Genital Grinder’s Abduction is one of those albums whose main goal is to punch the listener in the face. They are not the wanker posers of so-called tech death. But they only aim slightly higher: pure brutality. In this case technicality in the service of brutality. There are two angles we should approach this before reaching a conclusion. The first is a lenient way of judging this work on “its own terms”. The second is judging if the overall result is meaningful in the least.
To an insider, that Genital Grinder is a band bent on brutality — on giving the listener a rush based on violent imagery and blunt sound– is a self-evident fact. If in doubt we can take each song and try to describe what is the most salient feature. It is almost always how direct and intense the sections are. The band does insert some brief moments of almost mid-paced trudging without which this would be unbearable on a physical level even for their own fans (although they would still praise it as mind-blowing-ly “br00tal”). The album comes out as a single-minded effort that remains in style while providing enough variation of themes and coherence in songs for them to be distinct. A simple goal has been achieved: another super brutal album has been made.
Regarding the more relevant issue on ranking Abduction on the overall quality scale of music. The songs built around clear ideas and are built around them. The band’s composition limits are revealed when we observe that they are unable to produce major explorations within their music without destroying the idea they presented at first. When they attempt to do so, they are reduced to grooving sections or cliche short melodic riffs with simple 3rds or 5ths doubling.
An incredibly limited release that is monochromatic at all conceivable levels, Abduction will be a solid although uneventful item in the collections and playlists of those either looking for a casual brutality fix or the Homer Simpsons of death metal who think Cannibal Corpse is “the shit”.
Conceived in rehearsals between 1984 and 1985, Abominations of Desolation was completed and recorded by 1986, showcasing the most concentrated and solid (in composition) release either Trey Azagthoth or Mike Browning have put out until now (or likely to ever release, for that matter). I hesitate to use the word refined here as that would imply a correcting of minute details at every level, which this album obviously does not posses. The next three albums make use of this material and refine it in different ways and distinct directions, filling out the rest of the albums with some good ideas and mostly filler.
On Altars of Madness, the most significant changes to the music besides the studio production (including tone and what no) and vocals were to tempo. The composition of the songs themselves remained the same. Basically they were played much faster and the drumming was made more “tight”. The new songs that were not taken from Abominations of Desolation were essentially inferior filler, although the songs were not necessarily bad, just not as good as the earlier material. There are two things to be said regarding the tempo changes. On the one hand, Altars of Madness is mandatory study material for any true fan of the genre and even more so for the aspiring death metal musician because it is a textbook example of excellent technical accomplishment of flexible death metal compositions. On the other hand, accelerating so much destroyed the original character of the songs which no longer sounded mystically infused with darkness but rather comically colorful. The tempo also obfuscated the structural features rather than highlighting and exploiting them, lending a flatter and more pop-oriented sound that emphasized hooks in the middle of a maelstrom of madness.
In 1991, Morbid Angel released Blessed are the Sick, which sees the band attempting to regain the spirit they lost in Altars of Madness in search of a more professionally competitive tone and production. The early songs used in this album were not as distorted, retaining their original aura, but they were re-recorded with very soft and mellow guitar and drum sound. The new songs composed for the album also matched the dense atmosphere and dynamics of the older songs. A concept orientation was adopted and the result was the artistic peak of Morbid Angel, presenting the highest refinement of the material in balance with a whole-work oriented album rather than a simple collection of songs. Here we find the best of Azagthoth’s collaboration with Browning meeting the best of Morbid Angel’s later work. While Altars of Madness came out as slightly comical, Abominations of Desolation seemed dark and serious about its occult nature and Blessed are the Sick made a serious attempt at recovering that.
Then came Covenant, the last album to use seminal material from Abominations of Desolation. This album is a strong attempt at bringing the best from the two previous albums, it is Morbid Angel attempting to summarize, solidify their voice, carving a new path after having released their magnum opus. This is always the most difficult album in a classic band’s career. It often results in an emphasizing of technical aspects while the band tries to discover how they can continue after they have achieved greatness. The result is often undeniably outstanding material that lacks spirit. It happened to Yes after Close to the Edge, the greatest and most ambitious organic expression of who they were. Becoming self-referential in Tales from Topographic Oceans and then, not knowing where to go artistically, Yes used the best of their technical abilities to produce their technical highlight: Relayer. Covenant is Morbid Angel’s Relayer.
I am tempted to say that the best work these two artists ever did was together. It is a pity that personal problems had to come between them. Same sad story of Celtic Frost’s, who also never reached its early heights after the dynamic duo at its center separated. It is hard to tell how each of these artists complement each other, but judging from their projects away from each other we can observe that without Browning, Azagthoth becomes streamlined and even sterile, while without the latter Browning indulges in an adventurous music full of life that is unfortunately musically crippled by a lack of discipline and organization. Perhaps this is also related to a merely technical appreciation of Mozart by Azagthoth and the excited yet musically uninformed admiration of Rush on Browning’s side.
Complaining about the production and tone in Abominations of Desolation and overlooking the whole composition is like missing a great book of classic literature because you do not like the cover and the font in which it is written. You can complain about the font, but the font is not the organized information that literature is. So it is that production values do not make up what music is, only a medium. This does not mean that we should not criticize this, but it seems to me that it is over the top and superficial to say that, for instance, Altars of Madness is superior because the tone and production is better there. In fact, since the best songs in that “first” album are taken from Abominations of Desolation, and the rest are second-rate filler in comparison, I would say that in terms of content this early output is the best release to ever come out under the name of Morbid Angel.
The extent to which the artist’s belief in what he says and does, and how much he is actually familiar and imbued with the material, affects the final result of the music. While the young band fervently believed in the Ancients and the Arabic magic spells referenced in their lyrics, the more “mature” band only held on to these in a more tongue-in-cheek, ironic or perhaps metaphorical sense. Abominations of Desolation concentrates and summarizes all the power Morbid Angel had to give at that point which unfortunately only dissipated in future releases. This 1986 release, and no other, is the embodiment of what Morbid Angel is.
A cult classic of death metal, Nocturnus’ The Key often elicits outwardly moderate yet intense praise from connoisseurs of the genre. Reading online reviews and commentaries on the album one realizes that these praises are based on a three points. The first is the prominent use of keyboards throughout the album, then there is the ubiquitous, ripping guitar solos and last, its supposed resemblance to Morbid Angel, which is mainly based on the fact that Mike Browning took charge of the vocals on Nocturnus but also on the so-called thrash/speed-death amalgam this style is supposed to be. Let’s shoot each of these down one at a time.
The much-mentioned “pioneering” death metal with keyboards is an example of how too much of the metal critique is bent on praising novelty. Not only is the use of keyboards in the album amateur but it is often gimmicky, half of the time being out of place, the other half being completely extra and unnecessary — not strongly integrated into the music except in a very few places (“Neolithic” has a gesture in the solo section that shows promise). There are very good reasons why you do not hear keyboards often in death metal, and it goes beyond the fact that most death metal musicians are not learned enough to integrate them and would rather just make “pummeling and brutal riffs”. Style has to accommodate instrument choice. As it stands, The Key only crams keyboards wherever it can, but it is little more than a gimmick. Overall, a metalhead should look up to In the Nightside Eclipse for a better example of keyboards in underground metal.
On to the much lauded guitar solos in this album. What can I say? Besides being mindlessly infantile and trivial in their transparent scale runs, the solos throughout this album are, like the keyboard sections, often out of place and come off as being only superimposed on top of the rest of the music rather than composed within it. On their own and apart from the discussion on whether they fit into the music or not, it is not the messiness of the solos but their complete lack of character that would give one a good reason to ditch them and never think about them again.
Regarding Nocturnus sounding like a “Morbid Angel on steroids” or “an improved version of Morbid Angel”, we can say it comes from extremely superficial comparisons and a complete lack of discernment concerning composition quality. While Nocturnus perfectly exemplifies the brand of speed metal that wants to be death metal but is not quite there yet, early Morbid Angel was known as “death-thrash” only as a result of the audience’s ignorance. In this respect and given that The Key was released in 1990, when death metal had already solidified as a genre, we can say Nocturnus’ music is retrograde gimmick. The distinction between the death metal of Morbid Angel and the harsh, late-speed metal of Nocturnus lies in the phrase construction of the first that becomes the central development of the music, while the latter produces riffs to carry the voice that end in hooks. Death metal is progressive-symphonic phrasal music, speed metal is still heavy metal of a pop nature. Rather than compare them to Morbid Angel it would be more fitting to compare them to that other famous retrograde and gimmicky act called Death.
All in all, The Key still captures the imagination despite its amateur character and its great faults. I believe the reason for this is that in spite of its immature musical notions, its concept is very clear and this comes through in a very strong manner, outshining the blunders it houses. For the sake of metal, its future and the education of the audience, it is important to give albums like this their correct place. This is enjoyable and fun in much the same way that Sharknado is. You know it is silly, you know its appeal comes from its exaggerations and awkwardness, but a focused awkwardness with a clear idea in mind.
Masturbate on the throne of god
Crucifixion of a thousand saints
Stakes are mounted with the heads of angels
Nocturnal spells are casted,
Heaven begins to bleed
Chapel of Ghouls is a very interesting metal song to start with for several reasons. First of all, it is the epitome of the traditional death metal song and displays the marks of excellent composition by way of being balanced and maintaining perfect mood. Second and related to this mood evocation is the fact that this is a song written for guitars tuned to E-flat standard tuning and uses the open low string often but is not in the key of E-flat, giving the low-chug a very distinctive aura that comes from the sharpened leading tone being emphasized so much that is not the comforting home tonic we hear in commonplace metal. In general, this song also gives us a very special opportunity to see how attention to the use of scale degrees in the right places lends a very specific purpose to different passages with a very powerful effect.
My exposition and analysis of Chapel of Ghouls parts from the a posteriori premise that the key in which it is written is E minor. While making frequent use of chromatism, this piece is undeniably tonal and by that very nature it has a tonal center. It is up to the analyst to unearth just what that center is. The next most important assumption which applies to a lot of metal, is that the playing of fifths is decorative, making use of the sonorous effect this interval has when played on the distorted electric guitar. We do not consider this as an important element of functional harmony and we should only consider the main bass note as pertinent to our discussion of motifs and patterns.
We may observe that if we take riff-groups as sections and we ignore the variations in number of repetitions, the general structure of the song can be summarized in the following manner:
A-A’-B-C A-A’-B-C | D-E D-E | F | B-C-A
We can see the artistic abstraction and application of Classical-era concepts in Morbid Angel’s use of chromaticism for emotional effect within a clearly tonal framework. Even more telling and importantly, Chapel of Ghouls’ structure reveals an adapted classical sonata form. The sonata form is characterized by being divided into three sections: an exposition, a development and a recapitulation. An exposition generally presented the main materials that would be used to develop the piece. These were usually stated and then repeated once with small variations. The development traditionally implied a modulation into a different key and a development of the ideas into more foreign territory. After a flourish in the development section called a retransition that would bring the song back to the tonic area, the recapitulation was a restatement in an abridged way, of the main ideas stated in the exposition. Chapel of Ghouls fills all these requirements to the letter:
Exposition: A-A’-B-C presents the main ideas, and is repeated again with a small divergence in the number of repetitions of the riff. The second time around it is played, it is repeated more times, a simple and primitive way to echo an expansion.
Development: While part “D” is still in the same key, it starts a shift in the importance of the notes which can be considered a modulation. When we reach E, the song is in a different key than the rest of the song, and a different theme defines this section as well, even though we can hear an affinity with the motif of part “B”. Ironically, we call this type of development monothematic, although it may have more than one theme of its own (as this one demonstrably does).
Retransition: part “F”, a slowed down section treading the same some of of the tones (degrees 2 and 3, specifically) that have been used again and again in succession in this song, only to round it off by clearly stating the main motif and theme of the song decorated with an octave doubling rather than with the typical fifth used elsewhere in the song.
Recapitulation: re-use of “A”, “B” and “C” in different order and condensed number of repetitions. The final use of A incurs in a variation that heavily emphasizes the main theme as its final phrase.
Furthermore, the way solos run over more stable rhythm sections and moments when the rest of the music is quiet resembles the tutti-solo-tutti exchanges typical of works from the Classical era. The piece displays an adept of use of pauses and brief silences to enhance expectation and stress unstable tones at inflection points to promote forward movement.
Another little trick that is worth highlighting is that when they make tempo changes either to a faster or a slower, Morbid Angel will shorten or stretch average note length in order to counter the change (if we change to a faster tempo, the notes become longer, and the opposite in the same manner). This helps make transitions much more smooth sounding, pulling the length of the notes towards an central average despite the difference in tempos in different sections.
Lastly, every one of the riffs/parts we defined above with letters of the alphabet are written in period form. A period contains an antecedent and a consequent. The second one of these is a repetition of the first with variations in the end goal, the harmony or anything else that does not destroy the identity of the original idea. Traditionally, the antecedent ends in the dominant or a transition to the dominant and the consequent ends in the tonic, coming back to stability. In the case of Morbid Angel’s Chapel of Ghouls, all the periods’ antecedents, except those that make up parts “D” and “E”, finish on tones that are not part of the E-minor scale, while the consequents all end on in-scale tones. In the case of the exceptions just mentioned, this is inverted and D# is tonicized, effectively constituting a modulation to a different key.
Trey Azagthoth’s early infatuation with Mozart is often taken lightly even by fans of Morbid Angel but Chapel of Ghouls is a clear example of how this claimed influence went deep and affected the way motif, theme and development were handled. Trey did not just copy the classical style of Mozart, but adapted methods perfected by the late master to the needs of the budding death metal genre Morbid Angel helped define.
As mentioned in our first article on the topic, the “first album” from Morbid Angel remains a vague category because the band recorded two first albums, each given a name starting with the letter A which fits into the alphabetical sequence to which their albums have conformed to this day. We took a few moments to speak to original drummer/vocalist Mike Browning (Nocturnus, After Death) about Abominations of Desolation versus Altars of Madness as the true first album of this essential band…
You were one of the original players on Morbid Angel’s Abominations of Desolation (referred to as AOD), which was released before most of the publicly acknowledged death metal classics. What was the band lineup for AOD? How does it feel to have participated in such a historic and musically intense recording?
The line-up on the AOD album was:
Mike Browning -‐ drums and vocals
Trey Azagthoth -‐ guitar
Richard Brunelle -‐ guitar
John Ortega -‐ bass
At the time back in 1986 everything was just still called metal and it didn’t matter if you were more on the death or power metal side, it was still all considered Metal and the Metal crowd was unified and everyone got along for the most part, so to us back then we were just recording another new metal album and we weren’t concerned with being the fastest or the heaviest, we just did our own thing and kept it as original as possible. Back then the main thing was to be real and not fake in what we were doing.
Was it intended to be the first Morbid Angel album? How do you know? Was this fact …inconvenient… for anyone?
It still amazes me that this is even questionable, but here is the thing, we were offered a RECORD CONTRACT to record an ALBUM under the name MORBID ANGEL by Goreque Records, a label owned by David Vincent and his partner Mark Anderson. We signed the contract and Bill Metoyer of Metal Blade producer/engineer that recorded and mixed more albums than I can even think of, was hired to engineer the album.
So Goreque Records rented us a UHaul truck and we packed up our gear and went to a studio in Charlotte, North Carolina. We were furnished with hotel rooms and I met David Vincent and Mark Anderson for the first time face to face and the next day we started to record the album, after about 5 or 6 days there we were finished with the recording and David Vincent sent all of us but Trey back to Tampa and kept Trey there by himself for the mixdown, little did the rest of us know that the whole time David Vincent was really brainwashing Trey and telling him how bad the album was and that he should quit the band and come join his band. When Trey came back from the mixing, he acted like a completely different person and everything went downhill from there.
What was the reaction to its release at the time (1986) and five years later in 1991?
Well that is the thing, the album never got released because I ended up catching Trey with my girlfriend and I beat him up for it and that was the end of me being in Morbid Angel because Trey and Richard moved from Tampa to Charlotte and did get in a band with David and his drummer Wayne Hartsell. I know that John Ortega had a copy of a rough mix that we had at the point that we all left to go back to Tampa, so when Trey got back he said that David Vincent told him that the bass playing was so bad on the album that we had to fire John Ortega if we wanted the album to still come out on his label and replace him with Sterling Scarborough, we didn’t even know who Sterling was, but again it was David’s idea for us to replace Johnny with Sterling, so Trey did it and the band only lasted a couple months once this happened.
When [AOD] came out in 1991 I think it confused a lot of people as to what it was because there was no information or pictures as to who was actually playing on the album, except for a couple of lines in the front right corner of the cover that said it was AN ALBUM that was recorded in 1986, but never released, so even on the Earache version it says that it was an unreleased album, not a demo, it just also didn’t give any info on who was on it!
When did Morbid Angel decide to record Altars of Madness (referred to as AOM), and what were the changes between songs on that album and AOD?
I guess about two years later, so they had two years to actually work on most of those same songs and make them tighter and faster, they only changed a few words here and there to most of them and a lot of the drum parts were similar only faster.
When Earache released AOD, did they make any changes to the original recording?
I really don’t think they did, of course it never really got released back in 1986, so there is nothing to compare it to except the rough mix that John Ortega had and released as a bootleg.
Who is Sterling von Scarborough?
John Sterling Scarborough was his real name, but he went by Sterling Von Scarborough. He was a bass player from Atlanta that had a band called Incubus and David Vincent knew him and told Trey that we had to replace John Ortega, so he recommended Sterling and so Sterling came to Tampa and tried out for us and became our bass player. He was never on the AOD recording and he joined the band after we recorded the AOD album. We only did one live show with him at a place called The Volley Club in 1986 and Ammon (now Deicide) opened for us that night. Unfortunately that show was never recorded and it was the last show I ever played with Morbid Angel as well.
Why do you think Earache released AOD in 1991, five years after it was originally recorded? Why do you think they chose to claim AOM as the first album instead of AOD?
From what I heard was that they released AOD in 1991 to stop all the bootleg versions of it that were being made, from that one tape that Ortega had, all the bootlegs of it were made from that, so generation after generation they got sounding worse and worse. Earache and David and Trey made a deal to release the AOD album because David had the master reels, so he sold them to Earache and they gave Trey some money as well and they released it to stop the bootlegging.
Funny thing was I was on Earache Records at the time in Nocturnus and they never even told me that they were putting it out, I didn’t even find out about it until after it was already out and in the stores. That album has, guitar, bass, drums and vocals and I am doing 2 of those 4 things and I was never even told that it was gonna be released!
Did Morbid Angel take a different compositional (choice of notes, not production or vocals) direction with AOM versus AOD? Why did they do that? What did the original direction offer that the new one did not?
Well it was a couple years later that they had quite a bit of time to work on those songs and a few more and with everything but the guitar being new, of course it was going to have a new and different sound, especially when you change vocalists. And if you notice, David tries to sing a lot more like me, but he gave that up and went for a completely different style on Blessed Are The Sick. They also had a big budget and recorded the album in Morrisound which is a studio known for Metal, that studio that we recorded AOD in was actually some kind of a country music recording studio, so the guys that ran that place had never even had any type of metal band even in there before, so of course you are gonna have a huge difference in the production because of those things alone.
Rumor has it that you formed a band named “Ice” with Trey Azagthoth, pre-Morbid Angel. Wow… a moment in death metal history! What did you want to do with that band, and what was inspiring you at that moment?
Trey and I met in high school back in 1981 and I even remember his mom buying him his first guitar, a wood colored Gibson SG and we started jamming together in my mom’s back room of my house, so we put a little high school band together and even played the high school talent show. It was literally the beginning of what would become Morbid Angel.
I find that musical “inspiration” extends beyond other albums, but includes them. Were there any non‐musical experiences, books, ideas, plays, movies, thoughts, etc. that influenced you, and how did they parallel what you found in the music that influenced you?
Both Trey and I were into the occult, so when he moved into my area of Tampa and started going to school at my school and we met and started talking about what we were both into and we both were musicians that liked the occult and most especially we were both into a book called The Necronomicon and we really believed every bit of that book was true and real, so we decide to put a band together that was based on music that would please these Sumerian Gods that were in The Necronomicon. We were totally serious about what we were doing and the whole purpose of the band was to make music that would bring forth these Ancient Ones back to the Earth.
Did you and other members of Morbid Angel meet in high school, as is the rumor? Where was that? What was it like (hell?) and how did that help you bond?
It was only Trey and I as far as that ended up in Morbid Angel that knew each other in high school. Morbid Angel itself started around 1984 with me, Trey and Dallas Ward on bass.
The High School we went to was called HB Plant High school and it still is in South Tampa, there was an area where all the cool cigarette smokers and hippy type people hung out at the high school called The Alley and everyone would hang out there before school and at lunch and we met there and would always talk about music and The Necronomicon.
As “Ice,” what kind of material did you play? What songs did you cover? How did they mold your style? What was your practice schedule like? Did this influence how Morbid Angel did things later?
We really only played cover songs at first, like Judas Priest and Scorpions and Black Sabbath, because there was no Slayer or Celtic Frost or even Hellhammer yet back then. We did start messing around with some original stuff, but when I graduated from high school, Trey moved again at that time to the North end of Tampa, so for probably a good 6 months I didn’t even see him, so I started jamming with some other guys playing metal covers and Trey met Dallas and Charles, a singer and they had a drummer that was older than all of them and he lived in another town north of Tampa and he only came into town on some weekends to jam with them, so when I started talking to Trey again I decided to quit the cover band and start playing with Trey and these new guys Dallas and Charles and they already had a name for the band and it was called Death Watch. The singer got arrested and went to jail, so that is when we became a three-piece and Dallas was singing and we called the band Heretic, but we quickly found out that there was already another Heretic, so that’s when we finally became Morbid Angel.
How do you conceptualize death metal? Was progressive rock an influence? What about classical or jazz?
I don’t really think most of the music I have done was only considered to be death metal, because it had a lot of different elements to it, especially with Nocturnus. But I would say that death metal is a very heavy, fast and aggressive type of music with lyrics mainly focused on death, gore and a lot of anti-Christian themes. For me progressive rock has always been an influence, I really liked Rush when I was in high school and they were about as progressive as you could get back then. I also liked classical because I had been in the school band, from grades 6-‐10 playing percussion, so I learned to play all kinds of percussion like tympanis and bells playing classical and marching band music. I never really got into the jazz style of music, although I wish I had now, because jazz has some of the most amazing drummers and really off timing drum parts.
Your musical style is both highly proficient and idiosyncratic. How did you learn to play? What deepened your understanding of music? How important was the rising death metal scene in changing how you understood music?
It started even before that though because my mom had a 70s rock band that she sang for and they used to practice in the same back room that Trey and I ended up practicing in and I was only about 9 or 10, so I used to sit back there and watch them rehearse and I always liked watching the drummer play the most, so when they offered band when I got in 6th grade I wanted to take the drums of course!
Playing that style of music like marching band and classical stuff and also seeing my mom play in a band really gave me the early understanding of what it was like to play music and be in a band. I was into bands like Led Zeppelin and Styx when I first started and then I got into heavier stuff like Black Sabbath and Deep Purple and then Judas Priest and Iron Maiden and from there I discovered Slayer, Venom Mercyful Fate, Hellhammer and I wanted to be in a band like that, but I also wanted to be different, I have never been into copying anyones style and being like someone else, so I guess why even today I still kind of just do my own thing whether it makes money or not has never been a concern to me, I only play music because I get enjoyment out of it and if other people like what I do, then that is awesome to me!
How was AOD recorded? It sounds rough but preserves the texture of the instruments, instead of trading detail for loudness and polished sound like AOM. What made you choose to record it this way?
Back when we recorded AOD in 1986, we really didn’t know much about recording or what equipment was best for recording, so even though we went into a real professional 24 track studio, we still weren’t that prepared to do a well polished album. I had only been singing a couple months and some of the songs were just put together and we were also under a time constraint because we were in another state recording in an unfamiliar place and we only had so much studio time to get it all done.
If we had better equipment and more knowledge on recording, it probably would have sounded much better, but we were just a bunch of crazy kids with a record contract! I was also never included in the mixdown of the music, so all I got to hear was pretty much the raw unmixed tracks until Trey came back with the album mixed and finished. At least the album has a certain energy to it that was still able to come through, even with all the problems that we did have.
Can you tell us about your current projects, such as (but not limited to!) Afer Death 666? How are these efforts different from typical death metal, AOD and AOM? If people want to find out more about what you’re up to these days, where should they go?
Right now I have 2 bands with the same members in both bands, one is Nocturnus AD, which is a continuation of what I wanted to do with Nocturnus after we recorded The Key in 1990, it is much more technical sci-fi stuff than what is on AOD and it has keyboards and it is tuned in E-flat which is what Nocturnus was tuned in back in 1987‐1992 and the other band is just called After Death and as I mentioned it does have the same members, but After Death is a little heavier on the occult side of things and the music is less technical and more atmospheric and tuned in D.
The thing I keep up with most is my Facebook page, which is just under Mike Browning and it has the most up to date info on it, but we also have Facebook pages for Nocturnus AD and After Death and we also have a website www.afterdeath666.com , which has info for both bands on the site.
This is a “best of the month” list for this month, but making the title “Best of May 2015” sounds like giving too much of a spotlight for such a short span of time, and devaluating the word “Best of” somewhat, in my opinion. Therefore I chose a title to reflect reality more clearly: these are the only albums we heard of on this website this month that were decent enough to not be considered utter disgraces to the metal genre (those were in the SMRs or were ignored). The “decent” are those that show consistency in style, coherence, a direction and a clear artistic voice and goals. The “rescuable” are those that are still confused in their composition — unclear, or that seemed to be impeded from development by their own approach to music-making (or that of their own genre).
Skillfully bringing together doom/death, modern atmospheric and war metal styles, Unorthodox Equilibrium is more than a fitting name for describing the musical approach used in this album. Bands playing in any of the aforementioned styles have typically fallen prey to different misconceptions. Some have failed by attempting to adopt an orthodox position simplified to the precept that genre cliches guide songwriting and that the result will be good if it “feels good”. Others have taken a route that attempts to bring more original ideas into the mix but whose ultimate goal is still that each section gives them a certain feeling, an “atmospheric/ambient” effect. We can summarize the cause of these blunders by saying that their approach has been too pleasure-oriented.
In Unorthodox Equilibrium we can hear familiar voices bearing the mark of Worship in Last Tape Before Doomsday, Disembowelment (I refuse to follow ridiculous indications as to what letters should be written in uppercase format) in Transcendence into the Peripheral and Esoteric in Paragon of Dissonance. Unlike them, though, Shroud of the Heretic only slightly avoids falling into complacency with the immediate effect of their arrangements and instead channels these as methods used measuredly. The band manages to promote a sense of movement in each section while maintaining atmosphere without depending on stagnating in the harmony within one section or getting anchored to one kind of texture or intensity level for too long. This makes the album an incredibly varied experience within the non-restrictive but focused confines of a florid and eloquently coherent language.
Independently of whether this was a conscious decision or not, the heterodox and non-monolithic composition route taken by Shroud of the Heretic avoids this atmospheric metal trap and represents an excellent indicator of an artistically healthy direction for this subgenre of metal.
Perversor play a fast and ripping minimalist death metal which some would be tempted to encase in the line of primitive South American so-called black metal were it not for the strong structural development so strongly evident in the detail-intense songs which defeat any accusations of purely atmosphere-oriented thinking. In fact, Anticosmocrator gives us the opportunity to contrast their more musical approach to that of bands with a more vague and atmosphere-building composition mindset. This difference lies in the importance of keeping a balance between evocation and solid musical construction.
While Perversor fills all the requirements to be classified beside any atmosphere-minded bands like those playing war metal, for instance, it far outdoes them by virtue of achieving solid development of ideas in the composition of their songs. Typically, Perversor will take a fast riff and develop both variations on the riffs or transitioning into riffs that are easily recognized as being related to the previous ideas through the interval relations in the patterns used while the rhythms and register are changed. This is a formula that is easily summarized but which nonetheless requires great skill to apply and expand to create convincing songs that both take the listener from a beginning to a distinct ending yet do not exceed the natural reach of the riffs and ideas used.
This is the sort of release that is excellent but will not turn the heads of those who are always on the look out for bands thinking “out of the box” as if that were the whole basis of good music. Perversor compose songs on a solid basis and while not diverging or breaking any limits, create evocative, musically competent and whole music that should be at the top of any discerning metalhead’s list for 2015 .
Attempting to create an atmospheric kind of death metal, Mefitic build their style on alternating sections of slow, assertive chords in simple rhythms and droning/fluttering, tremolo-propulsed, slowly-advancing melodies and motifs, both usually played in low registers to maintain the aura of heaviness. Unfortunately this is all that there is to say about this album. The description of a superficial traits is all that can be said for it, as the music construction is based on it and therefore paper-thin. The reason why it still deserves a review of its own is twofold. First of all, it gives us the opportunity to point out the deficiency of this songwriting approach, and second because Mefitic remains consistent and coherent throughout the whole album, which is more than can be said of the vast majority of releases.
While we must acknowledge the focus that Mefitic has displayed throughout the whole album, the overall result must be judged and its limitations pointed out. The consistency in color and expression is laudable and should be emphasized as an example of consistent songwriting. The limitations lie in the music being too riff-oriented and the goals remaining superficial, being completely bent on a sort of evocation and heaviness, leaving the musical composition as secondary. While in metal we consider that this is generally ideal, solid and effective composition should not be disregarded in favor of writing atmosphere-oriented sections that are lined up one after another. Solid composition gives a clear direction, an intricate picture to be discovered through subsequent listens. Forgetting about it leaves you open to the danger of painting a confused or too-general a picture that remains too mystic, indicating a way but not undertaking it.We condemn Woes of Mortal Devotion because this is all it achieves: the building of a foggy and general atmosphere that doesn’t solidify into a clear picture of anything.
Today, we’ll visit string quartets from both the Romantic and Modernist eras. The purpose is to give continuity to the line started in the first few articles. We visited Beethoven and Shostakovich, then Mozart and Bartók, and for the last time we visited the respected teachers Haydn and Schoenberg. This time we visit one of the the Romantic heirs to the Beethovenian tradition, the writer of music with a very private character, Schubert, and the genius serialist composer Webern, one of the most (if not the most) outstanding students of Schoenberg.
Franz Schubert: String Quartet no. 14, Der Tod und das Mädchen
This quartet is dubbed after an earlier lied of the same name, whose main theme Schubert used as the theme for the the second movement of this string quartet.
Anton Webern: 5 Sätze für Streichquartett op.5 (5 movements for string quartet)
It is a common misconception that serialism is a more mechanical method of composition, because it s a method. While some (including myself) believe it is an unnatural (contrary to the Common Practice Period notions) method contradicting the physics of frequencies, it is, apart from that fact, as much of a valid and constrictive method as any other. No more, no less. It just follows a different set of rules. And because it is counter-intuitive for people unaccustomed to it, compositions with this method may well prove to be even more demanding by virtue of this lack of familiarity the general public has with it – it has harder to make something that makes any sense for the human ear. In my humble opinion, the dependency on an ethereal pulse becomes paramount in this type of music.