Sammath releases new rough mixes

Sammath, Dutch-German furious black metal band, continues to work toward the release of its next album, Godless Arrogance.

To this end, the band released two tracks in demo form from the forthcoming album on Folter Records. These show the black/death thrashing hybrid that this band has become over the years.

On the new album, expect the instrumental prowess of 2009’s Triumph in Hatred with a stripped-down and vicious style more akin to 2006’s Dodengang. The band shows high confidence going into this album and it will be great to see it hit the shelves soon!

This world must burn

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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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A Legend Out of Control

Bathory’s relation to the band’s fanbase is an infected story of contradictory interests concerning very human desires for truth and meaning. Oftentimes fans and creator pulled in opposite directions, fighting over whether to leave the Bathory mask on or reveal Bathory’s inner workings.

Debuting in 1984, Bathory’s cult status was rapidly acknowledged in the musical underground. But during a long time a certain air of mystery surrounded the band. It seemed beyond time, beyond space, and even out of national context (to a Swedish person this Stockholm wonder didn’t seem as typically Swedish as many of the later Death Metal bands). In general, main man Quorthon kept to himself, few pictures of the band existed, and there were hardly any live gigs at all, in particular once the music got closer to Wagner than to Motörhead. Bathory took one heavy metal tradition to extremes: it created a mythos out of nothing more than a few cover images and an interview or two. This obscure and ambiguous myth bound people together. They wanted to live out this vision as they found it more appealing than their world. When the fanbase went looking for answers, and found little else but songs of evil, darkness, destruction and conspiracies with Satan, imaginations ran wild and filled in the gaps with what they wanted to see, not what they saw.

People have a desire for continuity in an individual’s past. In this case, that desire was expressed among metal fans by trying to explain Bathory’s music through references to a heavy influence from a band which prior to Bathory was seen as the most extreme: Venom. In several interviews Quorthon himself has denied any Venom influence, but in many biographies the memory of early Bathory as a Venom clone is nevertheless quite persistent. (According to Quorthon, his main influences were Black Sabbath, Motörhead, The Exploited, and GBH, and later on Wagner, Beethoven, and Haydn among others.)

The will to interpret Bathory’s music as a logical continuation of Venom, and accordingly seek out a sense of “eternity” in the genre which these two bands (among others) officially created in the earliest of times, is hardly surprising. A consistent pattern which suggests some sort of intention is simply more attractive than a chaotic mess of a genesis produced by two groups entirely unknown to each other.

It is, however, easy to recognize among the authors of reviews of early Bathory albums an aspiration towards and an acknowledgement of a distinct identity of the band and its founder. Regarding Bathory’s self-titled debut album and its follow-up, a mantra is repeated: these records are the starting point for a whole genre and Quorthon is its first hero. This is, so to speak, the creation myth associated with Bathory.

Repetition of this myth is presumably what makes it go beyond historicity and is what makes it timeless. It’s a way for a metal fan to not only “create” Bathory, but also be a part of the phenomenon. Even repeated listens to Blood Fire Death is a repetition of a mythical Now, which gives us a sort of “vertical anchoring.” If myth is a celebration of life, a summary of the Past in the Now, then this is certainly what Bathory is to the band’s followers.

Quorthon himself seems to have had an enormous respect for the mythical power of Bathory. Referring to his fanbase as “The Bathory Hordes”, he tried to reach out to it in order to receive answers on how to deal with this beast:

[…] send me a letter of what you think, what you would want us to do in the future […] Remember, it is you the fans out there on whom we depend on. […] Stay united and may the northstar shine on you all, keep metal at heart!!

This kind of democratization most likely rendered him unable to control the myth of the band. As Quorthon “grew out” of Satanism, and myths surrounding his persona still insisted on his being a demonic devil worshipper, he wanted to set the record straight. And this is where things get interesting.

In 1996, Bathory released Blood On Ice, a retro album with liner notes containing a lengthy exposition on the band’s early history. Presumably, Quorthon had wished to update his biography and rid it of the misconceptions that according to him were abundant in the metal world, but it was probably also a way to pay tribute to the legend by contributing to it with a few “behind the scenes” stories.

This, however, proved to be a serious miscalculation of what the fans wanted. The unmasking threatened the consistent cultural memory of Bathory. And reactions weren’t long in coming: fans spoke of sacrilege and treachery in the many letters that were sent to Quorthon as a direct reaction to the liner notes. The memory of Bathory was now to a great extent a social concern and no longer only the creation of one man. Quorthon writes:

I realized then more than ever before that BATHORY was surrounded by the same sort of stuff only legends are made from. The element of mystery and suspense was still very important to a lot of die-hard BATHORY fans. [The truth] didn’t suit the image that a lot people had of BATHORY or myself.

Quorthon died in June 2004, but shortly before his death he founded an official Bathory website in which he denies the old image of himself as someone who eats children, drinks blood, and lives in a cage, an image that apparently still needed to be denied. Quorthon tells of an interview many years after he abandoned his satanic image: despite the time that had passed, he was still expected to pose for a photo session with pentagrams, skulls and cobweb.

Ironically, many fans have as of recently noted that Quorthon himself tampered with the truth quite deliberately. The iconic Bathory goat – which has become a sort of identity marker among fans – is, according to Quorthon, a collage created out of bits and pieces “from several horror comic magazines”. In fact, the goat is taken from a finished illustration in a book on witches from 1981. It wasn’t until 2007 that the originator, Joseph A. Smith, got to know that his drawings had been used as subject matter for tattoos and the like all around the world for decades. It also turns out that the lyrics and title to Bathory’s “For All Those Who Died” is more or less stolen from a feminist poem by Erica Jong.

The legacy of Bathory will nevertheless die hard. Quorthon created a legend so powerful neither he nor its fans could control it, an art that hovers above independently of its creator and its receivers. Yet we shouldn’t forget the core quality of its longevity: Quorthon’s compositions. These are what will always create very much alive “elements of mystery and suspense” in the mind of the listener. That’s where the magic happens. Hence the art of Bathory is stronger than both the fans’ myth-making and Quorthon’s myth-busting.

Going through Bathory’s albums again, experiencing the passionate evil melody of “The Return of the Darkness and Evil” or the haunting existential angst of “Twilight of the Gods,” they contain the same everlasting power they ever did and is what makes Bathory eternal. The mask is put back on. Continuity reappears and everything returns.

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Osmose: Ildjarn / Hate Forest split forthcoming

Cold minimalist black metal got a bad rap back in the 1990s when people figured out that it had basically taken Darkthrone’s techno-influenced Transilvanian Hunger and recombined it with the thrash from generations before.

Ildjarn in particular sounded like an occult nature mystic version of DRI, complete with the idiosyncratic songs made of tear-off riffs. As black metal devolved, more bands tried the brutal short fast and minimalist approach, but none quite achieved the pristine chilling isolation of Ildjarn.

Now Osmose Productions has announced a split between Ildjarn and one of the bands it undoubtedly influenced, Hate Forest. This slab of forest metal, called Those Once Mighty Fallen, presents past unreleased material from both bands, which are now both non-practicing.

Here’s the official announcement:

From the cold blackened graves their shadows rise…. Osmose Productions releases unexpected ILDJARN / HATE FOREST split CD/LP, called “Those Once Mighty Fallen”. Both dead bands are presented with their lost and forgotten recordings, accidentally found not so long ago. ILDJARN’s songs were created in the dark year of 1994 and HATE FOREST’s during cold winter nights of 2000-2001. Now, carefully re-mixed and re-mastered this audio- terror is available first time. A real epitaph to sincere, true black metal. No release date yet to communicate. – Osmose on FacePlant

As a total Ildjarn fanboi, I’ll be seeking this out with bells on. For more interest, read our interview with Ildjarn from back in the hazy 00s.

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Summoning album in the works

The latest offering by Austrian Tolkien-inspired black metal band Summoning was Oath Bound from 2006, an album that “re-explore[d] the medieval and naturalistic nature of black metal” and delivered “a new chapter of full-bore dark exploration that dominates almost anything from the last ten years of this genre.”

What of the new album? The Summoning homepage reports that the guitars will be recorded this November and that Napalm Records “will put a one minute trailer to advertise the new CD on [their] homepage, that hopefully will happen around december.” According to earlier news the album will probably be released during the first quarter of 2013.

In the meantime, our forum members have expressed a few requests concerning the future release, including varying the melodies and song structures within songs, cutting down on the drums and using instruments that are “less fruity”.

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The roots of metal: dark and occult Romanticism

You’re on the one metal site that has identified the roots of metal imagery, content and outlook: Romanticism, or the artistic movement which swept the West in response to the Enlightenment and consequent industrial revolution.

Some 240 works from more than 70 artists comprise the show, encompassing some 150 years of fascination with mysticism and the supernatural. The paintings, sculptures, photographs and films were created by prominent artists such as Francisco de Goya, William Blake, Caspar David Friedrich, Johann Heinrich Fuseli, Edvard Munch, René Magritte, Hans Bellmer, Salvador Dalí, and Max Ernst. While some come from the Städel’s own halls, others are on loan from internationally recognized collections like the Musée d’Orsay and Musée du Louvre in Paris, the Museo del Prado in Madrid and the Art Institute of Chicago.

'Abtei im Eichwald' (1809-1810) by Caspar David Friedrich

The exhibition categorizes the works both chronologically and geographically with an aim toward linking various interpretations of Romanticism, the post-Enlightenment movement that began sweeping across Europe by the end of the 18th century and continued its influence long after.- Der Spiegel

In literature, Romanticism includes Mary Shelley, Bram Stoker, H.P. Lovecraft and E.A. Poe, from the later years of Romanticism.

In its earlier years, it includes Samuel Taylor Coleridge, William Wordsworth, John Keats, John Milton and William Blake.

All of these feature prominently in metal lyrics, as do horror movies derived from those Gothic Romantic works.

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Interview with Jan Kruitwagen about the upcoming fifth Sammath album

Originally this was to be published on Examiner.com, but they censored it for reasons unknown, with no explanation given.

One minute it was there, and the next minute it was all deleted as if it had never existed. Never mind the work that went into putting the interview together, formatting it in Examiner’s arcane system, working around their software, etc. Just deleted. I use Examiner.com because, since most of what they publish is pop culture, it’s a good place for links to underground death metal and black metal bands to exist, but it makes me wonder how professional they are to simply delete work without an explanation or even notification.

I was able to restore most of it and at the band’s request, we’re republishing the uncensored version here.

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In a time of just about any style being called “black metal” if someone shrieks during the recording, Sammath stay true to the older ideal of powerful, melancholic, evil and naturalistic music.

Their archly elegant Strijd kicked off a promising career, and since then, the band have experimented with a more warlike outlook. We were fortunate to catch a few words with founder Jan Kreutwagen about the band’s fifth album, yet unnamed, which will emerge this year.

What can you tell us about the new Sammath? When will it be recorded, on what label, what’s it like?

It’s turning out just like I wanted Sammath to sound back in 1994: a fine-tuned combination of total chaos, aggression and the right dose of melody. Every time we started to write tracks for this album something good popped up.

The new album is only 34 minutes. I can’t see myself creating a better album than this in the near future. The work Ruud (bass) put into Sammath over the last few years is probably why it all sounds this way. He has a good ear to weed out the weak parts and most of all filter out the bullshit. His dedication and experience, and also that of complete nutcase drummer Koos Bos, have made Sammath sound like this. I write all the music, but what Koos and Ruud deliver is so damn aggressive and intelligently thought out that it takes it all to a new level.

Folter will be releasing the CD at the end of this year or maybe early next year. I get enough offers from other, smaller and larger labels, but I will never leave Folter Records. What others think or how big the band is doesn’t really concern me. Jorg is a underground maniac and he was the first to give me a recording contract in 1997.

The demos you’ve been posting are admirably raw. Will the production and adornments remain this minimalist, or will there be more guitar solos, production tweaks and other refinements as there were on the last Sammath?

The tracks on the internet are just pre-production demos; all drums and guitars will be re-recorded in the coming months. I decided to throw some tracks online and the response has been overwhelming. I really want this release to sound as basic and raw as possible but with a great production that does not sound thin and weak like most black metal releases. Before we enter the studio I want the entire album finished in demo version.

Peter Neuber (Axis of advance, Severe Torture) will once again be doing the mastering. He knows exactly how to get Sammath to sound its best — a review for the last album stated that it sounds like it’s all going to cave in at any moment, raw, loud and filthy. This time there are no guitar solos, production tweaks or other bullshit; the tracks have enough energy already. It’s all very primal and blunt. I don’t think todays black metal fan will like it. The last album is still fucking killer, but this will make it sound like an ABBA release.

These songs strike me as the best expression of the direction you’ve gone since the first album. How has your direction and intent changed?

Finally I am achieving what I’ve always wanted but simply could not do. It’s not technical, it’s just all very blunt and straight forward aggression. But the combination with the new chainsaw bass sound, the over-the-top crazy drums, without triggers or any bullshit, makes it all sound very alive and dynamic. Someone told me it sounds like a combination of all previous Sammath CDs. I also think experience and creating your own sound is something that takes years to achieve.

Problem is that, unlike in 1994 when we started, we all have families, kids, so most of our days are filled up with watching over the kids or getting enough money together for them. I usually only have enough time at night so I get up in the middle of the night to work on new material. I now have the opportunity to record whenever I want, seeing as I have my own primitive little hellhole to create music at dangerously high levels without anyone being able to hear it.

Sample tracks posted so far sound like a cross between APOCALYPSE COMMAND and first album SETHERIAL; they’re blasting black metal with death metal influences, on the edge of war metal, but they have actual melody and structure so it’s not as monotonic. What are your influences and what style do you want to express with the new songs?

You have described it brilliantly. Those bands are fucking great! I had never heard of Apocalypse Command (shame on me, just ordered all I could find). I didn’t really have any plans before I started recording; I just began and it ended up like this. After a few months I got the feeling that this was going to be very stripped down album, blunt black metal — no remorse. A big influence on me the last few years are Blasphemy, Revenge, Brutality, Incubus (now Opprobrium), and Autopsy. And some new bands like Portal, Impetuous Ritual.

Do you think black metal is still alive, or has it been absorbed into something else? How do you describe your music, now that we’re entering into black metal’s second decade?

I really don’t have a clue, at concerts I see less and less people I know, but then again I don’t go as frequently as I used to. I only have time in the winter, making sure to go to the Nuclear War Now! Productions fest this year again, the scene is great when you see over a thousand maniacs from all over the world there. Last year there were a group of about thirty of us creating havoc outside and I think there were twenty different nationalities.

Black metal has always been a strange scene; people tend to get too serious, no fun, no humans, to me that’s absolute weakness. I think black metal died when all the suicide-kill-people self-mutilating fags appeared. All this anti-life gayness stands for the depressed little boys who simply can’t get laid and feel like the world hates them. There used to be a great gap between gothic and black metal, the way some bands try to combine these two are what’s raping the scene the most.

For me, and I can also say this for everyone in Sammath, black metal stands for arrogance and power. My grandfather taught me this, fuck everyone’s opinion, never listen to other people, always follow your instinct. Screw religion, never trust anyone, and above all, don’t give a shit. Even if people think I’m wrong I’m right. This might sound irritating, but I don’t look down on people, I’m a pretty easy going person, I just don’t bow down to anyone (except my wife…). The new Sammath sound is black/death/war metal, nothing new, but it will fuck you up.

Thank you for your time, and good luck with the new Sammath! Based on the promo track you sent us (attached in video form), this is going to be a great addition to the Sammath catalogue.

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Interview: Malefic (Xasthur)

Xasthur’s reclusive and asocial Malefic gave us a few moments of time to ask some esoterica and rewarded his listeners with the following interview, in which he gives some analysis of the interconnectivity of thoughts inside and outside of the black metal “scene.”

When you first started Xasthur, what factor of the project made you most uncomfortable?

Hmmm, that’s a real good question. There were two times when I ‘first started Xasthur’, the first time was a failure…constant losers,liars,trendies for bandmates; I was very upset. I felt that nobody believed in how serious I was in bringing forth a horrifing aura of blackness. The second time was just the same, but on the other hand better. I had totally given up on people, I admit I was uncomfortable when I decided to get a drum machine and do it all on my own, I didn’t know if it was possible,and still alot of poser fuckers didn’t believe in me, they thought their party heavy metal parking lot bands were more meaningful..well,the good news is that I’m planning on, and will have the last laugh!!! Another factor was the vocals, I had never done that before, but I knew that I would have to force myself to…it was never in my plans, but as a one person band, it had to be; other than that, everythng fell into place and I learned how to overcome certian difficulties such as drum programming, vocals, humans etc…

Had you been in any bands or musical apparati before Xasthur?

Yes, a couple death metal bands, back in 94-95 here in So.Cal..didn’t really work out. There was always some differences, they wanted to be unoriginal, and at the time I thought it would have been quite possible to mix death metal with darkness and doom. I can’t really get along with anyone in a band-like environment.

At the time, what bands inspired and/or motivated you? Writers? Visual artists? Movies?

Mütiilation and the black legions, Burzum, Graveland (Thousand Swords), Manes, Shining, Forgotten Woods, Funeral Winds and too many to mention. Hmmm, I don’t watch movies much…my favorite movie is Carrie (the old one from the 70s) as far as Visual Artists are concerned, whoever made the Aphex Twin video, what a perfect vision of the remains of an apocalypse, I always have that video in my head…but like I said ,I don’t watch TV really…

Where were you when you first thought the project had longterm potential for you?

In my house, as usual…looking out my window and there was nothing there, When I was finishing a song and it actually disturbed me. That was like looking into a mirror and not liking what I saw….when it refected a nightmare, I thought it had some potential…but for what?”

Does anyone else work with you? Why or why not?

The only other person that really helped in the past was a good friend of mine, Mike/Draconis, but that was in ’99, before I just did this band on my own. Maybe it’s where I live that I can’t rely on ANYONE to help out…I don’t need anyones input, people here want to be famous like Cradle of Filth and write safe-normal riffs to impress their friends, get girls etc…that is all I have EVER seen…I don’t need that kind of input.

There is an obvious Burzum-influence (this is something of which to be proud, but hopefully you’re not going to be annoyed by it) in Xasthur’s music; what did Burzum do that no other bands have done?

No, I’m not annoyed by that…actually, thanks. Burzum is darkness, or has that word lost its meaning? All I know is that Burzum can take you anywhere but where you are…and it’s usually somewhere cold. I don’t want to be where I am, or anywhere for that matter.

A soldier once remarked, “we had to destroy the town to save it.” F.W. Nietzsche once offhandedly said that if Christianity had not existed, it would have been necessary to invent it. Do you think all things on planet earth are bound up in their opposites?

Yes, that F.W. Nietzsche quote makes sense to me…just cause something doesn’t exist doesn’t mean it needs to be invented…we would still have a broom, if the streetcleaner or vaccum wasn’t invented, the broom cost only 4-5 dollars and the others several dollars more, plus they’re noisy and don’t save that much time…according to that quote, I’m not disagreeing with it, the quote to me is just based on human nature and what people will predictably do….or…maybe I have no clue?

Most black metal bands seem to aim for linear expansion, namely, riffs that stretch out of 2-3 notes across 3-5 frets within the same chord form. This produces a very clear pattern that requires a counterpoint. Burzum and others, including Xasthur, seem to structure counterpoint within a recursive phrase, more like a fugue. Is this true in your view?

I try to not have such few notes per song/riff. My instincts tell me when or when not to have such few notes, when to be this simple or not to be,there’s a time to be repetative. For example, something with a hardcore upbeat (like you mentioned somewhere else in this interview) shouldn’t be repeated 8-12-16 times ect…Across 3-5 frets? I’d say you’d better add a bunch of other ideas to accompany that kind of simplicity or its gonna get boring…but like I said else where, there are no rules. Slightly rehearsed, last minute improv can not only fool thyself, but the listener as well…or at least I’d like to think. Don’t wanna come across as someone trying to be an expert, ’cause these are just instincts talking here…there’s not much theory behind what it is that I do, ’cause I basically had to learn anything I know on my own…on my own, that’s what life really comes down to, and death as well.

How much of the black metal community do you feel is social time for wayward youth? How much of it is artistic?

Too much social time! To play this music and make it as dark as you can, one has to give up alot…like friends,sleep,money etc…Alot of people will be too busy being a part of “life” to take it further than bass,guitar,drums,vocals,pentagram and then they’re done! When this kind of work is done, I’ll be social with others who are into what I’m into..who the hell am I?

Negativity seems to me like a mental forest fire; with everything reduced to ashes, any new ideas seem fresh and hopeful. What have your experiences on this topic been?

Well, negativity is all around, weather you want it or not…how can one rebuild when only ashes remain? Whenever I look at my scars…I remember where I’ve been and where my state of mind always takes me.

Many view Varg as duplicitous in his representation of his own beliefs, but in the first interview I have with him, he refers to himself as a theosophist, and on his first album, he has a lyric making reference to his socially unacceptable political views. Do you fear the same thing with your own music and later, views? is there any way around being called “inconsistent” as one grows?

is there any way to summarize what you’ve learned about music since starting xasthur, or to find a few central points of change, and if so, can you list them here?
I have learned alot,I have learned things that I already knew and felt. I have learned that playing music is like solving puzzles that have no direction and are certianly not flat like puzzles usually are. I learned that many riffs of songs have infinite possibilities for harmonies/dis-harmonies with all instruments, having 4 or 5 different sounds in different octaves (yet all slightly similar) coming together finding a way to let out all the thousands of ideas in my head…painting a mix of sounds with the most bleak of colours, what to do, or what to add that will reflect the exact mood….I learned that being unpredictable with the changes in the song can work for me, instead of against me i.e, one of my friends used to tell me that 2 certian parts wouldn’t/didn’t go together, I say bullshit, I’ll find a way, and the best way i possibly can…there are no rules, no rules…its the one thing that can keep it interesting to me…I don’t know if this is the kind of answer you were looking for…

What do you think – if any – is the relationship between radical, terroristic environmentalism and black metal?

Hate!! Downfall of urban culture (or lack there of)..if I’m understanding the question properly.

Do you have a preference for type of equipment? In your mind, how important is equipment to the production of music?

I’ll tell you that it makes a difference. When getting a good guitar sound, that’s when just anything WON’T do. On some old recordings,I used a dist.pedal and all it picked up was alot of noise I didn’t even know I was hearing, plus it was very weak ad thin…then I switched to an effects processer rack mod. and that really helped take away all the noise and added some fullness…a way of mixing is important too. A 4track with mixing capabilities included, the effects processer and a cd-r burner for bouncing tracks…these are all the essentials and main ingredients.These things made a difference and made recording easier for me.

When you first conceive of a song, or a riff, is your starting point a boundary or a direction?

Neither. I don’t want a limit, and boundary makes me think of that…if there was a direction then it wouldn’t come from within,plus predictability in music makes it boring to play after a while.

What are your thoughts on Hegel’s theory of dialectics, namely that each thing (“thesis”) has an antithesis, and eventually a compromise between the two leads to the next thesis?

As in hypothesis, an educated guess? A part of being psychic? A mathematical algebra-like theory of prediction? If 2+ _ = 8 then what’s blank? If someone/something does 2, but is hiding the truth, that being blank, then why does their face have 8 written all over it…I don’t know,I’m so tired right now I don’t even know…

Many people are saying “black metal is dead” right now, and, while I understand their saying so, it seems to me like they mean “most of black metal is dead” when they declare its demise. What do you think is the difference between “living” and “dead” in this context?

Yes, I agree “most of black metal is dead” because if it was all dead,I would have one of the last significant reasons not to live. There are still some bands out there that can save at least the feeling or that bring back some nostalgia of the way it once was. I don’t think war metal does…war metal is just some kind of retro protest towards the norweigians?? This negativity of black metal is the only thing that brings me any pleasure or excitement anymore…ironic,or a contradiction?? It was “living” in the early 90’s when it was more of a threat to society, I suppose.

What were your earliest metal influences?

In the 1982-84 era, is when I first discovered metal, I was a bit young at the time…I liked Motley Crue,Iron Maiden,Quiet Riot,AC/DC ect…I rarley listen to those bands anymore..sometimes. Later on in the later 80’s I got into Mercyful Fate,Dark Angel,Megadeth,Slayer.. then death metal,black metal then…??

How much of metal do you think is derived from hardcore?

Hmmm, some of the drum beats are similar to hardcore. However, I think metal bands did alot more with hardcore beats than the hardcore bands did themselves..

The gentleman from Axis of Advance probably thinks I’m a fag because so much of this interview does not address metal itself, but abstract and possibly unrelated thoughts. Do you think there is a link between the sound that is produced and the thoughts that occurred to prompt the attitudes, values and ideas expressed?

Well, talking about real life is probably more grim than death itself….and metal too. Axis of Advance?? That link you talk about, yes I think there is…that is, if you’re talking about a persons mental state of mind, if you can hear a persons mental state of mind…I could probably hear where the guys in Axis of Advance are coming from when I hear their songs and I would hope that one would be able to hear where I’m coming from with mine, also these are from two different planes….

Do you believe it is necessary, as Keats did, to desire the end for its cessation of the activity of life, before one can see what is of value remaining?

Darkling I listen, and for many a time
I have been half in love with easeful death . . .
Now more than ever seems it reach to die,
To cease upon the midnight with no pain

If we could see the world through philosophical photonegative states of mind, what do you think would be the seat of evil? Would those who believe still conceive of “god” as an entity outside of this world?

Do you have any mystical belief?

Energy…hateful. Energy taken from souls. Believing in yourself,cause you can’t have faith in anything or anyone else

Many in black metal advocate a “fuck everything, do nothing” type political attitude that is more bitterness than ideology. Others overcorrect by becoming very-unliberal people with the liberal attitude that one “must” change the human situation. Where do you stand?

How about change the human situation for good by mass genocide since there’s no answer to everyone’s/anyone’s problems and everyone hates being alive, whether they can admit it or not. I’m sick of humans having so many rights…they just piss and shit on all that is given to them. To me, this is bitterness AND ideology.

What drugs do you think anus.com should explore as possible nutritional supplements for its writing staff?

“Explore the world of medication”

Please drop in here any additional comments, final words on this interview, or jokes about sodomy that you feel would fit.

Knock,knock. Who’s there? Clint. Clint who? Clint Torres….get it?! I am in the process of copyrightng this joke.

Thanks for the interview, Prozak…whether people know it or not you’re a pessimistic guy that goes back a long way…thanks to anyone that wastes their time reading this… suicide can be a relief.

Did we speak about “end” and “totality” in a way phenomenally apprporiate to Da-sein? Did the expression “death” have a biological significance or one that is existential and ontological, or indeed was it sufficiently and securely defined at all? And have we actually exhausted all the possibilities of making Da-sein accessible in its totality?

We have to answre these questions before the problem of the wholeness of Da-sein can be dismissed as nothing. The question of the wholeness of Da-sein, both the existentiell questiona bout a possible potentiality-for-being-a-whole, as well as the existential question about the constitution of being of “end” and “wholeness,” contain the task of a positive analysis of the phenomena of existence set aside up to now. In the center of these considerations we have the task of characterizing ontologically the being-toward-the-end of Da-sein and of achieving an existential concept of death.

– Martin Heidegger, Being and Time

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Interview: Jan Kruitwagen (Sammath)

Sammath rose out of the ashes of post-1997 blackmetal with a flair for classical-inspired architectural riffing within the shorter format of metal songs that were both listenable and radically opposed to the complacent normalcy invading black metal. The A.N.U.S. interview staff were able to intercept J. Kruitwagen’s cell phone from an abandoned ferryboat off the coast of England, and captured this interview by pretending to be investigators looking for clues about al-Qaeda.

What event or idea triggered your desire to release music? It seems like many play instruments, and only some go on to publish or be in bands.

When I first heard Gehenna “angelwings and ravenclaws” I was already writing music but not at all with the intention to release anything. This 7 inch inspired me the most, the atmosphere they created was something I really wanted to do myself. The only problem was that no one I knew wanted to record anything. I even used to play along with Slayer on a acoustic guitar before I had a electric one when I was ten, you have to start somewhere.

Are your songs designed around emotions, visual perceptions or purely musical “shapes”?

A combination of all. Mostly musical shapes, I try not to let emotion get in the way but thats impossible. You can’t write hateful black metal after you just had a great day with your girl. Watching a war movie on tv or old world war two documentaries really is the most inspiring. Reading about Stalingrad and the hell in the midst of war. The songs are all written the same way, I get the lyrical concept and build the music around this.

What things inspire awe in you?

Anything that deserves respect, in any way.

If you patterned your music after anything you found in your outside world, what were these things? Or do you see the patterns of the outside world as stylistic inspiration, and the poetic content of your songs deriving from somewhere else?

The outside world has its influence, even if you dont want it to. I would say that everyday violence, war, despair, hate finds its way into the music. I of course have never been or seen war. I don’t glorify war but the way destruction and chaos always win intrigues me. The content of my songs just appear and naturally find their way into a track. If my music should represent anything from the world outside it would be a falling bomb with the listener sitting on it.

What is the hardest part of songwriting?

The hardest part to songwriting is knowing when a track is finished and should be left alone, I have heard so many great tracks by other bands to that just take too long or have to many riffs jammed into twenty seconds. The thing about black metal is that it is a combination of feeling and music, no one of these should lead. Luckily noone interferes while I write the music. Sammath is just me, I have a great band for live acts but they don’t write any music.

You had a promo tape and a demo before your first album; how did the music of Sammath change across these three releases?

The first demo “zwaardbroeders bij de bergengte” 1996 (brothers of the sword at the mountain pass) was really underground, bad sound, but the ideas for later SAMMATH where there. At that time I had someone else in SAMMATH, due to total lack of interest I kicked him out. The music at that time was heavily inspired by early Emperor and Satyricon, not even close to their level of songwriting but the atmosphere on the tape was good. The second demo/promo tape “de ruines fluisteren (the ruins whisper) was a full length demo with eight tracks varying from fast black metal to old style black metal. Both these tapes are four track recordings. From the first demo to the release of the cd “strijd” their was only a improvement on the sound, the music grew as it should but did not change much in style. The only difference being that it started to sound more original, the SAMMATH sound.

How is the new album different from Strijd?

Verwoesting/devastation is more violent in every way. The keyboard is gone and the music is faster. The tracks are of better quality as is the recording. There are also more death metal influences, after seven years of pure black metal it was time to evolve. I spend two years on this cd, everyday two or three hours. I finally had the opportunity to work with Fridus Klaasen a great producer. He does not have any connection to the metal scene and usually just masters classical music. This way you get a fresh sound, not like all bands who record in well known studios. The lyrics are no longer about dark forests and so on but realistic, war, death, questions upon faith. The whole concept is more brutal, every musician always prefers the latest album, go listen to the tracks and compare yourself. The music has evolved from being a rip off of other bands to a SAMMATH sound.

What do you think of mp3 trading (Napster, WinMX, Kazaa, Audiogalaxy); has it helped or hindered the underground?

I think it helps in one way, everyone can hear your music. Problem is that less people buy albums, the value of a cd is just no longer what it was because of the easy way to copy a cd but the prices remain the same. I am not in it for the money; that’s pretty obvious or I would have been writing pop music but I don’t see why everyone should get everything for free, if you like the album buy it. If noone buys albums there will be no more scene. On the other hand, there are so many releases that are not that good at all that you want to listen to but not buy. Folter records has told me he has had no problems. I believe that the older generation still buys what they want. What I like is vinyl, the best sound for metal.

What things do you love? Hate? Do most things fall in between?

I hate everything that has to do with religion, satanists are just as pathetic as christians, anyone who needs to be part of a group is just weak. I also hate the political talk within the scene. A couple of years ago those right wingers tried to get into the house/ trance scene, those people didnt want it so they thought, lets go and try the black metal underground. Not much falls between. Love is not really much of an inspiration for this music. Hate turns to music.

Is belief, or logic, more powerful to you?

Belief is emotions and not realistic, except if you want a life as a priest so you can get through life without having to face reality and you get to meet al sorts of nice little kids. Feeling though is a big part of SAMMATH, hate, war. Belief stands for weakness and self made comfort to get through life believing heaven is their for you, the truth is you die, get buried and rot. If we are all god’s children then our father is a ruthless bastard. He probably listens to metal.

What do you see as the differences between black metal and rock music?

Probably the state of mind of those involved. I think rock musicians think money earlier. Black metal has more passion. We evolved from rock music to metal to even faster. Rock music is written for a large audience and black metal however you want it to be.

Which were your earliest influences in black and death metal?

The earliest influences are not at all black or death metal, too numerous but Coroner, Mortal Sin, Rose tattoo, Slaughter (Fuck Of Death), Autopsy, early Cannibal Corpse. Mostly local Australian rock/metal bands that I saw live. I still get very pissed off when I hear anything from the mighty Autopsy. The earliest black metal would be Gehenna, Satyricon. Celtic Frost, Hellhammer. Good thing about Celtic Frost and Hellhammer is that you can play along pretty quick and just stand their headbanging to frost tracks, gives you a good boost, “I can play this shit!”, then improvise my own riffs over the originals on the LP. I think I listened to the same bands as everyone who is now near to thirty years old.

You are referring to Sammath’s music (on the site) as being “furious black death metal.” How do you conceive of the unifying factors behind the labels we use for music and other things? is black metal an ideology, a musical style, an attitude or an artistic style only?

We have to label music, even if we don’t agree with the term. Everything needs a name so that people can place it somewhere. It is so damned pathetic but mankind needs labels for everything. I created the furious black death metal mainly for the t-shirt design. I thought it fits the music well. Some people agree some dont, who cares. Black metal is whatever i want it to be. It’s all that you mentioned above and more. Everyone has different ideas about black metal. I try not to get involved in all that discussion about what is true or not. Foremost black metal should be just a artistic style. Some people get so worked up about how it all should be, I don’t give a shit who does what as long as its fast and brutal. A lot of people look very evil but have no idea what they are on about.

It seems to me these days people are negative about nationalism for the most part, but I always think they have patriotism and nationalism confused. After all, nationalism used to mean pride one’s specific tribe or culture, and didn’t have much to do with the flag-waving and Iraq-bombing we see these days. What are your thoughts on this?

Its going to get worse, wait till the USA and Europe split in about ten to fifteen years. Due to the fact that the world is getting smaller and more crowded people are grabbing on to whatever they know and understand. This means that nationalism and patriotism are automatically combined. Here is the danger. Culture is also being overthrown by Nike, Coca Cola and whatever else. So every kid al over the world looks the same in their youth. When they get older they want to reunite with their culture from their own country, not liking what they stood for so the line between patriotism and nationalism fades. The whole Iraq bombing situation is just going to go on until the USA decides to listen to europe or bomb everything. It’s a great place for them to test weapons. In europe the fine line has also disappeared. You cant wear the dutch flag on your jacket because then you must be racist, as you already mentioned people are confused. “the timeless splendour of chaos”

What are your favourite sensations while creating music?

The whole process of writing music. When a track works out well and turns out the way you thought it to be. When you write music like this al is a great sensation, letting your ideas twist into brutal fast metal.

Do you listen to much metal? If so, anything notable of late?

Very much metal, lately I listen to mostly older stuff but some good new bands are Abominator from Australia, not that new but damn good, Trimonium from Germany also on Folter Records, I don’t really follow the scene as fanatically as a couple of years back. There are just too many releases. Older dutch metal bands as Sinister, Pestilence and German thrash is what I mostly listen to these days. I still have great respect for Sadistik Exekution, Destroyer 666 who still have that “fuck you” feeling in the music. The Dutch scene is growing very quickly and some good bands are starting to appear.

Do you think that popular music will ever turn toward being more like classical music?

Ha ha, not in the near future. Their is no way that popular music will evolve to anything worthwhile soon due to the fact that people dont care about the music. If it’s got tits its good. If it looks cool it’s good. Those forms of music are about as far apart as possible.

What bands do you think are most responsible for the black metal sound as we know it today?

Venom, Frost, Hellhammer, for the younger generation is would probably be cradle of filth and dimmu boring. I think the early black metal evolved differently everywhere, with its roots in the mentioned bands. Black metal in Poland has a quite different approach then the Norwegians. Those bands inspired thousands to pick up a guitar, bass or start beating on a drum kit. Mayhem and Darkthrone probably played a big part as well.

What activities do you have outside of music upon which you rely for inspiration?

Outside of music I teach history, not the teaching but history inspires me to write music in many ways. Read any account of a battle during both world wars and that should give many ideas. The vast universe gives enough to think about.

Where do you hope to take the band next? Any future evolution’s of the art form?

The next album will be recorded with a real drummer. Koos Bos is probably the fastest drummer i have ever met. I want to record the album with the band members. I play guitar so I play bass as a guitar player; that’s not good for the sound. Recording everything yourself also has its disadvantages. I want to go on tour sometime next year when i return from australia. I still have a contract for one more cd with Folter records. I am pleased with his work for Sammath and the new tracks that I have written are in the same line as “verwoesting/devastation” I want to master the art of furious black death metal.

Do you think there is an ambient or atmospheric quality to your music?

Definitely, hypnotising riffs. Not for all. It doesn’t have atmosphere as Mortiis does. I create chaos, chaos has its very own atmosphere, more straight forward in your face. Everyone burning candles and listening to ambient would probably disagree.

Please speak on anything I’ve forgotten, and talk about anything you’d like.

Thanks for the interesting questions, metal or die!

Really unreflective people are now inwardly without Christianity, and the more moderate and reflective people of the intellectual middle class now possess only an adapted, that is to say marvelously simplified Christianity. A god who in his love arranges everything in a manner that in the end will be best for us; a god who gives to us and takes from us our virtue and our happiness, so that as a whole all is meet and fit and there is no reason for us to take life sadly, let alone exclaim against it; in short, resignation and modest demands elevated to godhead – that is the best and most vital thing that still remains of Christianity. But one should notice that Christianity has thus crossed over into a gentle moralism: it is not so much ‘God, freedom and immortality’ that have remained, as benevolence and decency of disposition, and the belief that in the whole universe too benevolence and decency of disposition prevail: it is the euthanasia of Christianity.

– F.W. Nietzsche, Daybreak

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