Sludgecore band Agoraphobic Nosebleed threw a fit for publicity over a recent batch of Death Metal Underground’s Sadistic Metal Reviews. Frontwoman Katherine Katz called us Fox News for our criticism of Agoraphobic Nosebleed’s shrieking short woman over a drum machine shtick and our psychological speculation as to why Agoraphobic Nosebleed would even bother releasing such failure other than for commercial exploitation of a musically-ignorant hipster fan base craving reaffirmation of their modern liberalism. Katz even claimed that artists should be responsible for the extreme actions of others in response to satire and that some topics should be completely off lyrics. For her, everyone who listens to “Embryonic Necropsy and Devourment” will potentially commit feticide. This is incredibly hypocritical for a band who shared a member with Anal Cunt and wrote Frozen Corpse Stuffed with Dope.
Article by Lance Viggiano
Metal, like nearly every form of contemporary western music, carries legacy traits from western classical music. Noting these inherited qualities and their contribution to metal’s identity is a fruitful venture worth study. Yes, some artists such as Emperor created music that may as well have been performed by an orchestra. Nevertheless there is a distinct tendency among metalheads to validate metal through this heritage. The logic behind this is eloquent and simple: Classical maintains an esteemed position and metal retains compositional/artistic characteristics of classical; therefore metal is good (insert adjective for good: High Art, Quality, etc.). This does a disservice to metal however as it forsakes the baroque for the succinct while deriving much of its power from textural aesthetics. Metal needs to be qualified and judged according to its own merits.
Both forms of music arrange motifs according to an underlying narrative. The pathos of western classical music is derived out of experiments in harmony that attempted to imitate a well ordered and intricately planned cosmos. The composer embodies the role of the One God who conceives and executes a nature in which each of its parts cooperate in accordance with divine law or in the case of music: its score and story. Metal however is all about the riff; not just its position in the score but also the way it sounds and the way it feels. Downtuning a guitar, plugging it into a bass amp, and dialing the gain knob to its upper limit are not trivial or accidental decisions. The textural component gives the music body which allows for succinct motifs to achieve significance out of relative simplicity. On the other hand, classical must take on a ”notey” characteristic to give the music weight. The roar of an ensemble is a force of its own, yet it is comparatively tame next to the bludgeoning delivered by an amplifier and a few pedals.
Classical entices the mind with intricate and ornate patterns while metal ignites the heart by delivering an unabashedly barbaric, vitriolic and brash force of will. With each occupying distinct but equally valid dimensions of the human experience – The mind and the heart, respectively – it becomes clear that using one to validate the other does a great disservice to each form of music. Unplug metal and survey its patterns next to classical and one will find that it sounds as if it was composed by intellectually immature children. Plug classical patterns into metal and one finds that the need to make tonal sacrifices to retain clarity while distilling patterns down so as to be performed by fewer instruments results in sterile powerless wank which exists without proper support.
The Romantic movement turned its gaze back to the primacy of nature from the perspective of the civilized man who took all of his habits of thought with him; retaining his clear, distinct abstract patterns and hard mental boundaries. He walks at a distance from the forest so as to keep his boots from the blemishing mud and his coat from the shearing thicket. The Romanticism of metal walks barefooted against the cold soil, barely managing to escape the weather but never the bonds of nature. His damp stone refuge is aerated by a primate musk so thick that the festering gobbets and searing tendons of his kill cannot penetrate it. The civilized man understands nature as an idea from which he is blissful detached and divinely endowed to understand while the uncivilized man understands nature as an irrational outpouring of desire against which his only freedom is attained by projecting his own will against the world. Each vantage point offers a unique view of the same landscape. From that summit the artistry of metal ought to be discussed and ultimately, loved.
Article by David Rosales
As another year ends and a new one begins, many “best of” lists pop up here and there, among them our own here at DMU. While others may be eager to know about what is ever new, we are more interested in what stands the test of time. Today we will look at some albums that were highlighted here as the foremost products of the year 2013, which was a year of renewal, great comebacks, startling discoveries and a general wellspring of inspiration. In the opinion of this writer, 2013 has been the best year for metal in the 21st century.
To start off, we shall pay respects to long-lasting acts with a black metal background, namely Graveland, Summoning and Burzum. While the last has left the metal camp for good, its approach and spirit is still very much enriched by the essence of the deepest metal infused with transcendental values. Summoning is still doing their thing, ever evolving, trying a different permutation of their unique style. Fudali’s project has become the warrior at the frontlines of the strongest nationalism grounded in music that uplifts the heart with an authentic battle feeling (as opposed to those other bands playing funny-jumpy rock and acting all “dangerous”).
Sôl austan, Mâni vestan is an ambient affair that uses short loops which revolve around clear themes in each track. The approach is a little formulaic, thereby limiting the experience with a feeling of repetition. However, as with many good works of art, this self-imposed canalization serves to speed the result in a direction. As with a lot of Burzum’s work, this is a concept album that must be listened to as a whole. When this is followed and one stops looking for novelty and instead concentrates on the details that bring variation within the familiar landscape, the somewhat arduous experience brings great rewards once the summit is reached and the journey is taken more than once.
Something similar can be said of the slightly pop-minded Old Mornings Dawn. This effort by Summoning certainly lacks the density of their masterpiece, Dol Guldur, but is no less effective, although perhaps shallow. But what isn’t shallow when compared to that masterpiece? As with every Summoning album, Old Mornings Dawn has a very separate personality, and in this case, it is one of heroism, light, regeneration and hope. Something that will never leave the band’s trademark sound is the deep feeling of melancholy and longing for ruins.
Graveland materializes in Thunderbolts of the Gods one of their most warlike efforts to date in a smooth trajectory that has gone from rough-pagan to long-winded and epic to heroic war music. What raises this offering above others in Fudali’s current trend is the awesome bringing forth of destructive energies mustered in the imposing drumwork. Gone are the clumsy rhythms of Cold Winter Blades and the redneckish tone of the (nonetheless great) album Following the Voice of Blood. This is the technically polished and spirit-infused summit of this face of Graveland.
One of the most deserving releases of 2013 was Black Sabbath’s 13. More expectations could not have been placed on anyone else. Yet the godfathers of metal delivered like the monarchs they are: with original style, enviable grace, magnificent strength and latent power. Along with the last three albums just mentioned, this album shows itself timeless in the present metal landscape. It encompasses all that it is metal, and brings it back to its origin. This is an absolute grower which will age like the finest wine and is, in my opinion, the album of the year of 2013.
In 2013, Profanatica finally achieved amazing distinction with Thy Kingdom Cum, which can be considered the fully developed potential of what Ledney presented in the thoroughly enjoyable Dethrone the Son of God under the Havohej moniker. To say this is the natural outcome of Profanatica’s past work is as true as it is misleading in its implications. This is not just a continuation of what the band was doing before, but a deliberate step, a clear decision in the clear change in texture quality that means the world in such minimalist music where a simple shift in technique or modal approach defines most of the character of the music.
Cóndor’s Nadia was probably the hidden pearl of the year. Never mind the metaphor of the “diamond in the rough”, there is nothing rough about this. It is polished, but it is hidden. The shy face of this beautiful lady is covered by a veil that turns away the unworthy, the profane! This is immortal metal artwork which to uninitiated eyes and ears seems but like the simple, perhaps even amateur, collection of Sabbathian cliches and tremolo excuses of an unexperienced band. The knowledgeable and contemplating metal thinker recognizes the Platonic forms under the disfigured shapes.
Imprecation’s Satanae Tenebris Infinita and Blood Dawn by Warmaster draw our attention to the strong presence of a more humble but profoundly (though not obviously) memorable album and EP. These will stand the chance of time, but will not necessarily remain strong in the mind of a listener in a way that he feels compelled to come back to them often.
Dark Gods, Seven Billion Slaves by VON seemed more enticing at the time. It’s definitely a solid release, but it is however a very thinly populated album with more airtime than content. Whatever content it has is also not particularly engaging. The enjoyability of this one is a much more subjective affair and like a soundtrack is more dependent on extra-musical input from the listener’s imagination.
As delightful as the three heavy metal albums Argus Beyond The Martyrs, Blitzkrieg Back From Hell and Satan are, the intrinsic qualities of their selected subgenres makes them a difficult candidate for long-lasting and profound impact. That is not to say they have no lasting value. If anything, these are albums one can come back a thousand times and perhaps they will not grow that much, but they will never truly grow old.
Autopsy’s Headless Ritual is one of the strongest yet most understated albums of the year. The extremely rough character of the music may contribute to how it carelessly it can be left behind. Fans of brutal music will find it little different from the rest and will quickly forget it. Fans of wider expressions and deeper thoughts will pass it by with little interest. Such is the tragedy of this very respectable album.
A few stragglers in this group; Master’s The Witchhunt, Centurian’s Contra Rationem, Derogatory’s Above All Else, and Rudra’s RTA proved to be more impact and potential than manifest presence. These will remain fun and quaint for a very occasional listen, perhaps even a sort of throwback feeling, but lacking the long-lasting impact of others in this list.
A special mention is deserved by Into the Pantheon, the essential synthesis of Empyrium, being their most revealing, powerful and clear release. While not outwardly metal, this live recording everything that is to be metal at the level of character and spirit. As such it is the perfect closing note for this recapitulation and reevaluation of past selections.
Much like Darkthrone’s Under a Funeral Moon preceding Transilvanian Hunger or Immolation’s Herein After before Failures for Gods and Close to a World Below, Burzum’s Det Som Engang Var(roughly translatable as “What Once Was”) before Hvis Lyset Tar Oss(“If the Light Takes Us) puts on display all of Varg Vikernes’ faculties as a composer in a way that is still relatively easy for a listener to make out the different things he is doing, unlike the next album where a convergence and purification that only a minority are able to grasp in all its excellence and magnificence. As Brett Stevens commented not so long ago in reference to Immolation’s Close to a World Below, some bands make the same album again and again until they are able to solidify their vision in a magnum opus.
Many metalheads who respect this album may do so out of a respect for how influential it is, without truly understanding that even if this album came out today, after all the others they are said to have influenced, it would still be as impressive and worthy of high praise — but perhaps it would not be noticed by the same people who today profess to appreciate it. Contrary to common belief, its worth is musical, not historical only. This is not very different from people who “enjoy” Black Sabbath or Celtic Frost, but fail to see the monument that works like Master of Reality and To Mega Therion are. In great part this error lies in associating or equating technical prowess on the instrument and an apparent “complexity” of notes with a complexity of thought and excellence in composition. These albums display an astounding clarity resulting from the exquisitely fused elements of music (harmony, melody, rhythm…) in a way that may strike the unaware as “simple”. Confusing intelligibility with limitation/blandness/simplicity is the greatest sin one can commit against masterworks of music, because the greatest works all share this as a common trait.. While this is even more true of Hvis Lyset Tar Oss, it bears bringing into question the undue musical disrespect of which Burzum in general is the victim.
The album contains tracks that make use of abrasive and extremely dissonant intervals, very consonant and relaxed harmonizations of melodies, synths as support and synths as the main instrument in ambient tracks all together and mixed in different ways and given the spotlight in different tracks. It is, perhaps, this up-front “complexity” of having so many distinct colors that at least attracts the attention of and mention by even those who do not understand black metal. The composition itself is technically nuanced but like any proper work of art, comes off as intelligible to the point of being confused with “simplicity” in its negative connotation. The complexity of the works like Burzum lies in the seamless unfolding of a story, a masterfully woven tapestry blending all sorts of disparaged puzzles and meanings within its frames not unlike Hieronymus Bosch’s The Garden of Earthly Delights. The importance of discussing Det Som Engang Var is that it is here that his thinking is most easily and obviously seen. Without understanding this album, monumental works like Hvis Lyset Tar Oss and Burzum’s stepping-into ambient(or as he described it, Anti-Black Metal) territory, Filosofem, can never be truly appreciated.
Regarding its little-mentioned lyrical topics that are actually worth mentioning in any integral metal work, they consist on a mixture of melancholy and longing for a grand and fantastic past that exists more in the mind of a romantic than in historical reality (but which makes the values and traditions it longs for no less meaningful or real), and an existentialist questioning of the self’s position in a world of men that makes little sense and which launches the brave man in search of truth behind, or rather past, human constructions. In addition to that, the tendency towards nature worship and an attraction towards the forest as the archetypal home of homes, a safeguard from the evil of men and their perversions motivated by greed and thirst for power, is ever present in Varg Vikernes’ language and allusions. These have also been the target of cynical contempt by the petty minds of postmodernists who are unable to make a connection with nature and are rather too fond of themselves as creatures of a decadent society, leading them to denounce anyone pointing at obvious truths about its breaking-apart.
Restoring the pride and respect that Det Som Engang Var has never had in truth, just as Burzum hearkens to a grand past that has never existed here on Earth but that through an evocation of opposites rather points to an idealist future, so we attempt here to find a direction for future metal to grow in undreamed of ways that do not diverge from the essence of metal and that stand on the firm example of the greats that did exist but have never been duly studied.
From its very inception with Black Sabbath metal has always placed a special emphasis on a realism that looks beyond human “nature” and its caprices. We can safely ignore the hedonist tendencies of certain styles of metal imitators and detractors who musically, ultimately took more from the rock and hippie attitudes than from metal. It is also important to clarify that most modern bands, especially past the 1994 mark, are followers and imitators who were not born into the music out of a deeper mindset. In a rather tongue-in-cheek manner, they enjoy the music’s aesthetics while they jest about the lyrics and apparent driving motives of extreme underground innovators, naming them conspiracy theorists or deluded savants, because what the greats say goes against their own culture-dictated values. They ignore that Beethoven, the original creator, is born not when he starts to write great music (which happened at a relatively young age) but when he finds ulterior motivations(circa the sketching of his 3rd Symphony); transcendental visions of a greater humanity born out of fraternity and the individual struggle for self-improvement through suffering push his music towards new landscapes until the day he dies.
Black Sabbath is metal incarnate because not only is it from them that the genre evolves musically, but the very essence of everything that makes metal what it is is reflected in their lyrics. A curiosity for occult knowledge or mystic experience through various means, the so-called worship of power and an apolitical realism that attacked the establishment and that in its time was confused (and probably marketed) as hippie flower-power are all manifest in the band’s first few albums. The three elements ultimately boil down to the search for a truth that lies beyond human construction. Of course, because we are humans, all we have is our human brains and our human motivations — this is something we cannot escape. So what is there left to take a hint from? Nature. The same nature that gave birth to us as a species. The nature that produced an environment which gave rise to our own human “nature” (two different uses of the word nature, for those not paying enough attention).
Nature worship is misconstrued by cynics as either an extreme and retrograde cultural suicide that proposes we abandon the cities to go back to living in caves as wild animals, or simply a kind of replacement for any religion as a different set of beliefs that at the end lead you roughly towards the same goal. What a proper nature worship really entails is not a blind respect for other living creatures at the expense of human well-being, but rather an enhancement of the latter through a mindful and knowledgeable understanding of our relationship to the rest of nature as an ecosystem. In other words, beyond this bubble of social constructions that leave us oblivious or simply make us insensitive to the full extent of the consequences of our careless actions three or four generations into the future (think of uncontrolled population growth and greedy depredation of resources in order to get more money, yet another human illusion to maintain greater mirages).
Realism is here referred to not as the selfish conception driving a Machiavellian politics, but rather the philosophy of forming opinions and taking decisions based on a nihilist but profound understanding of the relative situation of ourselves as humans. The profound understanding is a necessary appendage to the nihilist mentality because otherwise it can very easily degrade into hedonism or other kinds of short-sighted foolishness. An understanding of the inherent necessities we have as humans, both physical and psychological, can lead us in a very few particular directions. As I see it, we either embrace the rest of the ecosystem as something to worship and live in as vital to us in our everyday lives and long-term decisions as a species, or we develop the technology to live independently from it. So far, we are at a crossroads where we are at the brink of destroying the balance of this planet’s system beyond repair, and we do not possess the technological means to live without Earth: precisely because our motivations have been too short-sighted, driven by immediate or selfish profit.
Rocket’s engines burning fuel so fast
Up into the night sky they blast
Through the universe the engines whine
Could it be the end of man and time
Back on Earth the flame of life burns low
Everywhere is misery and woe
Pollution kills the air, the land, and sea
Man prepares to meet his destiny
Rocket’s engines burning fuel so fast
Up into the black sky so vast
Burning metal through the atmosphere
Earth remains in worry, hate and fear
With the hateful battles raging on
Rockets flying to the glowing sun
Through the empires of eternal void
Freedom from the final suicide
Freedom fighters sent out to the sun
Escape from brainwashed minds and pollution
Leave the earth to all its sin and hate
Find another world where freedom waits
Past the stars in fields of ancient void
Through the shields of darkness where they find
Love upon a land a world unknown
Where the sons of freedom make their home
Leave the earth to Satan and his slaves
Leave them to their future in their graves
Make a home where love is there to stay
Peace and happiness in every day.
The direction from or mentality with which we approach problems is a non-trivial factor in the resulting answer. If we approach the matter of how we should conduct ourselves from the top-down viewpoint that what matters is this or that political scheme as a result of our “rights”(more human constructions) or needs only, and without acknowledging that our needs depend on and arise from our the rest of nature on Earth, then we will always lose sight of the whole picture. This human-only vision traps us in a political/theological game which gradually becomes more and more alienated from the real struggle for survival played against and within our place in the universe.
Metal was given birth by those who despise petty human society and is continued to be upheld as the greatest art there ever was by those who have come to this ultra-human vision. To us, every vacuous formality is a burden, every accepted social deception that is taken for granted by the herd can be confusing because we are expected to follow it despite the fact that even the sheep know it’s complete bullshit. Most sheep know it, but they know it is in place for everyone to be happy and shielded away from each other, but most importantly, from reality. True metal stands against all of that. Not as a statement of individuality like most modern bands who care about being politically-correct and are given free reign to pose as some sort of social-cause rebels, but as an acceptance of the harsher truths of reality and how they make the upsides even more intense and worth living for.
“This beginning then reaches out to future historical outreach, especially by teaching what humankind does not wish to comprehend, in spite all the immense hardness of history, does not want to understand, something that perhaps only latter days will learn after reaching the nadir of destruction and devastation — that life need be understood not from the viewpoint of the DAY, of life merely accepted, but also from the view of strife, of the night, of POLEMOS. The point of history is not what can be uprooted or shaken, but rather the openness to the shaking.”
–Jan Patočka, The Beginning of History
Only Death is Real
Blind lies rise
Eternal sweet fire
One with soul
Licking throne of gold
Soul of bricks
Plague of deaths
Hate rise/fill my eyes
Those with no eyes
Blind to see (him)
Those with no eyes
Come feel inside
Souls of fate
Those with no eyes
Blind to see
Breath now, worship (him)
Warm caress of fire
Breaks the pulse
Close your eyes
I was listening to “Sign of the Southern Cross,” from the album Mob Rules, and it reminded me of the long-time paradox I’ve contemplated about it. Let’s call it the Iommi Paradox. “Sign Of The Southern Cross” has this huge, epic riff. It’s like many of Tony’s riffs. Everyone talks about his riffs, but I’m wondering if very many people see the real magic. For me, this riff embodies that magic, which I am calling the Iommi Paradox. Let’s define the term.
The Iommi Paradox:
1. A main riff, composed of power chords, usually derived from a basic diatonic pattern
2. A basic configuration that seems simple, even skeletal, in its composition 2a. So simple, in fact that you say, “It’s so simple”(2b. Until you try to play it and find that doing it correctly and consistently isn’t so easy)
3. Somehow, this simple riff is completely original, memorable, and chilling.
HOW DOES HE DO THIS? Mob Rules was their 10th studio album. Any fan can go back through the first nine albums and make a list of these riffs, album after album, riffs like Iron Man, Sabbath Bloody Sabbath, and Heaven and Hell. So, he’d been composing these riffs for at least 11 years when “Sign Of The Southern Cross” came out. There was an explosion of metal albums in the early 80s, and metal was about 11 years old. Iommi himself had written numerous complex riffs and bridges and solos by 1981. I did nothing but work and listen to metal in 1981. You would think that either he’d have run out or that someone else would have found this one, and I would have surely heard it. But I recall with perfect clarity how overwhelmed I felt when I heard “Sign Of The Southern Cross”. It was magic, and I knew immediately that only Tony could have done it.
I submit that the Iommi Paradox is only partly musical. I’ve said it before: Tony Iommi is not just a player, and perhaps not just a composer. He finds riffs and structures that are so wired into us that we respond to them as if they have always been there. And maybe they have. We say he writes them, but I think he discovers them. They are too perfect, too primordial, to be the work of human hands. Maybe his injured human hands had to look elsewhere. Rather than default to speed and flash like many of the guitarists did then, Tony reached out to the universe and moved its beauty and grandeur onto his fretboard in a kind of novel familiarity that-in another paradoxical moment-warms our hearts with chilled blood.
Maybe these “simple” riffs didn’t exist before because no one was looking for them. I know it may sound a little odd, but Tony’s gift is one of awareness. He finds the terrible beauty of the cosmos and gives it to us in a handful of power chords. And somehow, we know that it’s way beyond the notes and patterns. It’s a basic human response, perhaps because we are also of the universe.
Maybe it’s like the Fibonacci Sequence: a pattern so consistent that it’s not accidental. There’s an analysis for someone. I wonder if you could plot these riffs that way.
Cult of Endtime play a music that is actually both “melodic” and death metal. Taking the road of modified and expanded verse-chorus-bridge approach to music construction, this mid-paced death metal with a clear aftertaste of traditional metal maintains motific links within songs that ride clear phrasal riffs not unlike the manner of the early but already mature Black Sabbath. Although DMU does not usually hand out stars to shiny, mainstream packages because they usually are just uncreative or mediocre turds hidden under slick production, In Charnel Lights has definitely earned theirs.
A very well-performed and accomplished example of this style, the music stays within the boundaries of its chosen paradigm while introducing a variety of ideas without haphazard changes. This does imply a limited variation, a clutch of its chosen pop-format approach, which supports and defines it but cripples its movement at the same time. The nature of the music, then, reduces In Charnel Lights to a collection of songs. The result is pleasing and solid but can be repetitive in terms of musical ideas and in its adherence to its center it fails to bring enough variety to artistically justify a second half beyond the urge to produce more of the same.
In spite of this, the variation it does introduce is not only used gracefully and properly but is both meaningful and powerful. Each variation of idea or new idea included, each slightly differing approach to a riff was probably very carefully considered and integrated with an attention to detail worthy of praise. Cult of Endtime are extremely consistent in style although they bring different techniques under its umbrella and produce strongly coherent riff-variations with a relatively wide range of character.
Sounding like a Black Sabbath reborn into death metal, Cult of Endtime build their music on phrasal riffs with a basis on heavy-sounding support and featuring melodic passages that emphasize clarity of expression and musicality rather than technique itself, although anyone paying attention to such things would not deny the professional-level musicianship of the band. Probably one of the best, if not the best, we are likely to get out of the mainstream this year, In Charnel Lights is extremely recommended to fans of metal.
Doom Metal band Bathsheba will release The Sleepless Gods on May 15th through Svart Records. Bathsheba play a rehashed 1970s “witchy” doom metal that appeals readily to a mainstream audience looking for a moderate and palatable dose of the mainstream and casual “occult” . Women’s vocals accentuate the late 1960s and 1970s horror movie concept of the witch’s covenant celebrating a bloody black sabbath. For fans of average retro music.
Tracklisting for Bathsheba’s The Sleepless Gods:
- The Sleepless Gods
- Daughter of the Oath
When Black Sabbath shifted from trying to be a hard rock band to trying to make a horror movie sound appear in guitar music, they opened a new world. It was not a world that would resist opening for long anyway, since if you mix Iggy and the Stooges with the prog rock of the same era like Jethro Tull and King Crimson, you get something a lot like Black Sabbath.
But guitarist Tony Iommi, bassist Geezer Butler, vocalist Ozzy Osbourne and drummer Bill Ward did it first, and during the first decade of their career fought through the enduring questions of the genre in prototype form. While Black Sabbath gets classed by most as “proto-metal,” or not quite yet metal, it is also clearly not quite still rock ‘n’ roll. In this perpetual liminal state Black Sabbath, like metal itself would a generation removed, rediscovers itself again and again as a way of outracing the calcification and corruption of message that is common in modern life.
In Iron Man: My Journey Through Heaven & Hell with Black Sabbath, Tony Iommi writes his memoirs for a book that is both everything and Black Sabbath fan could want, and not enough. He writes about everything important and brings out some moments of great clarity, but then at some point the book expands like a drunken conversation and spills too much ink on the less important later Black Sabbath works. Iommi also has an offhand and conversational way of explaining things from his point of view that does not flesh out the details and background enough to let people know what was really going on. However, the juicy stories of rock ‘n’ roll excess, and most of the potent decision points in the Black Sabbath career, are not missed.
Those first songs are often described as scary. I liked horror films and so did Geezer. We used to go to the cinema across the street from our rehearsal place to see them, so maybe it was something that subconsciously directed us to that sort of thing. I know there is a Boris Karloff movie called Black Sabbath, but we never saw it at that time. Geezer came up with the name Black Sabbath and it just sounded like a good one to use. (54)
The narrative starts out fairly crisply and over time slouches into many unresolved threads the way most retrospectives do. The early days were clarity, but after that chaos reigns. Sensibly, Iommi does not spend too long on the days before Black Sabbath, but does set enough of the scene to get the narrative rolling. After that, very little detail is given, and the conversational takes over. Iommi will say that they went to a house or studio somewhere and mention no other detail, but he does spend a lot of time on human relationships. He describes people and their patterns. He also talks a good deal about relationships in the bands and the states of mind of the various players as albums were released.
It may be that a Black Sabbath fanbase wants to hear more about the mechanics behind the later Black Sabbath albums, solos and side projects, but to this writer much of this material was redundant. Not that it was mentioned at all, but that it was internally duplicative and went through similar patterns without identifying them. Like a night at the bar, the description of events begins with a clear context, direction and development of events, but devolves into a description of personalities and factual data that seems to focus on complexities.
I hope it is not insulting to say this, but people are not as interested in the later Black Sabbath works as they are the earlier ones. We would have preferred the same crispness, detail and narrative integration of the first three chapters be applied to the middle three, with the later ones giving less detail and more of a linear narrative. The reason for this is that the formation of those early albums and the Black Sabbath sound is what defined this band for eternity and will make it forever important. The later stuff shows us four guys out of their depth reacting to the changes in their lives.
We used one of Ronnie’s ideas in its entirety, which was ‘Atom and Evil’, the first track on the album. And we used bits of each other idea. Some of Geezer’s riffs would come halfway through, or some of mine. We just swapped them around, building songs. It was a great way of working. INstead of having to come up with everything myself, everybody was completely involved in it from day one, and that helped me immensely. We wrote about six songs this way. (352)
Details such as the above provide meaning to the listener because we are curious about such things. What made some albums more listenable or more interesting than others? In the compositional process, and the formation of decisions, we can see how they are distinct. Sometimes too much focus on personality and politics not only obscures the narrative, but is a substitute for discussing how decisions were made. Buried throughout are nuggets of clarity such as the above. These make the book not only memorable but poignant, as you can see why so much attachment occurs between these musicians, and how their knowledge of each other was more than practical, but a deep appreciation.
Iron Man: My Journey Through Heaven & Hell with Black Sabbath will stay on the shelves because of its subject’s importance to rock music and heavy metal. It will also provide much fodder for others to discuss, as it touches on everything once. While some of us might prefer a two-volume set, with Volume I for the Black Sabbath albums from 1970-1976 and all of the depth of narrative that makes the creative decisions made during that time relevant still, as a quick read and overlook of the Black Sabbath experience Iron Man: My Journey Through Heaven & Hell with Black Sabbath succeeds and also gives us rare if erratic insights into the story behind the band.
If I ever have to declare a field of study — and I hope I never must — I will declare my intention to study transitional material. It is the most fascinating by far, and Black Sabbath Tyr demonstrates why.
Emerging in the final days of the 1980s and the first days of the new decade, Tyr shows Black Sabbath trying to keep one foot in what succeeded in the previous era while gesturing at inventing the next. The band is not bold enough to simply invent it, since they are too invested in being an industry in themselves. That puts them in the position of defending what they have by incorporating the current, not by redefining it and trying to become something new.
The 80s influences are most painful in the vocals, which bring back flashbacks to Miami Vice and War Games. The 1980s were above all a sentimental time: the late 60s had changed the nation, and now we were in the grips of a Cold War that threatened to eliminate us all in the absolute erasure of kill zone radius extermination. People sought emotion, a fleeting sense of beauty and hope in the night, before the coming darkness swallowed all. It was really a prolonged version of what Berlin must have been like in 1945, but no one could recognize it. They buried themselves in things: in work, in religion, in warfare or in ideology. And so the 1980s sound is that of the lover glimpsed on a passing train, a moment of hope in the doom, a taste of what could have been, drowned out in mechanical rumblings and coalescent submerging blackness.
While the elements of the proto-metal/prog fusion that Black Sabbath pioneered by adopting the longer phrase moveable melodies of modernist classical influenced Italian horror movie soundtracks are still present, the majority of the riffing on this album resembles 1970s hard rock emulating the electronic rhythms of 1980s pop. It’s not surprising that Ministry may have borrowed a few rhythm/riff-idea combinations from this album, given the raw creativity put into them and their mutual inspiration in the basis of 1980s “industrial” music through electronic body music (EBM). Black Sabbath balance the shorter, more mechanical hard rock riffs with their usual spanning chord progressions that give the sense of the camera pulling back to reveal a vista.
The result is highly melodic and merges with the vocals which sound like they’re right off a Mike & The Mechanics or Red7 record. The result neuters Sabbath to an uncomfortable degree because the focus is on vocals and synths and the guitar takes a rhythm role that supports those from the background. That has not stopped guitarist Tony Iommi from coming up with some rather odd and noisy variations on the riff that he uses to add uncertainty and a sense of being lost in a windswept plain to the otherwise more straightforward compositions.
Where Black Sabbath reach toward the future is in the layout of these songs and album. They are deliberately expanded structures with more variation between them, like scenes in a movie or different rooms in a house in a pursuit dream. This both reflects the influence of MTV and the increasingly technological nature of music which allowed radical changes in instrumentation, thus musicians could stick in entirely radical dynamic changes and have them work as more than a distraction. The album follows the same thought process, beginning with an acoustic introduction with semi-chanted vocals, as if invoking the Druids and giving the entire production a visual leadoff. The album itself moves like a conversation, starting with its most obvious big points and indulging in all the conventions of its decade, but then gradually bringing those back to roots and then expanding them with the final tracks, notably “Heaven in Black,” where hints of a more metal-oriented Sabbath emerge (especially in its recapitulation of the riff-idea for “Symptom of the Universe,” which as my colleague Martin Jacobsen writes, precapitulates the muted-strum technique used by all speed metal bands). Much of this anticipates the more epic conceptual and structural layout of both songs and albums that black metal and death metal would popularize; it is unclear whether Black Sabbath heard early prototypes of this notion, such as Bathory Blood Fire Death, but the similarities are great as they are to later Judas Priest like Sin After Sin and Iron Maiden’s epic 1980s material such as Seventh Son of a Seventh Son. Interesting also is the choice of Odinist thematic matter wrapped in Celtic imagery, as if questing for a new identity for metal that united its past with future.
Tyr shows Black Sabbath twenty years into their career. They are less innovators than standard-bearers and so their tendency is to absorb outside influences and translate them into heavy metal to give their genre relevance in the wider world. There are also other influences from within the metal world, such as a notable increase in Iron Maiden-styled galloping riffs and broader themes. As one reviewer once said, some albums are more interesting than good for listening to, and thus are more compelling to write about; Tyr may be too 1980s for me to listen to again, and I remember chucking it across the resale counter at a used CD shop over a decade ago for that reason. However, it shows us a nodal point for heavy metal in its evolution and anticipation of the next era.