Death Metal Underground

Metallica brings metal and classical closer together

January 27, 2014 –

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For their performance at the Grammy awards, Metallica paired up with Chinese pianist Lang Lang for a performance of their dramatic protest song “One” originally from …And Justice for All.

According to VH1, the bond was formed in just 45 minutes of practice time the day before the performance. As you can see below, the result was smoothly integrated despite this lack of extensive practice.

Metal and classical share a defining trait in that both use narrative composition, or knitting together riffs to develop a theme over the course of a piece. This is in contrast to pop music, which is essentially binary, formed of a verse-chorus pair and a “contrast” via a bridge or turnaround. Thus Metallica’s knotwork of riffs and Lang Lang’s melodic development through structured composition are entirely compatible.

The question remains whether metal will adopt this outlook as anything other than a surface aesthetic. If it does, expect metal songs to get more densely riffy and longer with contorted structures like progressive rock, which derived its song structuring principles from classical as well.

Why metal riffs delight us

April 24, 2013 –

hedge-labyrinthWhy is metal riff-crazy? These twisted little quasi-melodies of sliding power chords, notes and harmonics are tiny puzzles for our brains. Now science hints at why metal loves them.

Apparently, our brains love guessing what’s next in music, and perceive an intense sensation of reward if they guess correctly. For all those who identified metal’s riff-salad as a “puzzle,” you win a prize.

Like the labyrinths to which they are frequently compared, metal songs create a prediction game within the brain and cause an explosion of neural activity in a part of the brain called the nucleus accumbens. This tiny wad of cells, which sits in the pleasure/reward center of the brain, gives us a throbbing blast of “reward” every time we play the guess-where-this-riff-goes game.

Both metal and classical play this game. They specialize in intense repetition of certain phrases, but unlike rock music, the repeated phrases do not necessarily lead to the same conclusions, and in fact alter their destinations and form throughout the work. This keeps the guessing game intense and, while we’re distracted with the riffology, shows a change in themes, which if themes are metaphorical, shows a learning process by whatever protagonist may be inferred from the work.

Musicologists have often wondered at the tendency of metal fans and classical fans to be more devoted and to be more likely to enjoy the music over the course of life itself than your average rock or pop fan. In fact, the similarities between metal and classical frequently emerge among those who take their music very seriously. Could it be they’re simply getting a higher sense of reward from the riff-puzzle and its tendency toward non-repetitive repetition than they are from the relatively straightforward repetition of other styles?

Heavy metal linked with classical music, academia

March 30, 2013 –

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For many years, metal was viewed as being outside the society which it comments on. Recently, as metal has bent closer toward the mainstream, it has become more accepted, which has led to some metal bands going farther in the direction they were originally going.

As an example, academia shunned metal at the start of the 1990s, but after the work of Deena Weinstein and Robert Walser, began to be taken more seriously. Now, a conference dedicated to heavy metal exists, as does a journal of heavy metal studies. Metal is seeing more acceptance from the world.

In return, metal is starting to give back in a big way. Former Anthrax guitarist, current Red Lamb guitarist and autism awareness activist Dan Spitz will be attending the metal conference to serve as a keynote speaker along with noted academics and journalists who have covered metal. Worldwide attendance will make this a legendary event.

In other news, people are finally making the connection between heavy metal and classical music. As this site has noted for over two decades, metal and classical share many attributes, the most common being a tendency to use phrasal riffs/motifs to create complex narrative song constructions in which each song structure is specific to the material referenced in the song, much like the form of poetry or literature.

Vancouver Symphony Orchestra composer-in-residence Edward Top notes three similarities between metal and classical: both are dedicated to releasing energy, a “shredder” tradition in both and shared enjoyment among musicians, and that both are “outsider” genres to the mainstream, with both coming from camps of people who are probably too smart or too nerdy (I have no idea what he’s talking about) for their own good.

It’s gratifying to see metal get the recognition it has deserved for many years, and for the classical tradition in metal to be acknowledged, at the same time academics are taking metal seriously and digging into its philosophical and social roots. It may turn out that despite years of downturned-mouth condemnation of metal, society is finally taking it seriously and may even learn from what it has revealed.

Photo: Wayne Leidenfrost, Vancouver Sun

Earthen Grave violinist melds classical, metal

November 27, 2012 –

Classical music and metal are not as strange bed-fellows as first seems. Both try to take the listener on a journey from A to B via certain key points emphasizing conflict/discovery/victory in a narrative style that’s as old as the hills.

Both rely on a sense of heaviness of life itself in their songwriting, classical from a typically more light perspective, and metal from a darker one. Both are full of references and allusions to literature and ancient history.

As classical violinist Rachel Barton, who plays in doom metal band Earthen Grave in addition to symphony orchestras, points out, metal finds inspiration and even riffs in classical music, but even when it’s going in a different direction it draws from the same well of inspiration.

“When you listen to the great guitar soloists, they’re stealing licks from Vivaldi,” said Pine. She mixes Led Zeppelin, Paganini, AC/DC, Vivaldi and Black Sabbath in some of her live shows, when not creating crashing curtains of doom metal with Earthen Grave.

Classical music is named for its creators’ desire to allude to ancient civilization in form and ethos, specifically but not exclusively the classics – Greece and Rome. What could be more metal than obsessing about the ancient world? In the post-Renaissance world that classical music came out of, studying those older civilizations and reviving their aesthetic values was seen as enlightened and forward-looking, contrary to the “newer is better, always” argument we’re used to hearing about our own times.

Metal and Classical also have in common then that they are both a kind of romanticism: oddly traditional whilst at the same time being futurist and affirming. Through an embrace of the powerful and epic in life, both use an acknowledgement of life’s heaviness to find meaning in its struggle.

Music from Wolfenstein coder

November 17, 2011 –

From Apple II Bits:

The late Silas Warner, best known as the creator of the classic Apple II game Castle Wolfenstein, was also “a published author and talented musician and composer in the classical European style”, says Wikipedia. No links to his published writings are provided, but a pair of his musical works are available for download: the original composition “Variations on Sonata in A by Mozart (K.331)”; and Warner’s arrangement of “The Heavens are Telling, from The Creation”.

Re-engaging vital elements – combustions in underground demonolatry

December 16, 2010 –

Desecration Rites – Hallowed Depravity
Wiht – Wiht
Into Oblivion – Creation of a Monolith
Bloodfiend – Revolting Death
Exylum – Blood for the Ancients
Logistic Slaughter – Biophage

Desecration Rites – Hallowed Depravity

As if poisonous arachnoids had woven a sticky web around a hermit of the desolate Pampas, the multitude of savage Angelcorpsean riffs blasts from Desecration Rites’ rehearsal room with hardly any control or structure for the confounded listener to immerse in. The Argentinian blackened death duo did not have the time to execute all matters properly here because of unfortunate circumstances, and it shows in the deprecated, spastic rhythm of machine, the hysterical frequency and bouts of unclean guitar work all over the place. If something is keeping these dogs of sequences under leash, it is the deep, rumbling voice of Wolf intoning Faustian misery from the bottomless depths of darkness, occasionally unwinding power lines of similar effect to Craig Pillard’s majestic demon voice in the eternally classic Onward to Golgotha. For the modern death metal fan expecting a digitized, synthetic robot surgery there is probably no more horrific sight than this deluge of an album, but internally it is far more hypnotic, intricate and deadly than one could hope for. Just listen to the freezing pseudo-Nordic moments of “Death Sentence to an Agonizing World” or the ethereal, solar and jarring interlude of “Carnal Dictum” and you might just get a slight moment of hope in the future generations after all.

Wiht – Wiht

This British debutant lets loose the heathen wolves of war with a triumphant fanfare akin to Vlad Tepes’ famous Wladimir’s March before leading us to a journey of mountainous black metal landscapes, Graveland-esque meditations, ancient English fire-lit caves and Zoroastrian philosophy. The same sort of extended pagan tremolo epics (18 minutes of length at worst) that made countrymen Forefather and Wodensthrone veritable trials to sit through are pretty close at hand here, but the sparkling energy of youth helps a lot; there is a wildness and intrigue that contributes variation in sense even when there is none in content. Much of the logic of the songs seems to be emotionally stringing disparate sequences into a journey or a fictional narrative, which is essentially never a bad choice but some of the material here could be cut off to be brutally honest. Sound quality is the pseudo-spatial vacuum of too much reverb common for demo-level bands, but the instruments are clearly audible and the mid-rangeness is efficaceous. Unmoving and halfhearted chants and throwaway happy riffs are the blight of heathen metal, but Lord Revenant possesses sufficient pathos to allude to traces of occult evil and memories of ancient war at the same time; while this effort is not enough to coin him as a master of British metal, it would be a disappointment to hear these same songs performed by a more professional, disinterested voice in the future, or see him disappear without a trace after such a promising start.

Into Oblivion – Creation of a Monolith

More than one and a half hours of harsh, pummelling death metal is neither a mean feat to compose nor to listen. As if Wagner, Brahms or even Stravinskij decided in the otherworld that these wimpy rock/metal kids have had it too easy and possessed various souls to spend hundreds of nights writing progressive Romantic/Faustian death metal partitures, 20+ minute pieces such as the title track or “On the Throne’s Heavenward” lumber and crush with such interminable weight that it is hard to not feel like attacked by a divine hammer from above as designed by Gustave Doré. You can forget about them mosh parts, since this is material about as brainy as anything by Atheist, with slow-moving adagios and creeping crescendos more familiar from Brian Eno’s ambient music or Esoteric’s hypno-doom than anything in satanic metal realm. Vocals are sparse and it feels like about a half of the album is purely instrumental and this creates a strange calm suspension which might even feel uncomfortable; but compared to The Chasm’s mastery of technique, it still does feel like an essential emotional counterpoint or rhythmic pulse bestowing element is missing, and when the cruel vocals suddenly rip the air, it might even be perceived as a disturbance to the solemn atmosphere. Nevertheless, it is probable that they are going for exactly this synthesis of the intellectual and the primal; the emotional and the physical. So fortress-like, rational, calm and measured that it is hard to connect its spirituality with its death metal origins (even the previous Into Oblivion release), it is certainly an important statement while the cumbersome nature and certain academicism in construction (perhaps “filler” in metal language, the problem of the previous album as well) makes it a bit of an unlikely candidate for casual listening. Anyone interested in the future of Death Metal cannot afford to miss it, though.

Bloodfiend – Revolting Death

Heirs to the bludgeoning power of Escabios and other ancient compatriots, this recent Argentinian sect wastes no time with progressive anthems, intros nor filler in this concise EP of Autopsy influenced memoirs of early 90’s scathing death metal savagery. If the band has capacity for a challenging composition or a range of emotion, it’s all but hidden in this conflict of vulgar and intense demo taped riffs that could originate on any scummy cassette dug up from your older brother’s cardboard box vaults. Even most crustcore bands could hardly resist the temptation to fill the gaps out with something more liberal, but I am glad Bloodfiend do not resort to any loose pauses in their old school attack. The band is not yet quite there in the top ranks of death metal resurgence, but possess more than their share of contagious energy that will make for a good live experience and raise hopes for a more dynamic album.

Exylum – Blood for the Ancients

Brutal death metal cliches abound but also tasteful dashes of improvisational riff integration as California youth Exylum strike from the bottomless depths with a manifest of fragmented ideas like old Cannibal Corpse, Finnish death metal and newer black metal in a blender. Weird effected voices cackle, pinch harmonics abound, chugging is all but industrial metal, drumming provides a solid backbone and the ululation of the lead guitar harmonic reaches a hysterical plane of existence when the band lets go of identity expectations and go ballistic as in the end of “Worshiping the Flesh Eating Flies”. The worst thing on this demo is the tendency to fill space with something simple and stupid like the endless low tuned one note rhythmic hammering towards the end of the title track. When the band is in a more chaotic mode, as in the older recording “Ritual Crucifixion”, the confusion serves to imbue the composition with more blood and action.

Logistic Slaughter – Biophage

As persistence is the key to cosmic victory, it’s gratifying to see that this recent Californian cluster is not giving up in their quest to build a maiming death metal experience which was approached with streamlined Bolt Thrower and Cannibal Corpse tendencies in their last year’s EP. First threatening edges noted by the listener here are their improved musicianship with plenty of rhythmically aware palm-muting and tremolo NY style rhythm guitar riffs interlocking like the paths of ferocious large insects on flight while in the new drummer Kendric DiStefano they have a redeemer from the abhorrent pit of drum machine grind, even though his style tends to approach the robotic at times. The moments where this EP shines is when the brutal backbone operates at the behest of melody conjured by the leads of Mike Flory and Daniel Austi, such as the gripping mid-section of “Exit Wounds” and the Nile-ish mad arab string conjuration in “Litany of Blood”. I’m still reluctant to call this a total winner because there’s a lot of random chugging around as in generic bands from Six Feet Under to Hypocrisy, but there are also subtle technical flourishes such as the lightly arpeggiated bridge in “War Machine” that still keeps me liking this band and following its movements.

Written by Devamitra


 

Windham Hell – South Facing Epitaph

January 24, 2010 –
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Darkthrone managed to conjure something far more stimulating to the imagination when they were inspired by horror and science-fiction movie soundtracks to create vast journeys of cosmic Death Metal. Windham Hell’s first album also follows from the deeper recesses of popular culture and cinema, fucking with the senses and expectations of the Metal listener through this Lynchian maze of psychological horror and ominous mortality. The first thing that’s evident about the musicians at work here, particularly the late Eric Freisen on guitars, is the uncustomary level of formal training demonstrated in these pieces, which bear close stylistic resemblance to the famous concertos of Antonio Vivaldi. The riffs that make up the bulk of actual Metal songs on this erratic album are nothing spectacular or unconventional but formed with the lead guitar in mind, acting much like the movie samples and vomitory vocals do to provide a kind of ambient feeling of suspended horror and panic that the leads then magnify through their virtuoso performances, building on the looming fear with sporadic outbursts of mental excitation. The rest of the album is a feast for those who would enjoy the subversion of popular culture through a post-modernist cutting and pasting of morbidly curious voices bridged with Classical flourishes, although may lose the attention of others. There is enough tastefully executed technique on show to keep this as engaging as possible, and a far superior album to the following Window of Souls.

-ObscuraHessian-

Becoming a classical listener

December 15, 2009 –

For kicks I decided to listen to nothing but classical music for a month. Having bounced around looking for the next genre to capture the power of old school metal, I realized that none were coming close, so skipped the drama and went right for the heavyweight — classical. In specific, I’d found the following frustrations:

  1. Jazz fans tend to praise music for its external traits, like how wild the sounds are, not the composition. This is because jazz composition is either based on pop music from the 1930s, or totally random. Most of the soloing is 80% random or memorized licks used to kill time while the musician tries to think up something good. Jazz fans don’t want to hear this because they listen to jazz to seem profound to their friends, and like talking about how it’s superior to every other form of music, especially country, metal and classical (“those people can’t improvise,” they say of the people who invented and still practice structured improvisation).
  2. I like the idea of noise music and many of the people involved with it. The music itself is fucking boring. It’s a texture study with some dynamic manipulation for effect, which gives them only a few semi-linear song structures they can develop. The result is a focus on the trivial, so that anyone who mikes his colon and samples a tractor engine through it then finds a way to distort it using atmospheric noise and biofuels becomes the Latest Genius, even though the end result sounds about like everything else.
  3. Similarly, I like the idea of industrial music, but it has been swallowed up by dance music and the beat-addicted nature reminds me of all I don’t like about our modern time: spoon-fed, concentration-interrupting, doofus-friendly society. Even stuff like VNV Nation, which is pretty brainy, gets old after a listen or two for this reason.
  4. I like the idea of country, and can enjoy bluegrass and pre-hippie folk, but not all the time. Much of it sounds very similar to my ears which may have to do with its reliance on similar techniques.
  5. I would never listen to metal for metal’s sake. That’s how you make something weak, by being an unquestioning audience. For this reason, other than a handful of releases, I skip out on post-1996 metal. The exceptions are great however.
  6. The “youth culture” aspects of popular music — how it’s a high-ticket item sold on certain assumptions, how millions of people use it as a cause/life/goal substitute, how it’s generally not profound thus people contort to give it extra gravitas — are what doomed metal and doom these other genres. I want to avoid the kiddie marketing and in-group/out-group social club aspects that get in the way of the music.
  7. This “youthiness” to the music means that you are expected to be willing to spend absurd sums of money, waste hours of time poking around magazines and web sites and youth chatter boards, all while becoming a target for the “youth market” of large corporations who realize that you can pander to people while condescending to them. They treat anything “youth” like it’s for morons and still people eat it up. They’re not going to do anything but insult your intelligence and cryptically hide information so someone can be the smartest monkey in the group for having found it.
  8. Popular music is, under the hood, very similar in melody, harmony and rhythm. As a result, dressing it up becomes the most important task. If you take a standard pop song and add a screaming female vocalist, a tuba player and a disco beat, it’s now “edgy.” Take that same pop song, drop the drums and add a chorus of gay penguins, and it’s “innovative.” Or just indulge in camp and mixed-up styles from the past and you’re “ironic.” Does anyone actually fall for this? Well, they know nothing of music theory, have little experience of life, and… here’s the secret: they have low self-esteem, are ordinary, but are trying to socialize by having something in common with others that they can trade around in a transactional basis. So they have rock music and they don’t care as much about the music as the cool.

Because of this, I chucked aside the notion of listening to popular music — at all. Even if it’s underground or indie, if it’s in the popular music format, that’s how it will be perceived and treated, which in turn affects how I’ll have to interact with it and get ahold of it. Specifically, I noted how the greatest artists were straining to escape the kiddie music ghetto, like Tangerine Dream, Kraftwerk, Fripp and Eno. Why keep pushing the dead agenda?

Instead I hauled out an already moderate classical collection and went on a shopping spree at Amazon and Joel’s Classical Music, a local shop. My idea was to go the opposite direction for a month and see where it led me. I didn’t do any research because I wanted to emulate the experience of the normal, curious listener who has a job and family and so discovers things by serendipity while the music is playing in the background, over the screaming kids, chattering coworkers, and blaring TV.

What made the transition hardest was the difference in dynamics. Rock music is meant to be a constant pulse; classical music is like a ocean wave, sometimes loud and sometimes inaudible, usually somewhere in the middle. With rock music, you hear the first thirty seconds and set your sound level; with classical, you really have to find the loudest part of the piece because the bulk of it may be softer.

Even more, there’s a textural difference. Where rock is guitars and bass and drums and vocals, classical musicians have a choice of more than a dozen instruments. They use them unevenly because what’s a good effect for one emotion, or part of an emotional journey, doesn’t fit in another. You can be awash in violins one moment, and caught up in bass and brass the next.

Finally, there’s a time difference. Rock music is three-minute songs, with a few exceptions. Classical music has some three-minute songs, but more commonly, longer pieces are composed of several movements. Themes are shared across these movements, like a conversation with question, answer, debate, modification and restatement. You can’t hum a melody knowing that in thirty seconds, after the chorus, it’ll be back.

But I did it: I spent a month listening to nothing but classical, except the unavoidable retro swing-rockabilly at the ‘Bucks and the clinky ringtones of my fellow subway riders. Having fought it through, I have a few recommendations for those wanting to get into classical music.

  1. Stick with the standards. Learn to listen to the music by sticking with the most time-tested successes, namely Mozart, Beethoven, Schumann, Brahms, Schubert, and Wagner. You can branch into baroque later, and modern classical later, as these are reaches. Learn first how to listen to the music.
  2. Don’t find the most obscure, dark and stormy or avant-garde classical you can. Every cretinous idiot who wants to show you how profound he is will come out of the woodwork and recommend you listen to Buttzurski’s Ten Meditations For a Dying, Fly-Covered Child in Marshall McLuhan’s Singularity, but the modern stuff doesn’t meet the challenge of the older and is in fact kind of trivial. Equally idiots will try to get you to listen only to “dark” classical or classical for rock fans. This is always a path to stupidity. Learn to understand the big names and anything else will be easy.
  3. Pick conductor carefully but worry less about orchestra and year. Conductors are like film directors; they interpret the piece and can either ruin it or make it shine. However, the difference between great conductors is minimal, while the difference between a great conductor and a bad one is infinite. Pick some established names, like von Karajan or Harnoncourt.
  4. Don’t shy away from Naxos. Naxos has a simple business model: find inexpensive orchestras in out of the way places to record classical pieces in interpretations based on the greats. It’s part-clone, part-practicality. We can’t all afford the big name conductor box set, but we can afford a $8 Naxos CD that uses a similar approach and unknown, rising musicians.
  5. Support your local classical store. Among other things, the people that work there took that job because they love the music — they’re not getting paid much. They are probably susceptible to polite conversation, almost always open to questions, and if encouraged, will give you a viewpoint you can use to plot your own course through classical music. If you find someone who hates everything you love and loves everything you hate, the value is not lessened — apply the “Rule of 180″ and go nuts.
  6. Don’t tell your friends until you are listening to classical music regularly. People are going to try to talk you out of it because they fear that you’re going to see The True Musical Truth of Truthy Truthness, and turn around and treat them like they’d treat you, by saying that their music is the random mutterings of droning peon brains. Even if that’s true — and in my view, it is for most rock and jazz — you don’t want to get into that fight. Don’t act like the jazz fans. Instead, do your thing and when someone asks, tell them the composer name but don’t mention it’s classical. “I’ve been listening to a lot of this Italian guy, Arcangelo Corelli.” If you’re a total deviant like me, you can describe the music as atmospheric narrative instrumental music, and no one is going to think it’s anything other than Autechre with a voice-over.

I found it rewarding to throw out the rules and plunge into the abyss, and leave behind all the safety blankets I had come to know. I still love metal, but I’ve found that classical music listening has sharpened my ear and made it easy for me to throw out the crap metal and keep the best, which means that the metal in my life is stronger in quality not quantity and so it is able to compete well with any other genre. In addition, I’ve found a new musical passion that doesn’t require me to ever hear the term “ironic” again.