Sadistic Metal Reviews 01-24-14

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The Manatee: nature’s most useful animal.

What are Sadistic Metal Reviews? It’s when we decide that good things should happen to good people and bad things should happen to boring music. Most music is either imitating a trend, or totally without purpose or content, and that makes it boring. We can find trends and purposeless noise anywhere, for free. We are cruel to the stupid, and periodically, find something worthwhile to hold up above the river of feces…

adrenaline-mob-_-men-of-honorAdrenaline Mob – Men of Honor

It’s grandad’s heavy metal, kids, but with a rhythmic kick and Alice in Chains vocals. A Pantera influence in the bouncy riffing represents a modern retrospective on glam and heavy metal from the 1970s. Droning diminished scale choruses and a similar riffs stacked in a way that is both not random and not song development fleshes out the mix. Songwriting emphasizes the Big Pop Industry tendencies toward hooky choruses and distracting, somewhat aggressive verses with emphasis on stitching out the chorus rhythm in as many forms as possible, so in case you missed it the previous sixty times it will pop up again to remind you that you’re listening to “music.” People have made heavy metal version of power pop before (like Yes’ 90125) but they aimed for quality; this aims for conformity with someone snapping their fingers and being ironic behind the scenes. Warmed-over 1970s riffs 1990s influences make this a classic record company attempt to make the present generations worship the cast-offs of the past. Despite attempts to be edgy, this is a museum piece from the Hall of Boredom.

disfiguring-the-goddess-depriveDisfiguring the Goddess – Deprive

There’s no death metal to be found on this supposedly “brutal death metal” release, nor any concept of songwriting. Choppy, percussive riffs are thrown next to nu-mu thudding in random sequences that do nothing but “groove.” It comes off as variations of rhythm guitar picking exercises played on an 8-string guitar and stitched together in ProTools. Like most of these rhythms, it’s only a matter of time before the “out there” becomes the predictable, so there’s no promise in these flights of fancy, only a return to something as mundane as the cycling rhythm of a diesel truck engine with a loose belt. Occasionally, an actual riff gets played for almost three seconds before more inconsequential rhythm chugging comes in to pacify the indie/Hot Topic demographic who use this stuff as a surrogate to nurture relationships with other idiots by sharing an interest in “wacky muzak” that makes them “different and unique”, but under the surface, is Korn with tremolo picking.

alehammer-barmageddonAlehammer – Barmageddon

Life is an IQ test. Your choices determine really how smart you are. If you picked this band, you failed. These guys should hang up the electrics, strap on acoustics and do children’s television. This is sing-song music for people without direction in life. Even when I was a clueless 14-year-old buying his first albums with grubby pennies I would not have considered this dung-heap of bad musical stereotypes. It sounds like the kind of stuff that characters at Disneyland would sing, or maybe a bad world music band from the background of a car commercial. It’s catchy vocal rhythms over guitars that basically serve as slaves to pounding out the catchy vocal rhythm, but it’s repetitive catchiness. It’s all hook to the degree that there’s no sweet spot, only cloying repetition. Most bands of this nature are basically bad heavy metal with jingle music at its core. Barmageddon is basically a grindcore take on the kind of simplistic fare that got called “Pirate Metal” recently. I propose a new name: Headshot Metal. If you get caught listening to this, you should be shot through the face with a high-powered rifle. It’s an insult to anyone in the genre who tries to get anything right.

lamb-of-god-_-new-american-gospelLamb of God – New American Gospel

Upon viewing this title, the prospective listener might be intrigued to ask “what is this new gospel?” Answer: the gospel of insincere mediocrity. Half-assed guitar riffs combine the worst elements of a moron’s interpretation of hardcore (autistic caveman rhythms) and speed metal (obvious riff sequences) with a fruity veneer of constipated teenager vocals. Tracks start nowhere and lead nowhere, with nothing connecting one moment to the next; a stream of irrelevance. Expect plenty of repetition which Lamb of God, like all metalcore bands, tries to disguise by being as random as possible. You know who else uses that strategy? Nu-metal bands. This is basically a kissing cousin to nu-metal anyway. It’s music designed for distracted teenagers to distract themselves further until it’s time for a lifetime career in something brainless to match their braindead approach to life. How anybody with above a single-digit IQ could enjoy this escapes me. Sadly for all of us, this title is accurate: the future of America is a populace that considers this a valuable piece of music.

anal_blasphemy-forbidden_eyes-splitAnal Blasphemy / Forbidden Eye – The Perverse Worship of Satanic Sins

Anal blasphemy starts off with three tracks of simple death metal with a strong melodic hook. It is however rather straightforward in structure which leaves creates a sense of uniformity. Riffs are very similar. The final track uses a melodic lead-picked counter-riff which adds some depth but ultimately these songs are one step removed from their beginnings, so despite the compelling rhythm and melodic hooks they might not survive repeated listens. Forbidden Eye produces a more lush approach to melodic metal which is clearly in the droning black metal camp, but avoids the pure sugar-coated repetition common to the Eastern European variant. Its weakness is that there is not much in the way of a unique voice; we’ve heard these tropes before and recognize the song patterns well. If you can imagine a Dawn or Naglfar approach with more intensive drumming that is roughly what you’ll get here, well-executed but undistinctive both melodically and stylistically.

descend-witherDescend – Wither

The rock ‘n’ roll industry is a successful industry that attracts players who are highly professional. They know what the product is, and how to do do the minimum to achieve it; this practice, otherwise known as shaving margins, is based on the idea that the other guy will cut his costs to the minimum too in order to both lower price to make the product more competitive and maximize his own profit. If two guys make a widget, and one does it for five bucks less, that’s pure profit. In the same way, rock ‘n’ roll is based on fast turnover and following current trends so you can catch the media wave. I hear death metal is big now, like trendy. This album attempts a facial similarity to death metal with the whispery vocals of Unique Leader bands and lots of runaway blast beats followed by metalcore riffs, but after a while, they drop this and out come to the jazzy riffs based on a scale bent to a series of offbeats of offbeats in a complex pattern, and the soft-strummed ballad chord progressions and melodic hooks. The problem is that the guitar rhythms, like those of the vocals in hip-hop, are based on subdividing a rhythm and thus rapidly become highly repetitive, both internally and between songs. The result is that it all all fades into the background, as should this rather unambitious and directionless release.

reciprocal-new-order-of-the-agesReciprocal – New Order of the Ages

A “thinking man” band name written in a sterile font and a “politically informed” album cover. Is this more metalcore in death metal clothing? You bet. While this band is claiming influence from Deeds of Flesh and other Unique Leader bands for legitimacy, this has more in common with Necrophagist or The Black Dahlia Murder. Mechanical groove riffs are “spiced up” with sweep arpeggios and generic Slaughter of the Soul riffs appear over blast beats for the “brutality”. This is boring music with nothing to offer. Perhaps musicians this good need a better concept to work with than shouting out Alex Jones podcasts over Guitar World lessons from metalcore guitarists played at 220 bpm. I couldn’t tell the difference between this album and any other modern tek-deaf release. If these guys were to spend less time on conspiracy websites and more time thinking about why people still turn to their old Morbid Angel and Immolation albums instead of these tek-deaf bands (or how to structure their music to not be a series of discontinuous parts), maybe they could create something useful. Otherwise, this is Origin with propaganda attached looking to steal some time from metal fans while keeping Xanax addled brofist D&B homeys (Rings of Saturn fans) satisfied with more inconsequential ADHD music which will be forgotten a week later.

caliban-ghost-empireCaliban – Ghost Empire

Occasionally I’m amazed that something actually got signed because it’s so terrible and then later I see it on the bestseller list. The taste of the herd will never fail to shock and amaze, mainly because what they like is simple: (1) the same old stuff but (2) in some radical new format that’s easy to see through so they can appreciate the sameness of it. Modern society is about anonymity and personal convenience, so why not music that you can project yourself upon, that requires you to know or feel absolutely nothing except the most transient of emotions? Caliban have it for. Ranty Pantera verses over djent-inspired harmonically-immobile riffs lead to sung alt-rock style choruses with lots of hook and lengthy vocalizations, but essentially no melodic development. As a result this is super-repetitive in that its song structure is circular to the point of linearity and the songs at their core consist of two-note clusters in riffs stacked up against four-note chorus vocal lines. Every now and then they get tricky and play rhythm games with riffs that were well-known before Metallica formed. The main factor that kills me is the repetition. It’s as if the whole album is a conspiracy of details designed to hide the fact that it’s basically the words of a drunk, repeating himself unsteadily and then doubling his volume and saying the same thing. This might be good music to listen while doing laundry or some other task that numbs the brain because the effect of this music is to validate tedium, repetition and simplistic pounding. Unless your brain fell out long ago, avoid this reeking turd.

blutkult-die-letzen-wahren-deutschen-ritterBlutkult – Die letzten deutschen Ritter

I always wondered what would happen to the formal nationalists in metal. We knew that founding bands like Bathory, Darkthrone, Burzum, Mayhem, Immortal, et al were nationalistic in the sense of national pride and perhaps more. But it’s a leap from that to connect with the organized far-right parties and mentality, and for a long time, NSBM seemed like it would remain in that world. Then hipsters started like Arghoslent and Burzum and so now being a Nazi is a “lifestyle choice” like being vegan or buying a Prius… the hardcore nationalist music has changed too, as this album from Blutkult shows us. It’s a three-way split between the old Skrewdriver-styled sentimental punk music, Renaissance Faire styled Celtic-y noodly melodic music, and the droning of punk-influenced black metal such as Absurd. As someone of profoundly anti-racist and egalitarian character, I find this to be alarmingly catchy and emotional. Die letzten deutschen Ritter brings out feelings of hope in me, and I don’t like it. It’s like a surge of elegance and an old world emerging from the ruins of this one. But that makes me uneasy, as do the Wehrmacht soldiers on the cover, the black suns and the vocal samples that sound like the man with the funny moustache himself. Regardless, this is where Graveland and Absurd have been trying to go for years. If they got rid of the stupid spoken intros and just focused on letting the music rip, this might be a really compelling release.

amoral-wound-creationsAmoral – Wound Creations

While their current output is being lambasted for being radio friendly rock/metal, this “technical death metal” debut album is given unwarranted praise for being some kind of masterwork. Too bad this is just metalcore. Chugging groove riffs played in mechanical stop-start sequences make room for AOR “extreme” stadium metal melodies like Soilwork, and little else. While the playing is adept, the music is annoying and makes their latest album sound favorable by comparison for being honest commercial radio muzak that’s not congested with unnecessary ornamentation and fake aggression. If Nevermore made a mash up between Soilwork at it’s most commercial and Meshuggah at it’s most mechanical while Chimaira make MTV edits out of the recordings, you might end up with an album like this: sub-par music, but at least they know how to play. Too bad they sound like any other generic metalcore band signed to Century Media circa the 2000s with growl vocals (done in the metalcore faux-aggressive style). A terrible excuse for metal that without a doubt brings great shame to Finland.

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Sadistic Metal Reviews 01-12-14

judas_priest-simpsons

What are Sadistic Metal Reviews? Music is art when it has something to say, entertainment when it’s distracting. Since none of us have infinite time, we pick the best and strongest music we can and mock the rest. The path to true metal is littered with sweet, sweet poseur tears and the occasional gem of non-failure, a secret delight for the wary traveler…

behemoth-the_satanistBehemoth – The Satanist

Promising to make a “statement” and deliver “art,” The Satanist summons borrowed Morbid Angel and Angelcorpse cliches thrown into a carnival style arrangement with such poor taste it makes late 90s Ancient seem good by comparison. A typical “song” — they cut this album up like a pizza because the riffs in each song have no relation to one another — begins with a slow build up that is awkwardly discarded to make room for a blasting section that sounds like Trey Azagthoth circa 2001 trying to intonate his 7 string while Pantera is rehearsing in the background and reggaeton horns are thrown over the top. If you can imagine a drunken outtake from a later Septic Flesh album that randomly ends after about 3 “riffs” that meander about without purpose are played for about 2 minutes each, that approximates the effect here. It’s not atmosphere, and it’s not death metal. It’s circus music. You will never fail to be distracted as the riffs dance past. And yet, they make no sense when put together. The only thing holding these songs together is that you know roughly when there’s going to be a chorus to tap those toes and listen for the melodic riff. Not even a crappy Gateways to Annihilation imitation act anymore, Behemoth now make it well known that they’re a merchandising front that’s somehow more shallow than recent Watain. Stupid music, regurgitated themes… this is the Marilyn Manson of “underground metal.” No, scratch that; he wrote actual songs. Lullabies for molested children struggling through impossibly awkward teenage years, perhaps, but actual songs. This is just gee-whiz riff practice with incoherent blasphemy and angsty mincing underneath the guitar masturbation.

obscure_oracle-demo_2013Obscure Oracle – Demo 2013

Hybridizing power metal, progressive speed metal such as Anacrusis, and death metal, San Angelo’s Obscure Oracle focuses on the newer metal styles of a stream of technical riffs but unlike the newer bands, returns to the 1980s for a chorus-focus in rhythm and riff shape which holds these songs together better than most bands can manage. The detours into instrumentals often inspired by other genres are usually pretty well managed but the problem of making them a steady feature of the stylistic canon is that they must appear frequently and they must stay distinctive, so never really fit within the composition but serve as a kind of oppositional interlude. Obscure Oracle do this better than 90% of other bands and keep the focus on the song, giving us some hope for these guys despite the unfortunate modern influences.

centinex-subconscious_lobotomyCentinex – Subconscious Lobotomy

I always wondered why this album did not go farther back in the day. It had the thunderous electric distortion, heavy vocals, hardcore-style drumming (but flattened from offbeat emphasis to cadence), and everything else. Maybe it was the amateur hour cover drawing on the original? On re-listen to this beautifully re-mastered re-issue, I realize the actual problem: where Entombed was rocky, this album is death metal and punk that never picks up on a direction and so ends up back in rock ‘n’ roll. It sounds like regression. Entombed’s songs expanded out into these soundtrack-influenced beautiful sections that gave them death and intensity. This thrashes around, then ends up on bouncy hard rock riffs. Even more, it’s almost strictly verse-chorus without allowing for melodic development between the two. Thus, it trudges. Repetition emerges. It feels like being lost in the back alleys of an unfamiliar city, and the sensation is akin to boredom. The story the record labels want you to believe is that somewhere, someone buried a lost cache of genius Swedish death metal under a carpet somewhere. The reality is that it was a relatively small group of people who figured it out and everyone else missed the boat not through lack of opportunity but lack of cognition.

ingested-revered_by_no_one_feared_by_allIngested – Revered by No-One, Feared by All

Another worthless band that plays jockcore masquerading as a death metal band. Nothing about this album is morbid, sinister, or “brutal”. It’s just a bunch of stop-start mechanical rap/rock grooves sandwiched between random Cryptopsy (circa the “wearing Earth Crisis sweatpants promo pics” bad years) blasting randomness without any rhyme or reason. Do you enjoy opening storage containers with your face? Do you know how quickly you can shotgun a PBR if it’s room temperature and the game is in two hours? Put on those wife beaters, cheer for the team, and here’s some tailgate party slam death metal brocore to get the night started! If Pyrexia were tasked with rewriting Machine Head’s Burn My Eyes in a way that would appeal even more to Wu-Tang Clan fans, this EP would be the result. This “slam” garbage is Tupac with better merchandising, but since the cover art here is crappier than what they had on their debut, it seems they’re failing as being a merchandising brand used to sell “death slammer bro” lifestyle products to confused backward ball-cap fratboys as well. Another drink coaster that might as well say Aborted or Skinless on it.

alcest-shelterAlcest – Shelter

It has become painfully obvious that the lucrative bandwagon of “post-black metal” has headed off the road and is now tumbling down a gentle hillside, to be followed by a sudden drop into total irrelevance. This won’t be surprising to those who recognized “post-black”, sludge, shoegaze, indie-metal, etc. as basically warmed over 1980s emo music. At this point, Alcest sounds about like the average generic indie rock band as these artists and their fan bases stop with the lies and come to terms with what they really want to hear: socially acceptable whine rock. If you ever want to know what a lobotomy feels like, give this track a listen. You will feel emotion on the surface, followed by an emptiness which is your brain recognizing the total lack of content other than a veneer of meaningful music. There will be wheedly-wheedly guitars, extensive arrangements that go nowhere, vocal posturing and lots and lots of false drama like that diabetes-inducing icing they spread on the cheap cakes at American grocery stores. Everything is on the surface however, designed to fool you like a Those who value their mortality, stay far away from this brain bleaching turd.

metallica-metallicaMetallica – Metallica

While it may be unfair to classify this as the first “commercial speed metal” album, it certainly was the most breathtaking example of a band choosing profit over artistry. We all know they’re out there: the vast horde of people who will buy just about anything as long as you dumb it down so it doesn’t confuse them. They like verse-chorus structures, gentle melodies, pentatonic soloing and big buoyant 4/4 verses. Metallica took one look at this audience and thought, “Well, Cliff’s dead — he’ll never know!” and so they made an album after the butt-rock that sold out in the decade before Metallica was formed. If you’re thinking Boston and REO Speedwagon with more muted E chords, you’re right! The continuation of …and Justice for All‘s proto-nu-metal stop-start riffs combined with adult contemporary crooner vocals and rock-style song structures represent a distillation of the lowest elements of metal in a form suitable for easy consumption by the masses. It’s not technically incompetent, and in fact is reasonably well-executed, if you’re expecting rock music. It misses the point of metal song construction and instead is rehashing the blues-rock and stadium country hits from the 1970s. This is the album most people think of when they hear the term “heavy metal” — and we wonder why they find it hard to respect heavy metal from that point on. Abandon all hope, ye who go down this path of listening.

tennessee-murder-club-_-human-harvestTennessee Murder Club – Human Harvest

Promising a “timeless” death metal album, this immediately sounds unlike anything a self-respecting fan of death metal fan would listen. Never mind the off putting metalcore vocals and modern guitar tone (plus the stupid metalcore band name and logo), under the surface this is Lamb of God with “horror” riffs thrown in random arrangements. With albums like this alongside Repugnant and Entrails, the blame could always be placed on Bloodbath for mixing Pantera mall grooves with generic third tier Entombed wannabe Stockholm death metal and creating a new lifestyle product for mainstream “headbangers” during their interim between Slipknot and the Dave Matthews Band. “Death metal” for angry truck drivers. So it’s really just Pantera with tremolo picking, and I wouldn’t wish for this rancid batch of sonic diarrhea to befall the ears of even my worst enemy.

hellbastard-_-heading-for-internal-darknessHellbastard – Heading For Internal Darkness

Debut album from the band that likely coined the term ‘crust’, this ambitious work falls short of excellence due to a few unusual and unsavory choices in aesthetic and composition. First, though certain songs pick up the pace much of this album sticks to one or two tempos? a bit more variation (such as the track “Civilized”) would be welcome. Second, poorly and sometimes awkwardly inserted female vocals are placed in parts of songs where the riff should instead be emphasized. It doesn’t take much to filter them out, but it would be far better without them? they add nothing to the music and in some cases detract from it (the faster section of “Death Camp” is a prime example). Otherwise, this is an energetic and spirited work. Chunky speed metal riffing mixed with thrash and early death metal touches compliments a loose­playing drummer. There’s an unhindered exuberance to the performance which echoes the best of hardcore punk. Basically sounds like early Metallica or Exodus mixed with Amebix, Crass, and Discharge. Its flaws hinder it from truly ascending to the top, but this is still a solid album that ranks in the top 5% of the crust genre.

disfiguring-the-goddess-_-black-earth-childDisfiguring the Goddess – Black Earth Child

Apart from growling and blast beats, this is nu-mu. Rap/rock chugging thuds (djent) and “ambient” synth/sampling forays in guitar driven rhythm oriented songs (where attention is given to vocal rhythms) give this more of a Korn character than anything else. This is a produced to perfection turd of a release that was no doubt made to pacify the simple minds of neckbeards that spend too much free time on Facebook. Songs go nowhere, literally being a series of blocky rhythmic chugging sequences reiterated in different ways. It’s monotonous and stupid. The solo “metal” project of a dubstep producer, this release borrows the surface aesthetic from “brutal death metal”, but accomplishes little more than sounding like a more “extreme” Slipknot. Considering the interest in this project has more to do with its merchandising and the personality behind it all, it’s no surprise all of this “slam” vapidity functions as an embarrassing social tool for indie-rockers and hipsters: another lifestyle product that under the surface of “crazy music”, provides more of the same disposable radio rock.

clit-commander-_-tex-mex-ass-blastClit Commander – Tex Mex Ass Blast

How can you hate a record with this hilarious title? That’s what they’re hoping your friends will say to you. They only need to fool you for about thirty minutes, long enough to place that order and slide that card. Then the sale is made and everyone wins… at the label. The fact is that if you buy this, you’ve not only wasted money but done something stupid enough that you really should end your life! This is predictable death-grind of the mid-paced variety that specializes in linear riffs and abrupt tempo changes that lead nowhere. Song construction is circular and yet still manages to be disordered. If you already feel a massive ennui overwashing you such that you no longer care if you live or die, imagine listening to it. It’s worse.

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