Profanatica – Sickened by Holy Host / The Grand Masters Session


Profanatica
Sickened by Holy Host / The Grand Masters Session
81 min, Hells Headbangers, $12

profanatica-sickened_by_holy_host-the_grand_masters_sessionFor those new to Profanatica, this is the album to get. Like the band, it is baffling, organic, unsystematic, arcane and labyrinthine. It resembles its own hybrid of occultism, blasphemy and feral Jack London/Fred Nietzsche style absurdist feral Darwinism. It is ungovernable, down to the 7″-sized packaging for a relatively plain CD.

Sickened by Holy Host shows Profanatica at two extremes. The first is Paul Ledney, the percussionist and conceptual designer of the band, with an unnamed collaborator on guitar. The second is the same drum track with contemporary Profanatica guitarist John Gelso riffing along on guitar. The idea is that the first side shows us Profanatica as it might have been in the early 1990s, while the second side shows us Profanatica now as it evolves.

The Grand Masters Session on the other hand is a CD recording of the material Profanatica unleashed as a 7″ box set, and is essentially the band in the studio covering some old classics with updated musicianship and production. This serves as a continuity for the two parts and unites the album at full strength.

Together, Sickened by Holy Host / The Grand Masters Session reveals this atavistic American black metal band in all of their glory. The motivic force is undoubtedly Ledney’s (Revenant, Incantation, Havohej) impulsive but controlled drumming, which like a ritual dance of knives lures our listening minds closer to the core of each song. Gelso holds his own with an ability to make classic and new Profanatica riffs both simultaneously awkward and unearthly and also surprisingly difficult to pull off at speed. The result is an untameable surge of raw ideas guided by the torn-silk vocals of Ledney.

This album provides an ideal introduction to Profanatica because it captures its extremes through its most evolved material, giving a quick but deep plunge into the psyche of this sonic terrorism against the civilizing forces of religion and sociability. Soon you too will be chanting blasphemies against the highest holy while engaging in ceremonial defiance.

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Interview with Scalpel

scalpel-sorrow_and_skinWhen we encountered Boston band Scalpel, it was a breath of fresh air. While some of the frenetic post-‘core deathgrind influences were present, this band made it clear through their songwriting that their hearts were in the older traditions of the underground.

In fact, their sound resembles a cross between a Unique Leader West Coast-style blasting percussive death metal band, and an East Coast outfit, like some of the Suffocation material from their live album era before they fully modernized. Scalpel bash out the intricate textural descents of percussive death metal on Sorrow and Skin, their opus coming out this month.

Read on for a Q&A with one of metal’s rising but undiscovered hopes.

Interview: Scalpel

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Interview: Scalpel

scalpel-sorrow_and_skinWhen we encountered Boston band Scalpel, it was a breath of fresh air. While some of the frenetic post-‘core deathgrind influences were present, this band made it clear through their songwriting that their hearts were in the older traditions of the underground.

In fact, their sound resembles a cross between a Unique Leader West Coast-style blasting percussive death metal band, and an East Coast outfit, like some of the Suffocation material from their live album era before they fully modernized. Scalpel bash out the intricate textural descents of percussive death metal on Sorrow and Skin, their opus coming out this month.

We were able to snag the band for a few questions and enjoyed their laconic but incisive answers.

How did Scalpel form, and how did your style evolve after that point?

Scalpel formed when Taylor Brennan and Manny Egbert met each other at guitar summer camp like good little childs. We started as a goregrind band with lots of Carcass style riffs before developing a more technical and brutal sound.

What would you identify as your influences, musically and in literature, film and non-fiction writing?

Musically, our influences are bands like Creedence Clearwater, Black Sabbath, Morbid Angel, Suffocation and Carcass. We all enjoy films such as Ip Man, Rambo, The Reanimator, and Clockwork Orange. We also love authors such as J.R.R Tolkien, Kurt Vonnegut and Hunter S. Thompson.

Your style seems to approximate a mixture of East Coast and West Coast death metal influences. Are you the crest of a new wave?

Yes, although we do not try to align ourselves with any other contemporary death metal bands, we do feel that we have a unique sound.

Where did you record Sorrow and Skin?

Sorrow and Skin was recorded at Q Division Studios in Somerville, Massachusetts. No metronomes were used in the recording of the album in order to produce a more organic sound.

To what degree do you take influence from “modern” styles of metal, specifically the post-2000 ones?

Mostly, the extremely quick tempos and incessant blast beats. Other than that, we stick to our roots.

Where do you hold on to older styles, and why?

Slam riffs, fuzzy production, and shrieking bluesy guitar solos are all elements reminiscent of older styles. We think it is better to draw influence from older groups and expand upon the foundations of death metal than to keep up with modern standards.

Will you be gracing us with your presence with a tour?

Yes, we hope to tour Europe in the future. We look forward to bringing our brand of Death Metal to a new audience as well as making friends in new places.

How do you compose these songs?

The songwriting process sets in much like an attack of diarrhea; an idea will hit Manny or Taylor, and it goes from there. The song starts usually in the form of death metal scatting (fa na na flum flum) and we finish each other’s song ideas and hash out the rest at practice.

What, in your view, is the “soul” of death metal?

Death metal serves the purpose of being a lens into the darkest side of humanity, and making light of the most disturbing things that humans can achieve. Without the outlet of Death Metal, the world would seem deceivingly positive.

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The return of the old underground?

classic_death_metal_underground_flierChange is easy to spot from afar. You watch a whole continent break loose, or a planet change its orbit. The challenge is being able to spot it when you’re on that continent or planet. Is that rumble your home island floating away, or just too much Taco Bell?

Lately the underground has been changing again, as it has in the past. First, a number of people seem to be recognizing that for the last couple years, something has shifted. The quality of releases is better, and the nu-core/indie/alt-metal/shoe-gaze just doesn’t attract the throngs. I blame Beherit, War Master, Profanatica, Blaspherian, Imprecation, Birth A.D. and others for bringing back old styles with new voices.

Next, there’s renewed interest in older formats of music. Cynics will say this is just hipsters, but it’s too big for that. It’s almost like a generalized reaction to the impermanence of MP3s and the lack of control you have if Amazon or iTunes decides to delete your profile for blasphemy.

Finally, there’s renewed interest in zines. Not only are there promising new zines like Codex Obscurum, but there’s people writing about zines and the effect they can have on the underground. (Many of them are pointing toward our Classic Death Metal Zine Archive and The Heavy Metal FAQTM.)

Like vinyls, zines have an appeal. It’s not that they are somehow more effective than the internet at spreading information. Rather, like vinyl, their saving grace is that they’re less convenient. This creates a big pyramid between bands and fans where multiple people filter the thousands of possibilities down to fifty pages in a zine or 15 LP choices in a distro or record store. They reduce the amount of chaotic information and give you more options, ironically, as a result.

It might be this is all in my head (dead brain cells). But there’s something in the air. It’s not just fall, which we’ll get in Texas in another three months. It’s a sweeping change, what they call a “sea change” in the elite newspapers. After fifteen years of dormancy while the imitations swept in and appropriated what others had created, metal is bouncing back. And it’s bringing back the old ways.

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Marduk and Grave “Panzer Division Marduk 2013” Europe tour

panzer_division_marduk_2013Third-wave black metal band Marduk and legendary brutal Swedish death metal band Grave will be joining Death Wolf and Valkyrja on a European tour. Marduk, perhaps most famous for its fast melodic ode to the unknown Opus Nocturne, will headline all dates on the “Panzer Division Marduk 2013” tour.

For those who experienced early death metal, Grave is well-known for 1991’s Into the Grave, a dark and primitive Swedish death metal journey that straddled the line between dark death metal, brutal death metal and primal grindcore. Among metalheads of the day, not owning a copy of this seminal release was like not owning shoes.

This European tour sees these bands join forces for raw energy through intense speed and solemn but vicious riff attack, which is how each has distinguished itself in the past. European metal brothers and sisters are lucky to experience this unrestrained assault of sonic power.

MARDUK
GRAVE
DEATH WOLF
VALKYRJA
+ support act

       
29.11.2013 GER Berlin K17
30.11.2013 GER Bad Oeynhausen Druckerei
01.12.2013 DEN Copenhagen Pumpehuset
02.12.2013 DEN Aarhus Voxhall
04.12.2013 HOL Utrecht Tivoli De Helling
05.12.2013 UK London Underworld
06.12.2013 BEL Leffinge Devil’s Corner
07.12.2013 GER Essen Turock
08.12.2013 GER Darmstadt Steinbruch Theater
11.12.2013 ITA Turin United
12.12.2013 CH Yverdon L’Amalgame
13.12.2013 CH Dietikon Stadthalle
14.12.2013 ITA Brescia Circolo Colony
15.12.2013 ITA Bologna Zona Roveri
16.12.2013 SLO Ljubljana Gala Hala
17.12.2013 AUT Vienna Escape Metalcorner
19.12.2013 POL Wroclaw Firlej
20.12.2013 POL Gdynia Ucho
21.12.2013 POL Warszawa Progresja
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Oniricous – Ritos Diabolicos

Oniricous-Ritos-Diabolicos-2013-400x400The resurgence of early 90’s flavored death metal has been steadily picking up in recent years. Spain’s Oniricous attempts to jump aboard the same death-wagon, however by injecting a bit more bounce and melody to set themselves apart.

At first glance I was expecting something similar to Sadistic Intent, but as more riffs progressed I realized that the source material is very much akin to Death’s Leprosy/Spiritual Healing (occasional dabbling of progressive riffing) or Massacre’s From Beyond.

Most of the songs are done in the same format, thus tend to run together and have no song that stands out. After my first listen I felt as if I had just watched a reunited Massacre play on Telemundo. All of the aspects are here to mold into a worthwhile outfit, but there isn’t too much replay value if you judge Ritos Diabolicos based solely on the material that’s presented.

Despite the pitfalls, fans of early Tampa death metal will enjoy Oniricous for being a trip down memory lane. Most of the elements that popularized bands like Death and Massacre are present in Ritos Diabolicos.

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Soul Remnants – Black and Blood

6PAN1TDo you remember Souper Salads? It was a buffet place where you could dump all the soup and salad ingredients you could eat into your bowl and then pig out. Black and Blood is sort of like that with various shades of death metal, speed metal and heavy metal riffs. In that, it more resembles the South American scene than Boston, where it’s putatively from.

The review cheat sheet for this album describes it as half old school death metal and half Norwegian black metal. That’s not quite correct: it’s mostly mid-period death metal in the Suffocation Pierced from Within and Death Symbolic model mixed with melodic death metal riffs from guitar-heavy bands like Carcariass, set to the song format of stadium heavy metal. The result is a tour through the years of heavy metal with a guide who clearly enjoys the process.

Soul Remnants songs stick together on pure gut feeling. No complex theory here but riffs tied together for maximum contrast when necessary, but otherwise, a feeling of organically interrelated pieces. Underneath that there’s intense blasting and strong linear basslines, giving this a feeling of power. Black and Blood borrows most intensely from stadium heavy metal of the 1980s, building up these songs like power ballads and giving them some emotional intensity.

Vocals are modern death metal as is the tendency to mix and match riffs, but within that format the heavy metal breathes through and takes over. What emerges from this ferment is a listening experience that evokes the greatness of metal in a humble but energetic way. The resulting product is a flow of interesting guitar work that, while often allusive to past metal genres, keeps enough of its own voice to carry its own songs.

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Torchure – Beyond the Veil re-issue

torchure-beyond_the_veilVic Records re-issues the first album of German death metal band Torchure, whose style of heavy metal infused thunderous death metal saw favorable comparison to early Therion, Morgoth and Miasma.

Formed in 1985, Torchure recorded three demo tapes and two full-length albums which were released on legendary German metal label 1MF. These albums, out of print for two decades, have been aggressively sought by collectors but nearly impossible to find.

Beyond the Veil re-issue contains two re-mastered unreleased tracks as bonus, new liner notes, rare pictures and the original album in its entirety without remaster. You can order it online from Vic Records for € 9,99 and thankfully it is not a digipak.

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Eternal Solstice – The Wish is Father to the Thought

eternal_solstice-the_wish_is_father_to_the_thoughtMany in the metal community view genre names as special keys to secret clubs. The opposite is true: genre names are descriptions that help us explain how bands compose and thus, who will enjoy them.

The Wish is Father to the Thought shows us what is on the surface a death metal band, but which musically is mostly a speed metal band. Further, their choruses tend toward a doom metal pace and mood, which makes the speed/death portions more accessible.

Like other speed/death hybrids Kreator and Destruction, Eternal Solstice use mostly chromatic riffing with lots of muted-strum “chugging” to create a tension and energy. The verses of most of these songs incorporate variants of riffs that Exodus or Anthrax might have used if they were more vicious, like a version of Meshuggah with less technicality and more knowledge of everyday life.

Eternal Solstice creates highly energetic speed metal with occasional death metal riffs, but basically, this band comes to us straight out of the 1980s. Death vocals add a gruff intensity and the lengthy choruses prevent the percussive riffs from being overwhelming, but the real appeal here is in the speed thrills.

The Wish is Father to the Thought was originally released in 1994 and is now re-issued so that a new generation of fans can appreciate this Dutch band at their most intense.

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Funerus – Reduced to Sludge

funerus-reduced_to_sludgeComing from the tradition of thunderous American death metal that incorporates doom passages, Funerus write European-style melodies through their songs and as a result create an architecture of moods that gives us song a distinct presence.

Reduced to Sludge uses rolling rhythm riffs, upset by longer fretboard-walking riffs that set up a more complex rhythmic expectation, and then as these riffs repeat modifies them to bring out a melody. Often this is a simple riff that, like a rebuttal, speaks back to the verse-chorus arrangement and expands its two and three notes into a whole melodic phrase.

Funerus shows its influences strongly from all over the map. The easy ones to pick out are Asphyx, Cianide and Entombed, and it’s foolish to expect this band to avoid some influence from Incantation from which its guitarist is loaned. Its faster riffs are simpler and evoke more of a NYDM feel, while its phrasal riffs sound more like the Incantation-Revenant-Profanatica-Demoncy spectrum of cavernous occult doom-death.

While Reduced to Slude demonstrates a range of powerful death metal riff archetypes, its vocals emerge straight from the early days of death metal, sounding both gruff and breathless without being fully guttural while also avoiding the rasp of black metal. These guide the onslaught of riffs when intense, and as it slows the textures meld, creating a sonic veil from which the listener gradually emerges.

Although Funerus stays with a classic death metal sound and thus does not offer a quirky or unexpected aesthetic, the result is that Funerus stays true to its roots and has a voice it is comfortable with. The result is an album of shorter songs that feel like longer songs, and despite being rudimentary and using similar techniques, avoid boredom by staying true to their essential mission of creating a dark and thunderous mood.

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