Hostile Terraforming is the result of a lot of instrumental practice and absolutely no artistic or even musical ambition. Every moment is technically precise in the pursuit of puritanically banal phrases which fake variation by playing the same motif in a higher octave. Cyclical song structures allow the players to shred freely while never needing to establish an emotive core. The EP lasts only as long as it takes for the musicians to run through every show-off-in-a-public-space rite of passage stylistic flair which is recited in the most obsessively canned manner – essentially a musical diet of Doritos and Pepsi. Like all such outfits, the drums are produced to resemble a typewriter thus ensuring maximum clarity so the listener can hear every soulless tap and click as the performer slavishly follows the guitar around like a gimp-clad submissive. Yes, there are musical pauses to give the bass guitar its obligatory solo which has no purpose within a greater melodic arc of the song; not that the drunk dive bar crowd notices or cares.
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.
From its very inception with Black Sabbath metal has always placed a special emphasis on a realism that looks beyond human “nature” and its caprices. We can safely ignore the hedonist tendencies of certain styles of metal imitators and detractors who musically, ultimately took more from the rock and hippie attitudes than from metal. It is also important to clarify that most modern bands, especially past the 1994 mark, are followers and imitators who were not born into the music out of a deeper mindset. In a rather tongue-in-cheek manner, they enjoy the music’s aesthetics while they jest about the lyrics and apparent driving motives of extreme underground innovators, naming them conspiracy theorists or deluded savants, because what the greats say goes against their own culture-dictated values. They ignore that Beethoven, the original creator, is born not when he starts to write great music (which happened at a relatively young age) but when he finds ulterior motivations(circa the sketching of his 3rd Symphony); transcendental visions of a greater humanity born out of fraternity and the individual struggle for self-improvement through suffering push his music towards new landscapes until the day he dies.
Black Sabbath is metal incarnate because not only is it from them that the genre evolves musically, but the very essence of everything that makes metal what it is is reflected in their lyrics. A curiosity for occult knowledge or mystic experience through various means, the so-called worship of power and an apolitical realism that attacked the establishment and that in its time was confused (and probably marketed) as hippie flower-power are all manifest in the band’s first few albums. The three elements ultimately boil down to the search for a truth that lies beyond human construction. Of course, because we are humans, all we have is our human brains and our human motivations — this is something we cannot escape. So what is there left to take a hint from? Nature. The same nature that gave birth to us as a species. The nature that produced an environment which gave rise to our own human “nature” (two different uses of the word nature, for those not paying enough attention).
Nature worship is misconstrued by cynics as either an extreme and retrograde cultural suicide that proposes we abandon the cities to go back to living in caves as wild animals, or simply a kind of replacement for any religion as a different set of beliefs that at the end lead you roughly towards the same goal. What a proper nature worship really entails is not a blind respect for other living creatures at the expense of human well-being, but rather an enhancement of the latter through a mindful and knowledgeable understanding of our relationship to the rest of nature as an ecosystem. In other words, beyond this bubble of social constructions that leave us oblivious or simply make us insensitive to the full extent of the consequences of our careless actions three or four generations into the future (think of uncontrolled population growth and greedy depredation of resources in order to get more money, yet another human illusion to maintain greater mirages).
Realism is here referred to not as the selfish conception driving a Machiavellian politics, but rather the philosophy of forming opinions and taking decisions based on a nihilist but profound understanding of the relative situation of ourselves as humans. The profound understanding is a necessary appendage to the nihilist mentality because otherwise it can very easily degrade into hedonism or other kinds of short-sighted foolishness. An understanding of the inherent necessities we have as humans, both physical and psychological, can lead us in a very few particular directions. As I see it, we either embrace the rest of the ecosystem as something to worship and live in as vital to us in our everyday lives and long-term decisions as a species, or we develop the technology to live independently from it. So far, we are at a crossroads where we are at the brink of destroying the balance of this planet’s system beyond repair, and we do not possess the technological means to live without Earth: precisely because our motivations have been too short-sighted, driven by immediate or selfish profit.
Rocket’s engines burning fuel so fast
Up into the night sky they blast
Through the universe the engines whine
Could it be the end of man and time
Back on Earth the flame of life burns low
Everywhere is misery and woe
Pollution kills the air, the land, and sea
Man prepares to meet his destiny
Rocket’s engines burning fuel so fast
Up into the black sky so vast
Burning metal through the atmosphere
Earth remains in worry, hate and fear
With the hateful battles raging on
Rockets flying to the glowing sun
Through the empires of eternal void
Freedom from the final suicide
Freedom fighters sent out to the sun
Escape from brainwashed minds and pollution
Leave the earth to all its sin and hate
Find another world where freedom waits
Past the stars in fields of ancient void
Through the shields of darkness where they find
Love upon a land a world unknown
Where the sons of freedom make their home
Leave the earth to Satan and his slaves
Leave them to their future in their graves
Make a home where love is there to stay
Peace and happiness in every day.
The direction from or mentality with which we approach problems is a non-trivial factor in the resulting answer. If we approach the matter of how we should conduct ourselves from the top-down viewpoint that what matters is this or that political scheme as a result of our “rights”(more human constructions) or needs only, and without acknowledging that our needs depend on and arise from our the rest of nature on Earth, then we will always lose sight of the whole picture. This human-only vision traps us in a political/theological game which gradually becomes more and more alienated from the real struggle for survival played against and within our place in the universe.
Metal was given birth by those who despise petty human society and is continued to be upheld as the greatest art there ever was by those who have come to this ultra-human vision. To us, every vacuous formality is a burden, every accepted social deception that is taken for granted by the herd can be confusing because we are expected to follow it despite the fact that even the sheep know it’s complete bullshit. Most sheep know it, but they know it is in place for everyone to be happy and shielded away from each other, but most importantly, from reality. True metal stands against all of that. Not as a statement of individuality like most modern bands who care about being politically-correct and are given free reign to pose as some sort of social-cause rebels, but as an acceptance of the harsher truths of reality and how they make the upsides even more intense and worth living for.
“This beginning then reaches out to future historical outreach, especially by teaching what humankind does not wish to comprehend, in spite all the immense hardness of history, does not want to understand, something that perhaps only latter days will learn after reaching the nadir of destruction and devastation — that life need be understood not from the viewpoint of the DAY, of life merely accepted, but also from the view of strife, of the night, of POLEMOS. The point of history is not what can be uprooted or shaken, but rather the openness to the shaking.”
–Jan Patočka, The Beginning of History
Only Death is Real
Blind lies rise
Eternal sweet fire
One with soul
Licking throne of gold
Soul of bricks
Plague of deaths
Hate rise/fill my eyes
Those with no eyes
Blind to see (him)
Those with no eyes
Come feel inside
Souls of fate
Those with no eyes
Blind to see
Breath now, worship (him)
Warm caress of fire
Breaks the pulse
Close your eyes
Canadian death metal band Adversarial are ready to release Death, Endless Nothing and the Black Knife of Nihilism. The band’s first full-length since 2010’s All Idols Fall Before the Hammer is made up nine tracks of blasphemous metal.
Dark Descent Records has announced an August 21 release date for Death, Endless Nothing and the Black Knife of Nihilism on CD, vinyl and digital formats.
Getting into underground metal styles has never been a straightforward thing for anyone. The exception might be the Cannibal Corpse crowd that approach this music as fix for a certain mood, but see little beyond the most sensual appeal of the music. For those actually trying to appreciate the music anywhere beyond the surface either in a technical manner, it’s significance or the experience it provides beyond simple monochromatic sensual indulgence, the path consists of several steps in not one path but a multitude of paths that conform to the singular state and journey of each listener.
The present list does not attempt to give a template that will fit all as that is impossible. It is simplistic in its attempt to generalize and exemplify. The most important starting assumption is that the listener is at least fond of traditional heavy metal or hard rock in the worse case. I tried to avoid using of overtly offensive gateway bands like Craddle of Filth, Dimmu Borgir or Arch Enemy but these should not be completely discarded as possibilities to enable a smooth and pleasant transition into death and black metal.
For this example of a road map towards understanding and appreciation of death metal I have distinguished five different steps with suitable albums as follows:
I. Easy-going quasi death metal
Carcass – Heartwork
Entombed – Left Hand Path
II. Welcoming and easy-to-understand simple death metal that is only complex on a local level and so can inspire a sense of technical wonder in the listener while maintaining mood.
Death – Spiritual Healing
Adramelech – Psychostasia
Demigod – Slumber of Sullen Eyes
III. Excellent, but mostly on a technical level, with raw power and refinement in style, solid and well-produced albums that do not transcend their technical aspects
Morbid Angel – Covenant
Cryptopsy – None so Vile
Vader – Litany
IV. Authentic, representative of the core of the death metal spirit while being original
Demilich – Nespithe
Deicide – Legion
Suffocation – Effigy of the Forgotten
V. Completely past appearances and technical infatuation, almost on the spiritual level of true and good black metal
The cast of Gruesome, the Schuldiner-hailing collective featuring members of Exhumed, Possessed, Malevolent Creation and Derketa, today untethers a very special cover of Slayer’s “Black Magic.” The band’s latest reconfiguration of the old-school appears on the deluxe digital edition of the band’s Savage Land full-length.
We chose our cover tunes the same way we tried to write the album,” relays guitarist/vocalist Matt Harvey. “We just did what Chuck [Schuldiner] would have done. Death was never a band particularly known for their cover song repertoire, but they did occasionally close their set with a rendition of ‘Black Magic’ and it’s a cover that dates as far back as an old 1984 Death/Mantas rehearsal, so we felt it would be appropriate. We were considering ‘The Exorcist’ by Possessed, since Death started recording a cover of it during Individual Thought Patterns, but since [Gruesome guitarist] Dan [Gonzalez] is in Possessed, it was a bit weird. Again, we tried to approach the song as Death doing a Slayer cover, so… hopefully we came close to the mark.
Gruesome pays homage to the mainstream’s and non-death metal listeners’ most celebrated American acts, Death. As such, their debut full-length, Savage Land, released last month Relapse Records, is an addictively punishing exhibition of late-’80s/early-’90s Florida-styled death metal that keeps the true sound and spirit of Chuck Schuldiner and Death alive and well.
Gruesome was borne out of guitarist/vocalist Matt Harvey (Exhumed) and drummer Gus Rios’ (Malevolent Creation) mutual involvement with the Death To All tours. After discarding the idea of putting together another incarnation of DTA to focus exclusively on Death’s first two albums, Harvey half-jokingly suggested writing their own songs in that vein. The idea gained traction, and the band had five songs written. Rios later recruited Possessed guitarist Daniel Gonzalez and Derketa bassist Robin Mazen to record the material in Florida. Savage Land was tracked by Rios and Gonzalez at Riversound Studios in Fort Lauderdale, Florida, mixed by Jarrett Pritchard at Mana Studios in St. Petersburg, Florida, and features a guest guitar solo on “Closed Casket” by James Murphy as well as cover art by legendary illustrator Ed Repka (Death, Megadeth, Massacre, Athiest et el).
Savage Land is out now via Relapse Records on CD, LP and all digital outlets. Physical orders are available now at THIS LOCATION, and digital orders HERE.
“This couldn’t come more highly recommended. Buy this and take a trip back to the ’80s when death metal wasn’t all about blast beats and gutturals.” – Stereokiller
“This isn’t your crusty, nasty, run-of-the-mill retro death metal. Hell no. This the advanced, dripping-rot-from-the-corners-of-a-coffin, putrid, vile death metal throwback that you’ve been waiting for. Observe.” – Metal Injection
“The enthusiasm alone on Savage Land is awe-inspiring… this is a fun romp through the rehearsal space of a bunch of longhairs who love a band so much it hurts. 8/10” – Exclaim
“…just so goddamned fun.” — MetalSucks
“Metal needs more albums like Savage Land… The legacy and sound of Death lives on ever so faithfully through bands like Gruesome, and wherever he is, Chuck Schuldiner is undoubtedly windmilling ferociously and smirking ear to ear at the deathly sounds of Savage Land. 4/5” – HeavyBlogIsHeavy
Those of us who survive in the concrete jungle or the suburban desert live as we must, which often means foraging within the realms of junk food. This in turn means, because too much of junkfood is merely a conduit to “the beetus” or other early death, to have strong preferences for some junk food over other types. Many of us remain enthusiastic fans of Taco Bell because, despite the high salt content and imminent violent defecation, it remains relatively simple, unsullied and realistically-priced compared to the over-sugared varieties of junk food found at the burger joints. It also eschews the pomposity of “down home goodness” and “hippie health food wisdom” which mark, even in small doses, places like Chipotle and In-N-Out.
As part of its ill-advised campaign to be “more competitive,” which is scurrilous nonsense since it has already captured its self-selected target audience of drunks, college students, scat fetishists and budget-conscious consumers, Taco Bell has made tentative stepts toward expanding its menu to include more varied tastes. As a long time observer, I believe this contradicts business wisdom which would be to instead serve its existing constituency such that it expands, instead of trying to capture audiences from other businesses who are more adapted to what those groups expect. However, it has in addition to some hilarious missteps — the soggy Doritos-in-a-burrito was more than gastronomically dismal — this has brought a number of useful experiments, including the new Diablo sauce. From the beginning, this product faces a steady climb because those who really like hot sauce enough for it to be essential with a fast food meal probably have their preferred poison on hand, but it also may gain an audience of those heading past the sauce counter for some slightly new experiences. Much like the market for spicy sauces sold separately, it navigates a fine line between over-processed and sweetened sauces, and perennial favorites like Tabasco which balance spice with flavor such that one tastes more than spice or the sugar, aromatic spices and fruit extracts added to soften the blow or at least give it an ironic, contrarian or contradictory identity (“it’s a hot sauce, but unlike the others, it has fruits and flowers”).
The first taste of Diablo Sauce, as warned by our local Taco Bell proprietor, is of intense spice. A glance at the ingredients shows that it picks up from where Fire Sauce left off but uses a more intense pepper base, feeling like simultaneously more black pepper and a habanero or more concentrated jalapeno-serrano mix. The result, while warming and very useful to pick up the intensity, falls short on the spice-flavor balance: unlike Tabasco, it is more hot than flavorful and, while it avoids the odious boutique spice flavors that insist mixing mango and cloves with Scottish bonnet peppers somehow makes a “new” taste, it also fails to bring with it the optimized mix of flavors that fire sauce does. Perhaps this means that Taco Bell caved to the extremists — who might be conveniently visualized as drunk bearded men with bandoliers full of specially-bred spicy peppers — and forsook its commonplace wisdom as to what its audience desires, which can be summarized as “spicy Southwestern” since Taco Bell borrows more from Tex-Mex than Mex and more from California Tex-Mex than Tex-Tex-Mex.
The question always presented itself as to whether Taco Bell would make a more spicy Fire Sauce, or a spicy sauce, and the sense I get is that they aimed for the latter while guarding their flank with some inclusion of the former, which runs a risk of pleasing neither group. I suggest they defer to interface: mild, medium and fire are variants on the same flavor, and Diablo should be too on that basis, with the possibility of simply adding a “habanero sauce” (or equivalent, since a concentrated jalapeno-serrano or jalapeno-japones mix will achieve the same result) as an addition to the Diablo sauce. Perhaps this was the intent, since of the eight of us eating the three who appreciate spicy food the most ended up using a 2:1 mix of Fire:Diablo sauces to great effect. In any case, it was a joy to experiment with this new flavor and, while it may not be the end-all for spice fetishists, for those who have the time to mix it in with other sauces it makes for a powerful addition to the Taco Bell palette.
A riff-salad is often deemed to be intrinsically affiliated to music with no order and random ideas. But the best use of this song-writing approach make use of different kinds relationships between one riff and the next, and between all riffs in the song. Given the superficial independence of motifs and patterns of different riffs, stylistic consistency is, above all, indispensable.
Advertised as Thrash, UnKured make schyzophrenic music materializing the worse riff-salad nightmares. Not only does each new riff that comes do away with whatever the previous riff was saying, but influences from the most undefined and messy prog-speed albums like The Sound of Perseverance to almost deathcore-like breakdown rhythms and back to late 1980s barking death metal make an appearance.
Fans looking for the fun provided by Chuck Schuldiner’s naivete will enjoy this release even though this is less organized and more confusing for anyone trying to get an integral view of the music.
When a band is accused of “selling out,” the first instinct most people have is to attack the definition of that phrase. In reality, “selling out” is easily delineated: changing your music/art/writing to reflect what the audience expects.
In metal, selling out usually consists of making the music happier, simpler, less tormented and more pretentious. This allows the people who are dedicated to not noticing anything real about their world to listen to it and have it confirm their existing bias that the best course in life will be to “keep on keeping on” by shopping, voting, bragging at the water cooler, watching television, eating fast food and otherwise being oblivious to everything.
Selling out can be compared to the difference between a home-grilled hamburger and a fast food burger. The home-grilled burger uses real meat, spiced and cooked with care, and does not look elegant but is a good balance of taste and nutrition. The fast food burger is made from ground-up bits of animals, filled out with soybeans and sugar, and most people prefer it because it tastes more like candy and nutrition, lol.
When a metal band sells out, it makes the conscious decision to alter its music to appeal to some audience. This can include an “outsider” audience that only likes ultra-lofi two-chord bands, or the usual meaning, where the music gets closer to big radio pop. When metal bands sell out, they damage metal by bringing in all the stuff metal tried to escape in the first place.
These five albums represent some of the worst sellouts in metal history.
At the Gates – Slaughter of the Soul
The first At the Gates album took our breath away. A weird mix of metal, folk, progressive and classical, it achieved an idiosyncratic voice of its own the way early death metal was prone to do. Then the band faltered, losing a key member and recording albums that did not feel with albums. Suddenly, this new album burst onto the scene and the old school death metal heads rushed forward to find… the exact opposite of what made this band great. Instead of inventive death metal, Slaughter of the Soul brought a warmed-over version of Metallica Ride the Lightning that had been given the Swedish melodic metal treatment. Songs swung easily with simple melodies that would have fit better in a television commercial or schoolyard song, and song structures fit an entirely predictable mold. Nothing challenged the listener; everything was sweetened, like biting into a hot glazed donut with extra icing. It made you feel icky inside, as if you had just been assimilated by the vast mass of people in modern culture who forcibly ignore any incoming ideas which do not fit into their own ego-worship and denial. However, the album was a stunning commercial success and inspired the metalcore movement, in which post-At the Gates band The Haunted applied this template to late hardcore and created a whole new audience.
Metallica – Metallica
When metalheads first heard “One” on the radio, the general sentiment was worry. We all knew of the temptation of radio metal where bands toured in luxury buses and got loads of cocaine, chicks and fast cars. But …And Justice For All had its musical moments despite the awful rock-style drumming and simplified catchy songs, so the hope was that Metallica had gotten it out of their system. Then came the self-titled monstrosity. The first hint was the choice of eponymous name late in the career of Metallica, which suggested a break with the past. Then, the new logo: silver foil-embossed, stylized and slick. Then we heard “Enter Sandman” on the radio and fears were realized. Gone were the complex song structures and innovative riffs, but the use of melodic composition on guitar persisted from …And Justice For All, albeit in a form that fit well into the MTV lineup. Songs backed away from topics that might unsettle people into fairy tales about fears and personal drama, including the rage drama that Pantera was making famous. Metallica fans hung their heads, neatly folded their tshirts and put them at the back of the drawer, and covered their tattoos with black bars. Metallica had finally sold out.
Death – Individual Thought Patterns
As the 1990s progressed, death metal emerged as the clear next big thing. This came after nearly a decade of the music industry denying its existence, mocking it, and doing their best to conceal it. A number of them made overtures: if you could just drop the scary alienation, anger and post-human view of the world, maybe The Industry would work for you like it did for the Crue, AC/DC, etc. At this point, Chuck Schuldiner of Death was putting a lot of effort into making himself the founding father of death metal, and he fired his previous band for a mostly new group who came up with a heavy metal/death metal hybrid. That alone would have been bad, but what was worse was that he changed the music artistically as well as stylistically. The rage at a numb, callous and selfish world was replaced with personal drama, overplayed public compassion, and the kind of hollow rage that people sitting in air-conditioned homes direct at a world that “just doesn’t understand me.” Even worse, the music itself became saccharine. The wild lion of death metal became a neutered animal dependent on daily feedings of peer group approval. Not surprisingly, people loved it then and hardly mention it now.
Morbid Angel – Domination
After the public hounding that Ilud Divinum Insanus received, most fans forgot the previous great Morbid Angel disappointment that essentially fragmented the band. Thousands of death metal bands languishing in obscurity perked up when they saw Far Beyond Driven flirt with Exhorder-styled extreme metal and still make hordes of money. In the timeless and impeccably insane logic of record labels, it was suggested that death metal bands take the same route even though it would mean abandoning their fans and yet not being able to fully dumb down enough for the brocore generation. Morbid Angel came out with this disaster of a fourth album in order to try to bridge the gap and ended up (predictably) failing both. Where previous Morbid Angel albums showed inventive songs, Domination featured one interesting riff per song slowed down and mated with another couple of sludgy, partially doomy, and unforgivably bouncy Pantera-styled riffs. To accommodate the injection of nonsense into death metal songs, Morbid Angel broke them down into simpler songs that resembled the happy go lucky “beer metal” songs of the past: verse-chorus, chanty foot-tapping title of song repeated, and an artistic outlook which more resembled wounded anger than any kind of delving toward a hidden truth. After this album, the band fell apart and reconstituted itself in new forms, trying to recapture some vein of composition that might appeal to lots of MTV-reprogrammed listeners and yet still be death metal. Much like Bigfoot and the perpetual motion machine, it might be out there somewhere, but as of yet Morbid Angel has not found it.
Dimmu Borgir – Enthrone Darkness Triumphant
As soon as black metal hit the newsstands with stories of church arson and murder, record company stooges devoted many hours of thought to the simple question of how they could re-package it for the Hot Topic kids. Dimmu Borgir found the first workable solution with Enthrone Darkness Triumphant which mixed mall-goth, Cradle of Filth, and carnival music to come up with a style that reveled in its own randomness and made its listeners feel profound for having picked up an incoherent but inscrutable mess. The lush keyboards of mainstream Gothic dance music mixed with the darker rhythms of Nine Inch Nails and guitar influences from rock/metal/rap hybrids in order to interrupt the occasional black metal riff so it never came to fruition. The result became the artistic equivalent of a pop tart: thin bread crust around mystery ingredients mixed with sugar. Naturally, people loved it because it allowed them to “be black metal” (ist krieg!) without leaving behind the same digestible pap they had been swallowing for years under the rock banner. But the CDs seemed to fly out of stores, and black metal fans changed from lonely dissidents to bloated mall denizens looking for a new thrill to blot out the days of tedium as they tried to pretend they wanted to even be alive. Even more importantly, this album opened the door to “black metal” as a container for whatever you wanted to throw in it, which made the truly dark hearts of the record company execs jump with joy and visions of bank transfers.
Image: would you trust a cigarette company with marijuana? Most likely, they would do to it what they did to tobacco, which is remove variety in flavor and replace it with innocuous but consistent brand-perfect sensations.
Massacre carved a place for themselves in the death metal community years ago and with their foundational From Beyond, an album of tremolo-picked columnar death metal with big fuzzy production at a time when many death metal bands were still trying to emulate the muted-picked speed metal of the previous era.
Over two decades later, Massacre returns with Back From Beyond which sees release on April 1, 2014 via Century Media records. We were fortunate to be able to grab a few words with bassist Terry Butler, whose work with Massacre, Death, Six Feet Under and other Florida death metal bands has made him a towering legend in the community.
You’re about to unleash a new work, Back From Beyond. Since the title effectively compares it to your breakthrough album From Beyond, can you tell us: how are these albums different in approach, in style and in production?
In the case of From Beyond, the songs had been written five years prior, so when we signed to Earache, we just jumped in the studio and recorded them. We tried to keep the production simple and raw. The approach for Back From Beyond was “let’s not rush and re-hash songs for a quick release.” We took our time with the songwriting and production. It’s been 22 years, why rush? The production is better on Back From Beyond. Tim Vasquez did a great job!
What do you think Back From Beyond is adding to death metal, twenty plus years past its inception?
We are just playing Death Metal the way we like it. Heavy riffs, catchy in your face and brutal. I like rhythms I can remember. As far as adding something new, no one is adding something new these days. It’s all been done. We are just doing what we do.
You released an EP, Condemned to the Shadows, in 2012. How different is that material from what we’ll hear on Back From Beyond?
It’s musically in the same vein. More of the same basically. We re-recorded the two tracks from that EP. They are sonically different and production-wise sound different.
Can you tell us how Massacre assembled? I know it pre-dated Death, but after Death fragmented the members came together for From Beyond. Can you connect those dots for us?
Bill Andrews formed Massacre in ’84. At that stage it was mostly covers. Kam [Lee] joined in ’85 and a three-song demo was released. Rick [Rozz] joined in ’86 and a four-song demo was released. In early ’87, Rick, Bill, and I joined Death. After four years in Death, Bill and I contacted Rick, and Massacre was back together. We signed to Earache and put out From Beyond and Inhuman Condition. After several tours the band split up again. Now 22 years later, we are back. That’s the gist of it. In a nutshell.
At the time when From Beyond came out, most of Florida death metal was focusing on blasting and choppier, more muted strum percussive riffing. Massacre went for the full on fast-tremolo strum and big fuzzy burly warm sound guitar production. What made you take this different path?
That’s the Massacre sound and philosophy. Rick was in Mantas in ’83 writing this way and in Death in ’84 and ’85 writing this way. He wrote most of the material on From Beyond. He wrote half of Leprosy. I co-wrote four songs on Spiritual Healing. So what I’m trying to say is: this is our style. The songs on From Beyond were written in ’86. No disrespect to blasting, but the Massacre sound was cemented years before.
Do you think your different path helped ‘From Beyond’ achieve the cult status it has among death metal devotees?
Yes, in a way. The band didn’t at the time, no, but we were influencing the likes of Napalm Death, Carcass etc. Joining Death, then coming back and putting out From Beyond only helped the status of Massacre. The whole time I was in Six Feet Under, people kept asking about Massacre. For the band to still be relevant in 2014 speaks volumes about the music!
Was Bill Andrews unable to make the reunion? Is he still into death metal at all?
Unfortunately… no. He doesn’t play anymore and doesn’t listen to Death Metal. I still talk to him regularly though. He lives in Japan now.
Rick Rozz has an entirely unique guitar style marked by, among other things, “whammy bar abuse.” What influenced this style, and are we still going to hear the torturing of whammy bars?
The whammy bar is still in effect and deadlier than ever ha-ha… He draws a lot of influence from K.K. Downing and Kerry King, as far as the whammy goes. I personally think it’s a lost art these days.
What do you think determines whether a band is death metal or not? Is death metal the same genre it was back in 1992, or has it changed?
I think it’s mix of music and vocals. Obviously the first thing is vocals. If you put opera vocals over Cannibal Corpse songs it’s not Death Metal, and if you put Cannibal Corpse vocals over Journey songs it’s not Death Metal. Darker, heavier music with low brutal vocals is the formula for Death Metal. I believe Death Metal has changed since ’92, a bit. There are more off-shoots, such as Black Metal, Crust, and Grind, these days. I think Death Metal back then was more about riffs and grooves; now it’s about speed and fashion.
About what mix of old/new songs do you think you’ll play on tour? How are you preparing for the tour?
The mix will be about 50/50. We still have to play the hits ha-ha. We will practice as much as possible for the tour.
From Beyond featured mostly “mythological” lyrics, drawn from Lovecraft and horror movies. It wasn’t so much “social consciousness.” Do you think metal tends toward a mythological direction?
I think it’s a mix of both. Obliviously you have your satanic lyrics and religious themes, but a lot of bands do sing about current events. The satanic and mythological lyrics are kind of written for you already.
How do you all feel about launching a huge new album and tour two decades after you started out? Did you ever think Massacre would get this big?
I think it’s amazing and we are very excited about it. Like I said earlier , it says a lot about our music that we are still relevant after 22 years.