Death Metal Underground

Sadistic Metal Reviews 05-19-14

May 19, 2014 –

heavy_metal_ruined_my_life

What are Sadistic Metal Reviews? We enforce the reality the metal community runs in fear from: music can be judged objectively, but most people “prefer” junk. They want their music to make them look cool to their nitwit social groups, so they deliberately select moron music. Falses, don’t entry!

triptykon-melana_chasmataTriptykon – Melana Chasmata

You do not hire the Navy SEALs to remove your fire ant infestation. Similarly, there is no point telling Tom G. Warrior to “make an album like all those other ones.” It’s the wrong tool for the job. This album is atrocious because it relies on very familiar and predictable ideas with no density, and then Warrior tries to shoehorn some depth into it but achieves on oil on water effect, like someone trying to layer Beethoven over Pantera. The result just dumb and painful. Run like hell.


lacuna_coil-broken_crown_haloLacuna Coil – Broken Crown Halo

This isn’t even metal. It’s the same smarmy cheesy shit that they sing in lounges for drunk bluehairs in Vegas, but they shifted from open chords to power chords. There isn’t even any particular focus on riffs here, just some blithe chord progressions shifting in the background while the vocals take it. But even worse, the music is entirely predictable. This is different from being “basic” in that it’s not derived from simplicity, but a generic version of the same stuff everyone else does. But that “everyone else” aren’t metal bands, and these entryists are trying to sneak that moronic garbage in through the back door.


aborted-the_necrotic_manifestoAborted – The Necrotic Manifesto

People are not bands. Bands are (composed of) people, but are not people. Even a band with good people in it can end up making music as interesting as poured concrete. “Oooh, look how flat it is!” But that’s kind of the problem here: Aborted is flat. It’s straight-ahead pounding death metal/grind hybrid that tends to like one- and two-chord riffs that shape themselves around a basic rhythm. Songs tend toward straight-ahead structures as well. The whole thing feels mentally hasty, like they aimed for a simple goal and then did one take and called it good enough. The highly compressed production just makes it excruciating to hear.


kill_devil_hill-revolution_riseKill Devil Hill – Revolution Rise

Some bands you don’t want to be noticed listening to lest people think you’re an imbecile. Kill Devil Hill is warmed over 1980s Sunset Strip glam “metal” (i.e.: hard rock) with some alternative rock stylings and occasional Rob Zombie infusions. That’s it, and the style tells you the content. In addition to mind-numbing repetition, like all rock music this dunce material focuses on the vocalist and some imagined fantasy mystical “power” to very cheesy vocals emphasizing very obvious emotions. It’s like watching Shakespeare done by a troupe of brain injury patients. Even the attempts to be “edgy” by working in oddball found sounds and minor techno influences falls flat because the whole package is so blindingly obvious and equally as plainly designed for thumb-suckers.


blood_eagle-kill_your_tyrantsBlood Eagle – Kill Your Tyrants

At least this has some balls, but metal needs both a warlike outlook and an interesting musical development. The latter is where Blood Eagle falls down: too much downstrumming, repetitive riff forms, repetitive song forms and reliance and skull-shakingly basic rhythms that involve a slamming conclusion makes this music no fun to listen to. It is like hearing a constant pounding with Pantera-style angry ranting in a death metal vocal over the top, but the plot rarely changes. When the band gives itself a little room for melody, as in the end of “Serpent Thoughts,” we see how much better this could have been. Instead it sounds like road rage stuck on repeat on a forgotten late night TV channel.


eyehategod-eyehategodEyehategod – Eyehategod

The New Orleans hit factory just keeps cranking them out. WAIT — that’s not what you want to hear about underground metal. Could the writer be implying that this trivial drivel is actually just pop music? Yes, yes he is. Eyehategod started out with a slow punk/grind mix that was boring but kind of aggressive. Then they made it with great production for Dopesick, which was a mildly interesting record. Since then, they’ve gotten closer to the hipster zone. Eyehategod makes me feel like I’ve stepped back into the early 1980s. Punk had just lost direction and every band was recycling old ideas or trying to be “different” with tricks that amounted to little more than stunts. The emptiness was staring us in the face, and no one was talking about it. This album is stereotypical hollow man hardcore with a bit of southern fried bullshit and a couple metal riffs. Why not just go listen to the failed albums by burnt-out and aged punk bands, because they at least have more consistent. This is just an odds ‘n’ ends drawer with a high production budget. You can sniff out the hollowness by how many times they hit you over the head with their image, working in every southern trailer failure term they can, and then performing their party act of ranting vocals over hard rock riffs. It breathes staleness and marketing like a home remortgaging plan.


day_of_doom-the_gates_of_hellDay of Doom – The Gates of Hell

Metal bands should know by now to avoid the formula where the entire song is based around a vocal cadence, with guitars trying for a really basic pattern the vocals can play off of, and drums in perpetual fill mode. This means that the simplistic plodding patterns of vocals define everything else, which means everything else clusters around the lowest common denominator, and you end up with music whose sole (no pun intended) purposes is to make you tap your feet and wave your head to an undulating rhythm. This works great if you’re a sea anemone, but not so good for anything else. Day of Doom is one of those slow-strobing-strum bands that clearly intends for the whole audience to bounce at the same time in trope, but forgets that this is mindlessly boring when you’re not in a concert setting. It’s not that there’s anything wrong with these guys, but what they’re trying to do is wrong (as in unrealistic and stupid).


on_top-top_to_bottomOn Top – Top to Bottom

Mixed hardrock/punk, On Top has a clever name but otherwise is exactly as predictable as you might imagine. Lots of bouncy riffs, melodic choruses, angry vocals that specialize in repetitive tropes. If you derive a lot of value from doing the same thing others are doing at the same time, this might be your thing. It’s super-catchy like Biohazard or Pantera were, with plenty of syncopation in vocal rhythms to give them some kick, and songs even develop one level past pure circularity. It basically sounds like something you would expect the rebellious character to listen to in a movie as he drinks his whisky and drives fast. Other than this one-dimensionality, this is one of the few things in this review batch with any musicality. It’s just applied in such a way that people who aren’t drunk and sixteen will rapidly tire of.

howls_of_ebb-vigils_of_the_3rd_eyeHowls of Ebb – Vigils of the 3rd Eye

Howls of Ebb adopt an interesting strategy, which is to hide a Maudlin of the Well style quasi-prog in the midst of a dirty modern heavy metal band. At its core, this is heavy metal of the late 1980s variety, but this is carefully concealed under fast death metal riffs and whispered vocals which expand into dissonant chording and riff salads of the post-jazz-fusion era. The catchiness of the basic heavy metal riffing and the tendency to use tempo changes which fit in that model remain, but the weirdness accentuates it. If you can image Powermad adopting a bit of grunge and progressive metal, then slowing down half of its parts in a melodic jazzy style reminiscent of Absu crossed with Maudlin of the Well, you have the basic idea. The result is not only not bad but stands up to repeated listens. It will probably stay B-ranked in that its compositions make sense on a musical level but convey little else, and often the riff salads meander off-course enough to leave an impression but not a clear one. Still, this is more thoughtful than almost all of the metal at this commercial level and while it’s not underground, it’s much preferred to the usual tripe.

personal_device-microorganismos_del_malPersonal Device – Microorganismos del Mal

First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range. This was a pleasant surprise to find in the review pile.

Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces, by Albert Mudrian

September 11, 2013 –


Precious Metal:
Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces
edited by Albert Mudrian
365 pages, Da Capo Press, $14

The 25 Masterpieces
Black Sabbath – Heaven and Hell
Diamond Head – Lightning to the Nations
Celtic Frost – Morbid Tales
Slayer – Reign in Blood
Napalm Death – Scum
Repulsion – Horrified
Morbid Angel – Altars of Madness
Obituary – Cause of Death
Entombed – Left Hand Path
Paradise Lost – Gothic
Carcass – Necroticism — Descanting the Insalubrious
Cannibal Corpse – Tomb of the Mutilated
Darkthrone – Transilvanian Hunger
Kyuss – Welcome to Sky Valley
Meshuggah – Destroy Erase Improve
Monster Magnet – Dopes to Infinity
At the Gates – Slaughter of the Soul
Opeth – Orchid
Down – NOLA
Emperor – In the Nightside Eclipse
Sleep – Jerusalem
The Dillinger Escape Plan – Calculating Infinity
Botch – We Are the Romans
Converge – Jane Doe
Eyehategod – Take as Needed for Pain

 

albert_mudrian-precious_metal_decibel_presents_the_stories_behind_25_extreme_metal_masterpiecesRock journalism challenges even the bravest writer. Musicians are not known for being articulate, nor is it easy to pin them down, and lore snowballs in that vacuum. For this reason it’s great to see the series of in-depth explorations that have come about recently regarding many classic events of metal. As musicians age, given that musicians have a shorter life-span than average, this is also a race against time in many cases.

Albert Mudrian’s Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces presents a welcome addition to the genre of historical metal journalism. Combing through archives, the writers of each piece compiled band statements about the album and put them together in linear form, like a conversation. The result is a whole lot of information delivered in a very digestible form, with the extraneous confusion of live interviews edited right out of the picture. It’s a good starting point for anyone looking into these historical nodal points in the evolution of metal.

Mudrian seems aware how easily a book like this could become repetitive. Not just in the answers, where musicians might make roughly similar statements about touring, band formation, the troubles of collaboration and so forth, but in the similarity of bands. If for example he added another three Swedish death metal bands, it might start to get a little bit stuffy in the virtual room he’s created. Instead, he gives us space between acts and a wide variety of acts, but avoids the really awful nu-metal and tek-deth. However, the price of that spaciousness is that he includes bands like Monster Magnet and Kyuss which really aren’t metal at all.

There are some shockers in content, too. Some of these bands, despite their professions of various depraved behaviors, are insanely business-like in how they go about getting recorded and published. Sleep, Cannibal Corpse, Dillinger Escape Plan, Botch and Converge really had their act together. For a few moments, it was more like reading Forbes than Decibel, but it’s really gratifying to see this side of the business portrayed honestly. If you want your music heard, there’s a certain amount of business activity that must precede that event.

On the whole, these chapters are extremely well edited including the choice of material. They are in question-answer form, where the questions are usually prompts about historical events or general questions applied to specific moments or activities. When an incidental or minor character is cited, he or she speaks up for a few questions and then fades out. The bulk of the material favors the most articulate band members and major actors, but the writers shoehorn in as many diverse perspectives as they can. This makes reading Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces feel like being in a comfortable pub with these bands, on a rainy day, with a tape recorder next to the ashtray.

Each chapter corresponds to a classic album and comes with an intro paragraph. If anything, here’s where the book could benefit from some uniformity and toning down the “rock journalism” aspects. Perhaps not a just-the-facts-ma’am approach, but more of an assessment of where the band fits into history and why people like them, and leave it at that. Some of these were over the top for the actual function they serve. However, among the bombast is a lot of good information.

At that point the interview(s) compiled into a single form take over. Most of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces is the bands speaking, and that is the power of Mudrian’s editing and the work of his colleagues. They’ve trimmed out the transient stuff, the window dressing and repetition, and left us with clear statements from the bands that show them in their own voices and approaching the situation at their own angle. This also helps create an epic feel to the epic interviews because it’s a compilation of the best moments of the band commenting on this album, put into one form that flows naturally.

Was the intro, “Human,” something you had conceived of before you went into the studio?
Ain: Yes, we had the idea before we went into the studio — we wanted to loop a scream and make it perpetual. We also wanted to use it as an intro for the live shows. A regular human scream would never last that long, so we wanted to loop it and make it sound like a scream from hell, like how you would scream if the pain was everlasting.
Warrior: We had talked about it, but we were basically still laymen, so we had no idea how we could put it together. So we told Horst what we wanted to do, and he proposed how to do it. But as I said, we only had six days to do everything. If one thing failed, we would’ve gone over budget or had to go home. So, in hindsight, it’s a miracle that tracks like “Human” or “Danse Macabre” came out the way we wanted them to. We couldn’t rehearse some of those parts, you know? I have no idea how we did that in just a few days, especially given our lack of experience. But therein lies one of the strengths of Celtic Frost to this day: Martin and I usually visualize certain pieces of music down to the last detail without even touching an instrument.

This excerpt reveals the power of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. In the midst of the mundane description of studio struggles, Tom Warrior articulates part of the essence of his band. Many such moments of insight, casually and offhandedly mentioned in describing some rather ordinary thing, flesh out this book and make it more than a fan’s quest but a resource for musicians and anyone else curious about the origins and process of creating extreme metal.

Not everyone will agree on certain aspects of this book and naturally any choices made along these lines are divisive. However, the book has enough to offer just about anyone who loves metal so that the purchase will not be regretted, even if there are chapters you skipped. In fact, I recommend skipping those chapters and approaching this book as a buffet. No matter what sub-genres you adore, you’re going to have at least five you’re dying to read, another five you’re very excited to read, and another five you’re curious about, and the rest will be uncertain but you might find some interesting information there, as I did.

It is impossible to find just 25 to represent metal. Some of these choices are nods to the music industry and mainstream fanbase, like Dillinger Escape Plan, or to history, like Botch, who were the vanguard of the metalcore movement. Some are near-misses like the apologetic At the Gates treatment of their best-seller, but this interview also confirms a lot that reviewers said about this album, namely that it was retro to the past generation of metal and somewhat hasty. Some others, like Converge and Eyehategod, seem marginal in that these bands spent a lot of time disclaiming metal back in the day.

On the whole however Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces offers a good pan-and-scan perspective of what was going on in metal at the time, and by showing us the fly-over accumulation of variety, Mudrian and Decibel show us not only what these bands were doing, but the forces against which they were struggling to define themselves. The result is a treasure hunt of a book, bristling with secrets and previously undiscovered pathways, for those who enjoy extreme heavy metal.