Not to be confused with the Incubus that Mike Browning played in between his tenures in Morbid Angel and Nocturnus; this Incubus (who changed their name to Opprobrium almost a decade later) was formed by Brazilian immigrants to the USA and fits well with the plethora of bands halfway between extreme speed metal and early death metal in the late 1980s. They’re probably most notorious these days for their pro-Christian, almost crusade oriented lyrical themes; as far as I know they were one of the first to bring such into extreme metal. Historical trivia aside, Relapse’s reissue showcases some remastering work that generally makes the album sound sharper and treblier and appears to be based on the original, as opposed to the 1996 edition with rerecorded vocals.9 Comments
Article by David Rosales
Published as an EP last year, Omens of Perdition is a minimalist death metal act that could easily draw comparisons with Desecresy. They share the spacious (and spacey-vortexy) approach to an Incantation like style through the sound of the Finns. When we go into particulars, however, the differences make it clear that resemblances are mostly a matter of general sound preferences, not methodology.
While Desecresy as most perfectly materialized in Stoic Death gives us a Finnish death metal that depends on high-note, short melodies as hooks with laid-back riffs for support, meat and almost harmonic accompaniment, Condemner goes through no such hoops, cutting to the chase, delivering an unrefined but naturally compelling train of dark thoughts. Riffs in Omens of Perdition are essentially melodies with few notes that constitute the bare-bone themes of the music, with nothing else but a bass unison and soft-punch, minimalist blast-beating drums.
These drums are played lightly but insistently, providing for emphasis on dynamics and accent in an application somewhat reminiscent of Paul Ledney’s style on Dethrone the Son of God by Havohej without the occasional flair. Rather than complement each other, the instrumentation in this music forms a total unison, even the percussion. Intensity varies evenly, changes affect all instruments towards the same side of the spectrum. When arriving at the slowest and vastest, the music may even exhibit silences on the drums, while huge guitar power chords roar as the drums only mark accents, reminding one of certain parts of Skepticism’s Stormcrowfleet.
Songs alternate thematic riffs that run over mirroring, enhancing drums, with scantly-clad doomy statements covered by a mantle of skeletal power chords. To the detriment of this otherwise quite satisfying music, what effaces the identity of individual songs (and of the release and band itself) is the complete lack of obvious climaxes. We can also take this as both the strength and willing limitation of Condemner, which presents a clear, solid monolithic picture. This steadiness may allow the author to draw an abstract parallel with J.S. Bach’s fugal writing for the keyboard or chorales.
While there doesn’t seem to be any particular goal in Condemner Omens of Perdition, the straight-forward treatment is accompanied by an inconspicuously dexterous development of themes. This in itself is more than could be wished as a saving grace. It becomes both a protection of higher music from the pop-hook addicts and a mystical gateway which opens up through direct intuitional experience to he who is listening.9 Comments
Not to be confused with the Mortuary on the Dark Legions Archives from Mexico, this Mortuary started as a contemporary of the great Massacra, although they didn’t get a studio album out until 1996. Nothingless than Nothingness is separated from even that by 20 years, so the usual rhetoric about evolving or dramatically changing bands applies, but this band’s early material may very well have been inspired on some level by Massacra’s works; at the very least, Final Holocaust and similar was pushing Mortuary towards velocity and intricacy of individual riffs over minimal backing.
To get it out of the way – Nothingless than Nothingness has very little to do with that style, and instead takes cues from pre-Slaughter of the Soul melodic death metal; while less obvious about their melodic influences than most, material on here reminds me of… well… Thy Black Destiny, of all albums. Sacramentum’s 1999 effort may have seemingly little to do with this recording, but its similar use of monophonic melody, variety of texture, hints of contemporary black metal instrumentation, and gradual gestures towards a more rock-oriented form of songwriting (such as frequent breakdowns and vocal emphasis) make for an eerie similarity, if far from an exact one. This is backed up by a band that is technically accomplished in the pedestrian variety that I’ve long since come to expect from modern death metal. One thing that did stand out, however, the vocalist, who showcases his proficiency in adding dimensions to the songs by varying up his rhythm and the textures of his growls; the way he interacts with the drummer, in fact, is probably the strongest point of this album and something other death metal bands could learn from.
Nothingless than Nothingness arguably ends up ahead of the pack for at least having one superlative element worthy of study. Unfortunately, the compositions are afflicted by a few of the problems endemic to modern metal music. First of all, most of these tracks showcase haphazard breakdowns that enter abruptly and contribute little to the ideas of the song. This issue is exacerbated by the fact that Mortuary uses extended sections of blast beats to good effect, so hearing the band dwell on their weaknesses is disheartening. The other problem is that even though many of the individual sections are musically interesting, they’re arranged in a fashion that is attention-deflecting at best and essentially random at worst. If Mortuary put more effort into making coherent arrangements, they’d be a serious force to be reckoned with, but the lack of organization is such an enormous blow to an otherwise promising and well done album.
Mortuary’s latest album will release officially on January 18th, for those who are still interested.1 Comment
Behemoth is still promoting their last album (The Satanist), despite rumors of the next. To this end, the band is going on a lengthy “Blasfemia Amerika” tour where they play the album in its entirety. There are two major legs to this tour – the European portion that is described on Behemoth’s CSS transform heavy official website, and a second part in the United States that is just making its way to major news sites as we speak. Neither supporting lineup is particularly interesting – in Europe they’ll be supported by Abbath, Entombed AD, and Inquisition, while the USA will have to deal with Myrkur. For those who absolutely need this in their lives, the following dates have been announced in the USA:
Apr. 21 – Philadelphia, PA – Theatre of the Living Arts
Apr. 22 – New York, NY – Webster Hall
Apr. 23 – Boston, MA – Royale
Apr. 25 – Montreal, QC – Virgin Mobile Corona Theatre
Apr. 26 – Toronto, ON – The Phoenix Concert Theater
Apr. 27 – Detroit, MI – St. Andrews Hall
Apr. 29 – Chicago, IL – Thalia Hall
Apr. 30 – Minneapolis, MN – Mill City Nights
May 1 – Lawrence, KS – The Granada Theater
May 3 – Denver, CO – The Gothic Theatre
May 4 – Salt Lake City, UT – The Complex
May 6 – San Francisco, CA – The Regency Ballroom
May 7 – Santa Ana, CA – The Observatory
Perhaps it was to be expected from the quality of their earlier works, but Sadist’s Hyaena was one of the high points of what I listened to in 2016. With that in mind, I took the opportunity this Italian band provided to perform an email interview, with some hope of getting some insight into what makes Sadist themselves.
The band’s vocalist (Trevor Nadir) fielded my questions, discussing the past, present, and future of the band and giving us a better picture of what went into Hyaena in particular.
You formed in 1990, right in the middle of the first major flowering of death metal. What was the metal scene in Italy like back then?
TREVOR: Happy Metal Year!
The 90’s were very important for the Death Metal. Death, Cynic, Cannibal Corpse, Carcass, Deicide, Obituary, Morbid Angel and many others have contributed to birth and consolidation of the genre. In our country there were many Death Metal bands. It was certainly much more difficult, the correspondence with the other bands was only through physical mail. I’m very close to Death Metal of the 90s, for me the music stopped at that time, have a nostalgic and I would go back to those years. Sadist was the first band in Europe to add keyboards to Death Metal, we have always been a band that likes to experiment, keyboards were a strange thing, especially in those years, but we are very proud, this is our trademark, of which we are proud of still!
This is a more obvious question, but who are your influences? Have they changed with time?
TREVOR: Each of us listens to different music, perhaps for this reason, the sound of Sadist is contaminated with various styles. Sadist is absolutely a Techno Death Metal band, although in our sound there are other inspirations too: We all love Italian 70’s prog and ethnic music as well. In the past we experienced may ethnic instruments but the new album Hyaena, although it may be misleading, this is not an album about Africa, but on a concept centered around a ruthless predator, who lives in Africa.
We are professional people, we like to be prepared before to put out a new album and we always need to be satisfied of it, first of all. Sadist is a band devoted to technical, Tommy, Andy and Alessio are very prepared musicians, people who have dedicated their lives to their instruments, and very serious guys with one and only personal goal: to always improve. The technique is certainly important but, above all, we must think about the songwriting, the technique must be functional to the music and not an end in itself.
Building off the previous question – how has it changed in the last 25 years?
TREVOR: 25 years ago it was different, it was definitely difficult. Today we are doing interviews via email, on a day we can connect several times around the world, work remotely is something normal. Think of how hard could it be that only a few years ago, can reach somebody or something. However there is also something that works worse, in fact I think that today, it’s all too much and take away, music, bands are increasingly less durable and is no longer the time for rock stars. There is a great saturation and the band, especially the younger ones make great effort to stand out, it is increasingly a question of money. This is not a good time, we hope that the trend changes.
What inspired you to make a concept album about hyenas?
TREVOR: I always take care of the lyrics and the concept album of the album too. I’m a convinced naturalist, I always loved and respected very much the wild hyena. It’s a skillful hunter, smart, and very strong, many people believe it is only an animal that feeds on carrion, a thief, a street sweeper, but this is a myth, the hyenas are ruthless hunters, animals with incredible strength and intelligence, adaptable to any situation. Inside text can be found habits of the herd, hunting tactics, ancient legend which tells that the hyena is ride from the devil, the brutal nature of the animal devour their prey alive. Our music is brutal and the combination with the hyena was something natural, we are talking about an extremely brutal animal. We were lucky enough to pose for new photos with a skull of a hyena, who died in 1888, and we have thank for that all the staff of the Museum of Natural History “G. Doria” in Genoa, Italy.
I love Hyaena…
Hyaena strikes me as, at least in part, inspired by recent developments in metal and progressive music (although I can hear some of this on the previous album as well). Is this your intent? Any particularly recent musical influences of interest?
TREVOR: I would say no, simply Season in Silence was supposed to be a springboard to do better next time and we believe that Hyaena is now the most mature album of the band. Every Sadist’s album has different sounds, We are a band that remains faithful to experience, which is why our albums sound different from one another. Season in Silence is colder, both for the lyrics and the music, with Hyaena instead we resumed ethnic and tribal instruments, close to Mediterranean tradition. It’s hard to make terms of comparison… Although, as mentioned before, We are certain that this is the best chapter of the band up today.
Hyaena is a very Sadist album, containing our Death Metal matrix, but at the same time it was our intention to go back on the tribal and ethnic sounds, already used on albums like Tribe and Sadist. On Hyaena We wanted to get to the bottom and We’ve asked for help from Jean N’Dyaie, a great musician, a talented African percussionist. We simply wanted to bring to African culture, their sounds, their habits, We need all of this. Tommy has played many instruments linked to African tradition, like the oud and the santur, We did a thorough search in the traditional sound. Hyaena is a Death Metal, brutal, tribal, ethnic, Mediterranean and terribly Sadist album!
Since you’ve had a keyboardist from the beginning – how do you go about adding keyboard parts to your music?
TREVOR: As mentioned earlier, Sadist born with keyboards, this is our strong identity. Tommy is now known, as the musician playing two instruments simultaneously. It’s an incredible musician. Needless to say, many songs take ideas from the structure of the keyboards, the initial ideas on which is built the structure of the song. We could not think of Sadist without keyboards. We are then to be honest these keyboards are the instruments that characterize the disturbing and horrific soul of our band.
Many of the tracks on Hyaena avoid merely using simple verse/chorus structures. How formal/planned is your composition process these days?
TREVOR: We are a Techno Death Metal band, surely, it is true, however, that we want to keep in mind that we are talking about the songs and the structure has its own importance. Get Death, a band that was technically prepared, but it certainly can not be said that they did not songs, the whole song is what you have to stay ahead. We must try to give space to each individual instrument, absolutely, but one thing is certain, the song is not to be raped.
As a corollary to that, has the way you approach songwriting changed significantly throughout your career?
TREVOR : Sadist is a band that works as a team. Each of us carries out our task to the best of its ability. We are ambitious people, who do not save. Music and lyrics are walking side by side, while Andy, Tommy and Alessio were busy writing songs, I was far from the chaos of the city, and I took care of the lyrics. Each of us is aware of what it takes to the band, the certain sound, the particular phrase.The initial ideas are dictated by Tommy and Andy, though, with the new album, the contribution of Andy was particularly important; really inspired when writing riffs. Our music is generated accordingly to the issues addressed in this way we can have the right impact.
What’s your favorite part of Hyaena? What’s something you think can been improved?
TREVOR: We are very happy about the new album. Sometimes it happens that at the end of the recordings you think something could be improved, this has not happened this time. We worked in our Nadir Music Studios, by taking the time needed, working with the necessary calm you can afford to do things in the best way. Personally I am very attached to “The Lonely Mountain”, it’s the first videoclip for the album, a song that’s very Death Metal.
What other bands, metal or not, do you guys listen to/think are worth following these days?
TREVOR: There are so many good bands, but as mentioned before, are tied to Death Metal. The 70/80’s and 90’s have spoken and given a lot to the music, it’s hard to think of something new. Despite the young guys, all play very well, maybe what it is not is their originality or at least their attempt at being original. Having everything at once is perhaps killing their genius.
A question lifted from another interview we had on our site: What do you attempt to capture, express or communicate through your music? Or is this even the goal of music? Is music communication or decoration? What is the goal of your art?
TREVOR: Making music is an art form, certainly. The messages may be different. Playing Death Metal means venting their anger inward on the system, but at the same time means telling, through the lyrics, your thinking or your mood, this also peer through the melodies of the instrument. The music is not only heard, it should be read, viewed, stored.
What are your plans for the future like? Any upcoming touring or new material we should know about, or is it too early to say?
TREVOR: As for the promotion, by the time we organized with our label Scarlet Records, we want to make a great team effort, people are professional and prepared, and there is great mutual respect. But a good promotion also involves the live set, which is why we started to try, are not canonical songs, and certainly not easy to play on stage, you need preparation. About upcoming releases, together with our booking agency (Live Nation) are working on the next steps, we received a number of proposals, even for a couple of tours in Europe, we expect to be on stage as soon as possible, we are excited by the idea of play the new songs. We want to do our best, in any event, provide a spectacular show to the public , carry the name Sadist as high as possible, and then who knows, reprint the first album and think of a new album. We’ll play at the next Hellfest, and other festival, and we hope to play in the USA; we have many friends and fans who are waiting for us.
If you have any closing remarks you want to make, now is a good time to write them.
TREVOR: For many years I documented the animal in question. I’m really interested, especially for its hunting techniques, although not underestimate the importance of the pack and hierarchies within the same. Animals are crazy, very strong, resistant, challenging and hunt prey much larger than them, and at the same time you also have to cope with other predators, much larger. In this respect, according to what was said earlier, is the number to make a difference. The hyena is a voracious predator that brutally tears apart its prey, an unwitting and innocent murderess. Not scavengers, nor thieves, and they don’t eat only carrion, absolutely not, indeed, are sometimes other animals, such as lions, hyenas to steal the hunted. For many years I document, through books, movies, stories. Television is a stupid means, however, in the 80’s and onward, it allowed me to deepen this interest, thanks to interesting documentaries.
The hyena is an incredible animal, charming, because it’s my favorite predator. We must dispel the myth, the hyena is not only a scavenger carnivore, it also feeds on carrion, but is a skilled hunter, which has a strong team spirit and where within the song applies a strict hierarchy, where the matriarch has absolute power. He saids that the devil comes in the night riding a hyena, and that that the hyenas dig up the corpses. After their death the eyes turn into stones, and Zambezi sorcerers, devourers of men, took the form of a hyena, they appeared to the dead, that they rose and were torn to pieces. Around the campfire, it consumes the sacrifice of a young goat, putrid flesh of zombies and fresh meat for the last dinner. All of this is “The Devil Riding the Evil Steed”.
All the best to you, staff and readers. Stay Brutal!
Trevor SadistNo Comments
It’s not the Chris Reifert enhanced Scream Bloody Gore, or the technically proficient (if structurally and aesthetically hollow) Human, but Relapse Records has remastered Leprosy and made it available on YouTube. Whether or not this digital remaster does the album any justice, it’s still a boost in visibility for what’s arguably the strongest era of Death’s career. Leprosy doesn’t bring the structural improvements that would’ve kept “Chuck Schuldiner was a Christian who died of AIDS” from becoming a favorite slogan on the old DLA, but its good production and apparent lack of pretensions towards being high art (compare to Death post-1991) make it difficult to hate. I feel the same way about Spiritual Healing, which is mostly cut from the same cloth and also receives a similar instrumental skill boost from James Murphy.25 Comments
It took some time, but despite the deluge of content constantly bombarding us and aspiring metal fans worldwide, we’ve been able to reach some level of consensus on 2015’s worthwhile metal music. Not to say that we’re in perfect harmony (If you’ve been paying attention, you’ll note that there’s some room for dissonance in our musical language), but the hope is, like what our recent reinspection of 2013 revealed, that some of this material remains interesting for more than the year it was released.
A wrathful reminder of what war metal should have been: a melodically-structured, chromatic holocaust to the god of this world. Jan Kruitwagen’s leads awe listeners and are optimally placed to hold attention just as each rhythm riff runs its course. An impenetrable mix rewards repeated listening to an album that may surpass Kruitwagen’s work on Sammath’s Godless Arrogance. March to Kaeck’s martial heartbeat or revel in shit.
Bolt Thrower meets ritualistic black metal. Rather than cathartic bending into climactic oriental leads, Desecresy diffuse tension by methodically varying into bizarre melodies with carefully placed, otherworldly leads to a steady metronome.
Mid-paced riffing in the style of Bolt Thrower builds tension with melody and drifts off into space with variations and well placed leads. Where Bolt Thrower themselves shoot a rifle at the ballon using rhythmic change to introduce another riff or dramatically bending the riff into a climactic, oriental short solo, Desecresy insert ritualistic blackened leads for dramatic contrast with the rhythmic, power chord riffing.
Review and Interview:
Rob Miller returns from blacksmithing to his previous metallic occupation with an album of catchy post-punk in Motorhead and Metallica song formats. Thankfully free of the Godsmack and other MTV influences present on Amebix’s swansong.
- Tau Cross – Tau Cross (2015), by Brett Stevens (July 1st, 2015)
An effective album of mid-paced death and heavy metal riffing. There is no psychedelic rock pretending to be Black Sabbath “doom” here. Highly structured; the opposite of the random tossed riff salads of most modern metal. This band takes an approach more like that of classical guitarists toward melding death metal with progressive rock, blues, folk and other influences: it mixes them in serially and adopts them within the style, rather than hybridizing the two styles.
In other words, most bands that try to sound like progressive death metal try to act like a progressive rock band playing death metal, or a death metal band playing progressive rock. Cóndor takes an approach more like that of musicians in the past, which is to adopt other voices within its style, so that it creates essentially the same material but works in passages that show the influence of other thought.
Reviews and Interview:
This vinyl 7” single features two new, well constructed death metal songs from one of from one of the few truly underrated bands in the genre. Those foresighted enough to purchase the identically-titled CD boxed set version received the band’s entire catalog in one of the rare remasters that sounds better than the original releases.
- Interview: Morpheus Descends (Rob Yench), by Brett Stevens (June 12, 2013)
- Interview: Brad Moore, who designed legendary Morpheus Descends cover, by Brett Stevens (October 9, 2013)
One last Motorhead album of mostly Motorhead songs. Nothing “new” is introduced for those in the non-metal audience who disdain metal and wish to feel intellectually superior to the common headbanger. The final work from a relentless machine of a band.
- Motörhead – Bad Magic (2015), by Gabe Kagan (August 31st, 2015)
- Slaughter of the Soul‘s 20th Anniversary of Awfulness, by Daniel Maarat (November 14, 2015)
- Listenable Records reissues Immolation – Dawn of Possession, by Daniel Maarat (November 19th, 2015)
- Order from Chaos – Frozen in Steel (2014), by Daniel Maarat (August 29, 2015)
- Carbonized – For the Security re-issue, by Brett Stevens (February 9th, 2015)
- Sammath’s debut now on Bandcamp, by Gabe Kagan (September 10, 2015)
- Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued, by Daniel Maarat (January 3rd, 2016)
- What thrived and what died from the 1990s (Part I), by Brett Stevens (September 3, 2015)
- Blasphemy – Fallen Angel of Doom (1990, 2015), by David Rosales (June 11, 2015)
- Obscura and Osho, by David Rosales (May 3, 2015)
Crusty death metal of the better than braindead Benediction but worse than Cancer category.
I’ve possibly heard too much but Hanger 18. I know too much. Although not as degradingly vulgar as Surgical Steel, Atom by Atom results in a pretty tacky affair. Vocals are as emotional as in the first album, except that in here they seem even more disconnected from the music as the music veers into some sort of progressive speed metal akin to Helstar’s. (Editor’s note: I liked it, but David Rosales was critical)
The band shows promise with their Unique Leader-style rhythmic riffing and soaring heavy metal leads. While being above par for technical deaf metal, aping a different one of your heroes every few verses doesn’t make for particularly enjoyable repeated listening.
Fredrik Nordstrom’s Arghoslent.
Technical power metal carnival music.
Nobody is allowed to edit themselves or turn on their bullshit filters in Steve Harris’s band anymore (Read a full review here).
Kvist meets the randomness of metalcore. Indistinct riffing and songwriting mix with pointless shoutout verses to past greats that makes listeners wonder why they aren’t just playing Sodom and Mayhem in the first place.
Where are the riffs?
Every Teutonic speed metal band gone Voltron.
The band has no need to repeat half the song just so the guitarist can get over his refractory period and play another solo. This is also an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads. This recording received two reviews in 2015.
A collection of interesting renaissance faire riffs written into songs that quickly wear out their welcome as metal, becoming RPG background music.
A few strong songs on a demo do not warrant a two CD set of Swedish death with limpid keyboards anticipating the steps black metal took towards mainstream goth rock in the late nineties.
This is the type of black metal as repetitive rock music that ignorant hipsters will praise as “ritualistic”. The album’s title sums the quality of its musical content: futile. (Editor’s note: I wanted to give this album a chance. It didn’t age well.)
Gothenburg cheese and Meshuggah licks are less appetizing than a lead-laced Mexican lollipop.
Grave Miasma returns. This time with 1993’s atmosphere.
Candlemass meets Soundgarden.
Every Teutonic speed metal band gone Voltron.
Solid underground metal in the spirit of Sarcofago that is perfectly well-written but does not amount to more than the sum of its parts; does not conjure up any long-lasting message.
Tags: 2015, best of, best of 2015, Black Metal, condor, death metal, desecresy, Heavy Metal, kaeck, mainstream metal, morpheus descends, motorhead, reissues, Speed Metal, Stormkult, tau cross, underground metal
Article by Daniel Maarat
Arghoslent’s Arsenal of Glory demo and their first album, Galloping Through the Battle Ruins have been repressed on CD and made available for lossless digital download on Bandcamp by French underground metal label Drakkar Productions. The original mastering is intact with no signs of excessive dynamic range compression. While lacking lacking the overt pop rock influence of the Gothenburg scene, Arghoslent’s catchy songs and riffs were heavily influenced by the New Wave of British Heavy Metal and classic speed metal bands Mercyful Fate and Running Wild. A new generation of headbangers may now easily purchase the prime material of this politically incorrect melodic death metal band in spite of the Kim Kelly, No Clean Singing, and MetalSucks social justice “metal” gestapo.7 Comments
Article by David Rosales
As another year ends and a new one begins, many “best of” lists pop up here and there, among them our own here at DMU. While others may be eager to know about what is ever new, we are more interested in what stands the test of time. Today we will look at some albums that were highlighted here as the foremost products of the year 2013, which was a year of renewal, great comebacks, startling discoveries and a general wellspring of inspiration. In the opinion of this writer, 2013 has been the best year for metal in the 21st century.
To start off, we shall pay respects to long-lasting acts with a black metal background, namely Graveland, Summoning and Burzum. While the last has left the metal camp for good, its approach and spirit is still very much enriched by the essence of the deepest metal infused with transcendental values. Summoning is still doing their thing, ever evolving, trying a different permutation of their unique style. Fudali’s project has become the warrior at the frontlines of the strongest nationalism grounded in music that uplifts the heart with an authentic battle feeling (as opposed to those other bands playing funny-jumpy rock and acting all “dangerous”).
Sôl austan, Mâni vestan is an ambient affair that uses short loops which revolve around clear themes in each track. The approach is a little formulaic, thereby limiting the experience with a feeling of repetition. However, as with many good works of art, this self-imposed canalization serves to speed the result in a direction. As with a lot of Burzum’s work, this is a concept album that must be listened to as a whole. When this is followed and one stops looking for novelty and instead concentrates on the details that bring variation within the familiar landscape, the somewhat arduous experience brings great rewards once the summit is reached and the journey is taken more than once.
Something similar can be said of the slightly pop-minded Old Mornings Dawn. This effort by Summoning certainly lacks the density of their masterpiece, Dol Guldur, but is no less effective, although perhaps shallow. But what isn’t shallow when compared to that masterpiece? As with every Summoning album, Old Mornings Dawn has a very separate personality, and in this case, it is one of heroism, light, regeneration and hope. Something that will never leave the band’s trademark sound is the deep feeling of melancholy and longing for ruins.
Graveland materializes in Thunderbolts of the Gods one of their most warlike efforts to date in a smooth trajectory that has gone from rough-pagan to long-winded and epic to heroic war music. What raises this offering above others in Fudali’s current trend is the awesome bringing forth of destructive energies mustered in the imposing drumwork. Gone are the clumsy rhythms of Cold Winter Blades and the redneckish tone of the (nonetheless great) album Following the Voice of Blood. This is the technically polished and spirit-infused summit of this face of Graveland.
One of the most deserving releases of 2013 was Black Sabbath’s 13. More expectations could not have been placed on anyone else. Yet the godfathers of metal delivered like the monarchs they are: with original style, enviable grace, magnificent strength and latent power. Along with the last three albums just mentioned, this album shows itself timeless in the present metal landscape. It encompasses all that it is metal, and brings it back to its origin. This is an absolute grower which will age like the finest wine and is, in my opinion, the album of the year of 2013.
In 2013, Profanatica finally achieved amazing distinction with Thy Kingdom Cum, which can be considered the fully developed potential of what Ledney presented in the thoroughly enjoyable Dethrone the Son of God under the Havohej moniker. To say this is the natural outcome of Profanatica’s past work is as true as it is misleading in its implications. This is not just a continuation of what the band was doing before, but a deliberate step, a clear decision in the clear change in texture quality that means the world in such minimalist music where a simple shift in technique or modal approach defines most of the character of the music.
Cóndor’s Nadia was probably the hidden pearl of the year. Never mind the metaphor of the “diamond in the rough”, there is nothing rough about this. It is polished, but it is hidden. The shy face of this beautiful lady is covered by a veil that turns away the unworthy, the profane! This is immortal metal artwork which to uninitiated eyes and ears seems but like the simple, perhaps even amateur, collection of Sabbathian cliches and tremolo excuses of an unexperienced band. The knowledgeable and contemplating metal thinker recognizes the Platonic forms under the disfigured shapes.
Imprecation’s Satanae Tenebris Infinita and Blood Dawn by Warmaster draw our attention to the strong presence of a more humble but profoundly (though not obviously) memorable album and EP. These will stand the chance of time, but will not necessarily remain strong in the mind of a listener in a way that he feels compelled to come back to them often.
Dark Gods, Seven Billion Slaves by VON seemed more enticing at the time. It’s definitely a solid release, but it is however a very thinly populated album with more airtime than content. Whatever content it has is also not particularly engaging. The enjoyability of this one is a much more subjective affair and like a soundtrack is more dependent on extra-musical input from the listener’s imagination.
As delightful as the three heavy metal albums Argus Beyond The Martyrs, Blitzkrieg Back From Hell and Satan are, the intrinsic qualities of their selected subgenres makes them a difficult candidate for long-lasting and profound impact. That is not to say they have no lasting value. If anything, these are albums one can come back a thousand times and perhaps they will not grow that much, but they will never truly grow old.
Autopsy’s Headless Ritual is one of the strongest yet most understated albums of the year. The extremely rough character of the music may contribute to how it carelessly it can be left behind. Fans of brutal music will find it little different from the rest and will quickly forget it. Fans of wider expressions and deeper thoughts will pass it by with little interest. Such is the tragedy of this very respectable album.
A few stragglers in this group; Master’s The Witchhunt, Centurian’s Contra Rationem, Derogatory’s Above All Else, and Rudra’s RTA proved to be more impact and potential than manifest presence. These will remain fun and quaint for a very occasional listen, perhaps even a sort of throwback feeling, but lacking the long-lasting impact of others in this list.
A special mention is deserved by Into the Pantheon, the essential synthesis of Empyrium, being their most revealing, powerful and clear release. While not outwardly metal, this live recording everything that is to be metal at the level of character and spirit. As such it is the perfect closing note for this recapitulation and reevaluation of past selections.27 Comments
It’s hard to browse DMU without finding at least one reference to Master’s influence (and more generally Paul Speckmann’s projects) on death metal. DMU’s ability to follow Master’s evolution has generally been better than my own, but I’m hoping that their upcoming albums will change that. An Epiphany of Hate will release on January 29th, 2016, presumably making it a superior purchase to other metal albums releasing that day, like Dream Theater‘s latest. Without any known teaser material out, I’d guess this album will follow up on the style of Master’s previous full length (The Witchhunt), but regardless of substyle this will be one to keep an eye on.4 Comments