I guess Peaceville really doesn’t know when to quit with the compilations and reissues (or that at least they’re a viable way to make more money off known famous works), since they’re also rereleasing Mayhem’s Live in Leipzig. This is specifically the 25th anniversary of the concert documented, as opposed to when it was first ‘officially’ pressed and sold to a mass audience some years afterwards. The CD version of this rerelease also contains a contemporary recording of the band in Zeitz, Germany. See Peaceville’s site for more details.
Whether Live in Leipzig is at all worth your time depends, perhaps, on how you value the various ‘eras’ of Mayhem. It is likely the easiest way to experience the band’s ‘classic’ lineup, featuring both tracks that would eventually make it onto De Mysteriis Dom Sathanas as well as somewhat revamped older tracks from the band’s early, proto-death metal days. As a listener, I find the most value in the polished studio work of Mayhem’s formal debut (because I value Atilla Csihar’s contributions), but the looser intrepretations here are worth at least a few spins.
Since the early 1970s, the music industry and the social scene behind it — comprised of those who use external appearance to signal social success — has been trying to find some way to counter the authenticity of metal. While rock and blues stars appeared to be rebels, the truth emerged over time that most were very conventional in their outlook except for hedonism.
Heavy metal on the other hand rejected the founding myths of our society since the intellectual shift so-called “The Enlightenment,” in which people decided that social pressure to enable the individual to be “equal” whether right or wrong, good or bad, was more important than social standards. Heavy metal pointed out that our perceived enemies are scapegoats, and the real problem is that the enemy is us, and that people are delusional and happy hippie flower power is another variety of the bourgeois deliberate ignorance of reality that promotes social decay.
In recent years, the same people who were hippies back in the 1960s — the conformity of appearance non-conformist and then going to work at a bank and retiring as a fat Baby Boomer — have returned as “social justice workers,” or SJWs. These people, together with an industry that realizes it can sell more re-branded indie rock than it can discover compelling metal bands, have created a new style that culturally appropriates the appearance of black metal while injecting it with the same messages of self-indulgence, self-pity, victimhood and pacifism that the hippies bleated about back in the day.
Enter “blackgaze”, the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore. It’s a geographically loose scene and its bands have been embraced by the indie media, which means you’re now as likely to hear black metal at ATP as in the Carpathian mountains.
Alert readers may note the “post-rock, shoegaze and post-hardcore” attribution, which Death Metal Underground has long identified as being the origins of this material. In other words, it is not black metal, but indie rock playing “dress up” as black metal. The quest of the industry for a safe rebellion goes on.
Folk metal band Primordial vocalist Alan Averill inveighed against social justice worker (SJW) academics who recently witch-hunted “racism” and “sexism” in folk metal, claiming they are johnny-come-latelies using the authenticity of the metal name to draw attention to their careers. Writes Averill:
I don’t know whether to be bothered sharing this shit…..I think what these fuckwits fail to understand, or rather as usual intellectual ghost hunting is the place that ‘folk metal’ takes within the overall timeline and context of metal. The imagery and themes of folk metal are distilled from metals’ pre-occupation with fantasy not necessarily from a historical or factually based context, nor does it have to be. The language of for example Viking mythology has been perfect for metal since Zeppelin wrote ‘The immigrant song’.
Folk metal essentially took the place culturally in metal from where power metal left on in the late 90s and early 00s. Often it has more to do with role playing, gaming and fantasy….just with furry boots.
Claiming that is is somehow racist because it borrows from pre christian European history is just pointless and reductionist, bands do not have to apologise or justify singing about their culture and as I said most of it is through the prism of fantasy and myth because the imagery is simply perfect for heavy metal.
Sexist? again rubbish, I can think of quite a few ‘folk’ metal bands who have written tomes and hymns to the goddesses of the ancient world, both Cruachan and Waylander from Ireland spring to mind. You can find the same reverence for the feminine in nature in not only my own band Primordial (who are not folk metal but have connections to that scene) but also in bands like Enslaved, Wardruna, Our survival depends on us, Dordureh, Fen, Eluveitie, Negura Bunget among so many others (yet this is conveniently ignored) . Not to mention the band quoted as starting the whole genre Skyclad, even a cursory glance at their lyrics and imagery will suggest the opposite of this study. Again just a cherry picked argument from someone hunting ghosts.
Not to mention the fact that if you have ever attended a pagan metal show in Europe or the USA (and I’ve been at loads) you will find a very very healthy % of the crowd are women and often on the stage, the general feel of pageantry and joviality in this scene is least of all full of the macho behaviour these authors are looking for. It’s a young excitable scene which likes to play dress up, dance around and drink a beer or two…
You want ghosts? go ghost hunting somewhere else
I once lectured about Black Metal here in Ireland…to a room full of people full of agendas and opinions and angles for their own conspiracies and prejudices. My opening line
‘You can’t intellectualise a punch in the face’
…..you weren’t there and I am going to tell you how it was so shut up and listen.
Guitarist Joe Frankulin from doom-black metal band Goatlord has been accused of murdering Jennifer Donoso and her 7-year-old son, Lex, in Las Vegas on September 29. According to local news reports, the murders capped off increasing erratic behavior by Frankulin.
One of those neighbors says that Frankulin seemed to come unraveled over the past six months, becoming increasingly interested in hanging out with the neighborhood kids.
“The last six months he kind of gave me a really eerie feeling,” Ermilio said. “Like the way he acted. His demeanor. He would always be around children.”
Ermilio added that Frankulin was a member of a local Doom Metal band called Goatlord. According to the band’s Facebook page, they were active from 1986-97.
While Goatlord experimented in the primitive and unstable sound of bands who wanted to be like Venom but with visible derangement, its previous footnote to history stood at only the production of a few albums enjoyed by some diehard fans (and claimed to be enjoyed by even more posing tryhards) for their erratic atmosphere. With Frankulin’s arrest, the future of the band and its legacy remain in doubt.
The metal musician turned winemaker Sigurd Wongraven reported a brain tumor yesterday. While the tumor is currently benign, it has already caused him some health complications and may continue to do so, even if it doesn’t turn carcinogenic on him. The news was originally posted on his Instagram page and has triggered an outburst of sympathy from Satyricon fans throughout the world.
Satyricon earned some fame in the early-mid 1990s for their enthusiastic (if fairly disorganized) folk black metal sound. After some experiments with ambient music and guest performances with various other musicians in the Norwegian black metal scene, they eventually transitioned towards a more rock oriented style of music. Wongraven also ran Moonfog Productions, which besides releasing Satyricon’s albums also provided an outlet for many of Fenriz’s projects, including Neptune Towers, Isengard, and later Darkthrone.
Immortal’s ability to consistently release content since has fallen by the wayside since 2002 (although their quality was arguably ailing before that) between periods of legal disputes, side projects from band members, and that time in the 2000s when they were literally split up. Abbath has thrown his efforts into another side/solo project, and Season of Mist has seen fit to give us a sample from upcoming material – a semi-live studio track named “Fenrir Hunts”.
This track sounds more overtly like death/black metal than much of the Immortal members’ recent work, which were generally more oriented towards older forms of metal in songwriting even when their aesthetics were not. “Fenrir Hunts” strikes this reviewer as yet another highly polished, technically sound song with some nods to the need for varied structure in an otherwise fairly standard formula. In short, an acceptable effort, but not one that particularly excites me for this release, or one that compels me to listen to it over previously proven and enshrined classics like Pure Holocaust. I can hope that the full album will be more interesting when it comes out (and the early state of this song suggests room for improvement), but it seems most likely that this will be another soul-crushingly “okay” album.
Oovenmeester: I think it began in 2010 as a spontaneous project. I had the lyrics already and Swerc was up for a new project.
I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.
What does the name mean?
Oovenmeester: The name means “those from the north” Or “dwellers of the north.” We both live or have lived in Groningen which is a province and city in the northern part of the Netherlands. And I have a lot of affiliation with both city and province. The lyrics used in Noordelingen are stories based in a medieval, fantastical version of this region. Where drunk horses graze under a brown moon, giant homarids look for the rare and valuable substance known as URFT and de kattenmepper van Groningen (the cathunter of Groningen) can be found stalking the streets.
It is different from the term “Noorderlingen”?
Oovenmeester: I think Noorderlingen is the official Dutch spelling, but that’s just not right for us. Just not right… It doesn’t have the right taste.
Who is in the band?
Oovenmeester: Just Swerc and the Oovenmeester that’s enough!
What were your musical influences, and how did that change as you began writing?
Oovenmeester: I think Lugubrum is a very important factor for me. They have absurd lyrics which I really like. With a similar smell and feeling.
Musically you can’t compare it to them, while Noordelingen is more melodic and faster.
What material have you released, and how do people get it? Is there any source of news or information on the band?
Oovenmeester: just follow your nose. Furthermore, there is nothing official out, but I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.
I understand you’re now involved with KJELD / SAMMATH members in a project named KAECK. How did this come about, and how is it different from NOORDELINGEN? Will NOORDELINGEN continue?
Oovenmeester: I was asked by Swerc to provide lyrics and vocals for Kaeck. Its content and style are very different indeed. Kaeck is about visiting dark places in your mind. And has a more to the point aggressiveness in it. Where Noordelingen has more of a filthy vibe to it. We will probably continue Noordelingen at some point. But we have nothing planned yet.
We do this for ourselves. If others like it as well, then it’s just a good bonus.
Is it hard for quality black metal to get noticed these days?
Swerc: Depends of what you mean with ‘noticed’ actually. If you want interviews, tours and lots of releases, then yes. But I think the scene is very active and always looking for new quality music. If you are good enough, you will be noticed. But that’s not our priority. We have a very busy normal life, so ‘getting big’ isn’t our goal. We do this for ourselves. If others like it as well, then it’s just a good bonus.
Long time DMU veterans should be familiar with our enthusiasm for Sammath. Strijd was well received by the staff back in 1999 when it was originally released, and a re-release on Hammerheart Records in both CD and vinyl format is still planned for the first quarter of 2016. In the interrim, a digital version is now available on Bandcamp, offering potential purchasers a chance to easily preview the album’s tracks and purchase a copy of sorts.
This live split contains two lengthy songs from Nan Elmoth and five more conventional ones from Maldicion. These two bands could not form a greater contrast: the prog-oriented, folk metal informed Nan Elmoth with long discursive songs, and Maldicion with fast gripping songs like Mayhem meets Terrorizer.
Nan Elmoth kicks the set off with “Unleash the King of Wolves.” This lengthy song shows what is good about this band and what it needs to work on. Nan Elmoth is confused in both genre, and trying too hard. This song mixed Graveland with folk metal and power metal influences, then tries to cram it into a lengthy death metal tinged song. Perhaps a better approach would be to synthesize those voices into one of the band’s own, and then to not use method as a substitute for content; let the content lead you to an epic song or lengthy instrumental if it can, but forcing it creates a disconnect. These songs hold up well with rhythm and repeated motifs, and stand as some of the more deliberately “pushing the envelope” in extreme metal at this. The next iteration may bring more fluidity and allow them to breathe a bit. Nan Elmoth covers wide ground on riffs and themes and pulls them all together in this song, and a longer second song, “Nan Elmoth,” in which the variation sometimes seems pro forma but some excellent riffs stand out. This fades out into somewhat repetitive violence and then segues into Burzum “The Crying Orc” for a hint at what the past wrought.
Maldicion takes over with its songs which are dark like Mayhem, and feature periodic powerful internal collisions, but mostly seem to be more in the vein of fast death/grind. The result generates a lot of energy, gives it mystique, and then leaves it hanging about half the time. Songwriting is more proficient than most of metal but it could use some editing to determine the parts sufficiently relate to one another. Nonetheless, the raw aggression and vitality of this band outpaces most of what underground metal is doing now. Together, these bands create a set that is varied and strong, and point to future evolution of their sound that could push them farther in the world of underground metal.
The Scandinavian countries have always had disproportionate metal output; Finland’s continues with this debut album from Sacrificum Carmen, an occult-inspired black metal band. Ikuisen Tulen Kammiossa is set to release on October 30th and showcases a more melodic sound than is stereotypical of the country’s black metal output.
Saturnal Records issued the following statement:
Hailing from the fertive Finnish black metal scene, Sacrificium Carmen both embody their home country’s prevailing underground idiom and offer a unique, diabolical twist to it. Founded in 2009 by vocalist Hoath Cambion and guitarist Advorsvs, the band draws their inspiration from the areas of occultism and Satanism exclusively. Sacrificium Carmen became active in 2012 with a full lineup, and soon released their debut demo “Sanansaattaja” in 2013 via Finnish underground label Spread Evil Productions. After the demo’s release, the band excelled in the areas of live shows and split releases, which all spread well around the underground scene. In 2014, Sacrificium Carmen started working on a debut full-length album, and the demo recordings led into a signing of a record deal with Finnish record label Saturnal Records for the release Ikuisen Tulen Kammiossa.
Sacrificium Carmen plays black metal with a melodic and atmospheric touch where all tendencies have been directed into very aggressive and sinister output, where Finnish black metal sound meets murky death metal sound as witnessed with orthodox black metal acts. Across the eight tracks of Ikuisen Tulen Kammiossa, the listener is dragged to the sulfurous depths, with vapor trails of hypnotizing melody lingering above the tar-thick sewage. Exquisitely filthy yet exceptionally well-recorded, Ikuisen Tulen Kammiossa presents Sacrificium Carmen as a serious newcomer, a contender to be reckoned with in the years to come, as the band continue to propagate live rituals to increasingly rabid audiences.