The importance of experiencing local metal

fields_of_elysium
Fields of Elysium.

Some time ago, Jon Wild relayed a local news write-up about Amarillo-based death metal band Abolishment of Flesh. I am a part of Death Metal Underground, and I live in Amarillo. I’ve gotten to know these folks, and I thought I’d offer a follow up. I can say without reservation that they are as great as the best of people one finds anywhere. Since moving here 14 years ago, I’ve found I had trouble finding a niche. The ostensibly Christian veneer of this region fades rather quickly when it becomes known that one does not practice some variety (or in my case, no variety) of faith. That sense of alienation grows when one prefers Pentagram CDs to Pentacostal services. So outside the people I knew from work, I really didn’t associate much with the local population. As metalhead and loner from way back, this arrangement suited me just fine. Solitude trumps solicitousness any day, and twice on Sunday.

Then, as Brett Stevens reported earlier this year, a long-time dream came true for me. I offered a college course in heavy metal. As a result of this class and the monumentally fantastic people in it, I started to become acquainted with the local metal scene. A couple of my students were in metal bands, and a couple of others were involved in the campus radio metal show, The Rocket. So when a trivia question about death metal arose on The Rocket, I called in and won tickets to the West Texas Death Fest (WTDF). And as the cliché goes, it changed my life.

abolishment_of_flesh
Abolishment of Flesh.

When I walked into the show, I saw ink, piercings, gothic scripts, black t-shirts. I learned rather quickly that the black t-shirts covered hearts of gold. A former student was taking tickets. Two students met me there. The promoters of WTDF, who had offered the trivia question, were waiting for me. They knew who I was, and I was welcomed with a hug. Facebook friendships formed. I learned that they were also a local metal band called Abolishment of Flesh, which is supremely ironic because instead of abolishing flesh, they live to sustain the good fortunes of everyone they know. In any event, I got to know Jess (promoter) and Ramon (guitarist/ vocalist) Cazares over the next few months. I think of them as the hearts of local metal. Hearts, plural. I went to see Abolishment of Flesh and kept tabs on their national Brutal Alliance tour, in which they partnered with New Mexico neighbors Fields of Elysium. Par for the course, the bands shared everything along the way. It was part tour (death metal overground, I like to call it), part family vacation. I also became an avid follower of local metalcore band Sixgun Serenade — the rhythm section of which comprises two former students of mine — who are at work on an album to follow up 2013’s The Avenue of the Giants. I’ve gotten to know their families. In much the same way a “church home” may sustain some people; I found my niche in the local metal community. These are my people.

A few weeks ago, The Rocket again hosted Abolishment of Flesh in the studio as guests to talk about their forthcoming CD Creation to Extinction. On that day, I wore the band’s t-shirt to all my classes and changed my profile picture on Facebook to reflect that. I made my cover picture a picture on the band and me taken after a show. Of course all the people involved altered or posted to their pages. It was an event. Encouraged by this activity, I tossed out the notion of a campus metalfest. People came out of the metalwork. More Facebook friendships were forged, more family adopted (and probably more shows to see, more t-shirts to wear). All for an idea.

I’ll be heading out to see Abolishment of Flesh on December 14 as they inaugurate their new CD (and celebrate drummer Robert Ginn’s birthday, because it’s a family thing). Sixgun Serenade will play a benefit in January. West Texas Death Fest is slated for April. I believe we are fortunate to have a metal venue, numerous metal bands, an annual metal festival, a couple of metal radio shows, and a university metal course. We’re pretty active for being smaller city distant from metropolises and centered in a region that by all accounts is not particularly comfortable with metal.

So, in the end, together, we have the mettle to sustain our metal. We smelt the ore daily through friendship and family. It’s not about death metal. It’s about life metal. It’s about living metal and living, metal.

sixgun_serenade
Sixgun Serenade (with author Martin Jacobsen).

Abolishment of Flesh:

http://www.youtube.com/watch?v=8BH6MM6EEss

Fields of Elysium:

Sixgun Serenade:

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Profile: Cóndor

cóndor-live-bogotá

To partake of underground metal in the current year is to keep eyes open for new possibilities. Because this is underground — meaning-first and surface appeal later, where everyone else does it the other way around — music, this requires looking past early limitations to see if a band has the outlook required. This worldview is a desire to make music in the true metal spirit, with a personal voice that reveals vastly impersonal truths.

Under our eye for some time has been Colombian band Cóndor, whose album Nadia represents a good future path for metal that is both innovative and true to the ideals and lifestyle of metal since its inception. It’s underground, so it isn’t groovy, crowd-friendly, slickly produced or designed to appeal ironically. It is exactly as it represents itself, and clearly thrives from bonding its metallic influences with a unique view of the world.

Checking in with Cóndor, we found the band clarifying its vision and intent and also, planning for the future. As is the nature of underground music, this band exists in the interstices of official tasks and required acts of life, filled in with spare moments and sheer will. We were lucky to get a brief update from the band as they barely pause in their quest to become known.

When was Cóndor founded, and what music influenced you? Did you have a plan, stylistically or otherwise?

Cóndor was founded in late 2012. The plan from the outset was to create narrative heavy metal and to have the lyrics deal with the collapse of Western civilization viewed from the vantage point of the great grandchildren of the Conquistadors. Musically we were influenced mostly by the early work of melodic metal bands in various subgenres, such as Amorphis, At the Gates, Mournful Congregation, Sacramentum, Candlemass etc.

Do you have other non-metal or non-musical influences?

Non-metal influences are limited mostly to the realm of romantic classical music, particularly 20th century “nationalist” composers such as Sibelius, Smetana and Vaughan Williams. As far as non-musical influences, the work of J.R.R. Tolkien heavily influences our music, and our lyrical/conceptual outlook is indebted to the conception of time as destiny present in the works of Oswald Spengler and Martin Heidegger. The most important influence however is the landscape of our native region, and the story of our Spanish forefathers, to which we are heirs.

How long had you all been metalheads? Or are you metalheads?

We all got into metal while very young, around the ages of 11 and 12. The level of individuals’ current dedication to metal varies within the band, some of us still being fully devout while others have drifted away, but metal was everyone’s path into music and we all share deep roots in it, thus why we chose it as a vehicle.

What’s the scene like in Bogotá? Is it hard or easy to be a metalhead there?

Even though it is an ever-growing community, unfortunately it is swarmed with people who are attracted merely by the metal aesthetic, or people who don’t really think about what they’re listening to. The same people that go to a black metal concert can then go to a metalcore one the day after, which leads one to believe all they get from listening to metal is fun, rebellious noise. After an initial rush of inspiration in the 80s local bands have since been mostly derivative and boring, which has led to widespread skepticism about newer bands. Add that to the fact that venues tend to be geared towards the 80s rock crowd and gigging locally becomes a hard and often fruitless endeavor. However there are many encouraging factors, for one the sheer amount of metalheads as well as the incredibly devout local medium of cult metal record stores, along with an increasing number of international bands who come around to play in the city. It’s worth mentioning that the scene had many classic bands when it was peaking in the late 80s/early 90s, such as Parabellum, Reencarnación, Kraken, Masacre, Kilcrops, Witchtrap and Acutor.

How did you write the songs on Nadia? Were they conceptual songs, or just kickin’ around some riffs?

Music and lyrics on Nadia were written simultaneously with a view towards creating a coherent atmosphere and a dynamic structure. The concept of the album pertains mainly to the question of identity and destiny in the modern world, viewed naturally through our particular vantage point as Colombians. However, many of the riffs are very old and were simply worked into the broader scheme of the album later on. The material on the album stretches back at least three years in some cases while some of it was written just weeks before recording.

Did your influences change for Nadia from past efforts? How much had you learned since your earlier recordings, rehearsals or live performances?

Nadia was our first effort, and the entirety of the album was written before the band ever played together in a room, so this is a tough question to address. As far as live performances we believe they must reflect visually what the audience is listening to. That’s why we use body paint and use elements such as the accordion and wine during shows, to create an experience that enhances the atmosphere and weltanschauung that is already inherent in the music.

What has response been like so far?

Nadia has received a limited, but largely positive response, which we weren’t expecting to be honest. Colombian record stores have been enthusiastic, though larger distribution has been lacking. A few people seem to really dig the album, which is encouraging.

What’s next? Will you record more, tour or rest awhile?

Album number two is currently in the works and we hope to record it in summer of 2014, which would imply an early 2015 release date. Touring is unlikely for now as the band has been scattered by collegial pursuits, but you never know…

If you had to pick the most important bands in the evolution of metal, how would you do it? What bands would be there?

This is a tough question… I guess the method would be to pick bands that innovated in a way that helped the genre evolve without compromising its boundaries and also managed to make albums that stand on their own as coherent and meaningful works. Clearly, the bands that have had a real significance are most often those with members who really understood what they were doing; this applies for both metal and non-metal bands alike. Unfortunately, most great bands have a good start and release one or two great albums, but then seem to lose their touch and limit themselves to appease their audience, without giving much thought to the composition process.

Obviously objectivity is unattainable in such an endeavor… So without further ado, the much desired, and highly subjective, name dropping: Black Sabbath, Rainbow, Manilla Road, Manowar, Mercyul Fate, Slayer, Hellhammer/Celtic Frost, Possessed, Bathory, Fates Warning, Helloween, Morbid Angel, At the Gates, Darkthrone, Enslaved, Thergothon, Beherit, Skepticism, …After this the real innovation stops and the tenets of the genre are pretty much established, but many significant works have been published since then by bands such as Sacramentum, Averse Sefira, Fanisk, Pallbearer, etc. Metal is alive and well; quality output is just a bit slower than in days of yore.

If people are interested in supporting Cóndor, how do they acquire your recordings and keep in touch with the new happenings with the band?

Nadia can be bought both digitally (for whatever price you want) and physically through our bandcamp page. People living in Colombia or Mexico are encouraged to contact us through our Facebook page or our email (condorbogota@gmail.com) to obtain a physical copy directly through a band member. To keep in touch with the band and its happenings follow us on facebook or send us an e-mail and we’ll add you to our mailing list.

Hail Gómez Dávila!

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The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever! by Janne Stark

janne_stark-the_heaviest_encyclopedia_of_swedish_hard_rock_and_heavy_metal_ever-smallSince the popularization age of search engines began, some have wondered if this spelled the impending doom of paper encyclopedias. If heavy metal is any indication, traditional methods of distributing information are still enduring.

Newly released tome from Premium Publishing, entitled The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever!, compiles information on the Swedish scene from the early 70s through the present day. Written by Janne Stark, the book lists releases from 3600 bands with short biographical information for each, notably a format reference for each album, in addition to a index searchable by both area and name. There is also a section on visual history, featuring album art and unpublished band photos.

Packaged with an accompanying CD, the book weighs in at 8.5 lbs. and 912 pages and can be picked up for $79 via the Premium Publishing webstore or $73 at Amazon. In addition, you can preview the book online.

The book contains a bonus CD of rare or never before issued tracks.

Tracklist:

  1. AMBUSH – Don´t Stop (Let Them Burn)
  2. EDDY MALM BAND – Turn In Down
  3. HELLACOASTER – Mani Jack
  4. ICE AGE – General Alert
  5. MASTER MASSIVE – Time Out Of Mind
  6. MACBETH – Sounds Of A Hurricane
  7. THE HIDDEN – For Gods Ache
  8. VOLTERGEIST – Desperate Highway
  9. PAINKILLAZ – Lost My Religion
  10. ZOOM CLUB – Walking On Stilts
  11. RAWBURT – Psycho Man
  12. MONICA MAZE BAND – Eyes Of The Living
  13. STRAITJACKETS – Stripped To The Bone
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Dawn to re-issue entire back catalog through Century Media in 2014

dawn-slaughtersun_crown_of_the_triarchy

Swedish black/death metal outfit Dawn returned from the chaos of the 2000s a year ago and have been steadily moving toward releasing new material since. In support of this, the band will be re-issuing its entire discography through Century Media in 2014.

Formed in 1990, Dawn migrated from the death metal of their early demos into a more complex, melodic, epic and atmospheric style of black/death metal that culminated in Slaughtersun – Crown Of The Triarchy in (1998). Along with Dissection, Unanimated, Eucharist and Sacramentum, Dawn created a hybrid of melodic metal styles that expressed Iron Maiden-style harmony and melodic within the more rigorous rhythmic format of underground death metal.

During the first half of 2014, Dawn‘s back catalog will finally be made available again on CD and — for the first time ever — on vinyl. Carefully re-mastered by Dan Swanö, who also mastered Sacramentum and Fleshcrawl classics, these re-issues feature re-developed artwork done with full cooperation with the band.

Look for these releases in 2014:

  • (title TBA) Demos 1991-1993 on CD/LP
  • Nær Sólen Gar Niþer For Evogher (1994) on CD/LP
  • Sorgh På Svarte Vingar Fløgh (1996) on MCD/MLP
  • Slaughtersun – Crown Of The Triarchy (1998) on CD/2LP

http://www.youtube.com/watch?v=I7_q_F9ubwE

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Torchure – Beyond the Veil

torchure-beyond_the_veil-re-issue

Torchure‘s Beyond the Veil, recently re-issued on Vic Records, shows the best of the inventive spirit that hovered at the boundaries of extreme metal.

I say at the boundaries because this release, like early Sentenced or middle-period Therion, keeps one foot in the relatively accepted worlds of speed metal and heavy metal while another remains planted in the underground. Properly described, it’s a doom metal (of the heavy metal variety) hybrid with death metal.

The deathier aspects are embedded in mid-paced passages that show, in an odd twist for the genre, melodic development in both guitar and vocals, creating a sense much like that Dissection wielded of an inner core of beauty to a crashing heaviness. Slower doom riffing resembles both Cathedral and funeral doom bands to follow like Skepticism, although this would be considered uptempo.

Offsetting those elements are a number of harder-rocking numbers that use repurposed heavy metal riffs in a death metal context to deliver charging intensity at a faster pace. Many of these resemble the interstitial music between speed metal and death metal, like Slayer or Destruction. The melodic balances the spacier pentatonics and the crashing chromatic riffs that connect it together.

The result is a highly inventive album that showcases a study of metal riffing from the early 1970s onward, and by maintaining a doomy mood, expands death metal from raw riff interplay to a science of developing riffs in the context of a carefully planned mood shift in each song. This comes at the expense of the more expansive song structures which death metal could adopt by changing riffs every 24 seconds.

Vic Records has unleashed a quality re-release here with sound quality intact and no loss of detail, building on the strength of the original and delivering an improved experience. With luck this will allow a new generation to discover this often-overlooked (probably because of the misspelled name) German death metal band.

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Sadistic Metal Reviews 12-05-13

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What are Sadistic Metal Reviews? If you treat heavy metal like a form of art or culture, it suddenly reveals its inner depth. Labels want you to see the surface only. To separate the two, we must be brutally honest. Look for the occasional gem in the sands of sonic feces.

cemetary-phantasmaCemetary – Phantasma

Claiming to be tired of the “dungeons and dragons metal stuff”, Cemetary mainman Mathias Lodmalm stops trying to rip off Tiamat and Sisters of Mercy for Nuclear Blast fan boiz and unleashes his last pose. If his progressively more AIDS-influenced output didn’t clue you in, this last Cemetary album feels like a garage band project done for the purpose of emulating Nine Inch Nails or Skinny Puppy. It shows how interchangeable most poppy industrial is, so I can see something like this album succeeding on the radio, but as luck would have it, this is just another faceless electronica product in a sea of many. The only thing this release has in common with the previous Cemetary output is the same sub-standard quality that left them entombed in the chasms of out of print Black Mark releases no one cares for.

periphery-periphery_ii_this_time_its_personalPeriphery – Periphery 2: This Time It’s Personal

It’s important to note that borrowing a few techniques from the metal genre doesn’t make you a metal band. Underneath the “harsh” vocals and “crazy” drumming are mechanical Nu riffs and mathcore noodlings. Whiny crybaby vocals and pop-choruses make this nothing more than a commercial product for socialization amongst Xanax-addled teenagers who are somewhere between dropping out of high school and becoming Che Guevara shirt-wearing low level pot dealers who often lapse into 9/11 conspiracy rants. The whole thing is organized to seem more like an emo album with its pop-punk cheerfulness and feminine vocals that reflect a feeling of being “hurt” by “mean society and girls with standards,” much like their clone targets in Sikth. If these people were more honest with themselves, they would drop the superficial “EXTREME” portions and become the next Hawthorne Heights.

satyricon-the_shadowthroneSatyricon – The Shadowthrone

If you are looking for the start of black metal’s disintegration, it can be found here. Taking liberal inspiration from bands that preceded it, this album is the blueprint for how semi-talented musicians can copy a genre’s sound while embodying none of its spirit. The songs are narrative on the surface; however, when the listener attempts to peer beyond appearance it is quickly apparent that there is nothing of depth, the musical equivalent of modern poetry. Tracks meander from one location to another, never providing any causation for why the arena is changing. The riffs are tiring in their simplicity and irrelevance, and motifs are at best uninspired. The band also deserves blame for introducing drunken popularizations of folk melodies that distract listeners from the vapid quality of metal present, which has been the operating principle of folk metal for the last 20 years. The only people who can appreciate this album are the deaf and fans that lack standards.

harm-cadaver_christiHarm – Cadaver Christi

The real way to be a reviewer is to assume that nothing is free. No one gets a promo. Everyone must pay mall prices. There are no buddy hookups, freebies from the cutout bin, and you have a budget that’s commensurate with that which the average 15-27 year old can field. It doesn’t matter that the wiper blades for your Lexus cost more than even an album from overseas; the question is what your audience can afford. Your readers. And knowing that they have finite money and time, what’s worth spending it on for them? Music is a zero-sum game. If you can buy only five CDs a month, you want to buy the best five possible. All of this is what was once called common sense, apparently, but now is voodoo quantum dark energy esoteric witchcraft knowledge to most people. That being said, I’m sure the guys in Harm are nice people but this album is dismal. It’s bog-standard Swedish-style mid-paced death metal with every cliche of bad metal involved, including the highly derivative riffs, emphasis on vocals as lead instrument (a fatal failure for metal bands), plodding pace and lack of melodic or structural development. Avoid unless you’re so average that anything else is over your head.

xysma-first_and_magicalXysma – First and Magical

Starting life as a Carcass clone, Xysma have progressively been perverting that band’s Symphonies of Sickness formula into becoming a more accessible “rock” product through perceptively mainstream blues and psychedelic moments as well as the “angsty” sounds of then “nu” radio hit band Helmet. With liner notes claiming The Beach Boys as an influence, it all comes together as a light-hearted parody of underground metal through the juxtaposition of “happy” and “trippy” moments amidst blasting death/grind fare and two-note groove riffs. Arguably the first death n’ roll band, Xysma could be held responsible for the mainstreaming of death metal through the use of elements the genre at that point have fully filtered out of its sound. While I don’t think the band meant any harm with this release, it has nothing to offer except “light-hearted fun” and seems like a bizarre interim period between their old Carcass-influenced sounds and the Helmet style they would adopt on their next album Deluxe. Similar to what Tiamat and Entombed did, Xysma saw the potential for material gain in emphasizing grooves and so got rid of the vestigial underground baggage to embrace commercialization.

inquisition-obscure_verses_for_the_multiverseInquisition – Obscure Verses for the Multiverse

Inquisition has been a constant within the American metal scene for over a decade, churning out albums that differ little in quality from one another, though with still enough distinction to be recognizably different. The band’s latest release, Obscure Verses for the Multiverse, is a continuation of the band’s recognizable style.

On this album, the band further perfects its rendition of the rock-influenced black metal genre, with many similarities to bands such as Satyricon or Marduk. Rather than a connected narration binding each song together, tracks are riff composites that sacrifice atmosphere for chaos and disorder. In compensation, riffs utilize ornamentation such as harmonics, bends, and minor chord strums in order to retain interest as drums blast away incessantly. This succeeds for approximately 30 seconds before the listener realizes that he could derive the same effect by shaking a glass container of marbles as a phone rings in the distance, simultaneously entertaining and a source of exercise.

However, this author has no desire to be unjust: the album undoubtedly will be praised by many a Wacken attendee and provide each an hour of entertainment, and truly; that is the goal of metal. After all, it certainly couldn’t be art!

sheol-sepulchral_ruins_below_the_templeSheol – Sepulchral Ruins Below the Temple

This is a really good effort but ultimately isn’t distinctive enough, and it’s not a matter of style. The style applied here is mid-period death metal hybridized with the latest trend, which has been Incantation/Demoncy worship by people who love linear riffs that internally counterbalance themselves with extended chromatic fills that crush melodic tension. Sheol have put a lot of thought into the amount of variation in each song, the coherence of the style, and in adding distinctive elements like intros, melodic accents and rhythmic breaks. However, ultimately this is a churning stampede of riffs that are relatively similar in approach and thus form, and the result is that it feels like listening to the wind while riding a train with the window open.

harm_wulf-theres_honey_in_the_soil_so_we_wait_for_the_tillHarm Wülf – There’s Honey In The Soil So We Wait For The Till

I had a grandfather who traveled the country as a journalist, interviewing union leaders. This generally happened on Greyhoud buses, because if you were a man of the people back then, you wanted to be seen in the common man’s transportation. During a disproportionate number of these interviews, someone was softly playing a guitar in the background and singing. It sounds exactly like Harm Wülf. Despite the cute somewhat edgy name and the aura of mysterious darkness, Harm Wülf is a fifteenth-generation copy of a copy from four generations ago. Soft guitar playing uses only about three strum patterns and gently loops over a verse and chorus while the half-whispered, half-sung vocals are the real focus. This is how college weenies have been getting laid since 4,000 B.C. It seems deep on the surface, but it’s really a pile of cliches, starting with the awkward and obviously imitative title. It wants to emulate a well-known post-Neurosis project, but that’s actually good. This is just rehash, reheated and disguised behind a single sprig of parsley.

ayreon-the_theory_of_everythingAyreon – The Theory of Everything

Oddly, this band merges 1970s prog rock sounds with 1980s pop and ends up mixing in a number of diverse influences that, per the nature of ambitious merges, default to a common ancestor. Thus this album ends up being ambitious AOR with periodic metal riffs, a lot of keyboards, and a lot of cheesy vocals. If you like walking turds like Helloween’s Keeper of the Seven Keys this cheese-fest will delight you. It is not as pretentious as the 1970s progressive rock that defined the genre, but it’s also uncannily pop which makes it hard for an experienced listener to tolerate. Musically, it is better than average, other than a lack of melodic development or use of harmony and key as we’d expect from a prog band. Aesthetically, it’s the contemporary equivalent of Boston or Asia or any of those other prog-soundalikes that never crossed that line to got full-on hardcore.

deathbreed-your_stigmataDeathbreed – Your Stigmata

Fairly standard deathcore, Deathbreed sounds death but doesn’t feel deathy. That is, there’s a lot of quoting of classic motifs from death metal, but they don’t get developed, and the band has no agenda so they end up at a musical LCD that’s basically rock made like a punk band would if using metal riffs. The result is predictable, but that’s not its problem. What kills it is that it has nothing to express. Even teenagers bleating out predictable platitudes about their trivial problems would be more realistic than this photocopy of a photocopy (with added jump-beats for the slower kids).

ulcerate-vermisUlcerate – Vermis

On Vermis, Ulcerate once again fool the gullible into thinking that “if it’s needlessly discordant and has growls on it, it’s the NEW and EVOLVED death metal,” only it’s not that apt. Underneath all the wankery, you’ll discover the songs never really go anywhere beyond the idea established in the beginning. All the superficially chaotic sounds render a meta-atmosphere of insanity through discordance, but the one fixed mode of expression this dwells in makes it all very obvious by the first track’s conclusion.

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Jeff Hanneman demos from 1985 released as Seeds of Horror

jeff_hanneman-seeds_of_horror

With the tragic early death of Slayer’s Jeff Hanneman earlier this year, it was inevitable that artifacts would unearth themselves, as has happened with the Seeds of Horror release. This album contains both demos for an unreleased concept album by Slayer and a demo from Hanneman’s side hardcore project Papsmear.

The Slayer demos involve material that mostly made it on to later albums but also contain some unreleased and unrealized material. Generally recorded with Hanneman on guitar and vocals and a drum machine for percussion, the demos include some conceptual material like the title track from which this CD/LP takes its name.

Seeds of Horror also contains extensive liner notes introducing each track as it was mentioned by the band in interviews and tracking the lineage of each song, many of which appeared in fragmentary form elsewhere (riffs and other concepts were recycled). Two of the Papsmear tracks will be familiar to any who have Slayer’s Undisputed Attitude. The full demo features Dave Lombardo as well as Rocky George from Suicidal Tendencies fleshing out the mix.

For more information, check out the Seeds of Horror page on Hell’s Headbangers.

Tracklist:

  1. Angel of Death
  2. Seeds of Horror
  3. Raining Blood
  4. South of Heaven
  5. Spill the Blood
  6. Untitled (213)
  7. Untitled
  8. Untitled
  9. Living Just To Die
  10. DDAMM
  11. Abretions Asshole
  12. Can’t Stand You

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Slayer Show No Mercy turns 30

slayer-show_no_mercy

Three decades ago, on December 3, 1983, Slayer unleashed Show No Mercy upon an ungrateful world. This event changed more than one band’s future; it helped launch the next generation in metal.

Combining the fluid tremolo strum of hardcore punk with the melodic song structures of Iron Maiden and the angular, rhythmically precise riffing of Judas Priest, Slayer sculpted from raw elements the future of death metal. With the guitars freed from having to emphasize offbeats, riffs became more fluid and tended toward phrases, jazz-style, instead of bouncy percussion in the style of rock.

This broke metal free from much of what had kept it confined by allowing guitar to become the primary lead instrument in every sense. Rhythmically, melodically and in developing song structure, the guitar dominated and aligned every other instrument including voice behind it. The result was a new flexibility in songwriting that helped launch the genres death metal, black metal, grindcore and thrash.

In addition, Slayer converted heavy metal’s flirtation with the occult from a type of provocation to the easily offended, to a mythological view in which dark occult forces manipulated the weakest among humans in a quest for world destruction. They were thus able to symbolize the darkness, corruption and mental servitude they saw in the society around in the religious symbols of centuries before.

The result was a form of music more powerful and intense than anything before. The band came into their own on the following three albums, relying less on the heavy metal tropes from before and developing their own language in a proto-death-metal style. But it all began with Show No Mercy.

http://www.youtube.com/watch?v=J4n9PUj6YFA

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Profile: Codex Obscurum editor Kevin Ord

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Photo: Aaron Pepelis.

There’s a seismic disturbance in the metal world. As the power of the internet winds up, the flood of information has increased to the point where people are searching for ways to reduce the data overload. As a result, they’re turning back toward zines, reviews and edited sites and away from crowd-sourced data and social media.

On the forefront of this change is Codex Obscurum, a formerly small but rising zine from the eastern coast of the United States. Staffed by volunteers, run on a non-profit basis, and dedicated to old school underground metal as well as contemporary developments, Codex Obscurum has won over its share of devotees.

We were fortunate to be able to catch a few words with Editor Kevin Ord, who has taken over the helm. He gave us the lowdown on changes at the zine and its future direction, as well as (at our interviewer’s insistence) some speculation on why zines are surging forward as the rest of media swarms and retreats in confusion.

Can you tell us a little about yourself, and how you got involved in underground metal?

I’m from Worcester, Massachusetts. I have a wife and three cats and I’m a paint contractor during the day and zine publisher at night. Like most kids in the 80s I got into metal through other kids in school with bands like Slayer and Metallica. I can pretty much thank Headbangers Ball for introducing me to underground metal. It was appointment television on Saturday nights. I also remember getting a copy of Pit Magazine in the early 90s and being obsessed with hearing what all of the bands in there sounded like. I was already a huge fan of horror movies so the art grabbed me right away.

I like to be able to hold something physical. I think a lot of people do. I want something that a kid might find in a shoebox in 10 years and say “I remember this; I’m going to reread it.”

What made you want to work with underground zines? Have you been a zine reader for long?

I wanted to work on an underground zine because I was sick of just bitching about stuff on the internet. I wanted to actually create something instead of always just tearing stuff apart. I’ve bought zines randomly for at least the last 20 years. Reading the Slayer Diaries book definitely motivated me to make Codex Obscurum better.

To you, what defines an excellent zine? Were there any favorites of yours from the past that you still turn to as examples of underground metal zine greatness?

I think variety defines an excellent zine. We have 12 different writers for Codex Obscurum and I think that variety of opinions and tastes makes it something everyone can learn something new from. I find out about things from my own zine I didn’t know about just because we have so many writers from different backgrounds. I still turn to the Slayer Diaries like I said. He had the advantage of being in the right time and place. But I think it’s an excellent record of a specific time in metal. Maybe one day Codex will also be a good record of metal in 2013. Who knows?

Are there advantages to the zine format that newfangled ways like Twitter and blogs do not offer?

You can read Codex Obscurum on the toilet a lot easier. I like to be able to hold something physical. I think a lot of people do. I want something that a kid might find in a shoebox in 10 years and say “I remember this; I’m going to reread it.” Stuff like blogs just seem so disposable.

What has changed in the three issues of Codex Obscurum? Have you and your team altered your approach based on this learning?

Our original editor had a substance abuse problem that we weren’t aware was as bad as it was. So he is now in treatment and will not be returning to the zine. So Steve and I have taken over formatting and printing Codex Obscurum. We got a lot of feedback on issue #1 and #2 and changed the zine a lot based on this feedback. The top priority was making the zine a lot more legible and easier to read. I think we achieved that with issue #3. I also wanted to make the zine less random and more focused on music. We tried to pack as much music content into #3 as possible. Getting support from artists like Mark Riddick and podcasts like Hellcast has also motivated us to make the zine better.

The top priority was making the zine a lot more legible and easier to read. I think we achieved that with issue #3. I also wanted to make the zine less random and more focused on music.

What’s the best way for someone to get ahold of Issue #3 of Codex Obscurum? What about for them to support the zine in intangible ways?

If someone wants to get ahold of the zine they can go to codexobscurum.bigcartel.com. The zine is $3 + S/h. If someone wants to submit their album or demo for review the can contact me at codexobscurumzine@gmail.com. If someone wants to support the zine just tell a friend. We like it to be done DIY.

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Sadistic Metal Reviews 11-27-13

sadistic_metal_turkeys

What are Sadistic Metal Reviews? We write about the artistic and musical side of metal, not how many teenyboppers or bloated old guys think it’s “fresh.” In the holiday spirit, we call metal’s turkeys what they are. Expect delicious outrage and denial, with the (occasional) quality release.

massemord-stay_fucking_necroMessemord – Stay Fucking Necro

Black metal is among the hardest genres to master within metal, which is why so few people have managed to do it well. Beyond the mechanical characteristics of the genre, there exists a need for personal integrity and semi-spiritual fervor driving the musicians onward towards higher realms of art. That is not present in this release.

On their questionably-titled album, Stay Fucking Necro, Messemord perform a style of “black” metal that has much in common with post-millennial Satyricon or Gorgoroth. “Black & Roll” cliches are abundant as well as influences from “melodic” black metal, rendered here as irritating arpeggios that push tracks closer to lighter melodies, which are not at all helped by the bouncy drum patterns. Tracks are thrown-together collections of riffs that have been overused for at least a decade, and they don’t become more inspiring hearing them again…although the Transilvanian Hunger ripoff riff is listenable.

There is nothing here to interest anybody who has beyond a surface interest in the genre. Actually, I don’t know why anybody would be interested in this. This band seems to be yet another example of an “underground” band that’s underground only because it’s terrible.

benediction-the_dreams_you_dreadBenediction – The Dreams You Dread

I remember calling this album a sellout, but the truth is it’s probably Benediction’s defining moment. By removing all the extraneous elements that Benediction once utilized like slow doom riffs and a “morbid” feeling on some numbers, the band play up their hardcore/punk influence to seem “rebellious” as was the trend of the time and making their B-grade Massacre songs sound more like something you might hear on a Marauder album. If you can imagine Harmony Corruption-era Napalm Death covering Sepultura’s “Biotech is Godzilla” backwards eleven different ways while lapsing into blockheaded Pantera or later Sacred Reich grooves, you know how this will sound. Generic and mediocre death metal is thrown out the window, making room for the groove infatuated vapidity “with a punk attitude” that this band always had in its heart.

grave_miasma-odori_sepulcrorumGrave Miasma – Odori Sepulcrorum

The verdict is in: Cruciamentum is more interesting than Grave Miasma. Alhough the bands share musicians, Grave Miasma contrive dull and uninspired Incantoclone riffs that are randomly stitched together. There are two decent songs that kept my attention, but the same droning “atmospheric” chords are present in every moment of Odor[i] Sepulcrorum. It’s like they implemented texture for the sake of implementing texture without using it to move anywhere interesting. Perhaps this should be marketed as a sleeping aid instead of a death metal album. The main problem with this release is that it sounds like the songwriter/s ran out of ideas before they even started writing it. This is disappointing since their prior EPs were much better efforts. I’m tired of writing about it and in fact, I need a place to lie down. To sleep, perchance to not hear this thing ever again.

darkane-the_sinister_supremacyDarkane – The Sinister Supremacy

This is basically the middle of the road millennium metal that has replaced the 90s groove trend and 80s Metalli-clones. Slaughter of the Soul-styled mellow-deaf riffs are thrown next to mechanical groove riffs, with songs that go from “angry” verses to “melodic” choruses in simple Wacken metal format. Solos run the gamut from bluesy “rebellious” fodder to ultra pretentious Malmsteen mimicry and vocals are “harsh” but sung with inflection to be melodic. There is no reason to listen to this album or for this band to exist. If you want another version of the same crap Nuclear Blast and Century Media release on a weekly basis, you’ll find more interchangeable extreme pop-metal fare here with nothing to distinguish it from any of the others.

autumnblaze-every_sun_is_fragileAutumblaze – Every Sun is Fragile

Another emo album. There’s no point disguising that this is an indie-rock/punk-rock hybrid from the late 1980s. It sounds exactly like the bands that became popular then and into the early 1990s, just with better production. Even the topics and moods are the same. Even worse, every song is musically very similar, aiming for that moment of double parallax when multiple contrasting directions emerge. Artistically, however, this i vapid, like being lost at a mall and feeling sorry for yourself… for four hours. Every now and then a quasi-metal riff comes on, and gets replaced by a crooner with the indulgent lyrics of a snake oil salesman. How did this end up in the metal queue? Any attempt to insult this insincere, derivative dreck is an insult to some group that in contrast is honorable, like idiots, fools, droolers and lichen rapists.

the_haunted-unseenThe Haunted – Unseen

If metal bands had FDA labels this one would read “100% feces.” The Haunted hang the towel on their crowd-pandering metalcore to make room for the musical ornamentation and forms that bands utilize when they want to make it to the mainstream. “Emotional” vocals more befitting screamo and alt-rock bands croon and drone over listless nu-groove metal. While the albums before sounded like commercial Wacken pandering, this album sounds like something that Roadrunner would have released in the late 90s. With so many people using Slaughter of the Soul as a template for manufacturing artistically-void muzak, something different but just as stupid needed to be tested within the crucible over at Century Media’s headquarters. The result is more worthless music that sounds like it could be Linkin Park, Incubus, or any of those other MTV bands you hear on the radio. It’s hard to believe the man who wrote Kingdom Gone is responsible for much of this rap-rock/emo oriented fare but, then again, we’ve already seen the depths this bunch had fallen since 1993.

arsis-unwelcomeArsis – Unwelcome

“EXTREME” Wacken metal. Aside from proficient performances, this is what death metal would sound like if performed by Bon Jovi. “Hard rocking” blasting verse riffs show you that these guys are “ANGRY”, but don’t fear! The stadium rock melodic chorus that sounds like something Stryper or Europe would play comes in to rationalize the “aggression” with feelings of “bitter sweetness”. Vocals that sound carbon copied from Jeff Walker further makes this album sound no different to the recent Carcass disaster, making this seem all the more vapid. If this band had any common sense, they would look at the European metal fest lineups, realize they still haven’t made it to “the big time”, and retire to being guitar teachers as opposed to clogging the airwaves with more AOR mellow-deaf. The “ironically uncharacteristic for death metal” music video to this album’s closing track further suggests this band is the musical equivalent to watching an Adult Swim cartoon. Worthless music.

ephel_duath-hemmed_by_light_shaped_by_darknessEphel Duath – Hemmed By Light, Shaped By Darkness

When you wander among the teenage social wastelands of the earth, you will encounter many sophomoric characters and each one will have his own catchphrase explaining why he knows something, when he does not. One example is the “I like a little bit of everything” guy who picks music based on it having a great deal of variety. He’s concerned that music might be too much the same if it were consistent, so he likes quirk. This is another form of the mentality that causes people to order variety plates in restaurants; they don’t know what they want, because they don’t know what they like, mainly because they have no idea who they are. Ephel Duath is a band for that segment of the world. It is putatively some form of black metal, but compositionally is heavy metal with additions of all sorts of odd sounds and different riff types. Then if you missed the memo, they’re going to screech at you full volume and have cheesy dramatic song structure changes to emphasize that Something Is Happening Here, when in fact nothing is. As the song ends, you’ll note that it came back to the exact same place where it started. Not a restatement of theme in a new context, but literally, the same stuff after a distracting middle. It’s like window shopping; see the world without having to adapt at all. And correspondingly, it’s both hollow and annoying.

finnrs_cane-a_portrait_painted_by_the_sunFinnr’s Cane – A Portrait Painted by the Sun

This is a nice little emo album, but as this isn’t a punk site (although we support hardcore punk, which is a different genre from generic radio punk a/k/a “punk rock”) there’s no interest. It’s time to drop labels like shoegaze and blackdrift and call this what it is, which is late-1980s and early-1990s style emo. The same dissonant chord progressions, rhythms, vocal inflections, atmospheres, even song topics and naming conventions persist, with nothing new added. There’s a little aesthetic tweaking, but not enough to conceal what’s here. There is zero metal, and zero black metal, in this release. Other than that, it’s OK, I guess, but all these bands sound the same. What, how can you say that, that’s intolerant! you spit. Yes, but the fact is that there’s just not much musical variation between songs by the same band or bands that share this genre (emo). That’s why emo is so popular with record labels and unemployed musicians alike. If you master a few techniques, it’s really easy to do and you’ll sound about like your heroes. That is, before you get a job at a management consulting firm, take out the piercings and hide the tattoos and get on with your self-pitying prole-drone cubicle-bound life as an average citizen of the modern state.

manii-kollapsManii – Kollaps

Utterly boring “depressive-suicidal” black metal from the original Manes personel. While the unsettling open-string dissonance and vocal performance is the same, the music remains in one fixed tempo throughout what could be variations on one song. Aside from the aesthetic reversion towards this band’s original sound, the music is more in line with the commercial nature of the later electronica/alt-rock Manes in spirit. As a result, this could be a Xasthur or Shining album and no one would tell the difference. The mystique is gone, replaced by the saccharine emotion one would expect from a depressive Marilyn Manson song.

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