Sadistic Metal Reviews mini-feature – Barbaric Horde – Gasmask Perpetrators (2016)

barbaric horde
Article by David Rosales

One of the greatest curses of the Internet age is that every kind of garbage can be marketed as “art”. Labels pop out of nowhere only to pump out bad excuses for music; albums not even the people who wrote them can remember a week after they listen to them. Barbaric Horde’s Gasmask Perpetrators is one such worthless package.

While we insist that cliches of music are themselves not the problem, as they only constitute solidified code words of an artistic circle or movement, these really do need to be used to express something unique. What good is a book that has no spirit of its own, no story of its own? What good is an album that plays the same old tropes in exactly the same way with nothing but a mere reproduction of what has come before it? If not for its overall air of mediocrity, Barbaric Horde should be reprimanded for wasting anyone’s time with absolutely nothing but empty statements and pseudo-underground statements. If you believe you are underground so much, then you do not try to be so by emulating the exterior of the sound of what today is known as classic “underground”. If you believe you are truly underground, you stay so by staying hidden, not by imposing your third-rate crap on all of our ears. Anyone who doesn’t understand this is at best a poser deserving of all your elitist contempt.

PSA: Cirith Gorgor’s Visions of Exalted Lucifer releases today

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We’ve covered Cirith Gorgor’s latest album several times now, but only today has Visions of Exalted Lucifer officially released to the public. According to the band’s official website, it’s available in several formats, including a 2-CD digibook that also contains the band’s 1997 Mystic Legends… demo. It should keep Dutch black metal fans sated until the release of Sammath’s upcoming album later this year.

Nihilistic Holocaust webzine publishes rare Quorthon interview

The folks at Nihilistic Holocaust webzine recently uploaded a rare cassette interview that an unknown fan or journalist managed to score with Quorthon of Bathory. To my understanding, while there’s a reasonable amount of historical documentation of early underground metal, a lot of it is locked away in unscanned fan magazines, unpreserved recordings, and so forth. It’s always interesting when someone unearths these documents. This specific interview showcases Quorthon documenting his experiences touring, working with Black Mark Productions, releasing various albums and so forth. Definitely worth your time if you have a spare 15 minutes.

More thoughts on Abbath

upside down abbath
Article by David Rosales, read the first review here

It is hard not to laugh when so much of this album plays as if Abbath were trying to sound like modern Ozzy Osbourne: Funny, rhythmic rock grooves, repeated to death while little breaks and winky variations take place (see ‘Winter Bane’ for a good laugh). Most of the remains of a black metal attitude are try-hard and unconvincing. This solo album remains largely black on the outside but poser rock inside.

One of the most painful moments comes when you hear Abbath using the flanger special effect, a remnant of eighties fruitiness. This is in line with the fact that he did not seem to really try to make this a black metal album, but a clearly rock-oriented stunt with only superficial colorings that might lend the project a corpse-painted face to be recognized for. This in itself disgusts me, and should disgust anyone else who rejects the whole idea of metal for the masses, as it only spells out least common denominator dumbing down.

At its best, Abbath might try to sound like the epic heavy metal of Quorthon, especially on the mid-paced tracks where there is an obvious viking air. This is the only rescuable aspect of this album, and it might be the best course for Abbath to take, embracing this epic viking metal altogether and leaving behind the black speed pretensions. That way, he might concentrate on converting these rock bits into proper metal.

Sorcier des Glaces sets release date for North

We had a brief teaser for North almost a year ago. In the mean time, Sorcier des Glaces has released one of its upcoming tracks, as well as a longer trailer for the album, and they’ve also set a release date – February 29th. I’d take this release date with a grain of salt, since Sorcier des Glaces has been known to delay them a great deal for whatever reason. Case in point – this album’s predecessor (Ritual of the End) was originally planned for 2012 but didn’t release until 2014. Still, whether or not it gets released on time, it should be a worthy acquisition; the band’s style remains intact, and that means strength of melodic development and extended songwriting for everyone.

Rotting Christ streaming the entirety of Rituals

Another album that I briefly wrote about a while back is approaching its official release date. Rituals by Rotting Christ will release on February 12th, 2016, and is still available to preorder from Season of Mist in the meantime. You know how a great deal of established and older bands stick to their stylistic guns, especially now that the crisis of the 1990s is but a dim memory? Rotting Christ is amongst them; they’ve continued their traditional-black-etc fusion ways as hinted at on their earliest albums and established, at the very latest, on Triarchy of the Lost Lovers. If this album fails to be of any value, you’ll at least have Thy Mighty Contract as a fallback.

Borknagar – Winter Thrice (2016)

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Winter Thrice would’ve ensnared me for some time, had it come out in 2009. In my youth, I was more receptive to pomp and circumstance in my music, and if there’s one thing Borknagar’s latest recording does especially wrong, it’s that it never relents from its apparent desire to be epic, even to the point of having its share of contrived quiet sections for obvious dynamic contrast. Restraint is not part of these musician’s repertoire, and it makes for yet another flat (albeit psychically draining) album that I can’t imagine even its most rabid fans having much patience for once the initial blitz of sales wears off.

At its core, Borknagar is descended from the same sort of ‘atmospheric’ black metal that their fellow scenesters and countrymen in Arcturus once made a living doling out to the masses. It’s probably a coincidence (at best, historical understandable in the context of Norway in the early ’90s) that both of those bands have some roots in especially unusual death metal oriented recordings. What degraded these bands (and similar ones) over time was their ever increasing addiction to sonic novelty. While Borknagar was quicker to unify a few elements they liked and streamline everything else into their signature sound (I described the teaser as “melodramatic, pseudo-progressive heavy rock music”), they’ve ended up so dependent on their own aesthetic that it interferes with their ability to develop their songs.

Now, Borknagar is technically proficient, as you might expect from any metal band that sells and isn’t deliberately ultra-primitive. However, only the vocalists’ contributions manage to rise to any sort of prominence. If I strain my ears, I can catch a glimpse of what the instrumentalists are attempting, and I’m sure it’s pleasant enough as a result of all the time that went into writing and recording it, but there’s very little of substance there beyond the ‘epic’ orientation of Borknagar’s songwriting. On top of that are a series of sung parts from three vocalists all scrambling for your attention. These are again skilled singers (and shriekers) to the point that their performance takes center stage, but when the arrangements they perform are so forgettable, does it really matter?

Ultimately, I found Winter Thrice to be so aggressively unmemorable, to the point that remembering just what it sounds like beyond a vague impression of 3/4 time and minor key progressions is difficult. At its best, it sounds good, but this stylish album is ultimately free of substance.

Folteraar – Vertellingen van een Donkere Eeuw (2016)

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Article by David Rosales

Folteraar’s 2016 release comes to us with a proposal that is very much in vogue in the current metal underground. To any wary of the pitfalls of following trends, this might ring alarm bells almost automatically. But we must not be hasty in this judgement, since even though the establishment and spread of a method may really be, in fact, taken up by a large number of hands who are not up to the task and will undoubtedly produce subpar results, this does not mean that we won’t also find those out there who have focus and vision to make use of pre-defined rules with a sober mind. A clear example of this is Condemner’s Omens of Perdition.

As much as we all yearn for another quality release, however, Folteraar exemplify the rule and not the exception to the avalanche of high-spirited but poorly thought out metal albums that make up the bulk of releases nowadays. Since there is nothing in particular to point out about Folteraar, as it has no particular value or fault but just repeats every cliche of the underground war-metal-noise-garbage intersection, we won’t spend too much time pointing out flaws that have been pointed out once and again in the past in this site. The duty still falls on us to point out the very particular approach Vertellingen van een Donkere Eeuw brings to the table as a representative of the most blurry instantiations of this line of thinking.

This brings to mind several influences that served to furnish the raw materials for the formation of early ’90s underground metal. These are primarily heavy metal of the so-called ‘doom’ stripe and hardcore punk. It is easy to appreciate a deconstruction of these in this music which seems to be violent for violence’s sake. Worse than that, it seems to ape so much at the tropes it has learned from the past that the music does not seem to build anything else. Folteraar’s music is just a sequence of cliches that build up to no content. Themes do not build up, in either melody, harmony or rhythm. This is just a sequence of loud screams; a hysteric madman in a padded room would make more sense.

Do yourself and the “community” a service and do not put this aside but actively campaign for a distinction between its utter nonsense and the codified communication that is achieved by its betters. The author encourages (and will keep doing so while releases such as this keep coming) the reader to return time and again to Condemner and allow it to rise in his consciousness, as its structures become more familiar and its development thereby becomes evident. Throw most, if not all, war metal such as Vertellingen van een Donkere Eeuw in the trash bin.

Abbath – Abbath (2016)

possible abbath cover

Abbath’s pitfalls on Abbath are garden variety pitfalls (haphazard songwriting, too much time on the mixing consoles). What really distinguishes this album from all the other comebacks (like our recent coverage of Dystopia) is its main author’s legacy. Abbath’s previous accomplishments with Immortal factor very heavily into any promotion of his solo efforts, and this album has already received a great deal of praise because it doesn’t rock the boat by not sounding like Immortal and its more openly rock-like spinoffs (Between Two Worlds, March of the Norse). Divorced from the fame, Abbath might draw a little positive attention for having slightly above average individual riffs and instrument interaction, but that doesn’t stop it from paling in comparison to what Immortal themselves achieved.

A lot of what I could say about this album has already been used to describe previous efforts from when Immortal itself lost the impetus that made it so interesting in its early years. Running a simple search and replace on Brett’s descriptions of Damned in Black to replace band names makes for a very accurate, albeit not particularly original summation of how Abbath falls short. Surprisingly, it also describes some of the strong points; this album is arguably a lot more appealing on a superficial level than Immortal’s earlier studio albums. While skillful organization of musical content makes careful listening to a track like “The Call of the Wintermoon” off the debut pay off in the long run, I will admit that earlier material sometimes falls short in individual riffs and solos, mainly because the band members were less technically skilled in the past. That attention to detail, though, rendered the old works more ambitious. In contrast, a couple of tracks here come off as especially contrived; for instance, “Ocean of Wounds”, which sounds like Abbath and company decided that they absolutely needed to have a mid-paced arena headbanger. Many of the tracks aren’t as obviously pop oriented, but they’re still pretty haphazard and unmemorable once you start memorizing the individual elements.

It should come as no surprise that I don’t exactly recommend Abbath. The main difference between this and most of the chaff is that I think the musicians involved could do better if they set their minds to it based on the fact that they have, although the subtleties of the past sometimes just don’t pay the bills. At the very least, a financially successful but vapid comeback is a different problem than continued effort from bands that never put out anything of value.

Naðra – Allir Vegir Til Glötunar (2016)

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Article by David Rosales

It is hard to ascertain if it’s pretentiousness or merely a poor appreciation of classic minimalist metal that brings about all these very underdeveloped (or simply shitty) releases. It seems that most of these would-be musicians think that all it takes to put out a folk-melodic black metal album is to write a simple consonant melody in standard time signature, play it in with tremolo picking, use variations of blast beats and mid-paced double-bass drums and a combination of bark-scream-screeches and the now-fashionable “war calls”.

The result of this sort of thinking is, again, surface oriented and only manages to turn what was originally a unique expression that bubbled up from a deep feeling into a list of characteristics to be filled in order to sound appealing to a particular demographic of undiscerning music fans. Rather than beat up another mediocre artist of absolutely no relevance, we must also turn our muskets in the direction of the masses of uncaring metal fans who take no heed of who they “vote up” or what they buy as long as it is mildly pleasing.

It is you, the average fan, that decides what sort of projects receive support and that subpar music is put aside. The old excuse of supporting up-coming acts that may in time improve and write outstanding music is a poor one. Let them struggle, let them first earn their merit. Metal is no aristocratic art that needs spoiled kids to have their ego stroked so that they somehow become musical geniuses. No legendary metal album is the result of undeserved favors, they are all, almost invariably, the result of struggle, of blood and tears.

For the sake of metal itself, if not for the sake of your own mental health and nutrition, throw away and put aside all projects that stand on the same quality level as Naðra Allir Vegir Til Glötunar. This has absolutely nothing to do with production. This has absolutely nothing to do with monetary support for touring. This is about not only creativity but the perseverance, ability and knowledge or intuition to arrange convincing structures that amount to Dionysian calls from the inner man. Allir Vegir Til Glötunar is only dead weight for the metal genre.