Slayer, the band that along with Hellhammer and Bathory essentially innovated underground metal, has posted a new track, “Implode,” for free download by fans. To download “Implode,” click here.
Obscurity bias arises from our desire to discover hidden essential influences in the past. In metal, it is the search not only for concealed gems but for lost ancestors of our favorite music.
This thinking is a variation on our perpetual quest for more alternatives. We look at what’s there and think we want something better. This ignores the basic rule of life that usually what’s wrong is a lack of quality, not need for another alternative.
When we look back for historical alternatives, we are seeking to avoid the obvious historical truth: there are few ancestors because few necessary steps lie between 1969, when Black Sabbath recorded the first proto-metal record, and today.
Metal, punk and prog evolved in the 1968-1969 period in parallel, and since then have been trying to find a hybrid equilibrium that preserves the heavy worldview of metal, the intensity of punk and the complexity of prog without falling into the bluster, one-dimensionality and incomprehensibility that are the downfall of each respectively. With underground metal, arguably the last genres with any intelligence in metal, we ended up with metal riffing, punk strumming speed, and progressive rock song structures with underground metal, and that worked pretty well.
What happened after the initial invention was a hiccup. The music industry invented proto-glam by trying to make Deep Purple/Led Zeppelin bands “heavy” enough for the new Black Sabbath audience. What happened was that they made rock-metal, and while it was popular, it didn’t satisfy the core audience. After the hiccup metal retaliated with NWOBHM, most importantly Motorhead, Iron Maiden and Judas Priest. The next generation combined those to make speed metal; the generation after that mixed in the punk that arose after Motorhead, hardcore punk, which was far more extreme and less musically related to rock music than anything which had come before.
In 1982, Discharge released Hear Nothing See Nothing Say Nothing. The following year, all hell broke loose. Metallica unleashed their first album, starting speed metal. Slayer took off on a separate tangent. While both these bands were partially inspired by Venom, it was more in an aesthetic sense than a musical one, because if you remove the rough playing and bad production, Venom is basically Motley Crue. Slayer in particular took more from the punk side of things and made chromatic riffs and elaborate internal song structures where Metallica followed more of the rock format harmonically and used fairly standard song structures, except for their prog-influenced instrumentals.
Thus by 1985 we had Slayer, Hellhammer, Sepultura, Bathory and Sodom making proto-underground metal; by 1986, Morbid Angel had formalized the style. If anything, the Death and Deicide assault of the next two years brought death metal back toward the speed metal — Metallica, Exodus, Prong, Nuclear Assault, Overkill, Testament, Megadeth, Anthrax — of the previous five years. Death metal took on a life of its own when it escaped that with releases like the first Incantation, Massacre, Morpheus Descends, Massacra, Carnage and Pestilence releases with the turn of the decade. These brought metal back to its Slayer-Hellhammer-Bathory nexus, with tremolo strumming and labyrinthine song structures, and away from the more speed metal song structures of Death and Deicide. Black metal grew out of the melodic death metal bands who started structuring their songs using melodies, not riffs alone, and thus needed less of a drum-dominated approach. That brought them closer to the original punk sound, but kept the metal method of making riffs.
So what’s with the search for missing ancestors?
Black Sabbath creating proto-metal in 1969 was no accident. The band sought to find a new sound. They also realized the hippie movement was in the process of grossly selling itself out, having gone from a form of protest to a lifestyle of dissolution through mental obesity. It was time to kick over that false figurehead and do something new. Coming from a prog-tinged background, they invented something that sounded a lot like progressive rock, if it weren’t addicted to a dark and foreboding approach.
The message of Black Sabbath more than anything else was that truth is staring us in the face. People make a lot of noise to cover everything in flowers, sex and brotherhood, but really underneath it all a darker reality threatens. Most people are crazy. Most ideas form mass delusion of the herd. And these people have nuclear weapons, and control of economies, and other methods of taking these screwups to an exponential level. Every teen rock ‘n’ roll band sings about how the world is crazy, in part because it is crazy. Punk bands expanded upon this with an outlook of total nihilism at first, and later a kind of comfortable anarchism combined with genteel progressivism. These outlooks helped drive the evolution of genres to express a sound that was more rootless (punk) and more apocalyptic (metal) as time went on. This made it clear to each generation what the next would sound like.
The scary fact is that we can navigate metal based on a few nodal points. First, Black Sabbath, King Crimson and Iggy and the Stooges; next, after the proto-glam years, the NWOBHM triad of Judas Priest, Iron Maiden and Motorhead plus the punk music that simultaneously wracked the UK (Discharge, Amebix, The Exploited) and US (Cro-Mags, Black Flag). Death metal would have arisen from these alone, but Venom accelerated the process aesthetically, although took a step back musically toward the bad old days of proto-glam. It was natural that death metal bands would experiment more with melody, and so black metal was an obvious outgrowth of this.
All of that leads me to today’s topic: Terminal Death, whose 1985 demo and other recordings have been released as Terminal Death by Shadow Kingdom Records. Their press release states:
TERMINAL DEATH: One of the first DEATH METAL bands 1985!!!!!
When you talk about the earliest Death Metal bands, we think of SEPULTURA, DEATH, POSSESSED (all stemming from VENOM) right off the top, but there were a few ripping bands that quickly fell into obscurity and TERMINAL DEATH is one of those bands. This is not just an obscure band; they could have been a HUGE Death Metal band if they were signed to the right label back then. They certainly had all of the talent the aforementioned bands did. Their 1985 Demo tape screams with energy and intensity! This is a re-mastered collection of their complete and very short-lived career. The CD booklet is massive with a very in-depth and lengthy interview done by Laurent from Snakepit Magazine. There aren’t that many Death Metal bands can come close to how amazing these songs were. This collection is another snapshot of that amazing early Slayer-esque Death Metal. Co-founder Shaun Glass, whom also co-found SINDROME later joined the more well known classic Death Metal band BROKEN HOPE in the early 1990’s. Shadow Kingdom Records teamed up with Hells Headbangers Records to release this lost gem as a Double LP. If you’re into vinyl, keep your eyes peeled for it will be a glorified presentation.
Let’s look at this historically. By 1985, the big three of death metal — Slayer, Hellhammer and Bathory — had already recorded. Then we listen to Terminal Death. For the most part, this is simplified speed metal at a punk pace, more in common with early Sacrifice than the death metal to follow. Not only that, but Deathstrike had already beat it to the punk/metal hybrid of that era. OK, so what? I don’t consider that important, other than that it somewhat contradicts the marketing. Let’s look at the music. It’s not terrible, but it’s also not very inspired. Lots of chromatic riffs, drums kind of struggle to keep up, and heavy repetition with standard song form. There’s a reason this band took a back seat to the other influences on the rising death metal movement. It’s not bad, but it’s not great.
The DLP doesn’t look bad, but it’s unnecessary. It’s basically the 1985 demo plus three unreleased songs and several other versions of the demo songs. It might make more sense, since the album is appealing to people who want early proto-death metal, to release the 1985 demo with the three unreleased songs for a CD that presents this band at its best. Hopefully SK will do that in the future. But the question for metalheads now is why to buy this. Its historical significance is not really that great, and the music is not exceptional either. With that in mind, I’d say Terminal Death is something we can bypass.
While dark ambient provides a set of moods that metal listeners can relate to, it generally aims for simpler instrumentation than metal fans are accustomed to, and falls short of the dark yet violent atmosphere of death metal. Goatcraft merges horror movie soundtracks and dark ambient into “necroclassical,” a form of music created with a digital piano as its leading voice that creates a dense texture of melodic development underneath the soaring and expanding moods of dark ambient.
Created by the mastermind behind some of the music of After Death and other post-death metal projects, Goatcraft expands on the style of its previous work All For Naught with a greater tendency toward melodic development and more distinctive songs. This in itself is a great achievement, since solo piano is somewhat limited in that a certain number of techniques must be repeated to maintain the rhythmic clarity that fans are accustomed to from drum-commanded genres. But where All For Naught attempted to hammer out a death metal-like rhythm, on The Blasphemer Goatcraft shows greater enmeshing of the eerie melodies that could underscore a horror movie and the sustained atmospheres of the darker side of electronic music such as Danzig’s Black Aria or Dead Can Dance.
What makes Goatcraft compelling is that it ventures beyond the somewhat static loops of dark ambient and the more pop/rock-oriented music of electronica. The artist has stopped trying to translate rock and metal into a piano sound, and instead is seeking his own voice. While technique is often very similar, melodies diverge greatly which gives each song its own distinctive feel. These melodies also grow and develop beyond the circularity of most radio music which repeats everything twice and then reformulates it, developing instead more like the scenes of movie of futile and suicidal battle. To keep the level of ambiguity high, Goatcraft often develops its songs to a peak and then recapitulates its themes in a new direction before fading away, stating less rather than more and gesturing toward what exists behind the curtain of time.
The Blasphemer represents a maturation of the approach of All For Naught with new songs that take greater advantage of the musical prowess of its progenitor. In this more distinctive voice, Goatcraft is able to get beyond technique and aim more toward the crafting of melodies to fit a situation, which is why this concept album based on the paintings of William Blake stands out. If Goatcraft has a new frontier, it is to continue developing technique alongside melody to make songs even more distinct, but the band has shaped “necroclassical” into a unique and distinctive style in the process of its own growth. While much of this material sounds straight out of an occult horror movie centered in misty graveyards, the more aggressive and pummeling piano attack underscores these dark themes with a more physical presence, grafting onto them a menace that most dark keyboard music cannot provide. It will be interesting to see how this band refines itself further in the future.
GOATCRAFT began as a vision of frustration. Occult music had died a crass death, imitated into candy piece fragments of its original vision. Death metal had been absorbed by the insatiable obese monster that is rock music and had lost its spirit of tempestuous power, replaced instead by lite jazz and creeling self-pitying children. Even the rising dark ambient and neoclassical scenes seemed afloat on a river of fast food grease; sweltering in their own indirection.
With this massive failure pressing on his nerves like a forgotten shell fragment from a war long lost, GOATCRAFT’s sole member Lonegoat decided in 2010 to overcome doubts and re-double the attack. What was at first a keyboard attack to rival the sonic intensity of death metal quickly became layers of neoclassical piano centering on dark concepts, and later, with the addition of soundtrack-like dark ambient lush atmosphere, an entirely new type of music, baptized by Lonegoat himself as Necroclassical.
After the underground success of GOATCRAFT’s 2013 debut All For Naught, Lonegoat is back with its best and most mature work to date: The Blasphemer, a concept album themed around the works of the famous English painter and poet William Blake.
“Written and recorded from July to November 2013 under the influence of William Blake’s paintings and theological observations, the album represents my quest to reconcile the mystical side of GOATCRAFT with its nihilistic side.” sole-member Lonegoat explains.
Thunderous Dutch death metal assailants Sinister return with a new album entitled The Post-Apocalyptic Servant which is slated for release in May 2014. The album will be released on Massacre Records and includes covers of songs by Morbid Angel, Agent Steel and Paradise Lost.
Sinister have released a sample track, “The Burden of Mayhem” in advance of the album’s entry into the market. The band made its name in the early death metal years with Cross the Styx which combined the percussive and fast tremolo sounds with an underpinning of melody, creating a mood between the aggressive darkness of American death metal and the melancholic emptiness of its European cousins.
Although it was legendary for Cross the Styx, Sinister probably peaked with 1996′s Hate, which combined the best riffology of percussive death metal (Suffocation, Pyrexia) with the type of unsettling melodies previously only found in black metal. The Post-Apocalyptic Servant (which is hopefully about Satan as the cover hints) will contain the following tracks:
- The Science Of Prophecy
- The Macabre God
- The Sculpture Of Insanity
- The End Of All That Conquers
- The Masquerade Of An Angel
- The Dome Of Pleasure
- The Post-Apocalyptic Servant
- The Art Of Skin Decoration
- The Saviour
- The Burden Of Mayhem
- Fall From Grace (Morbid Angel)
- Deadly Inner Sense (Paradise Lost)
- Unstoppable Force (Agent Steel)
Finnish band Agonized got the break last year that they wanted two decades ago: a horde of people interested in their only demo, “Gods…,” which was subsequently and sequentially released on CD-R, vinyl, CD and tape.
Created in the old school style of primitive rumbling death metal somewhere between Belial and Demigod, “Gods…” comprised four tracks (and an intro) of disturbing inhuman noise shaped into musical form. Since metal has not produced any style more compelling than old school death metal, interest in such material has accelerated over the recent years.
We were fortunate to get in a few words with Jari from Agonized about “Gods…” and the circumstances of its creation, and how and why it endures today…
Was there a “Finnish sound” to death metal, or multiple Finnish sounds? It seems to be popular to group bands like Funebre, Demilich, Xysma, and Demigod together and proclaim a similarity to them. Does this sound exist? Is Agonized part of the group that uses this sound?
I think there was. There was a similar sound to bands of that era. Like there was, or still is “Swedish sound.” It might be pure coincidence that bands played like that. In our case, we listened to Xysma, Abhorrence and Disgrace in 90s so those really had a big influence on our music. Of course every band sounded like their own style, doing their own mix of influences through the “Finnish” filter. You simply cannot say all Finnish bands sounded the same. They just had some Finnish trademark on their sound. I cannot define that better. I am not a musician haha.
What drew you personally to death metal back in the late 80s and early 90s? Did you have any connection to metal before death metal? Do you know if the other members of Agonized had a similar experience?
Three of us grew up together. Me, Janne (bass) and Mauno (drums) were childhood friends and have known each other since we were something like seven years old. We started like any other young kid those days. First there was Iron Maiden, W.A.S.P. and Kiss. I remember I bought my first W.A.S.P. record when I was ten years old. After that we just tried to find more and more extreme and heavy stuff. Then we started to find out heavier stuff like Slayer, Bathory and Destruction to name a few. I think this has been the way many of today’s death metal fans have started. Also I had some sort of punk era in between.
After Napalm Death released From Enslavement to Obliteration we read about them from Finnish music magazines and were like, “Whoa, that must be some cool shit.” At that time only way to get your hands on Napalm Death records was to travel to Helsinki from Lahti by train and buy them.
When I found that Napalm Death LP in Helsinki, at the same time I saw Carcass’s Reek of Putrefaction LP and Bolt Thrower Realm of Chaos. When I got home from Helsinki and put on the first notes of the Napalm Death LP, I could say my head exploded. What an absolute annihilation after listening years of thrash and speed metal. After that I got into the next LP, Carcass… yeah, right… Another deadly hit. Rest is history. I have never survived that actually. So I am still on that road.
When did Agonized form, and what were your inspirations and influences at that time? Did you have any non-musical influences, like literature or other forms of art or culture?
Agonized was formed in 1990 if I remember correctly. Janne, Mauno and I wanted to play some death metal after hardcore/grind experiments but it was really hard to find anyone skilled enough to play guitars. We put an advert on a Finnish music magazine that we are searching some guitarists to play death metal. We got contacted by two dudes (Antti and Mika) from Vantaa and went to see if it would work out. We had a nice playing session and everyone thought let’s play something together. We gathered few times, in Vantaa and Lahti, to play together.
As we were arranging concerts in Lahti for underground bands we played few shows on those events. Agonized had big influences from Bolt Thrower, Carcass and Xysma. Those must have been the most influential bands on Agonized, at least for me. I don’t remember any non-musical influences. No, I don’t think there was any non-musical influences. Agonized was mostly for just having fun playing the music we wanted to hear.
The band put out one demo, “Gods…” Can you tell us how this demo came about? When did you write the songs, and how did you record it?
After few shows we decided to record those tracks we played to tape. Songs on this tape are all Agonized ever managed to come by. Our shows contained only those tracks and I remember we played those twice to play even a decent length of set. All songs was born at those rehearsals we had together. We just started playing and decided that “hey, that sounded cool” and continued to another one.
“Gods…” was recorded in a local studio, we got two or three hours of free use of it with the guy who mixes the tape. Guy behind the desk did not have any idea what to do with this kind of music. I doubt he had never even mixed any metal band. We just listened the results and said “do this, do that…”. Guitars and drums were recorded first. After that we recorded vocals and last bass. Janne had some issues in his life and did not manage to recording session, so Mika played also bass on “Gods…”
Whole thing was ready in those two or three hours we got to be in the studio for free. We could have done it better with more, but were totally broke as we were just a bunch of kids who spent all their money the previous evening getting wasted. So we had to accept the fact that we did not have any money for more studio time.
Apparently the band members went separate ways after the recording of this demo. Do you know why this was? Did you personally want to keep going as Agonized?
After recording, I remember some got bored playing death metal and wanted to play something else. I myself was bored with my whole life and started some sort of seven year period of self destruction with substance abuse and techno haha. So I kind of departed from the whole scene to a completely different world. Couldn’t care less about Agonized or the whole scene. Of course I still listened to some bands but was completely away from the scene for years.
Looking back, what do you think of the demo, and the potential that the band had?
I have always thought it is a good demo. Still we could have done it better. But maybe if we would have done it with more time, it might have lost its primitive approach and become shit. Maybe, just maybe, it was done in the best possible way. Without thinking too much of the final result. Band definitely had potential, if we had just continued playing.
But due to personal problems and interests that just was not possible.
Several former Agonized members reunited in Cadavericmutilator, which as far as I know has never released a demo. What was Cadavericmutilator like?
Actually it was other way around. Cadavericmutilator was before Agonized. It was a noise/grindcore band including Janne, Mauno, me and several various members playing guitars. We made few shows and actually recorded one demo, which was not spread anywhere. It was just pure chaos. Just blasting with some noisy guitars playing whatever and two vocalists screaming with shitloads of effects on them. That demo would have been nice to hear today, unfortunately it was destroyed as I shot holes through the master tape when I was being a bit paranoid years ago hahaha. Well, it was quite crap anyways. So no big loss.
Some reviewers have mentioned that Agonized, while using the classic Finnish death metal ™ style, had more of the pace of Autopsy and the grinding presence of Carcass. Did any of these bands factor into your listening? How do you describe the music of Agonized?
I would describe music of Agonized as a hybrid of American and Finnish death metal. It is just like Bolt Thrower and Carcass mixed with Xysma. At least I think so. Some have compared it to Mortician, but I must admit that any of us did not even know what Mortician was back in the days we were active. So I cannot compare us to them.
I thought it was a stroke of genius how the band (or you alone?) managed to first release a CD-R of the demos, build interest, then get a 7″ released, build more interest, and finally get the CD re-release on Aphelion records. Can you tell us how each of these steps came about, and roughly how many copies of “Gods…” are out there as a result?
Actually this re-release fuzz is completely my fault. I wanted to just have a personal copy on CD-R, but due to high popular interest I decided to release 140 copies of CD-R so that people who want it can have it. Very soon after I did that, Emptiness released a 7″ that was limited to 500 copies. Patches were made at the same time to include with some of the copies. Also Aphelion released a CD version quite soon after this, limited to 1000 copies.
Latest news is that there is coming a tape version that has limitation of 100 copies. This will be released by Dunkelheit. Tape version is a bit different one. After all these other releases I found a nice copy of “Gods…” tape from Mexico (thanks Agata) and tape version uses that as a source. So it sounds a bit different than other versions that use Mr. Moyen’s tape as a source.
What have you done since the days of Agonized? Are you still active in the death metal community? What about the other members?
After Agonized I was away from this world for seven years with my substace abuse problems I defined earlier on this interview. For 15 years I have now been sober and have four great little kids and a wife and a daily job. Sounds boring eh? So I do not have time to be very active in anything. I do collect CDs and mainly they are death metal. New and old. There are excellent new albums and bands popping up every week. But it’s not like I am being active, just listening to same kind of music as when I was a kid. I do not know about other members. I suppose some of them do have some music related projects but no idea what kind of.
Are there any plans to get Agonized back together and write more material? If not, why? If so, what can we expect?
There was some discussion of this with other members. But as for now, at least I think this would not be so good idea. At least not under the name Agonized. I think reunions are not a very good idea after over 20 years of silence. When “Gods…” was released we were 16 year old angry young metal heads with great passion to do what we do. How in the hell that same can be achieved now, when we are like 40 year old dudes with families. I could do vocals, but I doubt it will be the same anymore. I’m not saying that when you are 40 you can’t play death metal, but for sure it won’t be the same band as it was over 20 years ago. It would be completely different story. But… Never say never.
Do you think death metal and underground metal are still relevant? Why do you think people are still drawn to this art form?
Absolutely. Seems to be very alive and kicking. Death metal is here to stay, where would it go. People like me like to listen to it. What would I listen if not death metal? I have grown with it. It is a tool to get away from this every day life for just a while. People want to release their anger by playing it and why not. It gives youth of today a good alternative on all the shit this world hits at you from every side.
Underground metal is a honest form of music and way to express yourself. Not the crap you stumble across everyday to make you dumb. I also do admire bands that have been around since the beginning. That is one hell of an achievement to play this kind of music 20-30 years active, touring and recording. Now that is something.
Crepitant muciferous mid-paced death metal band Autopsy releases its newest album, Tourniquets, Hacksaws and Graves on April 29. This will be the seventh full-length for the long-running band, who took a break from 1995-2008, and most likely will showcase more of their streamlined rubric of aggressive death metal balanced by a mainstay of moderately paced material which gives contrast to the bursts of fury.
Tourniquets, Hacksaws and Graves was recorded at Fantasy Studios with producer Adam Munoz, and features the classic Autopsy line-up of Eric Cutler and Danny Coralles on guitars, Joe Trevisano on bass and Chris Reifert on drums and vocals. Second-wave death metal cover designed Wes Benscoter painted a cover to order which exhibits the album’s theme in one convenient image.
The tracklist for this sonic shock troop attack will be:
2. King of Flesh Ripped
3. Tourniquets, Hacksaws and Graves
4. The Howling Dead
5. After The Cutting
6. Forever Hungry
7. Teeth of The Shadow Horde
8. All Shall Bleed
9. Deep Crimson Dreaming
10. Parasitic Eye
Below is the sound sample from Peaceville Records:
Many of us old school death metal fans watched the rise of zine Codex Obscurum with growing interest because it, like Glorious Times and Underground Never Dies!, represents an attempt to look back at the underground and figure out what made it as powerful as it was. Part of the answer is selectivity, which is a gentle person’s form of “elitism,” meaning that one selects quality over quantity and vigorously promotes and defends the quality. This is what zines did, what radio shows did, and what labels did, back in the day, by choosing some bands over others. The vague smell of blood in the air is the shadow of long-forgotten predation and natural selection that also shaped us as humans, which means not so much “survival of the fittest” but that all who make a meaningful contribution get kicked upstairs and everyone else is forgotten.
Codex Obscurum represents the best kind of selectivity because it targets bands of note but does so broadly, thus you avoid both the “hey kids, everything’s great!” attitude of the commercial providers and the narrow perceptual slot of the kvlt vndergrovnd. This issue advertises swamp death metal band Autopsy, second-wave crust band Doom, cavernous old school death metal band Blaspherian, multifaceted heavy metal/folk band Primordial, melodic drone metal band Sacriphyx, abrasive occult death metal band Father Befouled, Icelandic modern black metal act Svartidaudi, and several more. While not everyone may like (or admit to liking…) these acts, the spread makes it clear that both broad-minded attention to music itself and a high level of standards apply here. This explains why the editors of such a zine might want to go underground and stay there, where they are not beholden to the ugly cycle of advertising revenues and thus being asked to pimp the latest platter of re-heated Carpenters tunes spray-painted with the vaguest appearance of “metal.” Indeed, Codex Obscurum is funded entirely by user purchase price, which is why for $5 or so this arrives at your door with no ads.
For the uninitiated, this zine presents the old school zine style in every detail, which is both practical and a nice atmospheric touch. The hand-numbered issues, the xeroxed pages complete with copy artifacts, occasional typos and sometimes surly answers to perfectly reasonable questions by bands who clearly have done too much press lately, all factor in to the appeal. Use of cardstock for the cover gives this issue a more permanent feel than older photocopied heap zines had, which shows a positive advance of technology. Similarly, quite a few of these interviews seem to have occurred through email, and the use of office software to lay out the zine makes it more readable. The rest is pure old school, from the writing style which is both personal and projected into the mind of an idealized metalhead, looking for that nearly indefinable quality that makes a metal band distinguish itself as a classic in the making rather than news of the week.
The primary content for Codex Obscurum is provided by its abundant interviews, which are conducted in a familiar yet inquisitive style, like the best of Joan Didion-influenced hip journalism before it forgot the word “investigative” in its title. These questions aren’t all softballs like you would expect in a mainstream magazine, but sometimes force bands to confront their own internal struggles for self-definition. To their credit, most of the bands here rise to the occasion and reveal their thinking and intentions in the actions they have taken. The Doom interview is particularly revelatory as the interviewer walks the band through the past and makes connections to consistent patterns across their career. The Autopsy interview makes for a stunning read since it is Eric Cutler giving a candid and somewhat aggressive portrayal of where the band is and how past events shaped their present outlook. The Svartidaudi interview goes in-depth into how this band is struggling to find its own voice while under onslaught from the many trends of current black metal, despite being inspired by the best of the past (which is different from being inspired by the past alone). One oddity that would be called a “quirk” in any less just-the-music-ma’am magazine is the lengthy interview with the creator of the RPG Cave Evil, which accompanies the amazing artwork from that game with a nearly existential exploration of the purpose of RPGs themselves.
You cannot defile nuns
While wearing sweatpants.
The sizeable block of reviews at the back of Codex Obscurum show where this zine is determined to keep its hand in the current music industry. Any band that is roughly connected to old school death metal and black metal, with a wide spread because of open-mindedness, qualifies for inclusion here. These reviews take a conversational outlook which seems too removed from the music at first except when you realize that it’s gonzo journalism of the first order. When writing about metal, don’t pretend you are not a metalhead; it’s a lie. Further, think of what you like and then extrapolate to what others like. It helps them shop for music. It also avoids troubling pretense and complications as reviewers try to get more “in depth” and end up producing thousand-word inspections that result in no clear conclusions. Here, the conclusions are clear — in fact, one section even puts them in Haiku form — and give roughly the kind of synopsis one would get from an experienced record store owner, label head or producer, issuing forth a rough summary of the band, its importance and its staying power and audience, in about a sentence each.
For the past several issues, Codex Obscurum has reserved its final pages for experimental content. In this case, it is facially an inspection of why a famous metal musician flaked on an interview… and beneath the waves, a deft revelation of the disintegration of the underground into warring self-interested parties while no one keeps their eye on the wheel or the road. That leaves the future of the genre up in the air, since everyone is too busy cashing in to steer, and the results are about as you might expect: all the has-beens in warmed over hardcore, emo and indie rock bands have rushed through the breach and set up shop making parasitic versions of the older material, except nowhere near as good. Codex Obscurum shows a good way to reclaim the past of the underground for the future, namely to start paying attention to the steering again and to be unafraid to be selective and to not give reasons why some bands simply suck. Just be honest. The editors and writers here have given it their best shot and it makes for not only informative and entertaining reading, but a glimpse into the old days without the smarmy fug of solicitous nostalgia for marketing purposes that normally hangs around such ventures.
Former Dying Fetus member Jason Netherton, now proprietor Send Back My Stamps!, releases his latest creation in the form of a 480-page book of interview with figures in the death metal underground called Extremity Retained: Notes from the Death Metal Underground. The product of over 100 interviews over a three-year period, the book is comprised entirely of first-hand stories, anecdotes, memories and opinions.
The book attempts to “explore the scene through the voices of those who helped create it” and thus focuses its questions on zines, tape-trading and other rituals of the underground. These lengthy narratives are complemented by original cover and section art by Matt “Putrid Gore” Carr, incidental art by Gary Ronaldson, with design and typography from Tilmann Benninghaus, and title page by Timo Ketola.
Contributors to Extremity Retained: Notes from the Death Metal Underground include (but are not limited to): Luc Lemay (Gorguts), Alex Webster (Cannibal Corpse), King Fowley (Deceased), Stephan Gebidi (Thanatos, Hail of Bullets), Dan Swanö (Edge of Sanity), Doug Cerrito (Suffocation), John McEntee (Incantation, Funerus), Marc Grewe (Morgoth), Ola Lindgren (Grave), Paul Ryan (Origin), Kam Lee (ex-Massacre, ex-Death), Tomas Lindberg (At the Gates, Lock Up), Travis Ryan (Cattle Decapitation), Robert Vigna and Ross Dolan (Immolation), Jacob Schmidt (Defeated Sanity), Esa Linden (Demigod), Dan Seagrave (Artist), Rick Rozz (ex-Death, Massacre), Steve Asheim (Deicide), Jim Morris (Morrisound Studios), Terry Butler (Obituary, Massacre, ex-Death), Mitch Harris (Napalm Death, Righteous Pigs), Scott Hull (Pig Destroyer), John Gallagher (Dying Fetus), Robin Mazen (Derketa, Demonomacy), George Fisher (Cannibal Corpse), Ed Warby (Gorefest, Hail of Bullets), Rob Barrett (Cannibal Corpse, ex-Solstice), Donald Tardy (Obituary), Moyses Kolesne (Krisiun), Takaaki Ohkuma (Necrophile), Paul Speckmann (Master, Abomination), Anders Jacobson (Nasum, Necrony), Carl Fulli (Epidemic), Matt Harvey (Exhumed), Steve Goldberg (Cephalic Carnage), Ben Falgoust (Soilent Green, Goatwhore), Phil Fasciana (Malevolent Creation), Tony Laureno (ex-Nile, ex-Angelcorpse), Alan Averill (Primordial, Twilight of the Gods), Jason Fuller (Blood Duster), Alex Okendo (Masacre), Dave Witte (Municipal Waste, Human Remains), Lee Harrison (Monstrosity) and many more
After black metal collapsed, fans went looking for the next great genre to fill the void. Unfortunately, the only “new” developments post-1996 have been of retrogression. Whether combining metal with vapidity (“post-black metal”), commercialism ((Watain, Satyricon)), or frequently both; fans were left without any direction to look to. After reviewing the situation, some honest people realized that “progression” was a sham and the solution was to take metal back to its earlier underground roots in death and speed metal.
First, it must be mentioned that this band has a great many features pulling it ahead of 98% of contemporary death and black metal bands. Most importantly, the band is actually metal. It is not pop, grunge, or Japanese videogame music masked with metal aesthetics. Second, the music is competently organized in a manner which facilitates quick understanding of what the band is trying to achieve. Tracks are chaotic bursts of energy which merge the frenetic, kinetic mayhem of black metal with the lucidity of structure offered by death metal. Stream of consciousness motion stays grounded by the relatively consistent vocals, which serve as an anchor between the listener and the assault.
However, this type of composition is not without its pitfalls: due to its nature, songs end up sounding relatively uniform. This is not unheard of in the realm of death metal; however, the band seems to be discomfited by this and thus inserts disruptive moments which share more in common with modern black metal than is comfortable. These consist of slower, “ritualistic” meditations, which in reality is merely minor chord noodling over constipated rantings. Presumably this is supposed to compensate the direct audial rampage offered by the higher-energy sections with a darker mood, but it ends up sounding like a gimmick.
For Teitanblood to progress, it needs to learn how to unify these tendencies into a coherent presentation. If it achieves this, it will deserve all the praise heaped upon it now, but genuinely – as of now, the universal praise of this band reveals the general starvation of the underground metal community for quality releases.