it and the Pantera-ish influences slow down the power of this song, but the quality songwriting remains as does the ability to leave the listener transported after listening. We will be fortunate if we hear more from this under-noticed but intelligent band.

Neolith on the other hand sounds like Krisiun and Impiety had a spawn but balanced it with the second album from Grave. The result emerges as charging death metal with atmospheric use of keyboards. Unlike many bands, these guys seem to understand at least the rudiments of harmony and so it fits together both rhythmically and tonally but the constant drilling rhythm and high degree of repetition without variation of the structural loop within the song makes this somewhat repetitive. A late-song break to a Slayer-style riff then leads to more keyboards mixing poorly with the guitars by creating a competition between sounds instead of supporting atmosphere, which causes clashing influences in the song and sabotages mood. Then it all repeats. This band has a great deal of talent and if they chill out and apply it without worrying what people will think about them, they’ll do great.

Behelal – Satanic Propaganda

Behelal suffer from being too adept, which leads to them deciding to adopt multiple styles into the same musical persona, with the result of achieving stylistic anonymity. Fundamentally of a blackened death approach with post-metal style chord progressions and mixed in primal black metal, industrial and other influences, this song plus an intro conveys a lot of potential but not really any specific direction. It concludes much as it began, with a sense of darkness and possible beauty never realized. Compares to Pyogenesis.

Blackwhole – Another Starless Night

The world might be happier if bands abandoned pun names, if that is what this is. The listener will first notice that and either be thrilled by it because they are a moron who delights in the trivial, or avoid it because they are disgusted by the flood of mundane morons delighted by the trivial. But assuming that the name is not a pun, consider how you would feel about an album at the pace of early Samael with some of the influences of later. The result requires the kind of mentality that doom metal fans have while listening, but incorporates some electronic influences but basically just drones. Its simple chord progressions are not unpleasant and its riffs somewhat unique, but the main problem most of us have with this is that well-composed or not, it is somewhat boring. The pace allows for little change and the plodding riffs wear us into the ground. Like early Samael, it has a certain charm as mood music since it sounds like demons practicing dirge music in the basement of an ancient house on haunted land.

Devil Lee Rot/Ajatus – Split

Devil Lee Rot is extremely predictable but catchy hard rock dressed up as some kind of Dissection-formatted heavy metal band with occasional death metal vocals. If you really adore middle-period AC/DC, this might stir your cauldron, but generally this has nostalgia appeal and is dripping in cheese without managing to be fun or entertaining. It is hard to write off this band because of their obvious musical skill, but it does not save the end result from being a warm-over of the past. Ajatus aim for the late days of the 1980s with a fast speed metal/death metal combination that uses fast riffs and death metal vocals but the riff patterns of speed metal. These riffs are predictable but use a bit of melody and songs come together well, which marks this as eternal B-level death metal that compares to Fleshcrawl and Dismember but never quite achieves those heights.

Eternal Rot – Grave Grooves

Much as you might expect, this band undertakes a fusion of morbid metal and dark grooves. The result sounds like Fleshcrawl covering Autopsy at the pace of early Sleep material, and this delivers a listening experience that is pleasant. Morbid vocals burble up from the background as bass-intense guitar tracks rumble through the front and songs fit together well. Riffs are a bit too asymmetrical and songs too much cut from the same wallpaper, but this release only has two tracks. A full length album might show more. Eternal Rot struggles against contradictory impulses to set up a groove and to use simple riffs, which creates the unfortunate result of droning power chords ad nauseam. If this band could work in more death metal style riffing it might inject some energy into this otherwise fairly plodding sound. Then again, those who like groove tend to get excited by predictability.

Hin Hale – Beyond

This band attempts early style black metal with distorted vocals but music influenced by the speed metal years, much like early Sodom or some of the many South American bands who have undertaken this style. Hin Hale keeps up the energy and throws in some good riffs but the background of this release somewhat swallows it in similarity. Finding a voice in this style proves very difficult because of so many riff patterns and song patterns known from the past, so revivalists such as this face an uphill battle. They complicate this with a named unrecognized by most and an unfortunate thin guitar production.

Malum in Se – …Of Death…of Lurid Soul

Malum in Se blends three generations of Swedish death metal into a single melodic death metal voice that avoids being as random as the post-metal and “tek-deaf” material tends to be. Unfortunately it also avoids being distinctive and so comes across as a well-articulated style in need of direction. Some excellent riffs in here show not only promise, but an ability to stagger riffs for contrast and achieve mood, but the overall energy charges too far ahead and not enough into depth, and many of these patterns seem too symmetrical to be memorable. The insistence on nearly constant vocal rhythms and frequent high speed pummeling make it hard for listeners to stay tuned in to the inevitable conclusion, which is usually able done and worth the wait. This band have made a good job of analyzing their style, but now need to find a sense of making it more of an aesthetic experience of beauty and with that, a larger purpose than the style itself.

Necromantical Screams – Deadly Frost

This band approach Funeral Doom much like old school doom in the style of Saint Vitus with heavy downstroke repetitive strumming guided by the croaking distorted vocals. On the one original song included here, much of the riff-writing approximates the speed/death metal years and while it incorporates a good amount of melody, ends up being driven by rhythmic expectation in the sense of a cadence ending on an offbeat. Many Autopsy influences color this and they result in a somewhat boring song. The second track is a slightly slowed but mostly faithful cover of the Celtic Frost song from which this band takes its name. They successfully execute it but put more emphasis in varying the vocals with each phrase to give it a new atmosphere, but this loses the austere calm and sense of dread to the original. While there is nothing to dislike here, the simple outlook approach to riffs plus slowdown generally equals a type of funeral doom best reserved for going to sleep after funerals.

Wömit Angel – Holy Goatse

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Does anyone remember Driller Killer? Wömit Angel joins the tradition of metal bands making novelty releases on the society-hating side. Obviously inspired by Impaled Nazarene, Wömit Angel serves up fast hardcore riffs with a heavy dose of hard rock on the choruses.

And that is about all you must know.

This release makes for pleasant listening in that obviously these guys have been in metal bands for some time and know all the ways to give a song power. There are no random wanderings like one finds with inexperienced bands; everything fits together like a puzzle. The problem is that each puzzle is based around a melodic hook per song, with a corresponding rhythmic hook in vocals, and then nothing really interesting happens even when they inject a bit of riff salad. What fails to hold these songs together is internal, at a conceptual level lower than music. They are all variations of the same idea which is fun background music to hate society and self-destruct to.

Driller Killer was similar but of 1999 or so vintage. It was fast hardcore with melodic undertones but the heavier emphasis on chorus vocal rhythm common to German speed/death metal bands (we’re looking at you, Destruction). It was catchy. No part of it was incompetent. But like Holy Goatse, the Driller Killer album was temporary, transient and quickly forgotten. Music is best when it evokes a feel from life and observes something poetic about it. If that feeling is living on Euro-welfare, drinking $9 beers and hating society — with no motivation to find a reason why — the result will be a nostalgia-tinged journey through influences and convenient songwriting.

Thus rises the epitaph of Wömit Angel. If you found this at a yard sale, it would hold your attention for a couple weeks, but mostly for the novelty of the name and cover. Then you would put it in a box and ten years later drop it off somewhere where it would again end up as a yard sale item. Music must have meaning or it becomes universal pop which is like elevator music at this point: always there, always cheap, and rarely lasting more than an instant.

Hammerheart Records to re-issue Mystifier albums

December 4, 2014 –

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Dutch metal label Hammerheart Records announced that it would release three releases from Brazilian band Mystifier, Wicca (1992), Göetia (1993) and The World Is So Good That Who Made It Doesn’t Live Here (1996). The first two of those releases constitute the essential works from this band and its greatest historical impact during the fertile 1989-1994 period of black metal.

All three albums will be released in deluxe vinyl and compact disc editions after an unspecified remastering treatment. The label also intends to release a live album on DVD plus compact disc or vinyl sometime in 2015. Describing the arrangement as a “long-term agreement,” the label and band seem to have hammered out a distribution deal for present and possibly future works, since Mystifier has been active again over the last decade after a long absence.

Starting their musical career just after the Norse boom in black metal in the early 1990s, Mystifier appealed to the raw and primitive side of the new genre explored by other tyrants such as Sarcofago, Blasphemy, Impaled Nazarene and Beherit. Their primal and uneven hymns created a destabilizing force even as the hip kids mustered themselves to make slick versions of the new genre. As we enter the second decade of elevator black metal, this infusion of unsystematic hatred should help even the score.