Sammath debuts “Fear Upon Them” from Godless Arrogance

sammath-godless_arroganceDutch-German furious black/death metal band Sammath unveil their most promising material to date with a new song “Fear Upon Them” which reveals the many influences of this underground metal band. While some of its works sound like Morbid Angel or Perdition Temple with an underlying melody line, other songs are wholly melodic and go more into black metal ambiance.

“Fear Upon Them,” which is the latest single released from Godless Arrogance, shows Sammath going back to their roots. Specifically, the most furious melodic black metal bands to walk the earth, namely Immortal and Bathory. By slowing down the drum tempo but speeding up the strum tempo, Sammath create an unearthly sound like a dream in fog.

On top of this, the band add riff development and a sense of the unexpected yet not obviously quirky and contrarian, which means that songs slide into their own personalities and transcend their influences. In this case, “Fear Upon Them” wears its influences on its sleeve, more as a tribute than a blueprint for emulation.

The album Godless Arrogance will come out on Hammerheart Records later this year.

2 Comments

Tags: , ,

Triptykon announce new yet-unnamed album

tom_g_warrior-hellhammer-celtic_frost-tryptikon-thomas_gabriel_fischerDoom/death metal band Triptykon have announced that they have begun working on their next album with a presumed release date sometime in 2014. As of now the new album is still untitled for the public, but a few song titles have been released which fit into the occult theme established by the band’s debut album. Describing the music as epic and diverse, it seems to suggest that the album will have more variation than the relatively straightforward Eparistera Daimones, which suffered from a linear composition that made its songs less interesting than they otherwise could be.

Straddling the boundary between classic metal and modern compositional technique, Triptykon continued the sound that was debuted on Celtic Frost’s Monotheist. Our review found that there were a few intriguing elements present, although subjugated to simplistic verse-chorus repetition. Because of this, the morbid atmosphere that was omnipresent in Hellhammer and early Celtic Frost was lost.

Founder of the band Tom Gabriel Fischer is known for his often unorthodox incorporation of external influences in his music, which have produced some of the best extreme metal albums in the early days of Celtic Frost. If he is able to create an album that successfully merges the underground spirit with focused influences from other spheres, it will assuredly be superior to almost all contemporary releases. However, if concessions are made to modern stylings, it could result in a diluted product, as plagued the releases since Celtic Frost‘s reformation. We strongly hope for the former over the latter.

http://www.youtube.com/watch?v=mzaI6jQM0wE

3 Comments

Tags: , , , , ,

First in Line: Slayer – Show No Mercy

slayer-show_no_mercySlayer’s Show No Mercy turned the metal world upside down when it hit the record stores. Keep in mind this was back in the 1980s, so there was no instant effect, more like a quick ripple as it took people time to learn about the album, get to the store to buy it, dub it from a friend, hear it on a weekly radio show, or get mailed a mix tape.

At the time, the world was just awakening to the possibility of speed metal, which grew out of American bands taking the best of NWOBHM, like Blitzkrieg, Satan, Motorhead, Witchfinder General, etc. and combining them, adding in the attitude of hardcore punk and its rhythms. However, speed metal had a defining characteristic, which was the sharp sonic edges produced by the use of the muted strum.

Slayer took another approach, also derived from hardcore (mainly Discharge), which was the tremolo strum. Instead of producing sharp edges, this produced fuzzy columns of sound like an organ or other instrument with huge sustain. The result was that longer riffs could be created and could be relatively independent from the drums. The song structure opened up with guitar as the lead voice.

This innovation basically created all of underground metal. When Slayer was combined with Bathory and Hellhammer, both black metal and death metal emerged. Black metal was a more ambient variety, where death metal was more structuralist, but both used the same ingredients brought about by this combination, namely the techniques and attitudes of these three bands.

However, Slayer’s invention was what was able to unite the long-form song structures of Hellhammer and the atmospheric approach of Bathory into a format that could expand. Immediately recognizing the power of a style of music which put riff changes before harmony or conventional song structure, Slayer expanded their work beyond the verse-chorus using their famous pattern of introductory and transitional riffs.

A new science was born. It was opposed by many in the speed metal world, since it offered competition to what those musicians were doing and signaled the end of that paradigm (speed metal officially hung up its metal union card in 1991, five years after Slayer took this style over the top with Reign in Blood). Others saw the possibility in this new style.

As a result, when you hear metal music today, you are hearing an inheritance from Slayer. Even outside metal music the idea of a guitar or keyboard leading the drums has gained traction, which breaks out of the somewhat rigid format of rock/pop and gives artists more options. It’s not entirely surprising that Slayer burst onto the scene only ten years after the groundbreaking ambient of Tangerine Dream and Brian Eno/Robert Fripp.

Critics have never really understood how to analyze Show No Mercy in part because the album links together so many influences. Iron Maiden lurks in the chord progressions, Discharge and GBH in the technique, Motorhead in the rugged riffing, Kiss in the somewhat grandiose theatrics, and Judas Priest in the conceptualization of riff structure. But what holds them together is this metal first, which is the tremolo strum and its implications for songwriting.

https://www.youtube.com/watch?v=EdjS4qMXQmQ

The “First in Line” series celebrates the metal bands and albums who did something important, and did it first. It’s like an inventor’s award.

3 Comments

Tags: , ,

Disincarnate – Dreams of the Carrion Kind

disincarnate-dreams_of_the_carrion_kindThe brainchild of James Murphy, a guitar virtuoso who released two instrumental “shred” albums through Shrapnel Records, Disincarnate is in theory an underground metal dream made reality. The band released its one and only album in 1993 on Roadrunner Records. Murphy’s legendary lead guitar work on Obituary’s Cause of Death created the promise of a killer album was in the making, only it was never delivered.

Disincarnate is part of the first wave of post-Human era Death/Cynic bands who were making death metal explicitly play nice with the Headbanger’s Ball and Guitar World audiences under the guise of Floridian rhythmic death metal. This watered-down death metal was designed to appeal to the casual Pantera and Chaos A.D. metal fans of the time. On Dreams of the Carrion Kind, song structures are simple and pop-oriented, reminiscent of an 80s speed metal act like Exodus, which is a riff salad without themes developing within it.

“Monarch of the Sleeping Marshes,” the best composition on the album, fails to capture its surprisingly elaborate lyrical concept, impeding upon the momentum of its inspired introductory riffcraft with an awkward pause after the chorus to make way for an incongruous bridge of generic Benediction mosh fare. Other tracks like “Soul Erosion” and “Deadspawn” sound like Brutality playing along to bouncy Fear Factory/Pantera chugging fare with death metal vocals and lyrics adapted around that framework, no doubt in a vain attempt to bridge two trends from the era. At best, it could be compared to a lowbrow version of the first half of Resurrection’s Embalmed Existence.

James Murphy’s dextrous playing and the early Roadrunner Records connection would make this seem innocent, but don’t be fooled. This release is cleverly disguised as something profound but is no more advanced than Benediction’s Transcend the Rubicon. It isn’t awful to the point where you would rather swan dive into a wood chipper, but the overly bluesy doom riffs and the grooved out relaxed tempos of tremolo riffs in cyclical song structures that break for a “guitar hero” solo suggests this band as having the confused character of something that wants to be morbid and sinister, but also pander to the Dimebag Darrell worshipers of that era.

While some of the wiser among us would simply dismiss this as not up to par with other releases in its genre, on closer inspection, this album alongside Malevolent Creation’s Retribution and Obituary’s The End Complete in addition to Roadrunner Records vast distribution network assisted in streamlining death metal into a more rock centric style that allowed the Gutted/Kataklysm mosh fare with flashy distraction breaks to become an Ozzfest/Hot Topic mainstay in the 2000s.

8 Comments

Tags: , ,

Sammath unleashes title track from Godless Arrogance

sammath-godless_arroganceWhat a difference studio recording and mastering can make. Sammath went into the studio with a demo full of their iconic black/death battle metal, but in the studio, something magic happened: it became transformed into a hybrid of early Morbid Angel and early Ancient, being both relentless and hiding melody inside its rigorous riffs.

Godless Arrogance promises to be a relentless war-charge of high speed percussion, fuzzily distorted fast riffing, and demented mocking vocals which sound like a criticism of the mundane world by something beyond it. The band have upgraded their playing to leave fewer spaces in the wall of sound, and have used production to mate their fuzzy guitars and whirlwind drums into a channel of sonic violence.

To be released by Hammerheart Records worldwide, Godless Arrogance shows this Dutch-German band backing off of the technicality of the last album in favor of the relentless riff assault of their most popular middle albums, combined with the sublime sense of melody that made their first album a keeper for so many metalheads.

3 Comments

Tags: , ,

Morbid Angel Covenant Tour 2013

morbid_angel-covenantTwenty years ago this year, Morbid Angel released their third album, Covenant, which stepped back from the concept album madness of their second work and seemed to look instead toward the collection of ripping songs and experiments that distinguished their first album.

Working more melody and conventionally-recognizable technicality into the mix, Covenant showed Morbid Angel after most of the initial thrust of ideas from their demos had worn off — leaving them to create anew, from a place where they were at the peak of their musical power. As a result, it is for many people a favorite from this band to this day.

Starting November 7, the re-constituted Morbid Angel of David Vincent, Trey Azagthoth and Pete Sandoval will tour North America playing the songs from Covenant in its entirety. This show be a good chance to introduce your college-aged children, who were conceived to this album, to the magic of Morbid Angel. Tickets go on sale July 19, 2013.

Morbid Angel Covenant Tour 2013:

City Date Venue
Atlanta, GA Nov 7 The Masquerade
Charlotte, NC Nov 8 Tremont Music Hall
Baltimore, MD Nov 9 Baltimore Soundstage
Cambridge, MA Nov 10 Middle East Nightclub
New York, NY Nov 12 Irving Plaza
Philadelphia, PA Nov 13 Theatre of the Living Arts
Cleveland, OH Nov 16 Peabody’s Downunder
Chicago, IL Nov 17 House Of Blues
Minneapolis, MN Nov 18 Mill City Nights
Sauget, IL Nov 19 Pops
Lawrence, KS Nov 20 Granada
Denver, CO Nov 22 Bluebird Theater
Seattle, WA Nov 25 Studio Seven
Portland, OR Nov 26 Hawthorne Theater
San Francisco, CA Nov 27 Slim’s
Los Angeles, CA Nov 29 Henry Fonda Theatre
Phoenix, AZ Nov 30 Joe’s Grotto
Albuquerque, NM Dec 1 Sunshine Theater
El Paso, TX Dec 2 Tricky Falls
Austin, TX Dec 3 Red 7
Houston, TX Dec 4 Warehouse Live
Orlando, FL Dec 6 Beacham Theater
Ft. Lauderdale, FL Dec 7 Culture Room
22 Comments

Tags: ,

Armaroth – False Vision

armaroth-false_visionBands seeking to play death metal in 2013 are faced with a curious conundrum: they grew up with undeniably great records that inform their knowledge of the genre, and yet their potential audience in this current generation clamors for simpler material with more digestible melodies. Bands then have to decide to what extent they will incorporate the “modern metal” influence into the death metal which is their reason for playing in the first place.

Armaroth play a fusion of death metal and speed metal, with some modern melodic metal influences introducing cross-generational appeal. Death metal riffs drive the songs forward, providing the backbone for the other elements to build upon. The riffs in their best moments are darker than the typical modern death metal fare, bringing out a sense of foreboding that has more evocative impact than just pure aggression. Speed metal lends itself to connecting riffs between verse and chorus, providing motion with palm-muted riffs that introduce rhythmic variation.

These sections are solid in themselves, but the band often moves from one to the next without giving sufficient care to set up transitions, leaving songs at times feeling as if they’re collections of riffs thrown together rather than conceived with a purpose. Moments as such are aggravated by the modern metal elements, such as embarrassingly catchy choruses and ambiguous guitar wankery which sharply contrasts with the more polished material.

The band recently released their first EP, False Vision. In their future material, if the band were to focus on and improve what they already do well and abandon the tendency towards including concessions for the newer generation, their material would be well above average in the current milieu.

http://www.youtube.com/watch?v=eF7_crOv3uM

http://www.youtube.com/watch?v=EmKdXAZn3m0

9 Comments

Tags: , ,

From the Vault: Miasma Changes

miasma-changesIt’s easy for us looking back on underground metal to see it like a textbook description, where it was ordained that certain bands would become pillars of the underground. In reality, it was more like a place where rivers meet, with currents flowing under and behind each other to weave into a body of water.

Miasma’s Changes never got much distribution, being on tiny and sometimes inconsistent Lethal Records, nor did it fit into what people expected. At a time when European metal was surging ahead with fast melodic material, this Changes combined doom metal with primitive American-style death metal like Morpheus Descends or Baphomet. With its heavy vocals and dark cadenced approach it made stuff like Entombed sound cheerful.

Like German heavyweights Atrocity, Miasma was calibrated incorrectly for what the audience wanted, but the band knew how to make crushing metal, more in the style of Grave and Uncanny than the At the Gates and Therion more delicate fare. Using trudging verses and choruses that seem to be from familiar memories of years past now forgotten, Miasma created music that was both intuitive and surprising. Even more, it worked in melody, but used it more like doom metal bands — think Candlemass here — who use the sweetness and light to accent the morbid and dark and make it all the more real.

Behind the scenes, this album influenced a wide range of people, but most of them were metal musicians. The fans never quite got it, other than a few hipsters in the early 2000s who wanted it for its collectable value. However, those who wanted to know how to make death metal that felt like a subconscious gesture, Changes remains a prized treasure.

http://www.youtube.com/watch?v=9IWVo8-M05s

5 Comments

Tags: , ,

Sammath – Godless Arrogance to be released in October 2013

sammath-godless_arroganceRipping high-intensity Dutch-German black/death metal band Sammath plans to release its latest work on Hammerheart Records in October of 2013. The album, entitled Godless Arrogance, will likely continue the Nietzschean-cum-Jack-London themes of this band: war, Darwin, struggle, death, misery and pain.

Best known for their 1990s melodic yet violent black metal release Strijd, Sammath emerged at a time when death metal was drifting into nu-core and black metal was spacing out like an aristocratic heroin addict into the territory of indie, post-rock and save the whales punk music. In contrast, Sammath brought a vision of humanity in constant struggle against its own stupidity and tolerance for the delusional, and expressed it in music that is equal parts knife fight and architectural grandeur.

Godless Arrogance will be Sammath‘s first release on worldwide Dutch metal conspiracy Hammerheart Records, and will continue the legacy of the past four Sammath releases with more streamlined music with a better integrated riff vocabulary and more selective but correspondingly intense use of melody. Expected to result in mass murder and spontaneous immolation of hipsters, Godless Arrogance includes the two tracks below in their final form.

No Comments

Tags: , ,

Classic reviews:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z