For the past eighteen years, it has been clear that for black metal and death metal to survive, they must do more than imitate the past. In other words, it’s time to get weird. There are many avenues to explore but few trust the audience to understand and so the majority spend their time making fifth-generation copies of bands whose ideas have long been forgotten and who exist now only as aesthetic “brands.”
Witchblood shows us a band attempting to create something new within the weird side of black metal. Hybridized with heavy and power metal, Witchblood fits into that territory inhabited by bands as diverse as Gehenna and Absurd which lets the weird side of metal through. It embraces that which polite society normally finds difficult, which is uninhibited emotion and fascination with the natural, which means this music is less manipulative and more sentimental than the norm. This gives it both a cryptic energy and an endearing personality.
Much like Absurd, parts of this are “immature,” meaning that in their guileless state they lack the focus on surface appearance that we have come to expect, and in their raw exuberance they resemble the musings more of a child than an adult. However, there is nothing uncoordinated about the result. Unlike most bands, Witchblood like to edit their material down to the point where every part serves a role, which means it is slightly more repetitive but the parts work together to produce a gestalt of emotion.
This EP will not be for everyone, in particular the more recent types who like slick alternative rock style “mixed emotions” aesthetic draped over their music, but Witchblood will appeal to those who like a good heavy metal tune with black metal style and power metal energy. Some will find the background vocals, which are either clean or war-whooped in the best primitive style or clean vocals that shadow the rasp and give it fullness, to be disturbing but this reviewer found that after a few listens they integrated well with the sound.
Instrumentally this band acquits itself well despite using relatively simple elements and riffing off known styles from Burzum and Dissection as well as some of the vivid gestures and grandiose ballad-like tendencies of epic heavy metal bands. In particular, drumming echoes the riffing but does so unobtrusively while still providing the emphasis where it is needed. Guitars are often reminiscent of primitive bands like Ungod and Absurd, but just as much at home with Dio-era grandeur.
Witchblood are relative newcomers into a genre overflowing with imitators of the past. This band is trying to keep that spirit, but convey it in a new form, in part by escaping the slickness that becomes easy once a style is well known. In short, it’s a return to the “Wild West” days of black metal before the professionals took over and turned it into the same old thing everyone else is doing. For that reason, this band is worth a first listen, and maybe at that point, the vulnerable and feral sides will make a convincing argument for Witchblood.
After years of society looking down its nose at heavy metal, it appears to be showing up in unusual places: high intelligence occupations, health and academia.
Even though metalheads are still a discriminated-against group, with long hair for men, tattoos, loud music, mentions of Satan and chaos magick banned in many workplaces and government offices, the forces of metal are rising worldwide.
Wired reports on an intelligence-research prodigy in China who, after mastering difficult subjects in a fraction of the time it would require even another gifted person, takes the day off to see a “Satanic heavy metal concert.” Then returns to studying intelligence itself.
Over on the Wall Street Journal, Jon Wiederhorn reminds us that “Metal Music Can Be Good For You,” mentioning among other things that metal can “keep fans that have been scarred by trauma feeling alive and surrounded by family” and that “heavy metal has never faded into obscurity.”
At DeathMetal.org, we don’t find this surprising. Metal is more brainy at the compositional level, meaning how the riffs fit together to develop themes, than rock music or even jazz, which tend to be cyclic. It tackles the big subjects that people would rather forget about, and thus attracts the smarter alienated teens who find the lack of order in life to be appalling.
But best of it, it delivers a punch to life. Like spice in food, combat, sky-diving or a new idea, metal brings out the terrifying and empowering all at once, making us view life with new eyes. That could be the healthiest of all.
This affectionate tribute to the days of classic metal, both NWOBHM and its more bombastic American cousin, fits into the same vein as material like Gehennah, Nifelheim or Diamonsnake: it’s catchy, with overemphasis on the flourishes of the past, but can be compelling for its sentimental view of the world that comes off as poetic.
Witching Metal Ritual features motives from the initial heavy metal era but played with the energy and less responsive drumming of hardcore punk, with occasional touches of the speed metal techniques of the early 1980s. However, what drives this recording are its melodic moments and the use of lead guitar as a running commentary to create a sense of detachment.
Vocals are chants with harmonized singing at intervals, and these complement the guitar, but it is the six-string that sustains emotion. If the album has an achilles heel, it is that too much of this guitar is lead which introduces complexity with more variety in riff could have been powerful. Similarly, drums may be a bit too detached for this style, although it creates an interesting effect.
Witches Mark are more creative than most of the bands who attempt this style and forge a unique sound for themselves that seems influenced by some of the more proggish material in the metal world of late, but is based very much in simple heavy metal riffs and grandiloquent moments where a collision by one or more motifs creates the kind of “heaviness” that metal is famous for.
However, much like later Ihsahn, the tendency to fill sparse songs with internal complexity can lead to listener disorientation and often prevents themes from fully developing. However, the faithful rendition of the past, including a vocalist with a wide range and crystal pipes, may over-ride that with a mood that is hard not to like.
Former Trouble member Ron Holzner joins celebrated violinist Rachel Barton Pine in Earthen Grave, a doom metal band with heavy metal energy and hard rock groove. It fits in the niche between depressive heavy metal doom like Derketa and stoner doom of the Spirit Caravan variety, but has some of the gravitas and theology of Trouble and other depressive heavy metal doom bands from the 1980s.
Earthen Grave, the band’s debut, has been re-issued as a double-CD or double-LP on the Ripple Music label, appearing in stores and online on July 9, 2013. The completely re-mastered debut release now contains a new song, “death is another word….” with drummer Chris Wozniak (formerly of Lair of the Minotaur).
While Earthen Grave has not gotten the overflowing press attention that has accompanied many other doom metal bands, this band offers more of a pure older-school feel to its doom metal, and does not pander to the me-first mentality that many people want to hear in their music. The result is pure bleakness and self-negation that periodically rocks out and then launches into a series of musically erudite solos. As a result, Earthen Grave may appeal to the musicians among us first, and later spread to the rest of the metal audience.
Most people are ruled by a fear of what other people think. If they don’t end up looking cool to their friend group, they fear they have become invalidated and are worthless. As a result, people have difficulty accepting anything which is not ironic, contrived and vague. (more…)
Lyrically, much of the album is concerned with the process of change. This theme has been occupying the thoughts of the band members as they look back on decades-long careers now winding down. In a recent interview, Ozzy Osbourne was asked what his views were on heavy metal and how Black Sabbath had shaped the genre:
I have never ever ever been able to attach myself to the word ‘heavy metal’ — it has no musical connotations…If it was heavy rock, I could get that…People come up to me and say, ‘Your Sabbath work was a big influence on me.’ I could go, ‘Oh, yeah, I can see that.’ But other bands … what part of that is inspired by us? Some of it is just angry people screaming down a microphone.
In this author’s opinion; this is an erroneous view, but an interesting statement in that it raises the questions: what makes heavy metal different from heavy rock, and how did Black Sabbath inspire generations of diverse metal genres?
What made Black Sabbath different from the other rock bands at the time was primarily what it was trying to express. The band avoided the flowers and rainbows hippie culture and spoke of darker subjects, but ones that were ultimately more true. Taking a nod from horror movie soundtracks and occultist influences, the band injected their music with a darker style of writing, which scared listeners and threatened the illusion that our society was stable.
From the very beginning of the debut album it became clear that this music was different. It’s not designed to be a product; rather it attempts to express something and allows the song to shape itself through connecting phrases rather than forcing it to adapt to pre-determined and easy-to-digest formulas. Even more, in spirit it’s a call to action, not a lullabye, commercial message or protest song (aren’t they all the same thing?).
Today’s bands which appear dissimilar aesthetically are nevertheless motivated by this same desire. The “screaming down a microphone”, abrasive riffs, and aggressive drumming are stronger methods of explicating something that often goes unsaid in our daily lives amid safety locks and childproof caps.
Death metal and black metal incorporated all the different elements that Black Sabbath first shocked hippies with, though taken to a greater extreme. Making the decision to create art rather than entertainment, the genres invoked contrasting structures and phrases in their composition, creating a modern take on a classical method of writing, wherein lines of melody overlap with each other yet when heard from a distance join together to form a complete whole.
The genres also took the hint of occultism that Black Sabbath contained and brought it to the fore: Satanism and general opposition to Christianity was the norm, though not for the sake of mere shock value, but as a way of communicating that our feel-good churches are not a permanent solution. Extolling the virtues of pre-Christian beliefs, the bands involved brought attention to alternatives to both Christianity and vapid materialism.
Beyond the specific technical influence Black Sabbath had on heavy metal (doom metal), there is an underlying thread that connects all bands that wish to play loud music for reasons beyond getting drunk and violent: somewhere, relatively recently, our society lost its way and has been living on borrowed time in denial. Heavy metal (not hard rock or heavy rock), is our way of finding meaning in the void; and as a result, Black Sabbath is unmistakably part of that.
Almost every metalhead, no matter how hardcore or marginalized, perks up when Manowar hits the radio or jukebox. That’s because Manowar embodies the spirit of metal, which is a desire to fight for what’s true and deny what’s popular, because we as metalheads know our own spirits and don’t care about the herd. (more…)
Black Sabbath’s new album, 13, is a marvel. The first single “God Is Dead?” didn’t adequately prepare me for the experience of the whole work. This album contrasts the old sound and the new sound. The band frequently harkens back to their former work. I’ll note these instances when I treat the individual songs later in the review. In fact, some fans think 13 is too much like the earlier material. But they’re wrong. Surely we want them to recapture their earlier sound to some degree, but this album does much more than that. While surely somewhat nostalgic, this album does NOT fling itself into the market as a refurbished rehashing of used riffs. It’s a GREAT album. The original vibe remains as strong as ever. Fans agree and have propelled this album to #1 on the charts.
Let’s just talk about the players for a minute. Black Sabbath-for better or worse-always rests on the genius of guitarist extraordinaire, Tony Iommi. He has lost NOTHING on this album. He includes riffs and architectonic elements from ALL of his work with Black Sabbath, his recent work with Heaven and Hell, his solo albums, and perhaps even some of the blues roots that preceded Black Sabbath. His solos are as good as, or better than, his earlier work. When they do echo earlier compositions, they echo the very best soloing of his career.
Geezer Butler also plays as well here as he ever has, and a fan would do well to find anything on an earlier Sabbath album any better than his work here. Tony and Geezer seem to be playing for posterity. The lyrics of the entire album hint at the band’s contemplation of their own mortality, and surely Dio’s passing and Tony’s own illness make that inevitable. Ozzy Osbourne sounds pretty strong. His voice gets stronger as the album progresses, and some of the vocal melodies capture an Ozzy Osbourne solo sound — which was already developing on Never Say Die! (1978) back in the day. The synergy that made Black Sabbath a revolutionary band still exists in these three guys.
Brad Wilk’s drumming rounds out the record. The fan base made its displeasure at Bill’s absence very clear. Brad had a very big job trying to fill Bill Ward’s shoes. To his credit, he filled them well. We don’t hear the Butler/Ward swing anywhere on this record. Nor should we. Trying to imitate Bill would have been insulting. Brad did the job well, and he gets a big thumb’s up from this reviewer. All of these musicians in top form.
Musically, this album is VERY heavy in places. As mentioned, several of Tony’s solos equal anything he’s done so far, and his riffing remains the best there is. Lyrically, the darkness of this album stands with anything the band has ever done. The Grim Reaper peers over the horizon in nearly every song, and the tension between God and Satan (or at least the tension between the concepts of good and evil) emerges explicitly many times, as it did in their early work, when even the band were frightened by their own songs!
This review will address only the album proper, no bonus tracks. I may get an argument or two from some fans, but in general, I’ll say that the bonus tracks fail to achieve the same quality as the songs on the album. Perhaps more to the point, they do not “fit” the mood of the album proper.
“The End of the Beginning” strikes me as the perfect title for the first track of this album. The return of the Ozzy-era line-up marks a new beginning for these elder statesmen of heavy metal. The main body of the song pays homage to the first Black Sabbath song “Black Sabbath” off the album Black Sabbath (1970). This song reflects Tony Iommi’s growth and range as a guitarist. The track opens with a heavy, doomy march of separated chords similar to “Shadow of the Wind” (The Dio Years – 2006) or “Atom and Evil” off The Devil You Know — a rather recent development used here to great effect. There are tempo changes, and the classic break that we hear on the first four albums. Some listeners may remark that they use the same sort of break in four of eight songs on the album, thus leaving them repetitive and even self-derivative. I don’t agree, but I concede they lean on this approach. It’s a part of their style and fits.
He plays two solos, as we see in Dehumanizer’s (1992) “Computer God”, using the same basic architectonics. The solos themselves soar into prominence. The first, at 4:42 or so, lasts 50 seconds, and features not only a fantastic Iommi-style lead but also a tempo change into a bluesy sound at the end. The second solo closes the song, and for around 90 seconds grows in intensity, rising to an effort VERY similar to “Lonely Is the Word” from Heaven and Hell (1980). Again, we are not talking about a mimeograph album. Tony taps into EVERYTHING he’s done. And he plays with abandon, with emotion.
Lyrically, we see a fresh address of the theme Society vs. the Individual, especially in terms of the former controlling the latter. This theme has been interrogated throughout the entire history of the band, dealing with societal issues like family collapse in “Wicked World” off Black Sabbath, economics in “Cornucopia” (Vol. 4 – 1972), psychologyin “Johnny Blade,” (Never Say Die!) television in “Zero the Hero” (Born Again – 1983) and the eponymous “Mob Rules” (1983) and “Computer God” ( both self-explanatory). This song updates for the pervasiveness of the simulacrum, urging the “Reanimation of your cybersonic soul” and concluding “You don’t want to be a robot ghost / Occupied inside a human host / Analyzed and cloned relentlessly / Synthesized until they set you free.” This eight-minute opus is pure Black Sabbath.
“God Is Dead?,” the first single, at almost nine minutes, seems like two songs. The first 4:00 or so offer a kinder, gentler sound. Then the chorus hits at 2:16 and at 2:26 that super-doomy descending lick hints at the Sabbath sound. Then they go back for the next verse. At 4:05 that Sabbath discord starts and at 4:09-4:10 Tony “shakes” the chord as only he does. Then a classic Iommi riff (4:17-4:18), a reprise of the aforementioned descending lick, and an expansion the power chords at 4:10 into back-and-forth riff, classic Black Sabbath-relentless, hypnotic. At 5:38 we get to the chorus with that descending lick again. Then at 5:48 they reprise the power chords from :30 into the song that form a bridge to the break at 6:19 that seems like something off the first album or Vol. 4 (or “Falling off the Edge of the World” off Mob Rules). Then at 6:27 Geezer Butler kicks it into high gear and never lets up. All the musicians do the same thing, classic Black Sabbath. Then Geezer starts what will be one of the best performances on bass guitar in the Black Sabbath oeuvre. Even when the song slows, his playing does not. The 15-second solo (7:38–7:53) has a bluesy, 60′s sound to it. Some listeners may have preferred a longer solo, but the musicianship and intensity so far have been so powerful that a solo isn’t needed for the song to have a high point. In fact, Geezer’s playing behind the solo almost equates with soloing itself as he’s playing much faster than Tony. The final minute is the descending lick behind repeated “God is dead” chorus. The chorus leaves us with a rather definitive statement “I don’t believe that God is dead.” The supremely dark lyrics offer the good vs. evil motif that this band has defined. These lines typify the questions asked in this song: “Nowhere to run / Nowhere to hide / Wondering if we will meet again on the other side / Do you believe a word / What the good book said? / Or is it just a holy fairy tale and god is dead?” Nothing says Black Sabbath like two songs in excess of eight minutes offering pessimism and plodding riffs. What a one-two punch!
“Loner” rocks: a flat-out, straight-ahead headbanger. Some say it reminds them of “N.I.B.” It actually recalls the basic riff pattern of the main riffs from “Black Oblivion” and “Flame On” from the 2000 solo album Iommi. Lyrically, the song speaks of isolation, and the head-banging groove of the song contrasts with the seriousness of the message, tied up in the final verse: “Communication’s an impossibility / His own best friend but he’s his own worst enemy / The secrets of his past locked deep inside his head / I wonder if he will be happy when he’s dead.” Perhaps one of the hallmarks of Black Sabbath and of the metal music they pioneered is an understanding of the angst — even depression – that their listeners experience. The strong of grounding in existentialism in their work makes even an up-tempo frolic cuts into the heart of the listener. The irony of the seriousness of the theme and the elation of the riff-similar in a way to “TV Crimes” off Dehumanizer bespeaks a long-standing Sabbath tradition as well.
“Zeitgeist” immediately reminds us of “Planet Caravan” off Paranoid. In a larger sense, perhaps the beauty of “Zeitgeist” is to recall Black Sabbath’s numerous slower and/or psychedelic tunes, such as the aforementioned, “Planet Caravan,” “Solitude” off Master of Reality, and admittedly, to a much lesser degree “Changes” off Vol. 4, “Spiral Architect” off Sabbath Bloody Sabbath (1973), “She’s Gone” off Technical Ecstasy (1976), and others off Dio-era albums. No innovation exists here vis-à-vis older Sabbath tunes of a similar nature. No doubt people will like this one-especially, perhaps, people who weren’t hardcore Sabbath fans. Unremarkable in comparison to the other songs on the album, it provides a break in the heaviness — much as the other songs noted here did for those albums — this song reminds us that Black Sabbath did this too. Insofar as this album may well become a historical document, “Zeitgeist” proves a worthy inclusion.
The opening of “Age of Reason” sounds a bit like the opening of “Follow the Tears” off The Devil You Know. Another elaborately structured offering marked by numerous genre and tempo changes, reminiscent of “Dirty Women” off Technical Ecstasy, give this song an almost proggy feeling. The opening riff while really quite doom-laden, is also rather bluesy. While the structure and overall sound of the song unmistakably heralds Black Sabbath, the melody suggests Ozzy’s solo work (not to mention an echo of “Junior’s Eyes” off Never Say Die! which presaged the Ozzy Osbourne sound in many ways). The marvelous solo in this song recalls “Zero the Hero” a bit. Tony takes his time, and the solo carries us away as only an Iommi solo can. At the risk of being repetitive, Tony Iommi has lost nothing. The guitar work here stands up to anything he’s done. Similar to the general theme of “The End of the Beginning” and many other Black Sabbath songs, the lyrics describe a hopelessness accepted by people who have lost their will to be themselves: “Sustainable extinction / A fractured human race / A jaded revolution / Disappears without a trace.”
The opening progression of “Live Forever” bears a similarity to the opening of “Lord of this World” off Master of Reality (with, again, a touch of that march of separated chords noted in “The End of the Beginning”) and then steps up the tempo to a riff strikingly similar to the up-tempo movement of “Cornucopia” off Vol. 4. This one really harkens back to the older groove. Even Brad’s use of cymbals seems rather Bill Ward-esque. While clearly adapting these older tunes, the nuanced use of the newer aesthetic and burnished sound of excellent production renders it a new song. Ozzy sings as only he can-with all the soaring menace of that same era. The lyrics of the song sustain the motif of aging and the looming presence of impending death. This song lacks the depth of the others on this album. For instance, the closing lines, “I may be dreaming or whatever / Watching my life go by / And I don’t wanna live forever / But I don’t wanna die!” certainly do not rise to the more profound, sometimes poetic, expression of the same uneasiness. I’ll neither label this song as filler nor dispute the inaccuracy of said label.
“Damaged Soul” is monumental. Clearly a tribute to their roots in the blues, this song amalgamates everything Black Sabbath not only does, but can do. Black Sabbath has made forays into the blues before, notable on the Seventh Star (1986) and the song “Dying for Love” off Cross Purposes proves a stunning blues song. But Sabbath hasn’t done this anywhere else. My first thought upon hearing it was that it sounds like Robin Trower, but heavier. There are moments in this song that sound like Electric Wizard. It almost demands a genre definition of “Doom-Blues.” Again, the soloing echoes “Lonely Is the Word.” The first solo at 3:49, lasts for about 45 seconds and never deviates from a standard blues structure. He means to play the blues here. Then at 5:26 we get another 30 seconds or so until a break takes us to another tempo. The harmonica wails into this change, and then Tony returns at 6:36 and serves up a solo of his own. While the rest of the players play the blues (and Ozzy even sustains a fine harmonica riff), the exit solo is pure Iommi. Lyrically, this may be the darkest song on this album and in the running for the darkest song they’ve ever made. Lyrically, the song calls up the career-long (or age-old?) subject of possession and reprises this album’s motif of impending death and the tension between good and evil: “I don’t mind dying ’cause I’m already dead / Pray not for the living; I’ll live in your head / Dying is easy; it’s living that’s hard / I’m losing the battle between Satan and God.”
“Dear Father” proves an indictment of Catholic Church’s priest sexual abuse tragedy, every bit as scathing and pessimistic an attack on this issue as “Wicked World,” “War Pigs” off Paranoid, or “Into the Void” off Master of Reality.” This song boasts a rather complex overall structure, featuring multiple tempo and style changes. But nothing in this song equals the rest of the album, musically. The reason for this appears to be that the band wants us to listen to the words. An album this good, with Tony and Geezer playing as well as they have ever played, with Tony playing his heart out in more than one place, would not forgo a solo without a reason. That reason must be to focus our attention on the message. The music changes every time the message changes, intensifying the merciless dissection of those merciless crimes. The closing lyrics sum up the song with perfect clarity: “Dear father forsaken, you knew what you were doing / In silence your violence has left my life in ruin.” The song closes with a repeating “In ruin, yeah” phrase, symbolizing the vile and on-going suffering caused by these atrocities. After this song ends, the rain sound effect from the beginning of the first album fades in for a few seconds, reminding us that this album not only provides a resurrection of the original line-up and sound but also offers a vital viewpoint on religion and music, contemporary issues and timeless questions.
In 13, Black Sabbath reflects both the original Black Sabbath sound, imagery, and philosophy and the influences of all their musical experience from their solo work, other incarnations of Black Sabbath, and their inherent genius. They recast the system of rock music 43 years ago, and in this “reanimation of the sequence,” they have again recast the system.
Having discovered Põhjast recently, the DeathMetal.org team was psyched at this chance to interview Eric Syre (vocals) and Gates (guitar) of this energetic new band.
Combining the atmosphere of black metal with the speed and riffing of old school doom metal, Põhjast revive the classic metal vibe as hybridized with the adventurous and somewhat darker spirit of the northern styles. The result is both satisfying to anyone who enjoys Angel Witch or Candlemass, but might also appeal to those who keep old Darkthrone and Immortal on hand for daily listening.
The result is a band that avoids the retro backward-looking sensation of many recent releases, but also bypasses the intellectual forgery that is the assumption that making Sonic Youth ripoff albums with black metal logos is somehow a motion “forward.” You’ll be hearing more of them and their energetic vocalist Eric Syre, who channels three decades of metal talent into a single voice…
When did you discover you had a talent for classic metal vocals? How did you form the understanding of melody and sonic topography that guides these vocals? Who were your influences? Why haven’t we heard this voice before?
I have always been into clean signing and started as a singer in a rock band back in the early 90s. I also did some choir work for different projects in the past. When the time came for me to start my own bands I just ventured into heavier music and adapted my vocals to it. I have very little musical training so I work a lot with instinct and feeling, improvising vocal lines first and then reworking them with a keyboard or an acoustic guitar to make them musically “right.” I try to stay away from copying the riffs I sing over and come up with a melody standing on its own. It complements the music a lot better and expands the palette of feelings the whole song has to offer.
As far as influences, I always liked singers who had some grain to their voices, not the perfect-sounding ones. I have a baritone/bass range and I guess that naturally I prefer singers close that range. I have always been into Bathory and Candlemass so I guess you can find traces of both Quorthon and Messiah in my vocals. Bruce Dickinson remains the ultimate clean vocalist in the metal genre, for me. Dio and Gillan are also vocalists I have high esteem for. I also like the octavists singers. They are out of my range but I admire the power and resonance of their voices.
Tell me about how Põhjast came to be. I am told that the band is scattered across the globe, and you collaborate remotely. How do you do this?
We are scattered here and there, both in Europe and America. I am located in Quebec, Canada. With the technology which revolutionized the recording process in the last decade, it became a lot easier to have such a band. They record the music in Estonia and I do my parts here. We exchange emails and samples and, like in any normal band, we come to a conclusion where everything pleases us enough to release the music. It just requires a bit more time and technicalities. I sometimes miss the whole “rehearsal room feeling” but so far it’s the only way to make it work.
What style of music would you describe Matused as being, and how does it differ from previous Põhjast work? Can you tell us what “Matused” and “Põhjast” mean in Estonian? Does the band have any influences, and do they show on this album?
This new album is a good follow-up to the previous one Thou strong, Stern Death, released in 2012. It has some doomier elements, a little more classic Heavy Metal to it and the references to Bathory are present more than ever. To me it sounds like Scandinavian/Baltic Metal should sound; It’s heavy, cold and pounding. If I am not mistaken, “Matused” means “funerals.” It obviously refers to the lyrics of all songs. “Põhjast” means “north,” or at least that’s the understanding I have of the word. I speak French so you can understand my limits with Estonian.
Maybe Gates (guitars) can elaborate a bit more:
Exactly, Eric is right: “Matused” means funerals in Estonian and the name of the album is connetected with the album lyrics. The name of the project — Põhjast — means both the direction of North and the base or foundation of something — a revival, the end of something old and the birth of something new. Therefore the name has a much deeper meaning, at least for me, than just a mere name of a band.
Definitely the project has its own influencers. I personally have been greatly influenced by such persons as Quorthon and Abbath. Both have paved the way to extraordinary music styles. May these be black metal or viking metal, there’s no difference – everyone who have heard their creation can admit that the music is special and that they have not heard anything like this before.
I am not inspired only by their music. I find their healthy sense of humor and attitude towards life inspiring as well. I have always enjoyed the interviews of Abbath — his interviews from 1991 in Septicore and in 2007 in Inferno are both equally pure gold to me.
However, if I should still generalize, then the music of Põhjast can be categorized under Scandinavian Metal — one can certainly detect similarities to Oz, Bathory, Immortal, Morgana Lefay and Candlemass.
Do you think the “true” styles of metal are experiencing a resurgence? If so, why? Is Põhjast part of this, or building on what it has done? If the latter, where do you think your music is going, both stylistically and in terms of content?
I don’t think Põhjast is part of anything. The music stands on its own on among a well-established tradition of European Metal. You can hear traces of classic metal, probably due to my vocal approach. I do not want to link what we do with any of the current “retro” or “true” trends. If there is a resurgence of classic metal it’s probably due to the fact that what’s current isn’t that interesting for the record-buying public. I am just back from the Maryland Deathfest and I can tell you that the people attending there longed for good old heavy music. Most of the acts there either disbanded years ago and reformed recently or were directly linked or influenced older waves of metal.
I agree with Eric — Põhjast is not trying to follow trends.
I personally do not listen to a very wide variey of stuff – I listen the things that I used to listen to in my “youth”, be that either Bathory or The Smiths. I have never had an ambition to “invent a bicycle”. I have always wished to create the music that I admire. I wouldn’t call it plagiarism, rather as a bow and a hommage towards the musicians I admire, hoping that the music we make is worthy enough. If not, let it sink into the obscurity of ages…
When you sing, how do you pick the notes and textures you use? How much of it is based on the music as written, and how much is your own interpretation of where it should go? Are the rest of Põhjast flexible about giving you space to create?
In Põhjast, everything is already written and recorded before I even start working on the vocals. I work on finished songs so I need to adjust everything I do to the reference files I get. I usually start improvising vocal lines and then refine everything using keyboards or classical guitars as guidelines. I try to have everything in tune but also keep a lot of notes “on the edge,” if you know what I mean. Quorthon used to do that a lot (voluntarily or not) and I like that. It’s important for me to write according to my vocal range but I also try my best to fit the vocals with the mood of the songs. This is the highest in pitch I ever went on a record so far as I am more of a baritone/bass singer. It’s a good thing to have completed songs to work over as I can get the whole feel of it a lot better. Sometimes I hit a wall trying to fit in patterns and melodies as the lyrics are also completed. It’s a maze I come out of with time and a lot of demo recordings. I get total creative freedom from the rest of the band and I truly appreciate that. They trust me a lot as they rarely or never hear anything up until I send them all the vocal tracks at once.
What do you think makes a good metal band? Is there an outlook, content or stylistic direction that is uniquely “metal”? Can this be lost such that a band could use metal riffs, techniques, etc. and still not be metal?
If you keep aside the usual instrumentation (guitars, bass, drums, vocals), metal has this abrasiveness and weight you rarely find in other genres. Heaviness isn’t all about tuning down and playing loud, it has a lot to do with the whole package built around the music, the themes, the vocals and even the artwork. Metal is this visceral manifestation of the darker side of human nature trough music built around riffs played on electric guitars and accompanied by pounding drums and intense vocals. It requires passion and dedication to make it sound right and it’s no wonder enthusiasts of the genre smells the fake ones miles away. Listen to Front Line Assembly’s Millenium or Skinny Puppy’s The Process to see if using metal riffs automatically makes metal music. I like those albums but they’re definitely not Metal.
Why do you think that black metal (which seems to be a partial influence on Põhjast) exploded as it did? Was there a mental state required to bring it about? Or was it all just music?
I like to think that there has to be more than just the music. The innovators of the genre believed in more than just “music,” at least when they began. A lot of death metal bands were just into it for the music and you see where the genre ended in the late 90s. The same happened with black metal with the turn of the millennium. You can’t get great art from trend-aspiring musicians writing typical riffs. Black metal exploded because it was the latest genre representing integrity and involvement transcending creation. It looked and sounded fierce and the leading figures behind the genre made everyone feel like they meant it. Some truly did and some didn’t, as history proved to us. The metal scene needed this level of “involvement” after the debacle of death metal. It still does today, now that most genre has been swallowed by the mainstream. Doom metal is the current trend and I never expected it to be…
I think also that there should be more than music – why not friendship? I believe that for example The Smiths might as well never have been, if Mr. Marr and Mr. Morrissey had not met… or Abbath and Demonaz.
How was this album recorded? Did you use a studio, and if so, which ones? Did you have any idea of what the final product was going to sound like when you did the vocals?
I will let Gates answer parts of this question:
Both Põhjast albums are recorded in Estonia, in Roundsound professional studio under the baton of Keijo Koppel. Cooperation with Keijo has been very productive and we hope that it will continue, as there are more Põhjast records on the way. I personally have had a very concrete idea about the material until Eric comes along :)
As for the vocals, everything was written and recorded so, yes, I had a good idea of where I was heading with the vocals.
What’s next for Põhjast? Will you all unite somewhere to tour, or continue recording? Do you have a label for Matused? Was this a recent signing?
I will let Gates answer this question:
We thought that Põhjast would always remain a studio project. But we have to probably eat our own words, since, if everything goes according to the plan, Põhjast can be seen already in summer 2014! At the moment we are looking for a worthy record company, with whom we could develop an effective cooperation.
If people like Matused, where should they next turn for more Põhjast or related acts?
People can check our previous album Thou strong, Stern Death (Spinefarm, 2012) — www.pohjast.com They can also check our other bands: Metsatöll, Sorts, Barren Earth, Rytmihäiriö, Ajattara, Beast Within and Thesyre.
Thanks a lot for your support and involvement. It’s appreciated!
Eric Syre – vocals
Gates – guitars
Vesa Wahlroos – bass
Marko Atso – drums
This classic band finally got around to making a video. While there were many Dissection clones back in the day, with Dark Tranquility and In Flames leading the pack, Sacramentum always had something different going which was more like where Sentenced and Amorphis were heading: a nocturnal romance with the potency of existence and the power of the unknown.
Poetic in their approach, and beautiful in the result, Sacramentum launched an initial EP of highly artistic intentions before moving on to their full length, Far Away From the Sun, which suffered from a cover too close to that of Emperor’s In the Nightside Eclipse and hit just before the melodic metal explosion but just after the Dissection clones debunked themselves. As a result this band never quite got the attention they deserve, which would be to always be mentioned in the same breath as melodic metal greats like Dissection, Sentenced, Necrophobic and Unanimated.