Interview: Desecresy (2015)

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A few weeks ago, the opportunity to interview Finnish band Desecresy presented itself. Having been a long-time fan of their three solid albums of old school death metal with melodic and doom-death touches, I leaped at the opportunity. Little did I know that I would be fortunate enough to speak to both members of this dark and intense band, Tommy Gronqvist who plays all instruments, and Jarno Nurmi who commands vocals. Nor could I know that Desecresy fans have a lot to look forward to in the coming years. I expected intelligent and challenging answers, and neither I — nor you, Dear Reader — will be disappointed. Read on for my interrogation of these musical mood-crafters from the dark Finnish woods and caves…

Desecresy was born in 2009, but both of you played in other bands previously. Why the change to Desecresy, and what did you intend to do differently in Desecresy?

Tommi: Starting up Desecresy I wanted to concentrate more in the songwriting and creating instead of live playing. That is why there was never full line up gathered for Desecresy since there is no real need to have a separate guy for each instrument. From the beginning it was clear that Desecresy was more about the mood and therefor the song structures on the first album were less complicated compared to the Death Metal I had worked on before. Desecresy was never meant to be a tribute band or plain old school/retro band. Towards recent times, I have been happy to see that there are people who seem to get that.

Jarno: Yes, there definitely seems to be more understanding nowadays that we, among some others, are not merely an old-school death metal band. I think the beginning was quite fluent because there was no need to find more musicians, though it naturally took some time to get into the new thing after finishing others. Maybe there was also a certain kind of counter-reaction to the schedules and struggles of a band that plays live like we did earlier but it has proved to be more than just a reaction and we’ve had the chance to work effectively and release albums without problems with members joining and leaving.

What does the name “Desecresy” mean, or where is it from? (It might be a neologism of “desecreation” + “heresy”?)

Tommi: You could also throw secrecy in that neologism. Of course Desecresy is not a “real” word so its meaning is more in the feel of it than an actual description. I think of it as something that lies hidden not yet revealed.

I think changes of the seasons and changes of light in particular effects the music in the north. I don’t only mean natural environments either. For instance, colossal concrete or metal structures such as industrial buildings, bridges, water towers etc. have a surreal feel of space and solitude that can also transcend to music.

Jarno: Yes and this idea of something hidden and unveiled has been one of the guidelines to me when considering the art of Desecresy and writing lyrics for example.

Your music is often described as doom-death, or slower death metal with doom metal influences. What doom metal bands influenced you? Were you inspired by nearby doom like Skepticism and Thergothon? What death metal influenced you? Did you have any other influences, including non-musical ones?

Tommi: The doomyness mainly comes from comparatively dropped tempo and the atmosphere, that is not so often searched by Death Metal bands. I haven’t listened much to the bands you mentioned. I do like some Doom/ Doom Death bands but to use them as reference of influence would be misleading. To mention some influential death metal bands I would say Abhorrence, Bolt Thrower, Demigod, Grave, Immolation, Incantation etc. I try not to be too much influenced by any particular band, so trying to make these lists always feels somewhat forced.

Non-musically the surrounding environment over all gives its own influence. I think changes of the seasons and changes of light in particular effects the music in the north. I don’t only mean natural environments either. For instance, colossal concrete or metal structures such as industrial buildings, bridges, water towers etc. have a surreal feel of space and solitude that can also transcend to music. “Infinite Halls” is one example of influence and inspiration from such surroundings.

Jarno: Surely playing death metal means we’re automatically influenced by at least some of the old bands, for example the ones Tommi mentioned but they are definitely only a part of the big picture. In the earlier years when playing in some other bands there was probably more will to sound like someone else or do something similar but not that much anymore. I have been a big fan of the Finnish death metal bands as well as the ones from the US and UK, for example Demigod, early Sentenced, Incantation, Immolation, Bolt Thrower and Benediction. Lot of black metal has influenced me, Burzum, Graveland, early Behemoth, Hate Forest, Ulver etc. I have to admit that I haven’t been following doom metal that much, only some early Candlemass and Solitude Aeturnus.

I find non-musical inspiration from mythology and history as well as nature. Some easily noticeable traces of these are visible in the lyrical concepts of Desecresy, refering especially to Greco-Roman and Northern mythology but these are usually handled through interpretative and renewing process. Some experiences of everyday life do influence song-writing but in such subtlety that the songs or lyrics don’t lose their feeling of otherness or remoteness. Literature inspires me a lot, such as Hermann Hesse, Knut Hamsun, Philip K. Dick, Aldous Huxley and many of the old masters of literature, poetry and philosophy.

Desecresy songs often make use of a single-picked rhythm lead melody over power chord rhythm guitar, which I compare to early Paradise Lost and the second part of Burzum “Key to the Gate” in a recent review. Were these influences? What prompted you to choose this musical direction? What do you like about it?

Tommi: I can’t really say those bands are influences to Desecresy, but similarities between bands don’t always come from direct absorption of influence. The similarities may be representative of where the bands are coming from musically and where they are going to. Even bands with different musical backgrounds may come to explore similar elements. Through Desecresy I want to search deeper to the dark and atmospheric feel without forgetting the core of Death Metal. This style works better for having memorable songs compared to some other forms of Death Metal (great in their own ways too) that concentrate on speed, technical maneuvering or just brutality.

Jarno: Early Paradise Lost and Burzum are both fine examples of highly inspiring and often atmospheric music that has depth in it and both have original feeling and mood in their releases. If we can speak of influences, attaining the atmosphere and depth with music is certainly something to seek and I believe in this sense some bands like Bolt Thrower and Demigod have also brought the realization that this kind of things can be done. I enjoy the certain seriousness there is in Desecresy and the strict concept of the art.

On Arches of Entropy, a death metal and Bolt Thrower-style grindcore sound can be heard. Why did you choose this style, and why did you migrate toward more Scandinavian death metal sounding material on The Doom Skeptron (more Abhorrence than Bolt Thrower)? (What inspired the title “Arches of Entropy”?)

Tommi: First of all, early Death Metal bands from Finland (which is not included in Scandinavia) such as Abhorrence, had different sound from the Swedish (Scandinavian) Death Metal! Sorry I’ll just step down from my soapbox here. I know what you mean by “Scandinavian.” Anyways… There was never an attempt to swing our style from one influence towards another. Merely to migrate towards our own sound. Every album is a counter reaction to the previous one, so some aspects are more present than others in each album. Probably that is why they may give different associations of bands to the listener. The title of the debut album refers to crypts containing the seeds of destructive forces.

Literature inspires me a lot, such as Hermann Hesse, Knut Hamsun, Philip K. Dick, Aldous Huxley and many of the old masters of literature, poetry and philosophy.

Jarno: Arches of Entropy was the primitive beginning and I enjoy it as such. Raw and primitive, yet the mood and atmosphere is already there. The Doom Skeptron evolved a bit further and naturally Chasmic Transcendence was again a new step on this path. Interestingly the form of an arch has stayed visible in our album cover art for each of the first three albums and I’d like to think of this as a symbol of getting deeper in the original idea and bringing it into being. So the same “destructive force” has stayed there and has been looked at from different views without getting too much into one-sided naive and simple outlook at it.

As a two-person band, touring would be difficult. Do you have any plans to play live, and how would you pull it off?

Tommi: We haven’t been planning live sets, but I don’t want to restrain us by declaring that we would never do that. We would have to scratch up some kind of live session band to do it of course.

Jarno: As playing live is not among our priorities I think it would demand a very special occasion to ever do so. I don’t see it happening yet but who knows what the future might bring.

Much of your music seems to exhibit a contrast between death metal style interlocking riffing of an intensely structural nature, and atmospheric parts of a more relaxed and layered approach. What do these compositional techniques represent or what are they intended to do, and how does the contrast work in your songwriting?

Tommi: The use of those different approaches is there to create a mindset that is not aggressive or filled with pacified wonder, but somehow beyond those stages. That contrast is the biggest challenge in the music of Desecresy. Atmosphere is easily disturbed by structural changes in riffing and drum work, but Death Metal on the other hand often relies on the intensity of those changes. It is a guest to discover the philosopher’s stone to combine those elements to be simultaneously present in harmony.

On Chasmic Transcendence, there seem to be some influences from newer styles of metal, but adapted to the old school ways. What were these influences, and how did you put them into your own musical language so to preserve the old school feeling?

Tommi: Chasmic Transcendence is an album that could not have been recorded in the early 90s, and our goal was never just to repeat what was done back then, even though we are influenced by bands of that era. Again it is impossible to point some specific influences that would have been used to increase the modernity of the album. Everything I have ever heard influences what I come up with. What matters is how those influences are harnessed to create something new.

Jarno: It’s difficult to point out what influences the album holds in itself and I’m also a bit afraid of over-analyzing our work publicly. I feel it’s like a result of everything that was done to that point during the existence of Desecresy. It couldn’t have been done in the early 90s but it’s also an album that couldn’t have been done by any other band either.

Your songs are highly distinctive individually, but also seem to work together as an album of similar themes and related ideas. Do you “design” albums as a whole according to a plan or concept, or does this similarity come from other factors? What effect do you think it creates?

Tommi: The songs are first worked with separately but later, as there is more material and the lines of the album begin to form, there will be consideration of how much of which elements should be presented in each song. Certain similarity within the songs keeps the album whole. Jumping around too much between styles and states of mind only creates a tasteless mishmash.

Chasmic Transcendence was selected by DMU as one of the best of 2014. Your other albums belong on best of lists for their respective years as well. Are you getting the amount of fan attentiveness you hoped for? Is it difficult for original acts in metal at this point in time? Why?

Tommi: We have noticed that Chasmic Transcendence was included in your list and some other best of 2014 lists as well. It is gratifying to get that kind of recognition! I am so used to negative feedback that it has been a pleasant surprise to me. I think we are getting enough fan attentiveness. Things shouldn’t be too difficult for any band these days unless they are motivated by money or some rock stardom fantasy.

Atmosphere is easily disturbed by structural changes in riffing and drum work, but Death Metal on the other hand often relies on the intensity of those changes.

Jarno: I have been very happy to receive all the positive words and feedback from deathmetal.org and from people who contact us via email or facebook etc. It feels like we have received more attention after Chasmic Transcendence and of course it takes years of work to build up some reputation and we’re still relatively unknown. Yet I know we’re not really making it easier at all for people to find out about Desecresy as we don’t tour and don’t promote aggressively and to many we’re probably not the easiest music to listen to and get into. I think that healthy amount of elitism is needed and I am quite happy how things are slowly progressing.

Do you have plans to develop your musical style in different ways, such as longer songs, instrumental songs or more technical elements? Have you ever considered experimenting with longer melodies like Summoning?

Tommi: Maybe there will be longer more technical songs or maybe there will be shorter more primitive songs, or both. The songs form in the process. There can’t be that specific plan before hand of what will come. There may be longer melodies heard in the future but the repetition of a shorter melody is a deliberate choice in Desecresy songs.

Speaking of those leads I have a little bone to pick about that in depth analysis of Chasmic Transcendence on deathmetal.org. There was some complaint about the monotonous and simplistic use of lead guitars and how they are linked to the other parts of the songs. Desecresy‘s guitar leads are not meant to launch to some traditional ballad guitar solo wanking! They are meant to be minimalistic and nihilistic. Their purpose is not to be sentimental, but to set a certain stoic mental state.

Jarno: Some want us to be more aggressive and brutal, or more melodic or epic or faster or whatever but it would turn us into completely different band if we followed suggestions that people write in the internet. Yet experimenting on what works with Desecresy and what does not is certainly an on-going process but I’d say there is a certain artistic ideal for Desecresy and straying from that wouldn’t possibly bring good results. Anyway, as long as it’s reasonable and the purpose is clear I think there’s still a lot possibilities for songs that are for instance longer just like on the Chasmic Transcendence we had mostly shorter songs.

When you compose songs, what do you start with (a concept, an image, a riff, a melody, a structural idea)? When do the vocals and lyrics come in? How do you know when a song is “ready” for release?

Tommi: The composition of a Desecresy song can start with any of the things you mentioned. Lyrics and vocals come in at stage where other instruments are recorded and songs are other wise some what complete. There are sometimes changes made to the songs at the very last stage of the process. Eventually you just have to let go of the songs and the album and call it a day. That is surprisingly difficult mentally after a year or so of working on them.

Many claim the internet killed the death metal underground. Is this so, in your view? How is the underground doing? Does it still exist?

Tommi: In some ways the internet has killed the underground as it was defined in the pre-internet time, but that is not necessarily a bad thing. Sure you don’t need as much commitment anymore when anyone can find and listen to some obscure bands with just couple of clicks. On the other hand, since you don’t need to belong to a specific social circle to find those bands, more individuals have a possibility to find something great by their selves regardless of their connections. I also think that in the end, the underground metal is and always has been a bit vague term.

One could claim that something like Finnish Death Metal of the early 90s for instance could not have happened if there had been internet at the time, because there would have been too much world wide interaction restraining some initial characteristics to appear. I wouldn’t necessarily agree with that. I am sure however that without the internet, many of those bands would be unknown to most of the people that now are aware of them — including me.

We have just finished our fourth album called Stoic Death, which will be out somewhere in the future, so keep an eye open for that!

Jarno: I don’t always know what people mean when they speak of the underground. I am not at all interested in every shitty band that there is trying to gain some underground reputation, yet I think most of the interesting bands that I listen to are part of the underground. In the past it was more difficult to find the right bands for yourself as you might not get much information from anywhere. Nowadays it’s probably equally difficult to find the bands because the internet is overflown with music and things to hear and it’s just too easy to become deaf and numb. The good side is that you can find interesting things by yourself without getting in touch with all the stupid people hanging around in the scene.

I think people easily accept bands that are not doing anything interesting after all and the internet gave every band almost equal possibilities to gain attention which is nowadays easily achieved if you have a funny or stupid idea of how to market your band to the audience. Some years ago some people could just call their new band religious or orthodox black metal and attain a mysterious image and the attention was guaranteed. Of course such deception will never last long but it always hinders the things that later on turn to be the most important things of a certain period. This is probably how it has always been and will be and somewhere beneath the hype and superficial facade the underground is doing just fine.

I know you both have day jobs and normal lives. What is your practice schedule like, and how does Desecresy fit into your lives? Are your families and friends (and jobs) accepting of what you do?

Tommi: I have not been condemned to hell by anyone I know this far.

I do kind of keep my band activities to myself because there isn’t much reason to share that with people who are not into it. As we don’t have a line up to play live, we don’t really practice together. I work on the instruments and record them. After that Jarno records his vocals.

Jarno: I think friends as well as other acquaintance have been quite supportive. I don’t speak much of my views or interests with my family or colleagues, though, and after all I’m not really interested if they support them or not. Schedule-wise it’s sometimes a bit complicated but I think we’ve had quite steady progress and not as much trouble as there could have been had there been a full line-up to rehearse with.

How do you achieve your distortion? What technique do you use to make your albums sound subterranean but clear and loud without being overpowering like some modern productions?

Tommi: Distortion mainly comes from Line6 über metal distortion pedal and the original Boss Heavy Metal II (Japan version). I don’t want to bore anyone with more details, nor do I want to give out the secrets of the trade, so to speak. I think there is a bit of home distillery side flavor in the Desecresy sound that much of the modern productions lack.

What’s next for Desecresy — are you writing material, thinking up ideas, and/or plotting world domination? If people want to know more about Desecresy, what should they do? Will you ever tour Texas and help us shoot guns, drink beer and wrestle alligators?

Tommi: Well that tour seems unlikely and from what I hear Texans don’t need help shooting guns or wrestling alligators! But as Finns we could extend a helping hand towards that beer. I know I like draining Budweiser down my throat! Or maybe there’s some more local Texas beers, I don’t know..

We have just finished our fourth album called Stoic Death, which will be out somewhere in the future, so keep an eye open for that! We are working on that world domination but meanwhile you can contact us in desecresy@hotmail.com or through desecresy@facebook.com.

I guess that’s all from me. Thank you for the interview! Appreciate your interest!

Jarno: Though we don’t tour or play gigs I do encourage someone to book us somewhere on the other side of the globe just to have some beers, I wouldn’t mind! Meanwhile I hope The Stoic Death will be out as soon as possible! Thank you for the interview and your great work with Death Metal Underground!

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Interview: Jari of Agonized

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Finnish band Agonized got the break last year that they wanted two decades ago: a horde of people interested in their only demo, “Gods…,” which was subsequently and sequentially released on CD-R, vinyl, CD and tape.

Created in the old school style of primitive rumbling death metal somewhere between Belial and Demigod, “Gods…” comprised four tracks (and an intro) of disturbing inhuman noise shaped into musical form. Since metal has not produced any style more compelling than old school death metal, interest in such material has accelerated over the recent years.

We were fortunate to get in a few words with Jari from Agonized about “Gods…” and the circumstances of its creation, and how and why it endures today…

Was there a “Finnish sound” to death metal, or multiple Finnish sounds? It seems to be popular to group bands like Funebre, Demilich, Xysma, and Demigod together and proclaim a similarity to them. Does this sound exist? Is Agonized part of the group that uses this sound?

I think there was. There was a similar sound to bands of that era. Like there was, or still is “Swedish sound.” It might be pure coincidence that bands played like that. In our case, we listened to Xysma, Abhorrence and Disgrace in 90s so those really had a big influence on our music. Of course every band sounded like their own style, doing their own mix of influences through the “Finnish” filter. You simply cannot say all Finnish bands sounded the same. They just had some Finnish trademark on their sound. I cannot define that better. I am not a musician haha.

What drew you personally to death metal back in the late 80s and early 90s? Did you have any connection to metal before death metal? Do you know if the other members of Agonized had a similar experience?

Three of us grew up together. Me, Janne (bass) and Mauno (drums) were childhood friends and have known each other since we were something like seven years old. We started like any other young kid those days. First there was Iron Maiden, W.A.S.P. and Kiss. I remember I bought my first W.A.S.P. record when I was ten years old. After that we just tried to find more and more extreme and heavy stuff. Then we started to find out heavier stuff like Slayer, Bathory and Destruction to name a few. I think this has been the way many of today’s death metal fans have started. Also I had some sort of punk era in between.

After Napalm Death released From Enslavement to Obliteration we read about them from Finnish music magazines and were like, “Whoa, that must be some cool shit.” At that time only way to get your hands on Napalm Death records was to travel to Helsinki from Lahti by train and buy them.

When I found that Napalm Death LP in Helsinki, at the same time I saw Carcass’s Reek of Putrefaction LP and Bolt Thrower Realm of Chaos. When I got home from Helsinki and put on the first notes of the Napalm Death LP, I could say my head exploded. What an absolute annihilation after listening years of thrash and speed metal. After that I got into the next LP, Carcass… yeah, right… Another deadly hit. Rest is history. I have never survived that actually. So I am still on that road.

When did Agonized form, and what were your inspirations and influences at that time? Did you have any non-musical influences, like literature or other forms of art or culture?

Agonized was formed in 1990 if I remember correctly. Janne, Mauno and I wanted to play some death metal after hardcore/grind experiments but it was really hard to find anyone skilled enough to play guitars. We put an advert on a Finnish music magazine that we are searching some guitarists to play death metal. We got contacted by two dudes (Antti and Mika) from Vantaa and went to see if it would work out. We had a nice playing session and everyone thought let’s play something together. We gathered few times, in Vantaa and Lahti, to play together.

As we were arranging concerts in Lahti for underground bands we played few shows on those events. Agonized had big influences from Bolt Thrower, Carcass and Xysma. Those must have been the most influential bands on Agonized, at least for me. I don’t remember any non-musical influences. No, I don’t think there was any non-musical influences. Agonized was mostly for just having fun playing the music we wanted to hear.

The band put out one demo, “Gods…” Can you tell us how this demo came about? When did you write the songs, and how did you record it?

After few shows we decided to record those tracks we played to tape. Songs on this tape are all Agonized ever managed to come by. Our shows contained only those tracks and I remember we played those twice to play even a decent length of set. All songs was born at those rehearsals we had together. We just started playing and decided that “hey, that sounded cool” and continued to another one.

“Gods…” was recorded in a local studio, we got two or three hours of free use of it with the guy who mixes the tape. Guy behind the desk did not have any idea what to do with this kind of music. I doubt he had never even mixed any metal band. We just listened the results and said “do this, do that…”. Guitars and drums were recorded first. After that we recorded vocals and last bass. Janne had some issues in his life and did not manage to recording session, so Mika played also bass on “Gods…”

Whole thing was ready in those two or three hours we got to be in the studio for free. We could have done it better with more, but were totally broke as we were just a bunch of kids who spent all their money the previous evening getting wasted. So we had to accept the fact that we did not have any money for more studio time.

Apparently the band members went separate ways after the recording of this demo. Do you know why this was? Did you personally want to keep going as Agonized?

After recording, I remember some got bored playing death metal and wanted to play something else. I myself was bored with my whole life and started some sort of seven year period of self destruction with substance abuse and techno haha. So I kind of departed from the whole scene to a completely different world. Couldn’t care less about Agonized or the whole scene. Of course I still listened to some bands but was completely away from the scene for years.

Looking back, what do you think of the demo, and the potential that the band had?

I have always thought it is a good demo. Still we could have done it better. But maybe if we would have done it with more time, it might have lost its primitive approach and become shit. Maybe, just maybe, it was done in the best possible way. Without thinking too much of the final result. Band definitely had potential, if we had just continued playing.

But due to personal problems and interests that just was not possible.

Several former Agonized members reunited in Cadavericmutilator, which as far as I know has never released a demo. What was Cadavericmutilator like?

Actually it was other way around. Cadavericmutilator was before Agonized. It was a noise/grindcore band including Janne, Mauno, me and several various members playing guitars. We made few shows and actually recorded one demo, which was not spread anywhere. It was just pure chaos. Just blasting with some noisy guitars playing whatever and two vocalists screaming with shitloads of effects on them. That demo would have been nice to hear today, unfortunately it was destroyed as I shot holes through the master tape when I was being a bit paranoid years ago hahaha. Well, it was quite crap anyways. So no big loss.

Some reviewers have mentioned that Agonized, while using the classic Finnish death metal ™ style, had more of the pace of Autopsy and the grinding presence of Carcass. Did any of these bands factor into your listening? How do you describe the music of Agonized?

I would describe music of Agonized as a hybrid of American and Finnish death metal. It is just like Bolt Thrower and Carcass mixed with Xysma. At least I think so. Some have compared it to Mortician, but I must admit that any of us did not even know what Mortician was back in the days we were active. So I cannot compare us to them.

I thought it was a stroke of genius how the band (or you alone?) managed to first release a CD-R of the demos, build interest, then get a 7″ released, build more interest, and finally get the CD re-release on Aphelion records. Can you tell us how each of these steps came about, and roughly how many copies of “Gods…” are out there as a result?

Actually this re-release fuzz is completely my fault. I wanted to just have a personal copy on CD-R, but due to high popular interest I decided to release 140 copies of CD-R so that people who want it can have it. Very soon after I did that, Emptiness released a 7″ that was limited to 500 copies. Patches were made at the same time to include with some of the copies. Also Aphelion released a CD version quite soon after this, limited to 1000 copies.

Latest news is that there is coming a tape version that has limitation of 100 copies. This will be released by Dunkelheit. Tape version is a bit different one. After all these other releases I found a nice copy of “Gods…” tape from Mexico (thanks Agata) and tape version uses that as a source. So it sounds a bit different than other versions that use Mr. Moyen’s tape as a source.

What have you done since the days of Agonized? Are you still active in the death metal community? What about the other members?

After Agonized I was away from this world for seven years with my substace abuse problems I defined earlier on this interview. For 15 years I have now been sober and have four great little kids and a wife and a daily job. Sounds boring eh? So I do not have time to be very active in anything. I do collect CDs and mainly they are death metal. New and old. There are excellent new albums and bands popping up every week. But it’s not like I am being active, just listening to same kind of music as when I was a kid. I do not know about other members. I suppose some of them do have some music related projects but no idea what kind of.

Are there any plans to get Agonized back together and write more material? If not, why? If so, what can we expect?

There was some discussion of this with other members. But as for now, at least I think this would not be so good idea. At least not under the name Agonized. I think reunions are not a very good idea after over 20 years of silence. When “Gods…” was released we were 16 year old angry young metal heads with great passion to do what we do. How in the hell that same can be achieved now, when we are like 40 year old dudes with families. I could do vocals, but I doubt it will be the same anymore. I’m not saying that when you are 40 you can’t play death metal, but for sure it won’t be the same band as it was over 20 years ago. It would be completely different story. But… Never say never.

Do you think death metal and underground metal are still relevant? Why do you think people are still drawn to this art form?

Absolutely. Seems to be very alive and kicking. Death metal is here to stay, where would it go. People like me like to listen to it. What would I listen if not death metal? I have grown with it. It is a tool to get away from this every day life for just a while. People want to release their anger by playing it and why not. It gives youth of today a good alternative on all the shit this world hits at you from every side.

Underground metal is a honest form of music and way to express yourself. Not the crap you stumble across everyday to make you dumb. I also do admire bands that have been around since the beginning. That is one hell of an achievement to play this kind of music 20-30 years active, touring and recording. Now that is something.

Adramelech – Psychostasia re-issued by Xtreem Music

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Adramelech, long viewed as a younger brother to legendary Finnish death metal band Demigod, ride again with the re-issue of their classic Psychostasia on Xtreem Records. Revered for their ability to mix subtle melody with mid-paced death metal rhythms to produce an enveloping sense of pervasive darkness, Adramelech like Demigod found their way into many death metal collections but remained out of the spotlight that favored more dramatic bands.

The new version of Psychostasia features three live tracks, two taken from the Seven EP, and remastering of the original album. According to those who have heard it, this produces a louder but more even sound while preserving the nocturnal atmosphere and menacing ambiguity of the original.

Xtreem Music, a continuation of Repulse Records, continues a long tradition of putting out quality underground releases and now augments that tradition by adding quality re-issues such as this one to its catalog. A new generation of fans — being of the personality type too alert to be fooled by the circus music of metalcore or bore-drone of shoegaze black metal — may discover the majestic power and infernal might of classic Finnish death metal with this release.

Track List:

  1. Heroes in Godly Blaze 4:11
  2. Psychostasia 4:06
  3. Seance of Shamans 3:27
  4. The Book of the Worm 6:11
  5. Thoth (Lord of the Holy Words) 3:10
  6. Mythic Descendant 4:19
  7. As the Gods Succumbed 5:02
  8. Across the Gray Waters 3:59
  9. Intro – Heroes in Godly Blaze (live) 5:51
  10. The Sleep of Ishtar (live) 3:56
  11. Seven (live) 4:18

https://www.youtube.com/watch?v=bUOB3_2O4_M

You can purchase Adramelech – Psychostasia here:

Agonized – Gods…

agonized-gods

Agonized will violently sodomize the inner core of your fragile soul. – Sarjoo Devani/Explicitly Intense

Not every band from the frozen north aimed for melodic and energetic interpretations of death metal; many, like fellow Finns Belial or the Swedes in Obscurity, chose instead to write grinding cudgels of primitive bass noise that sounded like a winter avalanche of the soul overtaking all hope. Agonized created a six-song demo in this vein and sadly were lost to time after that point.

Gods… resembles a Scandinavian version of the ultra-primitive death metal of Morpheus Descends in that songs start with simple motifs, often two notes shaped into a compelling rhythm, and then ride that pattern through textural changes such as alternating tremolo/single-picked, tempo doubling, and layers of vocals. This pattern is then confronted with an oppositional pattern which is extremely similar, causing a kind of crossover which tends to find itself in a third pattern which is a mid-paced melodic overview of the previous two. It creates a result that must be like rising from the frozen wastes to walk along mountain ridges.

Perhaps most famous for its title track, which includes a distinctive riff shared between Agonized and Beherit (on both Engram‘s “Axiom Heroine” and Drawing Down the Moon‘s “Thou Angel of the Gods”), Gods… evokes the raw purpose of the death metal and black metal underground. This was not political music; it was a rejection of what civilization had become in its reliance on friendly, happy, positive, “human” values. Thus it turned toward the inhuman. These churning dark riffs and gurgling demonic growls convey the point aesthetically that the days of enlightenment have failed us, and darkness has come again, rising from below to destroy all who were fooled by the false light.

Convulse – Evil Prevails

convulse-evil_prevailsAs has been said countless times before, the worst record review is a waffle: “It’s OK for what it is, if you like that.” This corresponds to someone neither moved to ire or adoration by a work; in other words, it barely registered. Convulse is not like that. It is a band to both love and hate, but at the same time.

Evil Prevails should be loved for the rare moments of clarity in which riffs are glued together to reach a conclusion that makes sense out of them, causing a sense of rising above the confusion of life as the various dots connect. Themes add up and then grow, and this is where the band shines. They develop beautiful riffs from less interesting ones, and in those riffs, have a sublime sense of how phrase corresponds to emotion.

On the other hand, the dark side of this release is twofold. First, many of its riffs are simplistic in an American football death metal way, reminiscent of Carbonized or Grave but less enigmatic. Second, when riffs aren’t galloping across your forehead, the band likes to work in random rock, blues and jazz influences that don’t fit with the whole. These are not only incongruous, but relatively undistinguished.

Some might say that this in itself is an unorthodox aesthetic. By making a grab-bag of parts, Convulse is exuding deconstruction or nihilism, in other words. However, more likely, this mirrors a committee. The average is bad, but occasionally someone has a flash of inspiration; in the meantime, dramatic people who are good at what’s normally accepted are busy getting in their moments in the sun, showing off and getting promoted.

As a result, it’s hard to like Evil Prevails; it’s a mess with some nuggets of gold. If you like plodding bands like Gorement, the brutal riffs will not disappoint; if you like incomplete-synthesis bands like Afflicted you’ll enjoy the guitar fireworks. But more likely you will background the music until a nugget appears, have an “Aha!” moment, and then forget it as the churn goes on.

Deathchain video premiere

Deathchain, a Finnish band that shares members with Demilich, Winterwolf and Jess and The Ancient Ones, recently released a video for their song “Seven Asakku Shadows” taken from their latest album, Ritual Death Metal.

The video is a slow motion celebration of flowing metal haircuts, complete with a guy pouring milk on his head and Antti Boman providing backing vocals in a robe and Cthulhu mask.

Ritual Death Metal is out now on Svart Records.

Chthe’ilist

Fan of Finnish Old School?

Québécois band Chthe’ilist (pronounced “K-tee-list”) play an exciting mixture of death/doom metal influences, where the music is kept crawling among maggots by a healthy dose of Demilich, but is tastefully highlighted by Chthe’ilist’s own twisted inventions.

This is their full demo (also available as a free download from the label), Amechth’ntaas’m’rriachth (I won’t even try to pronounce that):

Agonized – “Gods…” demo CD-R available

Agonized’s 1991 demo, “Gods…”, has been restored at the local professional studio. Noise has been removed and worst odd tape anomalies filtered but the demo has not been remastered or has its sound changed in any other way. It sounds as muddy and bad and sinister it ever was in 1991.

Quick review: sounds like first album Sentenced combined with Belial, with vocals like Demilich (deep, burpish). For additional sound samples, see the band’s MySpace page.

This release is a CD-R copy of the demo on a JVC-Taiyo Yuden Premium branded CD. 5 euros+shipping. Contact directly for shipping details, payment information and/or other questions via Jari’s email.

1. Intro
2. Tortured

3. Long Live the New Flesh

4. Gods…

5. Devour the Saviour

September 30th – October 2nd, 2010 – Sadistic Demigod Ritual

Once again the streams of ancient songcraft from the kantele of Finnish past extended their freezing grasp across the ages to bring death-skalds from around the world to gather in a morbid mass of heavy sound at Dante’s Highlight, Helsinki, on the wake of the massively successful event one year ago headlined by the supreme warmongers Blasphemy and Revenge. As if gripped by demiurgish megalomania the organizers deemed that two days of black/death hybrids and Blasphemy clones are not enough, this time the event spanned three nights of violence, bloodshed and alcohol while the weak were trampled upon the mossy floor of the woodlands.

Unbending intent

The gates of Dante’s church opened wide for the worshipers to enter in the middle of the busy workweek of the middle class, but true to the ethos of Death Metal, it didn’t stop the venue from being filled to the brim with headbangers ’til the late AM hours. The attendance of underground gigs in Finland, especially near the capital area, has steadily grown from the meager cult of the 90′s and this contributes to the possibility of gig organizers to summon up massive events the likes of which are unknown probably everywhere else but Germany and USA. By all criteria, three nights of underground death metal mostly in a similar sub-style is an overdose but we couldn’t help but step up to the challenge. Even though the day already had included work, exercise and painting, I dragged my sorry ass up to the venue to get brutalized by the sounds of the foreign bands who deemed to come across the seas to herald the apocalyptic messages of old school Death Metal once again.

Vorum and Neutron Hammer from Finland are decent bands, but I didn’t care enough to try fitting their ritual into the schedule since plenty of chances to observe them await the locals. While traveling through the nocturnal cityspace, which always seems to bring forward a more grey, industrial, overcast threat when Metal is imminent, I inadvertently also lost the chance to see UK’s Craven Idol, reputedly a doomy, crisp and unpretentious massacre. I did get to see Diocletian‘s more old school incarnation Witchrist though, who spent about an hour conjuring a tempo-flipping contrast between Doom and Grind much like the forte of Finnish cult classic Rippikoulu, except lacking for one thing: intricate melody. Without it, the maiming down tuned web of chords seemed like a mockery of the modern war metal ethos with its Black Witchery spawned “street credible” ghetto hoodie “evilness”; lacking a dimension where essential things are said. Tough without purpose, the heartless spawn of urban netherworlds.

The wait for the main band of the evening, for this reviewer the main band of the entire festival, was torturously long since the Californians Sadistic Intent had but just arrived on their star-crossed flight and carefully proceeded with their soundcheck, as if carefully honing their weapons for the one and only decisive battle. At this point the atmosphere at the venue was expectant but relaxed, much less strung than the hysterical chaos that gripped even the most balanced partygoer in the insanity of 2009. When the sadists got their shit together, there was no evading the invincible force of Death Metal roaring from the stage. Sadistic Intent, who never released a full-length album in their career, had nevertheless realized the essence of Death Metal better than all those blackened bands of the 2000′s who were too caught up in “necro” manifestations of ghastly pallor; this band breathed energy, blasted away as if it was the world’s final hour. One of the central pillars of Sadistic Intent’s dark symphony was the sharply dynamic percussion work of Emilio Marquez, though we must not forget the clarity and precision of Rick Cortez’ and Ernesto Bueno’s dueling guitars. Through this band, the young audience glimpsed a mighty vision of the history of 80′s underground metal, with all its sensible and senseless implications – to me, it meant much more than the routine Morbid Angel gig in this land two years ago. –Devamitra-

This sound is no Nirvana

When arriving at Dante’s, I couldn’t help but feeling this visitation was to only a regular festival in the Finnish capital, for so strongly the walls of the old church emitted still the atmosphere of madness from the Blasphemy live ritual a year ago. That being said, it was time to commence the forthcoming aural hammerings. I didn’t see the beginning act, Stench of Decay, due to overlap in my tactical schedule. Them being a domestic act, I presume many more chances of seeing them in the future. Maveth didn’t ring any bells before the festival, and being the quick replacement for perhaps my most anticipated act personally, Cauldron Black Ram, I felt somewhat disappointed and in the end, Maveth doesn’t ring any even now after the whole event! Next up was Grave Miasma, who delivered their material as well as they could, I believe. Their precise playing and overall presence pretty much reflected the visions I have had from their “Exalted Emanation” EP. Even the sounds of the venue, in some odd way, seemed to back up their aural pathworking in the catacombs of darkness.

The muddy sound seemed to haunt all the bands during the three nights and not everyone profited from its nature. Mainly the rhythm and tempo of the bands seemed to dictate the clarity and catchiness of the acts, if one was without better acquaintance of the material being performed. This facet of reality added a huge positive impact into Hooded Menace‘s first live appearance, for their slower, blind-dead-worshiping, doomy metal profited from the overall muddiness of the sound, and structure-wise, concerning the night’s band line-up, their gig acted as a very functional breathing space between the other, more faster majority of bands, while Karnarium played their Swedish death metal of which I had only a few short experiences beforehand. The wickedness of live situations is that even though some bands do sound quite all right from their recordings, the reality of the gig can be just the opposite. All elements are right, but for some reason, the whole thing just doesn’t deliver. Unfortunately this was the case with Karnarium.

Although I expected things from Excoriate, their act suffered from the shitty sound at Dante’s and the whole gig just entirely passed me by, while my comrades praised their straight-forward deathrash brutality and merciless un-pretentious playing. Maybe I get to witness them again at some point in time and space. Also meeting an incognito man of mystery, who bribed me with a 7″ EP of best Finnish death metal and oversees the Finnish underground scene and the happenings from the shadows of the European Union committee, might have added an element of disturbance into following the deeds of the Germaniac necromancers. Nirvana 2002‘s classical Swedish death metal sound echoed throughout the church as the last act of Friday. I was a little suspicious about them being just another band riding the reunion wave. After the gig I really couldn’t tell if it was so. Maybe to some it served as a good soundtrack to beer-drinking, to some it might have refreshed the memories of the early scene of Sweden, and the band seemed to enjoy playing – might have been a reaction to the audience’s reaction. I guess that those not into the Swedish sound didn’t really get much out of Nirvana 2002, although they were supposed to be the very headlining act of the evening. –SS Law-

Towards the mist-enshrouded Infinity

For those who have not inhaled anything like the cold, northern atmospheres of Finland, it’s possible that they have never really taken a breath at all and filled their lungs with so much ancient mystery and natural purity. That these primordial dimensions of the Finnish experience could give rise to such canonical works of the Metal underground as are unquestionably from this realm, in all their brutal and grotesque yet contemplative and spiritual totality, is a unique and unsurprising fact. To be in the company of two proud Finns, journeying through eerie woods of twisted fractal forms, landscapes that crumble before the sea to be swallowed by sinister mists, and sites of the unknown dead, buried by millenia and rocks is nothing short of an education in the origins of Finnish Death Metal. An education that would close with the ultimate but unofficial final statement of this 3-day long Black Mass Ritual, taught by true professors of unholy metaphysics.

The doors of Dante were already wide open and broadcasting the buzz of hordes and other indeterminable bestial sounds from deep within, as one more apocalyptic night of darkness and chaos was underway. The bloodstained figures of Cruciamentum were the first band to be witnessed onstage as their set was nearing it’s end. The familiar polish and precision to their otherwise rumbling riffs, like a more rhythmical Grave Miasma, would be a sign that the sound of the venue would be favourable to this kind of band who played according to a careful dynamic framework, only to leave the blasting War Metal legions that comprised the middle-era of the evening struggling to convey their manifestos with enough clarity to lead any would-be army into battle. Blasphemophager from Italy followed with a set that would epitomise all the technical difficulties of the festival, with a lengthy period of being at odds with the sound before finally commencing their angry and drunken attack; a musical mess but nevertheless potent in the way the band creates a time-travelling vortex of sound, caught between the war worship of Blasphemy and the tropical heat of 80′s Death/Thrash from Brazil. Though not as peturbed by the failings of technology, Diocletian‘s sound would receive no favours from the set-up, with the indistinct noise of raging guitars falling short a much needed quality in this type of band, to justify their existence apart from the countless others who cast global nuclear omens. If there was any positive element of these New Zealanders’ performance, it lies exclusively with the hands and feet of their drummer, an expert in militaristic precision and the cascade of bombed city ruins and rubble.

With civilisation’s demise at least envisioned in some form, the time of more abyssic and introspective prognostications had arrived in the form of the legendary Death Metal band from Loimaa, Demigod, to once again reveal the eternal fate of all mankind. With all but a session guitarist returning as the force that channelled the transcendental ‘Slumber of Sullen Eyes’ album – one of the undisputed masterpieces of the genre – this was something of a special moment for anybody who recognises the importance of Finnish Death Metal and as the introductory keyboard motif of ‘Apocryphal’ finally sounded, this was the signal that the atmosphere of the venue was metamorphosising into a Dead Can Dance state of mystical curiosity. The band’s near perfect, though slightly re-ordered rendition of the album was a masterclass in riffcraft and energy as only the most elite Finns know how to deliver, demonstrating control over the requirements of their complex sound. Most notoriously is their penchant for disharmony which gives the songs their expansive and cosmic sense of beauty, as the blasphemy and discord of tearing down layers of ignorance and the control of human terror only serves to reveal the awakened visions of reality. Closing the set with the ‘Slumber of Sullen Eyes’ song itself, echoing those final words behind the mists of eternity, Demigod had completed a mesmerising and what should have been a headlining performance and dispelled all memories of the last couple of albums associated with this band.

Having shown all the young guys how to do it, even with an aging roster of musicians, Demigod entrusted the stage to one of the few worthy inheritors of true Death Metal spirit that remains in this current age. Greece’s Dead Congregation provided a highly competent and tightly delivered set that surprised the fuck out of the entranced onlookers. The sound was well-balanced enough to facilitate both the most crushing riffs and otherworldly ambiences, showing the strength of melodic composition as spectral leads passed through songs like an occultic storm of neutrinos. Dead Congregation demonstrated how they excel where other bands in this style fall straight into insignificance, putting many acts on this bill in their places. However, holding the supreme position on this night, as the night grew old and entered the early hours of a new day, Necros Christos had the daunting task of not just following two excellent bands, one being exceptional, but also risked lulling the entire audience into a deep sleep. Perhaps it could be said that they did just that, but with confidence and morbid intent, grasping the reins of the creeping, collective subconscious and transporting the entire venue to distant lands and times where the revelations of Hebrew gods are oppresed by the rule of tyrannical death-worshippers. Even Dante’s mists turned into a deep sandstorm as the cyberchrist-like figure of Mors Dalor Ra addressed the bloody, brainwashed crowds and launched into the sardonic dirges of the ‘Triune Impurity Rites‘, while introducing the promising and lengthy compositions from the upcoming Doom of the Occult. This veteran act concluded the night’s ritual with a sense of overwhelming evil power, regality and clarity, leaving the hordes to disassemble in a daze of hypnosis. A fitting end to the festival, and definitely justifying Necros Christos’ headlining status. Only the blackness of the morning unlight remained, to disappear into the mists where, in the words of Amorphis, “men can realise the meaning of life”.

-ObscuraHessian-

Sentenced – North from Here

On the 93rd (number of the Thelemic Law) anniversary of the independence of Finland from the Russian Empire, let the northern lights flash their yearning flames beckoning the souls of the fallen warriors of the Civil War. While it may seem to some as a sacrilege to play anything but the Romantic sylvan mystery plays of Sibelius, the true heir of Wagner and one of Finland’s national composers, the early death metal symphonies of Oulu’s Sentenced epitomize a great deal of the same thundering natural melancholy. Following the youthful, reaping, Dismember-esque debut album Shadows of the Past, the musical theory of Jarva, Lopakka and Tenkula turned like the Roman mythical Janus statue two ways at once: towards the pure riffcraft of Iron Maiden and the ethereal, streaming melody of Nordic black metal. Much like At the Gates had captured nearly protestant-religious passion and sadness in Sweden, Sentenced managed to concoct music which was worshipful, raging, realistic (even pessimistic) and imaginative all at once, in defiance of the taciturn apathy characteristic (like alcohol) of the working class of northern Finland. In Sentenced, the pent-up rage of skeptical and prematurely cynical young men was transformed into elaborate poetic reflection.

Power metal riffs in a death metal production would later experience a horrible mangled mutilation death in Children of Bodom’s excessive rock stage theatrics, but the sharp minds of Sentenced treated their source material with such profound affection that heavy metal, thrash, death metal and black metal weave into each other as interminable patterns of tangled paths amidst hypercosmos – a Northern Finnish shaman’s spell. The careful production recalls the most biting moments of Kreator while the technical skills of the guitarists are on par with the hallowed “prog” moments of Atheist and Death. The songs hardly suffer from any useless repetition (the anthemic verse-chorus structure of “Awaiting the Winter Frost” serves a specific purpose in exclaiming the satirical “heavy metal victory” over the forces of light, while it is deliberately obscured whether the narrator is a man, a beast or a spirit). That North from Here was never Sentenced’s most popular or esteemed moment is a total wrongness, as Amok followed on the footsteps of this work adequately, but only that. One of the strongest candidates for the best Death Metal album in the history of Finland, the bewitching maledictions of North from Here, from “Capture of Fire” to “Beyond the Wall of Sleep” (and practically any piece since there is no filler), achieved the aims of “Gothenburg” much more effectively and impudently than the horde’s western neighbours.

-Devamitra-