Like thrash bands of the 1980s or the first two Napalm Death EPs, Ildjarn is often first mistaken for a novelty for its short and seemingly irrational songs. What exists under the skin is a complex outlook toward the world distilled into a simple naturalism.
Much like the techno, oi and black metal that these songs derive inspiration from, Ildjarn is a visceral emotion: its songs are not so much concepts, as emotional concepts created from the application of intellect to real-world problems. This is not theory; it’s application. However, it exists in small fragments that appear irrational to us because they are beyond the human perspective, as if spoken by the voices of nature themselves.
Seven Harmonies of Unknown Truths is an early Ildjarn demo that has appeared in fragmentary form on several other recordings, but never in full. Eisenwald Records has re-released the demo on CD and LP with new artwork.
Released on September 23, 2013, the new edition is properly balanced but not remastered or cleaned up for the authentic “period” sound. Pre-orders come with a free poster of the cover art and an ILDJARN sticker. It is gratifying to see interest in this band resuming again after a short periodic absence, as has occurred wavelike since the founding of the band.
If you’re tired of having fruity alt-rock interrupting your metal experience, you’re not alone. Polish black metal band Black Altar is set to release their EP Suicidal Salvation via Darker than Black Records; and thankfully, the release avoids many of the flaws of contemporary bands.
Playing black metal in a modern style, Black Altar builds songs based around winding guitar riffs and arpeggios. Vocals are of the shouted lower-pitched variety: strong, though rather derivative of the melodies established by the guitars. Drums are present in a minimal role which matches the needs of the guitar-voiced music. What deserves special mention is the layering present within riffs: the band is able to construct overlapping riffs that simultaneously merge and deviate.
This provides a more complex listening experience than there would be otherwise, amplified by synthesized instruments, somewhat reminiscent of Burzum or Beherit. Production (for this genre) is clear, allowing each element room to be heard. This allows each to have more individual impact but decreases atmosphere for the whole.
The release is not covering any new ground; what it does has been done before. There may not be any moments of discovery, crying “Eureka!” as original black metal inspires. However, what the band has in its favor is that it does its style well and provides an intriguing listening experience amid a field of bands increasingly bland and indistinguishable. Thus, it lends itself well to being a soundtrack to an afternoon at work — or desecrating a burning church.
As part of the continuing acceptance of the radicalism of black metal, Osmose Productions will re-issue Graveland’s first two works on LP. The releases feature new artwork, remastering and bonus tracks plus extended booklets.
In the Glare of Burning Churches will have four bonus tracks and remastering, in addition to new graphic design and a 20-page booklet featuring tributes from Nergal (Behemoth) and other black metal musicians. Also included will be previously unreleased photos.
The Celtic Winter (now titled Celtic Winter) will use a different mix that has not previously seen the light of day, including alternative bonus tracks. The booklet gets the same makeover, with tributes by black metal musicians, unreleased photos and new graphic design.
While in the 1990s it would have been inconceivable for such public leaders of the scene to reach into the radical underbelly of black metal, over the past twenty years black metal has acknowledged its radical origins — war against modern civilization and the morality of equality — and thus radicalization has been more accepted.
For black metal fans, the re-release of In the Glare of Burning Churches and Celtic Winter is a victory, since these essential works of third-wave black metal remain unknown to many new fans who instead must content themselves with third-wave imitations of these seminal works.
“Underground Never Dies!” chronicles the underground metal explosion of the mid-1980s through early 1990s when a decentralized volunteer force created a parallel music industry for music that had no commercial appeal, but a fervent sense of truth and opposition to some aspects of post-modern civilization.
With over 500 pages of interviews, photos, excerpts from period fanzines and artwork, “Underground Never Dies!” addresses the complex interweaving of bands, fans, zines, promoters, artists and labels that fostered the underground metal movement and allowed it to expand with maximum flexibility.
Written by Grinder Magazine Editor Andrés Padilla, the book includes fanzines from around the world as well as an extensive selection of underground flyers, so it will be not only a narrative of the history of underground metal, but also a massive and interesting menu of diverse viewpoints for devotees of underground metal genres such as death metal, black metal, grindcore and doom metal.
Doomentia Press will publish and distribute “Underground Never Dies!” which will include a compilation 12″ LP featuring historically important bands exhumed from the 80s, such as Slaughter Lord (Australia), Mutilated (France), Incubus (Florida, USA), Poison (Germany), Exmortis (USA), Fatal (USA), Armoros (Canada), Mental Decay (Denmark), Funeral Nation (USA) and Insanity (USA) among others. Presented in gatefold format, and limited to the first 500 copies of the book, the LP will be followed by CD and tape versions of the same material with added bonus tracks.
Cover art by Mark Riddick accompanies introductions by Ian Christe (Bazillion Points), Chris Reifert (Autopsy), Erik Danielsson (Watain) and Alan Moses (Glorious Times). This celebration of the underground will attempt to make sense of the fertile but chaotic years of its origins.
For those new to Profanatica, this is the album to get. Like the band, it is baffling, organic, unsystematic, arcane and labyrinthine. It resembles its own hybrid of occultism, blasphemy and feral Jack London/Fred Nietzsche style absurdist feral Darwinism. It is ungovernable, down to the 7″-sized packaging for a relatively plain CD.
Sickened by Holy Host shows Profanatica at two extremes. The first is Paul Ledney, the percussionist and conceptual designer of the band, with an unnamed collaborator on guitar. The second is the same drum track with contemporary Profanatica guitarist John Gelso riffing along on guitar. The idea is that the first side shows us Profanatica as it might have been in the early 1990s, while the second side shows us Profanatica now as it evolves.
The Grand Masters Session on the other hand is a CD recording of the material Profanatica unleashed as a 7″ box set, and is essentially the band in the studio covering some old classics with updated musicianship and production. This serves as a continuity for the two parts and unites the album at full strength.
Together, Sickened by Holy Host / The Grand Masters Session reveals this atavistic American black metal band in all of their glory. The motivic force is undoubtedly Ledney’s (Revenant, Incantation, Havohej) impulsive but controlled drumming, which like a ritual dance of knives lures our listening minds closer to the core of each song. Gelso holds his own with an ability to make classic and new Profanatica riffs both simultaneously awkward and unearthly and also surprisingly difficult to pull off at speed. The result is an untameable surge of raw ideas guided by the torn-silk vocals of Ledney.
This album provides an ideal introduction to Profanatica because it captures its extremes through its most evolved material, giving a quick but deep plunge into the psyche of this sonic terrorism against the civilizing forces of religion and sociability. Soon you too will be chanting blasphemies against the highest holy while engaging in ceremonial defiance.
Third-wave black metal band Marduk and legendary brutal Swedish death metal band Grave will be joining Death Wolf and Valkyrja on a European tour. Marduk, perhaps most famous for its fast melodic ode to the unknown Opus Nocturne, will headline all dates on the “Panzer Division Marduk 2013” tour.
For those who experienced early death metal, Grave is well-known for 1991’s Into the Grave, a dark and primitive Swedish death metal journey that straddled the line between dark death metal, brutal death metal and primal grindcore. Among metalheads of the day, not owning a copy of this seminal release was like not owning shoes.
This European tour sees these bands join forces for raw energy through intense speed and solemn but vicious riff attack, which is how each has distinguished itself in the past. European metal brothers and sisters are lucky to experience this unrestrained assault of sonic power.
Blackhearts is a new film about black metal after Norway in the 1990s, focusing on world black metal in the present day and how it is different from the original integral genre.
This is welcome news for those who were thinking “Aw, geez, do we need another film to tread ground well-covered by Lords of Chaos and Until the Light Takes Us?” You won’t have to suffer through a re-tread of the now-familiar early 1990s soap opera because it’s not mentioned in the movie, despite Blackhearts being the production of a Norwegian film crew.
Christian Falch, producer of Blackhearts, took the time to give us some answers to the burning questions that metal fans may have regarding this new movie.
You are the producer of the movie Blackhearts. Can you tell us what the movie is about?
I’m the producer and I co-write the script (documentaries actually do have scripts too…) with the director Fredrik Horn Akselsen. We both work for the Norwegian production company Gammaglimt AS.
Blackhearts is basically a feature length documentary about the profound impact that Norwegian black metal has had on the lives of fans and artists throughout the world. As you know, this genre has a lot of dedicated followers.
We have three main protagonists in the documentary. They are all really passionate and dedicated fans with their own black metal bands. One of them is a member of parliament in Greece, the other one is risking everything for the music because it is strictly forbidden where he lives: Iran. The third is a truly devoted Colombian Satanist. In the documentary we want to explore why black metal is so special to them and what the fascination is all about.
The story of black metal has been told a number of times, most notably through Lords of Chaos and Until the Light Takes Us. What is your documentary doing that these other sources have not?
First of all, our film will not deal with the events in the past, but rather look at the situation today. The storytelling in Blackhearts happens as the story of our different characters evolve, so this is not something retrospective, but we get do follow our three protagonists in several exciting episodes throughout the film.
I also want to mention that this documentary is being made for a wide, international audience, not only metal fans. Therefore we deal with universal topics like passion, politics, religion and dreams — of course everything still is about black metal. A great mix of everything a good documentary needs if you ask me.
Do you think it has taken us — Norway, the West and/or humanity in general — almost a generation to absorb what black metal was about?
In this documentary we will have a close look on how different cultures, religions, political situations and so on deals with the black metal phenomena. The fascinating thing is that it varies a lot! Here in Norway, the government pays black metal bands to record their albums and at the same time they would not mind flogging you for listening to Mayhem in Iran…
There are still a lot of different opinions around when it comes to what black metal is all about — and that is exactly what we want to explore and learn more about in this film.
Following up on the third question: what was black metal “about”? Do musical genres have ideals? Are those always clearly articulated? Is there a benefit in not articulating them like we articulate science and politics?
That’s a good but difficult question to answer. In my opinion black metal was about making atmospheric music with a hint of opposition to the society in general — the media (and some of the artists) made a great impact when it comes to defining the ideals behind it, but I believe that every individual had a personal, and therefore different, motivation to join the scene. I’m not a fan of putting the same ideological label on every individual or band just because they play black metal.
Speaking of politics, how are you going to deal with tricky subjects like Varg Vikernes and his political beliefs which I don’t trust myself to summarize, the murders of homosexuals by black metal musicians, the church burnings and the numerous statements of adoration for National Socialism and Stalinism by black metal musicians?
As I mentioned, we won’t go deep into the dark and difficult past of this genre, but of course we need to mention what happened and how it influenced the scene (and it still does). We would like to show that the black metal scene is more varied than most people think. We will do our best to deal with this subject as fairly as possible.
What do you think made black metal different from other forms of heavy metal, both musically and in idea?
For me, the difference is in the atmosphere, the way you feel when you listen to black metal, the images that appears in my mind…I don’t need to go into musical terms, it is the feeling of the music that makes black metal special. The idea of it all is of course to be more extreme than heavy metal and other subgenres. That’s really nothing I personally need to enjoy a good black metal band, but I have to admit that the myths surrounding some of the bands and artists attracted me in the first place, many years ago — and I still think it continues to attract new fans to this day.
Are you going to cover other extreme metal activity in Norway, like death metal bands such as Cadaver and Molested?
Unfortunately not. We simply don’t have the time to do that. Our focus will be more or less strictly on black metal. The only exception might be the appearance of Destructhor from Myrkskog and Morbid Angel.
You are apparently the metalhead among the production group. What got you into heavy metal? Do you still listen to it? Why do you like it, and what makes it relevant to you?
I’m the only metalhead in the crew…as with many fans of my generation it started with Guns ‘n Roses, hahaha, but it did not take long before I discovered other bands with more hard hitting music and once you start enjoying this kind of music it makes you start looking for the next band that takes it to a more extreme level and that’s how it goes I guess.
I still listen to all kinds of metal amongst other things, but I’m not very good at keeping up to date with all the new bands and releases. To me, music, and especially black metal is something personal and special. I don’t feel the need to share it with anyone else or even speak about it. Black metal is the little luxury I enjoy alone when there are no other distractions around. I should also mention that there is a lot of crappy black metal bands out there, guess I’m picky when it comes to this genre.
Where is Blackhearts in terms of production? When will we be able to see it? Will it be in theatres or online? How much interest does The Movie IndustryTM have in a film like this?
We have been working for two years with this documentary already and we have about 50% of the material shot. The timing of the release all depends on the financial situation of the project in the time to come, but for sure people would be able to see it sometime during 2015. We are planning a massive release on all platforms including cinema, festivals, TV and of course DVD and online.
To this day we have experienced an impressive amount of interest from distributors, international co-producers, TV broadcasters, film institutes and so on. I am really happy about this because it makes it possible for us to make this film on the level of quality I think it deserves. As far as I know, there is no documentary on black metal out there with the approach we are doing so there is a wide range of possible scenarios for the finalization and release of the finished film.
I guess the biggest question for all of us is “why”: why did black metal come about, why was it so violent, and why does it fascinate us today. Does your film address these whys?
This is the core of the film. It is a difficult question to answer, but this is why I wanted to do this film in the first place — to find out why this weird, hate promoting genre is so incredible fascinating. Hopefully we are able to understand it a bit more after seeing the finished film.
Can you tell us more about the format of the film? Is it interviews, or a narrative, or a mixture of both? Will you use black metal music in the film?
The film will be character driven. In other words, we will follow the people in real life situations and all of them have their own story that we are in the process of filming at the moment. There might be some interviews as well, but not like one would expect from a typical documentary. For example: in Blackhearts we meet an Iranian, Sina. He is the only black metal artist in his country. We first get to know him at home in Tehran, then we follow him to Norway as he is about to do his first ever live concert at the Inferno festival. Then comes the tricky part — can he ever go back home to Iran after promoting what some people consider to be blasphemy on stage?
Through following Sina’s story we will get to learn more about how strong the passion for black metal can be and how the music is still provoking authorities around the world. This is just one example and I can promise we have more fascinating stories too!
When it comes to the music in the film, people should not expect to hear lots of it, but of course it’s there when we show scenes from concerts etc. A treat for all black metal fans (and for me) is that the one and only Snorre Ruch has composed music specially for this documentary.
Last but not least, can you tell us about yourself, not necessarily as formal as a CV but a bit about film, how you came to love it, and how you came to be a movie producer.
I work as a full time documentary producer on several different films. Most of them are related to the second world war or religion and music. This is of course all topics that I am really interested in on a personal level. I never really loved films more than the next guy, but I ended up producing music videos and documentaries because it brought me to places and people that I never would have met under “normal” circumstances.
I have been doing it for the ten years now and I’m liking it more and more as time passes. One of the last documentaries I produced is called The Exorcist in the 21st Century and it has been doing quite well, specially in the US. We got unique access to one of the top exorcists in the Vatican and we followed him around the world as he was doing his thing. Therefore I have seen a about one dozen exorcism rituals being performed.
Since this interview will mostly be read by metal fans, I can reveal that the demon that reveals itself during the rituals we filmed sounded like Maniac from Mayhem at times, hahaha!
The wizards of Profanatica/Havohej experiment extensively with their music in both form and content, and as a result, their releases are widely varied with differing degrees of success as listening (as opposed to “theoretical”) experiences.
Thy Kingdom Cum, the most recent offering which will be unleashed by Hells Headbangers Records on November 26, unifies the threads of Profanatica by being noisy and avantgarde in its blasphemy and song structures while keeping focus on fast-paced black metal with melodic undertones and creative riffing.
Like Impaled Nazarene’s Rapture, Thy Kingdom Cum re-interprets black metal in the late-1980s ideal of fast single-string riffs which combine hints of melody with unrelenting energy. The result is like a hybrid between industrial music, punk and Wagnerian classical: great towering themes emerge from riffs that resemble bent bits of wire or the symbols on schematic diagrams. You may notice similarities to proto-black metal like Sarcofago here.
Profanatica as usual do not shy away from blasphemy but unlike some past works, on Thy Kingdom Cum they’re not writing protest rock; they are here to enjoy the blasphemy and this demonic relish gives this album the playful sense that made 1991’s Dethrone the Son of God so thoroughly a forbidden pleasure. What you’re hearing is musicians having fun raising hell, even if underneath that humorous pleasure is a deadly serious message.
Like early Havohej, Thy Kingdom Cum is fast and simple and abrades the ears with intense riffs and unique but compressed song structures. Like the band’s musical peak in Profanatitas de Domonatia this newer work shows a dedication to producing depth of music in addition to pure noise and evocative rhythm from the ever-adroit Paul Ledney drumming.
Where Profanatica‘s last album, 2010’s Disgusting Blasphemies Against God, ventured into pure textural rhythm and a grinding atmosphere, this newer incarnation of the band shows more dedication to highly motivational ripping metal riffs and through periodic melody in a shorter version of the style on Profanatitas de Domonatia, an expansion of the relevance of riff structure beyond rhythm.
As the ongoing story of Profanatica/Havohej evolves, Thy Kingdom Cum will likely be remembered as a unification of their more cerebral esoteric black metal with a digestible and intense form that conveys their message like pastoral landscapes carved in flesh. As such, it may re-awakening blackmetal to its roots.
What do musicians do when the drive to create has vanished?
When the label is clamoring for something new, does the band bow down and fulfill the request, or do they uphold standards? Black metal in particular has struggled with these questions for over a decade, with a myriad of responses. Some have chosen to retreat completely, seeking refuge in the wild.
Some have become exasperated with the genre, turning to electronic music before returning in glory. Others have waged war on modernity, risking well-being in pursuit of these goals. However, the greatest number have bowed to the wishes of the crowd and released a product that was quickly forgotten, which is where Satyricon’s self-titled album falls.
Embodying all that is lazy and lethargic, Satyricon is an excellent example of modern black metal ethos. Black metal only on the surface, the album is musically a hard rock/heavy metal album designed for max promotional appeal. Simple riffs with obvious sequencing, simple implementation, and solid production produce a well-shaped package that undoubtedly will allow the band to increase its commercial influence.
Sounding like a tribute to Fallen-era Burzum‘s minor-chord noodling but lacking even what little sense of spirit that album possessed, the band chucks in references to pop and blues cliches as if the label funded a study aimed at producing the most cookie-cutter album conceivable, then shared the results to the band…and let’s not delve into the collaboration with Sivert Høyem.
There is nothing here for readers of this site to enjoy, except for the more morbid members among us. This album goes nowhere. It has nothing to impart. And perhaps most damning, it’s not even terrible. It is simply a non-entity.
Since metal is caught within the regime of popular entertainment, it speaks the language of socialization exclusively. Thus, if you have an unpopular opinion, it’s because you’re mean or a douchebag. Thus it is that people frequently refer to people who have standards as “douchebag elitists.”
Listening to a release by what I’ll call a respectable band, I was reminded of the reasons for my douchebag elitism. This CD is after all mostly right. It has all the right elements, knows the conventions of the genre, and has a number of sentiment and somewhat obvious but effective riffs. Should be good, right?
Except that it’s not good enough. It’s close, but not the same. Where Graveland — its primary influence — had a unique personality and a clear direction, this respectable band is derived from Graveland and Darkthrone and that basis is audible. The basis for Graveland was reality itself; the basis for the respectable band is music.
As a result, it misses on what black metal was. Even more importantly, it misses out on a standard of quality that lets blackmetal be of that level. When we are elitist, and admit only the bands which have a distinct and amazing perspective on the world, we see the genre as it is: the product of independent minds with purpose.
When we let that purpose fall, and allow those who simply want to partake of that vision to be part of the genre, standards plummet. Those bands are imitating from outside and trying to reproduce what was, but in doing so, they’re losing the most essential part of it, which is its motivation as a whole.
For a band to be black metal, it needs to discover the motivating ideas that made black metal what it was. Then, it must have its own take on those ideas, and in addition to that, do what everyone can do these days, which is play well and have good production.
It’s interesting how few people are actually required to make a genre. Graveland is immortal; while Woodtemple sounds good at a distance, and I know from the word of close friends that the person behind it is a good fellow, it would be an adulteration and sacrifice of what black metal is to endorse this album.