Vociferian – Princess of Violation (2014)


Vociferian comes to us from the European sprawl through members who are originally French, but now reside in Belgium, and make a type of death metal/rock hybrid that rumbles in the right places but never really gets enough direction beyond drone to make a point. The songs do not ramble, but also never reach that moment of really wrapping around what the riffs have unleashed and transforming it into a new energy. In addition, many of these riffs are clever variations of very well-known types, which makes one wonder what is being said.

Although the band lists “crust” along with its other influences, the main focus here is droning doom metal of the hard rock variety, more like Crowbar and Sleep than Neurosis or Amebix. Unlike funeral doom bands like Skepticism, the songs do not gain momentum from the increasing layers of atmosphere but move in a circular pattern much like Sleep Holy Mountain. The result is a pleasing veneer on background sounds of collapse with more aggression than most of these bands can muster, wandering into sludge territory with rock/punk patterns.

Princess of Violation presents an album that falls far from bad, and has some interesting twists, but for death metal fans will not be internally varied or purposeful enough to seek again. Like most music, it has found a method without a cause, and so while this band scrupulously avoids randomness or wandering, never gets to its end point. Now that Vociferian has mastered its basic style, one can only hope for greater expansion of content and internal dialogue for the next work, as that would give this fertile style the power it needs to cruise forward.

First Impressions on Skepticism’s Ordeal (2015)


Descending like a blessing from the sky comes another album by a legendary band which only nine years ago presented us with a masterful album vastly superior to what they had done since their debut.

In Ordeal we find a regression into their middle period while nods to Stormcrowfleet are discernible here and there without actually engaging and setting out on an undistracted trance like the younger band on that album.

Self-referential statements which rely directly on the established style of the band and the reputation it has already acquired makes this sound like one of the second rate bands that followed in their footsteps.

Already a tired band showing no signs of progression or development in style, we perceive a simplification of ideas on top of which a facade that sounds like Skepticism is erected.

Passing and forgettable, we find a Skepticism attempting to be as sparse as Worship, yet finding themselves in foreign territory.

Positioning chord after chord and following them in a slightly rock-like manner reminiscent of lesser “doom metal” acts, the motifs as themes are nowhere to be seen.

One must also ask, what happened to the singer’s voice? Is this on purpose?

Instead of the pictures in poetry and majestic motif colorations of Stormcrowfleet before “doom metal” was a thing, we have a band trying to impersonate itself.

Nobody asks a band like Skepticism to venture forth and put out new material because “it is time,” as if they were some puny mainstream band, but this here is probably the less inspired and most uneventful Skepticism album to date.

Tedious in a way that only a collection of uninspired references to all the different points in their discography could be, if this is a farewell, it is indeed a sad one.

Mannerisms in the guitars seem to be excuses only to keep them doing anything — a lack of worthwhile ideas is apparent.

Estranged from the poetry that they embodied, the repetition in Ordeal is odious rather than transporting.

Nuances are missing, everything that there is to this new release seems to be all placed at one level: that of the presentation.

The cover art should have been a warning.

Cianide – Death, Doom and Destruction (2015)

cianide - death doom cover

Earlier in the Coffins review, it was mentioned how that band was little more than a superficial imitator of bands like Cianide, and that apart from imitating the same types of riffs, achieved little in the way of communication. This has everything to do with how a piece of music is organized. It is is not in the riff itself but the relationship between riffs and in how, in relation to each other, they sketch a landscape. Cianide understands this, Coffins and the multitudes of third-rate imitators do not.

While the tag of “doom” is attached to Cianide, it is only right to call them death metal. Period. A death metal band that sometimes plays in relatively slow tempos using completely diatonic schemes. This is strongly reminiscent of Black Sabbath, which were dubbed “doom” only in hindsight after later acts like Saint Vitus or Witchfinder General. Both of these bands just play simple heavy metal in a style that emphasizes the weight of riffs. Being the talented musicians they are, their song-construction is fluent and their parts inter-related. This goes without saying when it comes to good metal. The term “doom” only makes sense as a genre tags for acts such as Skepticism, Worship or Thergothon which definitely do not follow a death metal or a heavy metal template but operate on entirely different “ideological” (so to speak, but not politically, rather, artistically) premises.

In Death, Doom and Destruction, Cianide bring a more mobile conception of their particular style that emphasizes the dynamics afforded by their mid-paced trudging that allows them to waiver between heavy-trudging riffs ala Celtic Frost and faster tremolo-picked passages. Compared to their early work, this newer album is slightly simplified at the riff-level, although the construction has suffered little deterioration that this listener can perceive. The songwriting skills that allow them channel the rhythmic and harmonic impulse of one section onto the next and to trace a roller-coaster-like curve in the course of these musical pieces is stronger than ever. If anything, I would call this a condensed Cianide.

Skepticism set release date for new album

Today, Svart Records announces September 18th as the international release date for Skepticism’s highly anticipated new album, Ordeal. A legendary name in metal circles, Skepticism are widely hailed as one of the originators of funeral doom. Their first album for Svart and fifth overall, Ordeal is also the first Skepticism full-length since 2008’s Alloy. But instead of going the usual recording-in-the-studio route, the band decided to record this new album live before an audience on January 24th at Klubi in Turku, Finland, with the event also captured on film. A truly unique experience for a truly unique band, Ordealis a honest and accurate summary of what Skepticism is in 2015.

Keyboardist Eero Pöyry commented:

Recording the album live was a positive experience. I’ve come to think of Skepticism being at its best live, and the Ordeal session proved it for me. Having a whole day to concentrate in one shot at a perfect performance brought in a good pressure – and a bit of an ordeal, as well.

Adds drummer Lasse Pelkonen,

Recording live made the album sound a bit rough and dirty, which is suitable for us in any case.

The album will be available as a CD/DVD bundle and also as a LP/DVD set, featuring visual documentation of the whole Ordeal performance.

It is hard to think of a more street-credible approach to recording an album

contends Lasse,

I think metal is good only if one can recognize it as such by sound and arrangement. This happens on Ordeal. I am personally very happy with the new songs. They contain a lot of atmospheric changes and layering but still sound like Skepticism.

Guitarist Jani Kekarainen explains,

Life is an ordeal, the album is about ordeal, and making the album was an ordeal. To me, the music of Skepticism is essentially dynamic and atmospheric. These qualities in music are best presented live. Hence, recording live made it possible to capture the most authentic result for the album.

Finally, vocalist Matti concluded

It is difficult not to be and difficult to be; Ordeal is what music is – genuine without further explanation.


Tracklisting for Skepticism’s Ordeal

1. You
2. Momentary
3. The Departure
4. March Incomplete
5. The Road
6. Closing Music
7. Pouring
8. The March and the Stream



Cult of Endtime – In Charnel Lights (2015)


Cult of Endtime play a music that is actually both “melodic” and death metal. Taking the road of modified and expanded verse-chorus-bridge approach to music construction, this mid-paced death metal with a clear aftertaste of traditional metal maintains motific links within songs that ride clear phrasal riffs not unlike the manner of the early but already mature Black Sabbath. Although DMU does not usually hand out stars to shiny, mainstream packages because they usually are just uncreative or mediocre turds hidden under slick production, In Charnel Lights has definitely earned theirs.

A very well-performed and accomplished example of this style, the music stays within the boundaries of its chosen paradigm while introducing a variety of ideas without haphazard changes. This does imply a limited variation, a clutch of its chosen pop-format approach, which supports and defines it but cripples its movement at the same time. The nature of the music, then, reduces In Charnel Lights to a collection of songs. The result is pleasing and solid but can be repetitive in terms of musical ideas and in its adherence  to its center it fails to bring enough variety to artistically justify a second half beyond the urge to produce more of the same.

In spite of this, the variation it does introduce is not only used gracefully and properly but is both meaningful and powerful. Each variation of idea or new idea included, each slightly differing approach to a riff was probably very carefully considered and integrated with an attention to detail worthy of praise. Cult of Endtime are extremely consistent in style although they bring different techniques under its umbrella and produce strongly coherent riff-variations with a relatively wide range of character.

Sounding like a Black Sabbath reborn into death metal, Cult of Endtime build their music on phrasal riffs with a basis on heavy-sounding support and featuring melodic passages that emphasize clarity of expression and musicality rather than technique itself, although anyone paying attention to such things would not deny the professional-level musicianship of the band. Probably one of the best, if not the best, we are likely to get out of the mainstream this year, In Charnel Lights is extremely recommended to fans of metal.

Scythian – Hubris in Excelsis (2015)


Following the example of Kreator in Phantom Antichrist, Scythian unite riffing approaches from different metal subgenres under the banner of traditional heavy metal and growled or barked vocals, with a result along the lines of the so-called melodic death metal.  In contrast with the noteworthy release Thy Black Destiny, by Sacramentum, Hubris in Excelsis does not coalesce into a thing of its own but just floats around as the result of spare parts being put together to form an undefined, impersonal and disparate heavy metal record. In this, and its revolving around the vocals it is more akin to the Iron Maiden – inclined heavy metal which sets one foot on hard-rock land, using disconnected riffs only as rhythm and harmony to carry the voice.

We hear doom metal proceedings and textures typical of black metal, but these are usually encapsulated within sections. These sections are used in conventional rock-song functionality. What determines this rock versus metal approach? Basically, the total relationship of riffs and sections to voice and in between themselves. Rock (and hard rock after it) carries the music after the vocal lines (thus we can see the slight influence of hard rock over Slayer in South of Heaven even though it doesn’t fully give in to the tendency to disqualify it as a metal record). The key tell-tale sign after this is the lack or at least a downplay of motif-relation between parts of the song, the support for main melody or vocal line becoming the most important and prominent element. The effect of this often results in something similar but in the end different from metalcore: disparate parts tied loosely by a certain background consistency (usually harmony for rock and rhythms or motifs drowned in an ocean of contrasts for metalcore).

The plentiful references to many different genres extending all the way to cliche-ridden pagan black metal may throw off the attempts of most to nail down what Hubris in Excelsis actually is, what it consists of and what its essence ultimately is. Hubris in Excelsis is indeed a title that reflects this album beyond their intended concept. Hubris, an excess of self-confidence, often at the expense of prudence and seemliness, is placed in a position of glory, giving way to veiled expressions of ego that disregard any sense of coherence and little consistency beyond the most superficial.

Majestic Downfall – When Dead (2015)


Majestic Downfall plays something that is like doom metal but comes off as some sort of mainstream-ish hard rock. Using riffs to have something for the vocals to ride on and war metal sort of riffs interspersed here and there, it seems as if the band is just trying to get by. The fact that the focus of this plague is doom metal only makes it slightly more difficult to see, it is less obvious. More people will welcome this as authentic doom metal just because it is harder or people with short attention spans (yes, even fans of crappy doom have short attention spans) to notice the relation between sections in the long run as they revel in the “heaviness” and “feel” of each part. It is the focus of this music on this moment-based satisfaction of a heavy feeling that give us a hint of a hard-rock-like idea behind this.

This imitative and momentary-feeling-based approach to doom metal lies in the confusion as to what doom metal exactly is, or what it consists off. I assume this comes from the Saint Vitus crowd that don’t realize that that band is only “doom metal” in name and is only slow heavy metal. If nothing is done differently except play the music slower, do not bother changing genre names. A whole vision at a “spiritual” level, has to be different for the methodology to change naturally after it.

When Dead tries hard to be doom metal. The vocals even resemble those by Paradise Lost and even resort to some of their trademark moves in some riffs and corresponding vocal patterns. The crowd-pleasing collection of slow heavy metal, war metal and Paradise Lost that Majestic Downfall presents can be deceiving for those with a shaky (“open-minded”) idea of music, but its vacuity and gimmick will be evident for those with a center.


Codex Obscurum – Issue Seven


Having watched this zine grow from humble origins to the reliable source of underground metal feature stories that it is today, the metalheads who comprise the underground — including death metal, black metal, grindcore, and some speed metal and doom metal — now expect high-quality on-point content from this zine, and Issue Seven delivers with style. Now possessing the journalistic weight and audience to command high-profile bands, Codex Obscurum returns with wide-ranging interviews, reviews, features and editorials with adventurous literary fiction as well.

Interviews have always pushed this zine above the rest because of their conversational nature but tendency to explore the thinking behind the musical decisions made by the band, with little attention spent on the surface fluff, but some questions that bring out the personalities of the musicians and explain their connection to the art. In this issue, the biggest name in interviews is Deceased, but perhaps the most powerful interview belongs to Thanatos. Covering both Hail of Bullets and Thanatos, this interview with Stephan Gebedi is as detailed and congenial as death metal interviews get, and covers a lot of history. The Deceased interview will strike most as idiosyncratic because it covers much of King Fowley personally and recent news, with less emphasis on background, but this reflects the general abundance of Deceased interviews on the early days. This updates us on the status of the band including information new to most sources. Other interviews with Wastelander, Drug Honkey, FaithXTractor, Crypt Sermon, Magic Circle, Dawn of Demise, Untergang, Slaughtbath and Blood Incantation follow similar patterns of compiling biographical details and consulting on musical intent, with the Untergang and Crypt Sermon being most compelling. All of these are well-executed and constitute the backbone of this zine.

Issue Seven contains a number of features, one of which takes the form of an interview. Artist Tony Cosgrove gives his points of view in a story which interweaves his images with his words, creating the sensation of being a museum exhibit with slightly longer detail cards. A feature on asymmetrical board games offers a glimpse into a world that overlaps with metal but is too nerdly for the mainstream tuffguy websites to cover. A lengthy write-up of the Kill-Town death fest in Denmark follows, which captures much of the atmosphere without excessive detail, but also skimps on a few vital points and may be the least powerful part of the zine. Then again, fest writeups are nearly impossible because everyone is tired and/or drunk (and stoned) so what remains are hazy recollections and the ability to look through the heaps of scored merch. Possibly my favorite features lurks at the rear of the zine, which is a malevolent and tongue-in-cheek editorial about the nature of battle jackets and how they should be worn. This piece reminds me of the 1980s text-files that hackers used to pass around: it has an off-the-cuff feel to the writing, but the thinking seems refined over time, which creates an interesting casual intensity. One intriguing feature, to my knowledge unique among current zines, comes in the form of a short story. Like a condensed zombie sci-fi horror movie, “Evil Seed” (named for the Morbid Angel tune?) efficiently whips through a haunting mystery of an experience with a powerful organic metaphor. This story not only adds to the zine, but its placement dead in the middle creates a break like that when flipping over a vinyl album to hear side two.

Toward the rear of the zine festers another important section: reviews. For metalheads without much time to wade through the mountains of spurious and often spiteful opinions in online comments, or the completely idiotic sales jobs that mainstream zines and web sites put out in place of reviews, where every release is the greatest ever and will tear your head off or make you look intellectual to the girlies, zine reviews offer peace of mind in purchasing by offering better than even chances that a given release will be a match. This occurs both through qualitative assessment, and quantitative description, both of which are featured here. These take a conversational tone but know when to drop the one or two lines of most vital description, and then an assessment, separating observations from judgments enough that the reader can shop by the relative distance between the taste of the reviewer and their own. In this issue, the selection of reviews is a lot more strategic and covers all of the vital ground for what was released during the press period of this issue.

As Codex Obscurum has grown, so has its proficiency in layout. This is the most readable issue yet, generally sticking a band logo at the start of an interview and then being sparse with other images and keeping the text high-contrast usually of a light grey on black variety. This format works well and the use of distinctly shaped fonts also keeps this from falling into the trap of the illegible muddy blur of a xerox disaster that many zines are. Reviews are black text on grey background for added readability, and whether from rush or deliberation, the black-on-white table of contents is if nothing else clear as a bell. Writing standards have inched upward, too, with tightly edited pieces and almost no typos and spelling errors. All of the above make it easy to pick up this zine, which at half-page size can be handily carried anywhere you would take a paperback, and to relax and absorb the content. It would not be surprising to see someone whip this out at a university library, transhumanist rally or on the international space station, because it has that kind of density of information and yet casual enjoyment factor. It is good to see this zine getting the recognition it deserves and its growth both in size and technique for an intensely professional and yet familiar metal reading experience.