Wander over to the pre-order page for Autopsy’s The Headless Ritual, where the new album recorded this summer can be ordered in advance of its release, so that you get it as soon as possible after it slips off the presses and zooms through the mails, smelling of new plastic and old gore, into your sweaty little hands.
At that point, our editorial statement emerged as follows:
During the early days of death metal, Autopsy were distinct because of their ability to use multiple tempi per song, to employ harmony and theme, and to use seemingly sloppy, grotesque, overflowing riffs to convey themes of death, suffering and disease. Their career arguably peaked with 1991′s Mental Funeral, an album of many varied songs of different lengths and song structures, presenting a strange landscape for the listener to navigate.
Last year’s Macabre Eternal showed Autopsy returning to the sound of old school death metal and the abrasive aesthetics that came with it, but not quite entering the realm of the weird where obscure song structures and riffs contribute to mood as much as they did on older Autopsy releases. Although that album showed promise, its somewhat consistent approach created a uniform intensity which resulted in much of the content getting lost on some ears.
Macabre Eternal showed Autopsy returning to their older style in a faithful and stalwart form. Let’s hope for The Headless Ritual not only returning to form, but resurrecting the type of content and artistic attention to detail and purpose that made older Autopsy stand head and shoulders above the crowd.
Early death metal band Master plan to release a new album on September and have a new label to host it on, having signed a deal with German extreme music label FDA Rekotz for what will be the band’s 12th full-length release.
“We are proud to be working with Rico and FDA and look forward to a solid future together. Watch for the next masterpiece to be unleashed on September 27th, 2013,” said Paul Speckmann, founding member and core of this band with oft-shifting personnel.
Combining the rhythms of punk music with the riffs of heavy metal, Master contributed an early style of death metal to the genre as it was forming and continued to be influential throughout the development of the genre. Many musicians point to Death Strike’s Fuckin’ Death or Master’s unreleased 1985 album as part of the origin of this genre, which became incarnate after Discharge’s 1982 album paved the way for technique and the following year Slayer, Bathory and Hellhammer released albums applying those ideas to metal.
This summer, Master embarks on a True Underground Warriors Tour with Entrapment and others. More details will be posted on the Master website at master-speckmetal.net/live.html.
Almost two weeks ago, Slayer guitarist Jeff Hanneman died of liver failure in a California hospital. However, like any event involving people who have done important things, his death sent ripples throughout the world.
First, Slayer fans worldwide realized that Slayer is now de facto dead. Formed of the core of Hanneman, Araya, King and Lombardo, Slayer was based on the merging of those talents. It probably cannot survive without any particular one. In addition, although King and Araya made many important contributions, much of the material that gave Slayer character above and beyond its hard and fast style came from Hanneman. Without him, a vital part of the equation will be missing, and it could be one of the parts that made Slayer much more than just their technique.
Second, Slayer is a form of mascot and leader for the underground metal movement. Although this is rarely acknowledge, Slayer was a speed metal (Metallica, Testament, Rigor Mortis) band who used the tremolo strum to make what was musically closer to death metal, evolving from their more “heavy metal” beginnings to an angular and disharmonic nightmare of chromatic riffs and centerless solos. Alongside Bathory and Hellhammer, Slayer invented the modern style of heavy metal, and by their contributed contributions, gave it guidance and a figurehead. When death metal bands got lost in songwriting, they turned to Slayer; even black metal and grindcore bands lift riffs from that vital back catalogue. Slayer is a huge musical force but now is firmly entrenched in the past, not the present.
Finally, Slayer is a symbol of all that is metal, with Hanneman at the front as the innovator of brooding classics such as “South of Heaven” and “At Dawn They Sleep.” His poetic approach to riffs, songs and lyrics made metal rise up from being another genre about personal drama and getting laid, and turned it into a mythological force worthy of J.R.R. Tolkien, William Blake, Mary Shelley, Bram Stoker or John Milton. Punk bands wrote about the decay of society, and hard rock bands like Led Zeppelin wrote about Hobbits and Satan, but Slayer put them together in the same way Black Sabbath’s “War Pigs” did: a mythology underlying existence that explains the shared perceptual confusion that causes us to cause our own problems.
This is why Slayer is important to metal, and to the larger culture beyond it, and why Jeff Hanneman is more than just an excellent songwriter and guitarist. He is part of what made metal, and what made metal a legend. His passing is the end of an era, and the call to us to begin a new one.
With that in mind, we present a compilation of statements by people involved with music who wanted to speak a few words about the power of Jeff Hanneman, Slayer and the importance of those to metal. Some of the following are cribbed from Faceplant or other websites, but all are authentic:
Growing up in a small, West Texas oilfield town, your options were limited: you became a football hero, a juvenile delinquent, or you turned to some form of escapism. Comics, books and most of all, music were my saviors. They became my bulwark against impending suicide. In my early years, Kiss, Judas Priest and AC/DC were my mainstays. Then around ’79 a couple of older friends introduced me to the “Second Wave of Punk”. The Ramones, Sex Pistols, The Stranglers, DEVO, these became my new gods, but I never lost my love of those heavier bands. Living in rural Texas and years before the internet, you were always a few steps behind. You might stumble across a magazine, someones visiting older brother from college, or just word of mouth. So I slowly became aware of the already in full swing Hardcore scene. I quickly developed an affinity for this new aggression: Black Flag, Circle Jerks, Minor Threat, Misfits and Bad Brains. This, to me, seemed the pinnacle of extreme music.
Even in the middle of nowhere, where few of either existed, I noticed the segregation of Metal vs Punk. Though Metal was a guilty pleasure, being young and stupid I still took pride in ridiculing the Metalheads as often as possible. Around the mid-80’s things took a strange turn. The lines were blurred. I was already a young adult slaving away in an oilfield job, on my first marriage with an infant son. My only connection to underground music came every Saturday night at 10PM courtesy of 2 hour radio show on KOCV, the Odessa college student ran radio station. I don’t remember the name of the show, but I do remember the host, Danny Hardcore, a local skate punk with a penchant for all things heavy. It was then I first heard the insanity of Suicidal Tendencies, SOD, Voïvod and….Slayer. And those lads from Huntington Park, CA basically scared the shit out of me. Faster than anything I’d ever heard, the pentagram logo that shook my Southern Baptist sensibilities, and the insanity surrounding everything you could get your hands regarding their fanatical “Slaytanic” following.
I was hooked.
And one of the major catalyst behind this explosion of sound so completely new and unrelenting was Jeff Hanneman. From everything I could learn about him, he was a kindred spirit. I feel totally confident in saying that Metal, Hardcore, Thrash and about 20 other genres of extreme music would not have existed today without Jeff.
When I look back at all of my favorite Slayer songs, I see his hand. Metalheads, especially those that think of themselves as the Stewards of All That Is True, take a particular perverse satisfaction in proclaim everything after “insert favorite here” in the Slayer catalog as shit, but I believe time will tell a different tale. The man will be sorely missed. Whether completely cheesy or in bad taste, tonight I will lift my glass high, raise a toast and give a mighty HAIL to a fallen Hessian who made a difference, and who carved an indelible mark into the history of a music I hold dear.
I am still at a loss for words over Jeff’s passing. Slayer along with Metallica, Raven, Anvil, Venom, Overkill and others were some of the early bands I fell in love with and really got me started into the underground metal scene. The first time I saw Slayer live was in 1985 on the “Hell Awaits” tour at Lamour’s in Brooklyn, NY. They completely blew me away with the speed and intensity of their music. In 1986 I saw them on their ‘Reign in Blood” tour in Trenton, NJ at City Gardens and I dove off the stage during ‘Chemical Warfare” and almost broke my back as I couldn’t walk for over 3 days!!! Slayer has always been one of my favorite bands and hands down in my opinion they are easily the best underground metal live band that I have ever seen and I have been going to shows since 1984. I never met Jeff, but his bands music have been a big part of my life and will be for years to come. Hell when I need some pick me up music at the gym….it is “Hell Awaits” time. I never got to meet Jeff, but his music will live on with me for the rest of my life and Jeff RIP my man and thanks to you and your music for taking me along this incredible ride of underground metal music which will be planted in brain for as long as I live and your band and music were big part of in the beginning and are still a big part today….”FUCKIN SLAYER”…….
– Chris Forbes, Metal Core Fanzine
Thrash Metal lost one of it s best man! The Hell awaits – tour 1985 (where the pic with drunk me is from) was one of the most important tours in our career – thanx for the great memories Jeff! What a loss for the scene! Rest in Piece brother! – Schmier, Destruction
For a lot of us Metalheads back in the late 80’s and early 90’s, Slayer was like benchmark which we set by default and compared (mostly times unjustly) other bands for their intensity,song writing abilities and aggression.The first 5 albums by this legendary band were always placed right on top,any beer table conversation had to veer its way around and come back to Slayer,the reference point always hovered around them and for a lot of kids who were into Hard Rock or Heavy Metal, the threshold moment of crossing over into the heavier,darker and more extreme realms had to be with “Hell Awaits” or “Reign In Blood”. Those who passed the test were branded for life,”Slayer” permanently tattooed on their foreheads,the passing of Jeff Hanneman is the end of an era and unfortunately Slayer never will be the same again,Jeff will forever be immortal in the hearts of the fans, may the riffmeister rest in peace. – Vikram/Dying Embrace, India
Jeff Hanneman shouldered the revolution of heavy music with a unique and original approach on the instrument, influencing a horde of musicians to follow in his tracks at the same time. His riffs, lyrics and songs are some of the band’s best and the genre’s fiercest. His contributions are enormous and should be celebrated and hailed! – Eric Massicotte
What separated Jeff from the rest of the metal pack was his rhythm technique, his songwriting, and that for which he will be most remembered—his riffs. But his frenzied, turbulent solos were also an important part of the package. They weren’t about showing off. They served a greater artistic purpose—to sonically channel the qualities of Slayer’s lyrical content. They were sometimes abrasive, sometimes jarring, and at times disturbing. They had less in common with typical rock-guitar virtuosos than they did with the sonic collages of avant-garde improvisers such as Derek Bailey and John Zorn, the latter of whom is a self-professed Slayer fan who has cited the band as an inspiration. Though Jeff’s wider, more holistic guitar approach didn’t garner the same accolades as some of his more technically proficient contemporaries, Jeff never waivered from his original approach. And the fact that he continued to attack his guitar with relentless abandon—as though he were a linebacker on his beloved Oakland Raiders (whose logo adorned some of his signature ESP guitars)—is without a doubt a big part of why Slayer’s music will always be deemed one of metal’s high watermarks.
If you’ve ever seen Slayer live, you’ve felt exactly what propelled the band’s popularity past those of Venom and other classic-metal influences. In fact, prior to Hanneman and his bandmates’ groundbreaking albums—including 1986’s bar-setting Reign in Blood—many believed metal could never reach such levels of popularity and fan dedication. Before Slayer, metal had never had such razor-sharp articulation, tightness, and balance between sound and stops. This all-out sonic assault was about the shock, the screams, the drums, and—again, most importantly—the riffs. And it was Hanneman who brought so many of the band’s timeless riffs.
– Alex Skolnick, Testament
The only other band that completely changed my life. Without Venom or Slayer there would be no Kult ov Azazel or any of the music I have created since my teenage years as they were the first two bands I discovered and I was a rabid fan. As crazy as it will sound those two bands molded me into who I am today. I can remember walking around my Bartlett neighborhood with a ghetto blaster and blaring this album at top volume. Even listening to this brings back a flood of those memories. – Julian Hollowell, Kult of Azazel, Von
I need to shed some more life on one of the greatest guitar players that has walked this earth and that has truly inspired what i do today.Jeff Hanneman R.I.P. I walked off stage in Paris France on Thursday night to find out that one of my hero,s was no longer with us.He was the heart soul and attitude that was Slayer.Many people would often ask to describe my guitar playing and i would say Hanneman meets Denner.He was the real deal not this rock star poser type unlike Mr King.Slayer dies for good with Jeff and i have not stopped thinking these past few days while in Europe how much his music has meant to me.Last night Johnny from Unleashed made a honorable toast to Jeff Hannaman and i tell you it really chocked me up.Not many greats in the world today and he was one of the rare breed that created his own path in this life.Long live Jeff Hanneman his spirit lives on forever. – Alex Bouks, Incantation, Goreaphobia
Swedish modern metal band Hypocrisy will re-issue their classic first two albums, Penetralia and Osculum Obscenum, as a CD box set for maniacs who remember when this blasphemous band were death metal.
In particular, Penetralia set the standard for aggressive riffing and an album format that many would follow, in which a series of intensely brutal songs peaked in a more epic song, and then resumed in order to fade out into a more intricate and melodic instrumental.
Hypocrisy also innovated the production of Swedish-style melodic metal, giving it an approach to texture and dynamics that is imitated to this day. In addition, the Hypocrisy band members created a black metal band called The Abyss whose album The Other Side became the template for melodic black metal after the second wave.
While it is great to see these two classics get re-issued, die hard fans are wondering if these CDs will remain in print in some form, and when or whether the material from the Inferior Devoties and Pleasures of Molestation EPs will be reissued, as this is some of the band’s strongest material.
Each CD contains bonus material in the form of live recordings of some of the classic tracks featured earlier on the album. As part of the classic death metal revival that started in 2009, this re-issue continues a postmodern habit of honoring the past when our lesser replacements burn out on us.
The box set will be released on July 12, 2013 on Nuclear Blast.
CD 1 – Penetralia (remastered + live bonus)
1 Impotent God
2 Suffering Souls
4 Jesus Fall
5 God Is A Lie
6 Left To Rot
7 Burn By The Cross
8 To Escape Is To Die
9 Take The Throne
11 Left To Rot (live)
12 God Is A Lie (live)
CD 2 – Osculum Obscenum (remastered + live bonus)
1 Pleasure of Molestation
2 Exclamation of a Necrofag
3 Osculum Obscenum
5 Black Metal (Venom cover song)
6 Inferior Devoties
7 Infant Sacrifices
8 Attachment to the Ancestor
10 Pleasure Of Molestation (live)
11 Osculum Obscenum (live)
12 Necronomicon (live)
One of the first bands to combine high-energy grindcore like Terrorizer with simplified death metal like second album Entombed, Exhumed created an audience for their unique and gore-splattered approach. After years apart, they have returned and are embarking on a European Takeover to support their latest release, a song called “The Beginning After the End” on the Patlapse Tribute Compilation, a tribute to Relapse staffer Pat Egan.
Vocalist Matt Harvey said, “We’re psyched to be back in the olde world for the Summer, exploring every available nook and cranny of Europe and subsequently filling them with empty beer cans, barf, and a hellish racket. We’re here to spread the word about our upcoming record that’s coming out in August, play some killer underground festivals, and enjoy some more flavorful beer for a change. It’s also killer to finally be in Europe with our ever-present staff physician, Dr. Philthy, which will allow us to do our full stage show in Europe for the first time, so it should be a good time for all in attendance. We’re here for quite a while, so we may even accidentally acquire a little class and culture. But probably not. See you all in the front!”
Exhumed will release a follow-up to 2011’s All Guts, No Glory as a full-length set for release via Relapse Records later this summer. The album was recorded at Arcane Digital Recording in Chandler, Arizona with Ryan Butler (Misery Index, Landmine Marathon, Phobia). All drums were tracked at Trench Studios in Corona, California with John Haddad (Hirax, Abysmal Dawn, Intronaut). Commented Harvey: “‘The Beginning After The End’ is something we did during the latest recording sessions, so it will give folks some idea of the sound and vibe of the new record.
EXHUMED European Takeover 2013
5/08/2013 The Exchange – Bristol, United Kingdom
5/09/2013 Star And Garter – Manchester, United Kingdom
5/10/2013 Franceed Zepplins – Cork, Ireland
5/11/2013 The Pint – Dublin, Ireland
5/12/2013 Voodoo – Belgiumfast, United Kingdom
5/13/2013 Audio – Glasgow, United Kingdom
5/14/2013 Trillians – Newcastle, United Kingdom
5/15/2013 The Hairy Dog – Derby, United Kingdom
5/16/2013 The Garage Upstairs – London, United Kingdom
5/17/2013 May Day Mosh Day – Stockholm, Sweden
5/23/2013 Dna – Brussels, Belgium
5/24/2013 K19 – Kassel, Germany
5/25/2013 Extreme Fest – Hünxe, Germany
6/01/2013 Kulturfabrik – Lyss, Switzerland
6/02/2013 Korigan – Luynes, France
6/03/2013 Le Saint Des Seins – Toulouse, France
6/04/2013 Estraperlo Club – Badalona, Spain
6/05/2013 Tba – Zaragoza, Spain
6/06/2013 Sala Barracudas – Madrid, Spain
6/07/2013 Tba – Valencia, Spain
6/08/2013 Sala La Trinchera – Malaga, Spain
6/09/2013 Open Air Areeiro – Areeiro, Portugal
6/10/2013 Tba – Ponferrada, Spain
6/11/2013 The Class – Gijon, Spain
6/12/2013 Tba – Donosti, Spain
6/14/2013 Tba – Paris, France
6/15/2013 Tavernu Du Theatre – La Louvière, Belgium
New York Death Metal band Incantation embark on a US tour in support of last year’s Vanquish in Vengeance starting in July.
Released last year on Listenable Records, Vanquish in Vengeance features over 50 minutes of the band’s trademark dark and occult death metal. Recorded at the infamous Mars Recording Compound with Engineer Bill Korecky and mixed and mastered by the legendary Dan Swano at Unisound studios, the album explores the genocidal nature of religious conflict.
July 18 – TBA
July 19 @ The Ottobar – Baltimore, MD w/ Acheron, Deceased Visceral Disgorge
July 20 @ Fete – Providence, RI w/ Acheron, Bog of the Infidel, ChurchBurn
July 25 @ Magic Stick – Detroit, MI
July 26 @ Brauerhouse – Lombard, IL w/ Cardiac Arrest
The band commented, “July marks a number of shows for us throughout the States. We’re poised to devour your souls on our ‘Will of Vengeance’ tour. Label mates and brothers in battle Acheron will join us for the first wave of carnage. You’ve been warned!” This release and more band merch can be found at the band’s newly relaunched webstore at www.incantation.com.
Classic Florida progressive death metal band Nocturnus, famous for spidery riffs interlaced with outer space keyboards, dominated the metal world’s appetite for bizarre and uncompromising music back in the 1990s, but their music is now out of print.
Their label, Earache Records, wants to re-issue the Nocturnus classic Thresholds, but there’s a catch: the fans have to pay for it in advance. Unlike the usual underground pre-orders, where individual fans order the album and when there’s enough cash the label takes it to print, Earache is using a Kickstarter page to launch the funding request.
If demand is met, Thresholds will be pressed on 100 clear, 200 green, 300 purple and 400 black LPs with the recording taken from the original DAT master. For more information, visit the Nocturnus Thresholds re-issue Kickstarter page.
And so, after a long time of thinking he was immortal, we have to say goodbye to Jeff Hanneman and hope that all the doubters are wrong and there’s some metal Valhalla where he’s drinking Heineken and exploring all those solos that he did not have the energy on earth to discover.
In the traditions from which I come, the way we handle death — which we handle badly, if at all — is to describe the meaning of the life. This enables us to get away from the person, who is either nothingness or eternity per the rules of logic, and instead look at what they fought for.
In other words, what drove them to engage with life and reach out every day, which are things most people don’t do. Most of us just “attend” to things, like jobs and families, and hope for the best. The giants among us are driven onward by some belief in something larger than themselves or than the social group at large. They are animated by ideas.
For Jeff Hanneman, the idea was both musical and a vision of what that music should represent. He peered into the dystopia of modern times with one eye in the anarchistic zone of the punks, and the other in the swords ‘n’ sorcery vision of a metalhead. When he put the two together, he came up with something that makes Blade Runner and Neuromancer seem gentle.
Having seen this, he came back.
“I have seen the darkened depths of Hell,” the chorus begins. For Hanneman, his sin was too much sight. He saw the failings of his present time, like a punk; he saw how this fit into the broader concept of history, like a metalhead. Putting the two together, he saw darkness on the horizon encroaching and assimilating all it touched.
To fight back, he created music for people such as himself, youth adrift among the ruins of a dying empire. He created music that made people not only want to accept the darkness, but to get in there and fight. Not fight back necessarily, but fight to survive. He helped us peel away social pretense and reveal our inner animals which have no pretense about predation and self-defense, unlike civilized people. Hanneman prepared us for the time after society, politeness and rule of law fail.
This was, in addition to the shredding tunes, his gift to the world: a vision of ourselves continuing when all that we previously relied on has ended. Like all visionaries, he was before his time, and like many, did not live to see his vision realized. However, for millions of us, he gave us hope.
It is also worth noting that Slayer renovated heavy metal in such a way to set its highest standard. In any age, Reign in Blood, South of Heaven and Hell Awaits will be a high point for a genre. They fought back against the tendency of metal to become more like the rock ‘n’ roll on the radio, and to lose its unique and entirely different soul. Hanneman and his team pushed forward the frontier for metal, and pushed back the assimilation by rock music.
In the wake of Hanneman’s death, we are without a king, so to speak. The elder statesman role passes to a new generation, and they must find in their souls the bravery and fury to create much as Jeff Hanneman did, a standard and a culture based in a vision that surpasses what everyone else is slopping through. We are poorer for the loss of Jeff Hanneman, but our best response is to redouble his efforts, and push ourselves forward toward a goal he would respect.
Autopsy returns to death metal on July 2, 2013, with a new full-length album entitled The Headless Ritual.
Famed for their contributions to late-1980s death metal and its continued guidance through the 1990s, Autopsy arose as a band playing a chaotic, filthy, organic sounding form of death metal, which was in contrast to the more rigidly technical “Morbid Angel” inspired bands of the day. In many ways, Autopsy was a bridge between the more structured death metal and the more chaotic but more melodic bands from the grindcore world like Carcass and Bolt Thrower.
Fresh from the studio, Chris Reifert (drums) was able to give us a few words on the nature of the new album, its style and the future for Autopsy.
You’re in the process of recording The Headless Ritual. How do you see this album as continuing and differing from your previous works?
Actually it’s complete and we’re just waiting for it to come out at this point. Musically and lyrically it’s pretty much Autopsy. No major changes, but no rehashing of old ideas either. It’s a big nasty chunk of death metal, simply put.
Will you be using the same production as previous albums for The Headless Ritual? Can you tell us how it sounds so far? Will it be more punk-influenced, or more metal-influenced, than Macabre Eternal?
We went with the same method of recording as we always have, but this one sounds a bit bigger than Macabre Eternal, I dare say. And again, it sounds like Autopsy. There’s fast stuff, slow stuff and all the weird stuff in between.
At deathmetal.org, we’re naturally looking forward to the new Autopsy. Not only is it another of metal’s legends come back to life in the post-2009 old school metal revival, but it’s also a personal favorite that we believe has potential to revive the intensity of death metal.
Furthermore, this album also promises to bring back the thoughtful and the odd that defined the genre so much during its early days. It was a frontier then and the frontier may be re-opening now. As Chris says, “There’s fast stuff, slow stuff and all the weird stuff in between.” This is a welcome break from the all-ahead-go clones that have made death metal seem one dimensional.
The Headless Ritual will show us Autopsy at the peak of their ability and returning in fine form and fine spirits, as these answers show us. Thanks to Brian Rocha at Fresno Media for his help with this mini-interview!
One of the original death metal bands, Morpheus Descends made heavy old school death metal during the hazy transition between 1980s and 1990s styles, preferring a slower and resonantly crushing approach to their percussive music just as most bands were opting for faster and more technical work.
With 1992’s Ritual of Infinity, the band showed the culmination of their early demos and live appearances in an album that came to define not only old school death metal, but become the example of the New York Death Metal sound: industrial textures, crushing rhythm changes, primitive riffs in complex combinations.
Many of us who uncovered Suffocation’s Effigy of the Forgotten remember seeing Terrance Hobbes wearing a Morpheus t-shirt. As it turns out, there was another Morpheus who wanted the name; history doesn’t mention them much. Morpheus Descends kept going and influenced all of American and European death metal.
After Ritual of Infinity, Morpheus Descends went on to release two more EPs of a technical nature before disbanding. Now at the Martyrdoom II Festival, where Morpheus Descends will perform at a club called Paper Box on 17 Meadow Street in Brooklyn on June 29th, we will see what this band has been up to in the intervening years.