Classical String Quartets for the death metal fan, fourth edition

schubert webern

 

Today, we’ll visit string quartets from both the Romantic and Modernist eras. The purpose is to give continuity to the line started in the first few articles. We visited Beethoven and Shostakovich, then Mozart and Bartók, and for the last time we visited the respected teachers Haydn and Schoenberg. This time we visit one of the the Romantic heirs to the Beethovenian tradition, the writer of music with a very private character, Schubert, and the genius serialist composer Webern, one of the most (if not the most) outstanding students of Schoenberg.

 

Franz Schubert: String Quartet no. 14, Der Tod und das Mädchen

This quartet is dubbed after an earlier lieder of the same name, whose main theme Schubert used as the theme for the the second movement of this string quartet.

 

 

Anton Webern: 5 Sätze für Streichquartett op.5 (5 movements for string quartet)

It is a common misconception that serialism is a more mechanical method of composition, because it s a method. While some (including myself) believe it is an unnatural (contrary to the Common Practice Period notions) method contradicting the physics of frequencies, it is, apart from that fact, as much of a valid and constrictive method as any other. No more, no less. It just follows a different set of rules. And because it is counter-intuitive for people unaccustomed  to it, compositions with this method may well prove to be even more demanding by virtue of this lack of familiarity the general public has with it – it has harder to make something that makes any sense for the human ear. In my humble opinion, the dependency on an ethereal pulse becomes paramount in this type of music.

Pseudogod – Sepulchral Chants (2015)

PSEUDOGOD - Sepulchral Chants

 

Death metal band Pseudogod come back this year with a compilation that collects songs from their early demos and splits. Falling into an intersection between blasting, grindcore-influenced death metal ala Infester and the more recent approach of “atmospheric” death metal bands, the result at times approaches war metal, but avoids the stagnancy of the music typical of that genre. Contrasting Pseudogod’s 2012 Deathwomb Catechesis, which was more of an empty blast-fest similar to the more popular extreme metal outfits,this early output is full of content and in the spirit of good death metal of its kind, tends heavily towards progressive structures. This includes more paused sections that allow the songs to breathe in the middle of the faster, more suffocating parts. This is done with enough grace and consistency in style to seem smooth and appropriate. Although not masterpieces of structure-oriented composition and leaning on the riff-salad side of death metal composition, this release showcases Pseudogod’s earliest and most promising output.

 

https://sektovgnozis.bandcamp.com/album/pseudogod-sepulchral-chants

Coathanger Abortion Debuts New Track

coathangerabortionband

Tennessee death metal band Coathanger Abortion have debuted a new track from upcoming album Observations of Humanity, to be released on  June 2.

Tracklist for the album:

  1. Suffering the Weak
  2. Media Mindsnare
  3. Wading Through Existence
  4. Prescription Paradise
  5. Coathanger Abortion
  6. The Possession
  7. Audra Sleeps
  8. Forget the Past
  9. Hypocritical Majority
  10. Detained Indefinitely

https://soundcloud.com/apochs-dotnet/coathanger-abortion-media-mindsnare

Blasphemic Cruelty – Crucible of the Infernum (2015)

blasphemic cruelty - MCD cover

 

Ripping, furious death metal in the vein of 1980s death metal with vestiges of speed metal, solos that bear the mark of Trey Azagthoth, this band is one of the many followers of the legendary Morbid Angel. However, Blasphemic Cruelty is not content with being a clone and continues the work of Angelcorpse by playing a style that takes one facet of Morbid Angel and expanding on it. It is basically the older band’s most brutal side taken as the parting point and center of the music. While Azagthoth would mix a few fast sections with his own trademark of mid-paced and slow riffs, Blasphemic Cruelty pushes the pedal to the max throughout the entire pieces.

 

While Crucible of the Infernum will not distinguish itself as innovative in any way, it is an example of excellent composition for this style of ripping, blasting death metal. The band’s work here is ideal in the sense that within the limitations it sets for itself, every single space it uses is purposeful by virtue of its integration within the big picture, even if this picture isn’t very big. Admittedly a work of modest reach, Crucible of the Infernum is a solid release strongly recommended for fans of Angelcorpse, Sodom and early Morbid Angel.

 

Nekromanteion – Cosmic Horrors (2015)

OB-GD17-001.pdf

 

Cosmic Horrors is a Lovecraft-inspired affair standing somewhere between the primitive black metal of South America and grindcore-influenced death metal. Unlike most bands that could fall in this general description that encompasses a common cliche in underground metal, Nekromanteion stand out as a focused band making music balancing music aesthetics with a drive and intention that seems to lead the music, rather than the common mistake of letting the outer traits themselves dictate the music.

 

Displaying a progressive tendency in construction within healthy bounds alongside a reserved and rough technical expression, Cosmic Horrors present us with the ideal “atmospheric” death metal that war metal bands, for instance, are trying to deliver. The mistake of these or other atmosphere-oriented death metal bands like Phobocosm is that they are too steeply bent on trying to make the music have this effect. So much that they push the music to become the mood itself. Nekromanteion keeps a balance between evocation and satisfying musical aesthetics, which together have resulted in an outstanding EP.

 

Necrophor – Exterminatus (2015)

Cover
Playing a black metal with structural tendencies that border on death metal, Necrophor delivers mid-paced songs grounded in orthodoxy in terms of technique and construction but taking the listener to unexpected places within this expression. The mid-paced characteristic of Exterminatus should be emphasized because this allows the band some leniency in regards to the types of riffs it will use. We find a very few chug-based moments that are just enough to serve as a neck between sections and only as accompaniment for measured time spans. We also find the typical moving minor chords that have become a staple of black metal. Strummed sections, slight tremolos, picked chords also make an appearance in this release.

 

Necrophor’s composition capabilities cannot be overstated in regards to the way all these techniques are integrated as hues in the artist’s arsenal. Too often do we see bands falling and depending on a particular technique to automatically provide the music with all it needs. Necrophor, on the other hand, are using the techniques to mold a vision that has been captured in the mind’s eye first. It isn’t only a matter of planning and intention, the technical capabilities of the band as arrangers are absolutely necessary for the elements in these songs to blend as they do. Exterminatus represents an excellent example of a band creating music inside to outside, not only because of the way these techniques were brought together to shape the music, but because they also seem to revolve around one point, a mood that changes character naturally and never too abruptly. A release that will definitely fly over most heads because of the production style not fulfilling brutality requirements and not being frost-bitten enough, or for the musical style not being close enough to a clone of a classic or a complete trashing of influences, Exterminatus is one of the most artistically accomplished releases I have had the pleasure of listening to from 2015.

 

On The Underrating of Recognized Classics

chaosHeresy

Two of the most pervasive topics in metal are the “underrating” and the “overrating” of a band or album. Given that most people are prone to confuse their emotional attachment to music with a sign of its quality, most of these claims are specious complaints that reflect the need for acknowledgement from other people as a fan more than anything else. Claims of “underratement” usually occur in regards to cult bands, and less often, to personal favorites that should be recognized by each fan as a mere guilty pleasure. Statements of “overrating”, then, comprehensibly come about when a disgruntled fan wants to bash any band that does not appeal to him, independently of the reason.

 

However, when leveled as a result of balanced, informed and insightful judgement, these observations become meaningful in that they have solid foundation and a motivation outside selfish emotional need for attention. Contrary to popular opinion, these arguments only need to be based on objective observations but need not be objective in the full sense of the word themselves. The reason for this is that the concepts of objectivity and subjectivity represent a false dichotomy inapplicable in the context of art appreciation. Appreciation rests outside any single preference, it always lies outside the emotional reaction of any one person, but is nonetheless attached to a social group’s set of principles. And principles are a human construct, not tangible, objective reality. In other words, it entails the individual perception through the lenses of convention of objectively observed qualities.

 

Art appreciation can be reduced to the appreciation of beauty. The concept of beauty has always been a complicated one, and like anything complicated, it gets reduced to the absurd by small minds that feel the need to fool themselves into believing they have everything under control. A sense of what is beautiful rests on what is considered to be good taste. The nature of both beauty and taste is neither objective nor subjective. If it were objective, beauty would be a hard, flat fact measurable by scientific instruments, and not the esoteric – perhaps mystical – sign existing completely and individually in meaning, perception and medium but also in the whole of an object, all at the same time. A divine omnia in omnibus, as it were, perceptible to the unconscious but only vaguely grasped by the conscious as an ethereal idea. The duality that implies being human,  having one eye on time and the other on eternity. On the other hand, if it were subjective, it would be completely pointless to talk about beauty or taste, as these would be demoted to euphemisms for what is simply our personal preference.

 

It is therefore, unsurprising that beauty is sometimes linked to the presence of the divine, and therefore of that which is natural, full of meaning and in balance. Again, simplified misconceptions come to distort each of these and in an increasingly individualist society that is just so for the sake of individualism itself, renders them powerless, trapped in small containers as catchwords for egotistical affectations. In other words, beauty has indeed been stripped from its cosmic framework and taste has become personal rather than communal. Both have lost any of the usefulness they had for communication of hermetic meaning.

 

This egotistical individualism is deeply entrenched in group-oriented thinking, paradoxically self-indulging as it is unoriginal and lacking in personal identity. This is to be expected since unthinking compliance to the system goes hand in hand with a deep-rooted cowardice of the mind. So, taking refuge in the rise of science, humanism and tacit nihilism, our brave new world does away with meaning as it has forgotten why man created it in the first place. Our modern society, contemptibly lacking in any courage to face reality and the pressing matters of our times, turns away from an understanding of the transcendent in favor of self-validation.

 

Art and its appreciation suffer first in this headlong plunge into the shadows. The reason for this is that art (artificial) arises entirely from man-given meaning. The greatest art has always had the power to communicate and bring forth an awareness of enduring meaning through individually-perceived universal truths of the human condition. Forsaking the use of any actual meaning in beauty, and consequently in art, music becomes a vulgar tool for individual satisfaction.

 

While quiet deference is directed towards names like Yes, King Crimson, Black Sabbath, Slayer, Bathory or Morbid Angel, my experience tells me that most fans who hold these bands in some kind of respect do not understand half of the reasons why these bands are great. The case of directly disrespected and underrated but equally excellent art like that of selected works of Burzum or early At the Gates is a different although related matter into which I will not go here. In the meantime, let’s turn our attention to canonical works of the metal underground.

 

It seems rather unfortunate that after achieving canonical status in any genre, a classic work is condemned to be defiled in two stages. The first is one in which the cause and effect relationship between being a classic and achieving canonical status is not inverted but flattened, the popular conception of the relationship between the terms being one of equality and interchangeability. Something then happens as a direct consequence of this misunderstanding along with an ignorance of the nature of classical works at several levels. In this second stage the distorted image of what being a canonical work implies is rightly questioned, resulting in an at least partial repudiation of their validity. The term classic is then also demoted into a euphemism for “what many/most people like”. Equating popularity with quality in art is a direct consequence of the loss of meaning discussed earlier.

 

This is why it is important to clarify what is originally meant by classical. It is closest to the condition of being an epitome, except that this latter term is neutral and can signify an accurate representation of the qualities of a group or classification. Classical refers to the highest degree of excellence in regards to quality, which implies distinction, perfect balance and adequacy in a work within its genre. Disquieting as the perversion of this concept is, simple and effective education coupled with the audience’s willingness to let go of their ego would be enough to remedy this situation. As with many things, it is easier said than done.

 

An additional third stage also bears mentioning which can then be appended to the steps in the process of decay in the perception of classic works. After the flattening and disavowal of the aforementioned terms has taken place in the collective mind, a confusion ensues which brings forth the nominating of undeserving artists or works into what used to be a pantheon of the gods. As I see it, there are two main ways in which this happens. The first was already mentioned, very popular works are inserted into the lists by virtue of their popularity itself. The other is the result of the backlash classic works receive from the lack of understanding towards their classic status. The original and true classics are reduced by a narrow-minded audience with a lack of depth perception to a collection of tropes to be imitated. A collateral effect of this in metal is that after a certain amount of time, since the audience cannot understand what a classic actually is, seniority is equated with relevance and quality, and then novelty is equally mistaken for innovation.

 

Without control or awareness, these things happened lightning-fast in progressive rock and metal, accounting for the extremely fast evolution of metal genres running away from the mainstream limelight and into increasingly obscure territories. Giants like King Crimson, Yes, Emerson Lake & Palmer and Genesis were then piled up with second-raters from all over the world. Nowadays it is customary to see Rush, Camel or Jethro Tull mentioned besides the first. Childish and musically wanting works belonging to the catalogues of Schuldiner’s Death and Cannibal Corpse even take precedence over the monumental early Morbid Angel. A closer and more knowledgeable and perceptive look into the qualities of their works reveals an enormous chasm in musical excellence and refinement separates them. They belong to completely different worlds.

 

Metal is encumbered by an additional hindrance: a recurrent appeal to cavemanish foolishness by the audience. This is the belief that as an essentially underground movement, metal is a blue-collar music which needs to be kept rough, dirty, mean and, well, ignorant. It is a combination of something similar to communism’s appeal to the true sense of the young masses and the testosterone posturing of a macho Homer Simpson. This idiotic claim basically consists in the stereotype that metal’s nature resides in young and unlearned spirit which yearns for adventure, rebellion and hedonism.  They do not realize that these are closer to the hippie ideals than to the true metal spirit which actually resides in a warrior’s mysticism that stares reality in the face without losing sight of the transcendent.

 

While metal needs to grow up and continue in its journey towards higher peaks, it must do so through a profound understanding of its roots and thereby a correct appreciation of its own classics and an embracing of its core and true ideals. The mainstream would have metal become a compliant rock music in disguise, an edgy but safe expression of castrated dissent. Absorbing or becoming other genres is not progress, it is only regression or distraction. This must be rejected at all costs and a unique path into the maturity of the genre must take place in a truly forward-looking but conservative manner. Metal has always made its most significant strides in those albums which on the surface seemed orthodox but which brought meaningful innovation at the level of musical thinking, information and communication. It was not the experimentalists who revel in the strange, the unexpected and the new, but the disciplined adherents to the tenets of metal who look for their own voice while keeping the spirit of Vir at the heart of the music who move metal forward.

Skinless to release new album

skinlessband

Death metal band Skinless will be releasing their first full-length album in a long time, Only The Ruthless Remain. The Skinless play a brand of mainstream-ed NYDM produced as loud as possible and simplified for mass consumption.

The album will be out on June 2. You can preview the album through one of the tracks being streamed on Soundcloud.

 

Ascended Dead – The Advent

ascended dead - the advent cover

Ascended Dead is a death metal band that intentionally keeps the production of their music lo-fi. Here, we may recognize two things. The first is the appeal to a sense of nostalgia that this sort of distorted tone may cause in fans of old underground metal. The second is that this choice is part of the band’s aesthetic choice and it contributes in a musical way. The latter is never fully acknowledged even by fans of this particular sound, resorting to embarrassed appeals to “guilty pleasure”.

Now, onto the music. In The Advent, Ascended Dead have brought together a collection of distinct but compatible sources in which, if we squint really hard and try to pierce the fog created by the artistic voice of the band, we can recognize the grindy, obscure, riff-salad Finnish spirit. One or two of the songs even betrays the influence of Demilich in its use of short, clear but twisted melody line motifs, but doesn’t go as far as to imitate the older band. The reference is no more than a head nod.

The Advent consists of a solidly integrated style. Ascended Dead’s songs are balanced and clear-headed in direction, while remaining organic, in line with the riff salad tradition. Riffs balance relationship with each other while introducing the tension needed to move forward, towards a new idea that comes as a massive waterfall releasing the potential energy channeled and incremented in the perfectly-defined course of a river of tumultuous waters.  Despite all its merits, the artist’s most difficult task has yet to be completed in this project: finding its own voice. Displaying a musical awareness with which only true musicians are blessed, Ascended Dead give us an album that, although itself powerful, foreshadows possible works that will tower above the vast majority of death metal of our times.

Ascended Dead – The Advent bandcamp