Unfortunately for them, a metal defender confirmed that the dismissal was politically motivated by reaching out to vocalist Craig Pillard (Incantation, Disciples of Mockery):
His statement read:
they removed Disma!
with no announcement to make us look like the assholes
yes, its true the liberal agenda pc assholes got to the promoter of those shows and we removed Disma which is a not affiliated with any political group at all… but it only helps us for people naturally will get drawn to us more because of this now… thanks for your support for Disma
At this point, the Maryland Deathfest organizers began backpedaling about their reason for refusing to make a statement:
As they tell it, you see, it was not because they did not want to make a statement, but because in some imagined division in our mind, we — and the others who wrote to them — were not “journalists.” Never mind the hundreds of death metal, black metal and heavy metal bands who see us that way, or the work we do. This was a convenient lie for them to escape accountability. As word of Pillard’s statement spread, however, the retreat and backpedaling began in earnest.
Even worse for them is the fact that this issue has come up before with Disma. SJWs complained in Austin, and Disma was yanked there, too, despite there being no evidence or clarification that Craig Pillard is actually involved with any of these political beliefs. Even more, since Disma has a guitarist of Jewish heritage, it is highly unlikely and even laughable that the band would have any political leaning.
No, this was a witch-hunt, pure and simple. It makes SJWs feel powerful to force the world to bend to their ways, and when they can use guilt as a weapon and force others to obey the voices inside their own heads, they almost feel validated. Almost, because they keep doing it again and again. As Metalgate has proven, SJWs are not the most successful, good-looking, intelligent or competent people, which is why they form an angry mob. The people who could not make Onward to Golgotha get an almost sexual thrill from taking down those who could.
This is why Metalgate exists: to defend artistic expression from the small-minded nanny society witch hunters. Here is Pillard’s statement from the last time Disma was witch-hunted by SJWs after their Walter Mitty style cube jobs:
“To the less than one tenth of one percent of the bleeding hypocritical liberalists and to anyone that actually cares, this is my first and final statement; Disma-in no way, shape, or form, has any significance to the ideas of project Sturmfuhrer. On my part alone, the solo projekt known as Sturmfuhrer was a musical and social experiment in the extreme; its purpose was not meant for your pleasure, but for your pain. If I have offended anyone, then it has fulfilled its intended purpose. I do not belong to, or associate with any ideological group in any capacity. To penalize the collective band known as Disma, would be hypocritical and absurd. Thank you for the extra press! – Craig Pillard”
Beef, its whats for dinner!!!
Like many metal musicians, Pillard pushed the boundaries of what is socially acceptable in order to make a point. He was not making propaganda, i.e. music that tells you to think a certain way. This was an artistic statement. But SJWs, bored and lonely in their successless lives, always seek new targets. To give them a sense of purpose. To make them feel important. Even to convince them for a few moments that they are actually good people, instead of mediocrities with the moral caliber of a boiled clam. And Maryland Deathfest gave in, then lied about it, and then lied some more, all to protect this tiny group of people who have never created any metal worth listening to.
Causality is the interplay between cause and effect. Infinite regress, or reduction till singularity, is of little practical use to our daily affairs, but when you pause to think about it, everything you do today has its roots in what you did yesterday. Today and yesterday might seem like two altogether discrete entities when considered in this fashion, but cause and effect work against the backdrop of time, and as such entail an infinite number of degrees or gradations between each other. Introduce a sufficiently large number of minute increments between the succession of two events, and this line of regression can be stretched all the way back to the point of our birth, and based on modern prenatal research, even beyond. This is the same principle that Buddhist philosophy talks about, the same premise on which Isaac Asimov’s Hari Seldon created his discipline of psychohistory in the Foundation books, and the same concept on which current market trends and data are analyzed.
There shouldn’t be complaints of determinism leveled against this line of thinking, simply a greater accountability for our actions, in both conscious and unconscious states. And, in any case, life cannot be lived with any kind of energy while constantly tracing our footsteps into the distant past; we can learn from our past but the power to affect change in our present and, more importantly, in our future rests entirely with us. How then does causality influence music? In the post on old and new extreme metal, I briefly mentioned how an idea arises in the mind and has to be persisted with for the entirety of a song for it to be logically, and emotionally, coherent. The following is a comment I made on the same post on DMU:
“A point I would’ve liked to touch on in this post is that in the case of most good extreme metal songs, you can trace a way back to the overall theme of the song from whichever point in its trajectory you may currently be occupying. David Rosales had a post on something related to this under the heading Developmental Variation, and it goes beyond simply staying in the same key, following chords, etc. “Vetteneter” is a good example of this, despite the significant change towards the end; so is Gorgoroth’s “Måneskyggens slave”. The cause needs to inhere in the effect, tenuous though it may seem, for a song to be coherent.”
The property of inherence means for a certain quality to be endemic or inherent in a substance. By the same token, it can also be taken to mean that this quality is permanent in the substance, and that the substance ceases to remain what it was once it loses this self-same quality. Often, effects bears little to no outward resemblance to the causes that led to them, but by the very nature of causality, all causes are germane in proceeding effects.
Music presents a peculiar example of causality in action. Songs have themes; the good ones do anyway. Every moment in a song exists in a chain with every other moment in the song, sharing an intimate bond with its neighbours. Good songs ensure that these bonds remain embedded in the listener’s consciousness, whether he realizes it then or not, and however strained their “valency” might initially appear. Simple rock music and rock-derived metal have it easier in this respect than architecturally intricate and harmonically ambivalent genres like death metal and black metal where songs are generally built on floating relationships between notes and modes.
Nevertheless, the point made above regarding a song’s trajectory holds, and that is this: the essence of a song has to suffuse its entire body, as impermeable as the body itself may seem. We can refer to this aspect of songwriting as logical dialogue and internal coherence between parts and of the parts themselves; the idea behind the song, wherever it may come from, needs to inhere throughout the length of the song, and maintain a trail of crumbs back to a relative first cause, as disparate as the effects that follow in its wake may seem.
The three songs below are from distinctly different extreme metal genres but they illustrate this point well. They use different techniques to realize these ideas but what initially appears as a jarring, irreconcilable severance from the core of the song is eventually subsumed into the greater idea. Subsumed, in fact, is the wrong word to use in this context, because the change, by everything that has been written above, would have had to naturally subsist in the initial idea.
The slow evolution of Western society (and in consequence of the whole world) into the post-modern paradigm arising inevitably from the purely mechanistic cosmovision of the Enlightment sciences, which in the best of cases allow for a Cartesian separation of the physical and the spiritual, pervade every corner touched by the status quo culture. This results in a relegating of anything which cannot be explained or described in purely mathematical terms to what is referred to as ‘subjective’. Anything that is experienced but cannot (yet) be explained is assumed to be subjective. There would be a certain justice to this if the phenomena that are still unaccounted for by science were squarely placed in a category under a truthful label by the establishment confessing: “We don’t know how to explain this in our terms, but that does not mean it is any less real or without possible objective basis.” What takes place is an arbitrary classification of these into morally-justified beliefs when they are in line with the status quo and into so-called subjective experiences when they are not.
The views held by society must be enforced in every discipline precisely because they are the result of dogma and not actual science (a word unfortunately hijacked by a corrupt establishment lead by weak minds elevated to positions of prestige and power by other weak minds). It follows that dogmatic belief cannot be challenged at any level since any divergence spells out potential intellectual catastrophes and conflicts that are not guaranteed to be won by the powers that be. As a result, not only does education suffer in the form of indoctrination but so do the supposed heroes of objective knowledge that the sciences are said to be comprised of turn into the priests of the temple to whatever the hive believes. It is only to be expected, then, that the humanities and the arts are the most easily and selectively suppressed, limited or made irrelevant, since the processes and phenomena studied by them are even further away from the grasp of mathematical explanations.
In the Western classical music tradition, the tenets of the Common Practice Period have been put into question for a very long time in progressively derisive waves. Very often, revolutionary thinkers that spearheaded such contrarian views had transcendent and elaborate reasons that motivated and justified their moving-beyond. But the hordes of followers understood only a portion of this, often inclined towards its most easily understood materialist explanation. In the case of Beethoven, followers of his defiance of what was expected of music were shielded from degeneration by the very fact that the then contemporary German culture was a very spiritual one, and its artists still acknowledged the magic behind music — occult properties and processes that can only be perceived but not fully explained. Contrastingly, in the age of Anton Webern, his decision based on artistic principle to move away from traditional harmony to work with a self-defined and logical set of rules that he would use without falling into an empty materialism was taken up as fashion — the next “big thing” in classical music development. This directly reflected the way Western society saw the world around it at the beginning of the 20th century: as its playground, where anything “I like” goes and the capricious human will is allowed to do whatever it wants because we are the nihilist masters of the natural world. Gone was the romantic respect of nature and its view of humans as part of it. We must ask ourselves what dissolved the old German mysticism? The simple answer is that they, too, had to change, even if slowly and reluctantly, in order to not be destroyed in a world dominated by French Enlightment and overarching Russian influences — both with primarily materialist tendencies.
Music theory is one such set of occult properties. Yet it is only occult (hidden but observable) because there is no theory developed for the relation between arranged sound frequencies and mental states, especially at increased levels of complexity. Contrary to what scientifically-ignorant artists think, this is neither impossible nor irrational, just difficult. Contrary to the beliefs of Blank Slate – indoctrinated scientists, the study of innate human nature can yield explanations as to why, as a species, certain tastes, visual and sound arrangements and textures have certain effects on the mind (itself rooted in chemical states of the brain). The reason why both groups tend to back away from such ideas is not rooted in reason, but in the fear of not being acknowledged for who they are, which for them translates into what they want, like or prefer to believe to feel validated. In other words, reality is shunned in order to give way to a truth built on the necessities of feable human egos. The ramifications are manifold and most are out of the scope of this article.
Out of the accusations levelled against Common Practice Period theory, one of the most common and often accepted is that it somehow limits the imagination of artists. Presumably, this is because its rules define a perimeter around permissible options in a finite-state machine, thereby prohibiting the random allocation of space and time to music tones selected purely out of gut feeling. And that precisely is one of the defining factors of the post-modern vision of art. At this point, it may seem like I am contradicting my previous statements regarding the possibility of harmony rules being developed and justified on the basis of human nature. If they are, then an artist following only his gut feeling should arrive to at least similar results. First, that these rules are based on human nature does not mean they are free of the constraints of their historical context, including not only cultural implications but also material possibilities for the construction of certain instruments with particular timbres. Second, the rules were developed through collective observations and philosophies over hundreds of years by many different people building on top and beside one another– in the same way that mathematics and modern science were gestated.
While older attitudes were nature-oriented, and tried to keep their understanding of human nature in line with what was then understood of the natural world, the Enlightment sees a rupture between them as a necessary effect of placing human beings over nature as overlords to do as they please with it– thereby setting them beyond judgement within it. It was an ideology-based decision, not a scientific one. As a result, there are those, especially among the post-modernist classical artists, that are not guided by a free search for musical perfection, but by contrarian and politically-charged statements that can only be described as the ultimate incarnation of a hipster’s dreamworld.
The comparison to mathematics is in dire need of further elaboration as it contains the potential to elucidate much about what musical theory is and what it is not. We may start by stating that they are both tools and means to an end. Admiring the organization and arrangement of a music passage on grounds of technique is akin to feeling a sense of wonder when shown a beautifully and clearly derived mathematical formula. But neither of them by themselves attest to the accuracy of the connection of these to reality itself. Both musical and mathematical theory are dependent on premises — they are both arguments developed from a set of assumptions which may reflect conditions and events in the real the world.
Common Practice Period theory arose from organizing tones in the spectrum of perfect consonance to most extreme dissonance as perceived by human beings. Not one human being arbitrarily writing up rules, but scores of audiences reacting to the works of many different composers through lifetimes. Each composer taking notes on the triumphs and blunders of those that came before them and adding their own ideas. It was a veritable scientific effort of occult nature. The fact that the notes were taken not from one society at one point but by the cumulative effort many through many generations also somewhat lends to the tradition a tendency towards the transcendental. Of course, this is completely dependent on a healthy balance between acknowledgement of tradition (whatever that tradition is for the artist) and a continuation of its ideals with a progressive intent.
To round off the metaphor of mathematics, we should stress that no development invalidates or properly subordinates older techniques to newer ones. This fallacy is so pervasive that it is common to hear people referring to the use of newer techniques in themselves as a sign of superior expression. This is related to the malady that is born from the cult of novelty. In truth, when it comes to mathematics, if one person solves a problem using simple algebra yet another fails using calculus, it is obvious that the simple use of a more sophisticated technique is not in itself superior. It may be true that in art and music we do not have the luxury of calling something right and wrong, but the comparison is done in parallel and not on the same plane as mathematics. This is the same as when Newton developed Calculus, he did not ditch arithmetic and algebra developed hundreds of years before he was born, but used them to build this tool that would allow him to develop theories concerning abstract models of the physical world.
Nobody is saying there is a right and wrong dichotomy in music. In fact, this is where it is necessary to part from the analogy. Music is much more comprehensive and complex than mathematics (which only has a cumulative complexity, not a multi-dimensional one). Mathematics is comparable to music theory, the tool, and not to music. Music is the resulting idea crystallized, probably through the use of music theory techniques, the same ways physics derive explanations of the universe by using different techniques from mathematics. By its occult nature, music’s domain being states of mind and evocation, what we do have in music is degrees of esoteric communication through sensory perception. It is a communication at many levels rather than only at the level of reason and goes beyond it and to our instincts and learned behaviors which as a total reflect a unique vision from a unique individual. “Personal taste” advocates need not get too excited as the variation can only be as wide as human minds allow — which scientific research shows is not as much as we like to think. Variation is wide with respect to how we see ourselves, but not that wide when we see the whole spectrum of possibilities. And as an occult discipline guessing at phenomena of the universe (and our mind in it) that we do not understand, music is more liable to wander off more than mathematics in its search for perfection.
Music as the manifestation of experience, as a gateway to purposely changing states of the mind in humans, is something that stands at odds with the idea of absolute music, for which music aesthetics themselves are the goal. This materialist vision based on the fact that current (this is a 19th century idea) scientific limitation of not yet having a mathematical model outside of aesthetics and certain organization cannot accept or encompass the higher-level processes of creation that reach for proportion, balance, direction and movement in an attempt to communicate. Ironically, it is rather this lack of tradition or significance that results in theory and rules being all there is that produces a much more limiting paradigm. The race of stretching aesthetics could only go so far and an artistic compound devoid of transcendental goals quickly gave up as they broke the boundaries of tonality, declaring music as we know it to be dead. Needless to say, this was as short-sighted as limiting literature to the number of “clever” arrangements of words — precisely the dead end of poetry without meaning, or poetry without form, all products of post-modernism. In any case, the disavowal of all meaning leads to music pursued as a sport, for the excitement that its physical acrobatics produce and not from what it communicates in and beyond its forms.
The other branch of a materialist appreciation of music surfaced more clearly in the freedom afforded by the post-modernist world to idiots to call themselves artists and plague us with moronic musical expressions supporting themes of self-pity communicated only through lyrics. Going further, many artists not only took this liberty but openly rejected any sort of tradition or knowledge as being only an obstacle for their expression. Again, ironically, their rejection of it resulted not in a revealing work transcending the ages, but an extremely simple product that even a child banging on the wall and singing with no thought or experience could produce.
This is not to say that you need theory to create good music. As was explained before, theory is only a tool based on cummulative observations over many lifetimes. We do fine geniuses and other people with an outstanding aptitude for music creation who will find ways to create solid music that is often technically rudimentary but complex in communication.
As with any mathematical techniques or grammar in language, theory augments and sharpens the natural talents of the person. But the catch here is that the artistic intent and vision of the artist is often as important as his natural aptitude towards creation. Whereas a Varg Vikernes consistently tries to find an ever-more ephemeral depuration of the essence of his music against the tides of trends in what is fashionable, a Luc Lemay gets lured in by what is chick, his talents wasted on kitsch. Granting a directed vision of music in a clear direction rather than with vague adjectives to justify fashionable aesthetics, the person with average talents can, with appropriate training and dedication, become a Franz Berwald, while the talented may reach the heights of Johannes Brahms.
The importance of following a transcendental route versus a materialist one are exemplified in two products of the 20th century. One followed the mechanistic descriptions of music to the point of absurdity and was hailed as a genius by the hipsters crowding the halls of academia. These were the many frauds of John Cage. Intellectually interesting experiments devoid of the basic dimensions of music: melody, rhythm and harmony. Contrasting the first comes a work that attempts to communicate a sense of wonder in nature without the vulgarity of dissoluting music proper for recordings of nature or other cheap tricks of post-modernism. This is the Fourth Symphony of the romantic Jean Sibelius, reviled by academic theorists and critics looking forward to the mechanistic augmentations of aesthetics and possible transformations rather than for the actual content of music. This was music for the music fan, not the ironic intellectual.
Remember those who never had a chance. Like many of us, they grew up in a wasteland of broken families, pointless wage-slave jobs, hippie ideals and grim social collapse mundanities, a utopia of fond visions and a dystopia of nightmarish collisions with the reality those denied. They had nothing to look forward to but a mortgage in the burbs, a family ending in divorce, and a society which systematically disregards the beautiful and zeroes in on the failed, the corrupt and the deceptive. A world coated in advertising and saturated with deceit.
It is my unfortunate duty to relay to you that Adam Gadahn, a metalhead and devout fan of Incantation and Timeghoul, passed away in January by drone strike. As the lapdog media relates:
Officials also announced that a separate strike killed Adam Gadahn, an American who became a prominent propagandist for al Qaeda, was close to Osama bin Laden, and had a $1 million bounty on his head. The deaths bring to seven the number of Americans killed in drone strikes, six of them inadvertently.
The White House said it was unaware the four were present at the sites, which were hit on Jan. 14 and Jan. 19 near the border of Pakistan and Afghanistan. President Barack Obama apologized to the families of the hostages and said he took full responsibility as commander in chief.
This conflict is beyond politics. Yes, we have divided into factions but no, that is not our problem. Our problem rebirths itself time and again because it is within. We have become rotten, whores to our own independence and manipulators so canny we have even fooled ourselves. This civilization has sold itself snake oil for centuries and the result is the continual destruction of those with spirit, sensitivity and the guts to do something about it. Those who conform, lower standards and follow trends always win. This is the source of evil the real thing, as opposed to the supernatural scapegoat that the credulous choose to believe exists.
Evil is real. Its name is error, and all error consists of separating our expectations from reality. That eventually becomes a devotion to lying about the split between mental image and the world beyond, at which point we retreat into a fantasy existence of mental projection, desires and emotions. As a wise poet once said:
Take your instinct by the reins
You’d better best to rearrange
What we want and what we need
Has been confused, been confused
We are confused. Our wars no longer advance anything but the defense of the status quo, and all of us hate that. We all admit the problem is morons and that 90% of everything sucks, but no one is willing to get past the sacred cows lest some opportunist step up and whip up a lynch mob to tear down the heretic. “The nerve of that guy — he said our society is actually failing. What a rube!”
Above you can see a letter written by Gadahn back in the day. It contains some of his opinions on death metal and literature. He had great taste in metal, came from a broken home in a broken time, and did his best. Rest in peace, Adam.
You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?
These metal albums have stayed in weekly rotation over the years:
Massacra – Final Holocaust
Slayer – Show No Mercy
Incantation – Onward to Golgotha
Sepultura – Morbid Visions/Bestial Devastation
Deicide – Legion
Beherit – Drawing Down the Moon
Cianide – A Descent Into Hell
Atheist – Unquestionable Presence
Demilich – Nespithe
Demoncy – Joined in Darkness
The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.
I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.
What contemporary bands should we be paying attention to?
In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.
Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?
SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.
Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.
Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.
When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.
Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.
Following up on its doom-death full-length Reduced to Sludge released in 2011, Funerus surges forth with three new tracks on a 7″ entitled The Black Death to be released on Dark Descent Records within the next few weeks. This short work shows that where Reduced to Sludge finalized the Funerus style, newer works further intensify the strong doom-death sound which has propelled this band for decades of enjoyment in the death metal underworld.
Sounding very much in company with widely varied acts such as Divine Eve, Cianide and Asphyx, Funerus writes grinding death metal riffs which develop over the course of a song with hints of melody and layers of texture, building an incrementally crushing atmosphere around a strong theme. On The Black Death, melodic elements serve a stronger role but entirely without becoming fluff or reducing the impact. Funerus uses melody in death metal correctly, which is to underscore the evocative vocal rhythm of a chorus and bring out variation in riffs so that repetition increases the crushing sense of morbid doom instead of adulterating it. These songs build like the experience of descending into a deep cave, with the heaviness of the air growing more oppressive and the fear surging with each foot further into the void that return from this abyss will be impossible. Where older Funerus relied on more varied technique and sometimes conflicted with the pure power of its doom-death riffs, this new incarnation clears out everything but the essentials and uses them to complement the fiery riffing to give it a further sense of oppressive hopeless violence.
In addition, vocals provided by bassist Jill McEntee, who shares instrumental duties with her husband John McEntee of Incantation, both through clarity of production and greater savagery produce an effect of urgent despair like chanted emergency messages broadcast by loudspeaker in the ruins of a dystopian city. Of the three tracks on this album, “The Black Death” grinds almost like a Bolt Thrower track but builds to a staggering sledgehammer doom-death riff instead of a melodic counterpoint to the abrasive chromatic dirge. The second track “The Minding” applies a melodic Swedish-style death metal riff much as might appear on a Carnage or Amorphis record but throws behind it a bulldozer of rhythmic momentum. Closing out the record, “On the Edge of Death” charges more like early Asphyx and keeps the intensity higher at a mid-paced speed with relentless vocals calling forth like battle command. Together these three tracks show a streamlined, stripped-down and more articulate Funerus that intends greater malice and achieves a sound competitive with the best of the underground that shows us this band at its greatest power yet.
When people mention death metal bands, they cite a short canon of Morbid Angel and Deicide. If this album had been of higher quality, Incantation would be the third on that list. Following the immensely powerful Onward to Golgotha, Incantation stood poised to take over American death metal with their unique sound and quality songwriting. On Mortal Throne of Nazarene, the band took a huge dive into a lesser category and were as a result bypassed by many fans.
Many factors may have influenced this decision. Relapse Records was at the time trying to grow large enough to be on par with bigger labels like Earache and Roadrunner. Incantation despite having a stable line-up benefited from the contributions of past members such as Paul Ledney and influences from other East Coast bands. Immense pressure was brought to bear on the band to make another Onward to Golgotha two years after their first album, during a time when rumored internal friction caused lineup changes and the semi-permanent departure of drummer Jim Roe and loss of bassist Ronnie Deo. As a result, those two years may not have represented the length of time the band had to write, incubate and revise this album.
Immediately noticeable is the primal flaw of this album: chord progressions and melodies used in fills are more obvious, or cut more exactly from scale patterns, which gives it an almost sing-song vibe at times. Rhythms are less fully integrated which causes the band to attempt ambitious forms but then fall back on relatively brown-wrapper metal tropes. The band incorporated many of these tracks with rhythm re-written on their followup EP The Forsaken Mourning of Angelic Anguish where changes in pacing and arrangement made them far more effective. This confirms much of what listeners felt, which was that Mortal Throne of Nazarene may have been completely written but it did not undergo the revision, editing and incubation process that mellowed Onward to Golgotha into a finely honed shape where no detail was extraneous and all parts worked together toward the impression conveyed by each song. Relapse promoted this album as more “technical,” back when that buzzword was new, meaning that there are additional chord shapes used and some difficult tempo changes, but it was not as well-integrated nor as purposeful.
Mortal Throne of Nazarene overflows with good ideas but they do not work together toward an end, and parts of it like the last half of Suffocation’s Breeding the Spawn sound like chromatic fills in regular rhythms that the band intended to revise later into full riffs with unique modality and rhythms more carefully enwrapped in the need of each song. Vocals are stunning as usual, production is much clearer, and individual performances show musical maturation and the type of learning that comes from having influences among historically important metal bands. Some songs remain standouts even in their partial form like “The Ibex Moon” and “Abolishment of Immaculate Serenity,” which shows the band perhaps coming together at the end of their song process, or having intended those since the beginning to be the bedrock of this album but having been lacking time to make the rest. But unlike Schubert’s Unfinished Symphony, this album is not just unfinished but incomplete, and the result shows in the mixture of random and predictable that obscures otherwise powerful songs.
For over two decades, Incantation has been one of the leading innovators of death metal. Although it never received the public accolades worthy of its contributions, Incantation represented a titanic figure in the underground scene that created works of more consistent quality than that of its contemporaries, although as with all bands from metal’s golden age there’s been a noticeable tiredness creeping into its work.
On Incantation‘s latest album Dirges of Elysium the tiredness reveals how it has spread to composition. While the traditional core of recognizable Incantation shines through at times, audible indications of decline present themselves on every track. The band did not attempt to create something to move either upwards or forwards, but instead sullenly sinks back into uninspired riffs and concessions to the contemporary marketplace.
Incantation displayed willingness from its very beginning to stretch the realms of death metal, particularly with slowed-down tempos of doom metal; however, when the band did this it was well-placed within the order of the present track and was synonymous with the expression of the blistering assault book-ending it on either side. On this album, this expert sense of structure is greatly reduced. Rather than being weaved together in an organic whole, riffs are placed parallel to each other with little to bind them together. While some riffs are competent, the lack of any unifying cohesion to the album leaves them stranded as brief moments of interest.
Although the core of the album remains as death metal, there are also hints where the veneer cracks: straightforward speed metal riff fragments signify the lack of imagination present and the simplistic pounding of palm-muted riffs occasionally approaches the knuckleheadedness of post-hardcore bands. The speed metal influence as inherited through its hybrid with jazz-lite and math metal in metalcore presents a subtle but pervasive decline to the integrity of the palette Incantation uses. When throwaway riffs and foot-tapping crowd pleasers become acceptable random h’ors d’ouvres among the meatier riffs, chaos has overcome order.
It is also worth mentioning the final track as a case study in decline. Clocking in at almost 17 minutes in length, this song completely dominates the album in terms of proportion. While this author was excited to hear this composition, the fact is that this track is extraordinarily difficult to listen to. It is the entropic decline of the entire genre expressed: a reduction of everything to faux-angst, lazy generalities that signify no individual artistic direction. A modern mess and doom/speed metal disaster, it is very hard to imagine that this track (and album) was composed by the same band that released some of the best death metal albums of all time.
Readers are advised to temper their expectations before listening. Dirges of Elysium will be released on June 24th via Listenable Records.
Early death metal (Bathory, Slayer, Hellhammer, Sodom, Master) emerged as an aggregate of the past, comprised of speed metal (Metallica, Exodus, Nuclear Assault, Testament, Megadeth), late hardcore (Cro-Mags, Amebix, Discharge, The Exploited, GBH), classic heavy metal (Judas Priest, Iron Maiden, Motorhead) and thrash (DRI, COC, Cryptic Slaughter). As a result, most death metal bands exhibited some tendencies more than others, although the founding early death metal bands tended toward the type of tremolo-powered phrase-based riffing exemplified by Slayer.
For example, Deicide on its second album Legion arguably made the album that …And Justice For All wanted to be, with lots of choppy percussive riffing forming intricate textures from which a melody emerged. Early Master sounded more like a punk band with its simple song structures and emphasis on droning, protest-like vocals. Second-wave death metal like Death and Possessed had a tendency to apply speed metal song structures and riff styles. Even advanced death metal like Pestilence often sounded like a more technical and complex version of early speed metal.
But focusing on death metal requires we look at what was unique to it. Getting past the vocals and the intensity, what distinguishes it musically is its use of that tremolo-strummed phrasal riff. This in turn forced bands to escape from riffs integrated strictly with drums, and to as a result put more riffs into the song to drive changes that previous would have been done by the drums. That in turn forced bands to make those riffs fit together, what Asphyx call “riff-gluing,” so that songs avoided the “riff salad” plague that captured later speed metal.
These bands exploded onto the world from 1983-1985, inspired in part by Discharge’s Hear Nothing See Nothing Say Nothing which hit the ground in 1982. Slayer in particular stitched together classic heavy metal and ambient hardcore like Discharge and GBH and ended up with its particular formulation, taking the tremolo and riffs independent of drums from Discharge and matching them to the complex proggy structures of Judas Priest and Iron Maiden with Motorhead speed and aggression. This was what launched death metal free from the shadow of speed metal, which was the first metal genre to break out of underground status despite being — for the time — fast, aggressive and dark.
If you want to get to the core of death metal, these albums might help. They’re albums I keep returning to year after year because they have enough complexity and that unquantifiable quality of having purpose and being expressive, perhaps even emulating the life around them and converting it into a beast of mythological quality, which makes them interesting each time I pick them up. Without further ado, ladies and gentlemen, the players….
Slayer – Show No Mercy
While Hell Awaits has more expert composition, South of Heaven better control of mood and melody, and Reign in Blood more pure rhythmic intensity, Show No Mercy captures Slayer flush with the fervor of youth and the belief in big concepts. As a result, it is an intensity mystical album, uniting a narrative about war between good and evil with the actions of people on earth. It is not like Hell Awaits more solidly situated in a single mythology, nor like Reign in Blood and after an attempt to explore the dark side of modern existence in a literal sense. Instead, it is a flight of imagination mated to an apocalyptic vision of a society crumbling from within. As a result it is musically the most imaginative of Slayer albums, creating grand constructions of visions of worlds beyond that stimulate the fantasy dwelling within our otherwise obedient minds.
Massacra – Enjoy the Violence
Another early album in very much the style of Slayer but with intensity cranked to the ceiling, Enjoy the Violence shows a band intent on conveying intense energy through their music. To do this, they rely on not only near-constant breakneck speed but also vivid contrasts between the types of riffs that are used in a song, welding a rich narrative from riffs that initially seem simple like the scattered twisted bits of metal left after a battle. The result is closer to epic poem that punk music and blows conventional heavy metal and speed metal out of the water with the sense of unbridled aggression and lust for life that surges through its passages. In addition, it carries on the mythological tradition of Slayer but adds a Nietzschean spin whereby constant war for supremacy and domination is the only path not only to victory, but to personal integrity.
Morbid Angel – Abominations of Desolation
Most prefer the more refined versions of these songs from Altars of Madness and Blessed Are the Sick, but my ear favors these nuanced and unsystematic detail-heavy songs which feature more of a blending of textures into what sounds like a communication from another world heard underwater or through the croaking voice of a medium. Trey Azagthoth’s solos were best when he used his half-whole step leaps to make solos that sounded like the creation of gnarly sculptures, and these songs powered by Mike Browning’s drums and voice have more of an organic jauntiness to them than the later mechanistic tanks-crushing-the-shopping-mall sound of the full albums. In addition, this combination of songs strays from the later more interruption-based riffing this band would attempt and instead brings out their inner desire to rip all ahead go at all times, creating a suspension of reality like war itself.
Incantation – Onward to Golgotha
When the idea comes to mind of death metal at its essence, this album will be mentioned because it creates a sound unlike anything else. Incantation took the Slayer riff and song formula and slowed it down, doubled the complexity, and focused on alternating tempos and riff styles to create a building mood of immersive darkness. The result was not only aggressive, but melancholic and contemplative, like a warrior looking out over an abandoned bullet-pocked city. Detuned riffs collide and deconstruct one another, resulting in a sound like the inexorable flow of black water through underground caverns as civilizations collapse above. This rare group of musicians achieved a triumph here that none have been able to repeat individually, suggesting this album was born of a magic confluence of ideas more than a process (ham sandwiches on a conveyor belt).
Carnage – Dark Recollections
If you want “the Swedish sound” at its most powerful, Dark Recollections offers every component synthesized into a package that has not yet had time to become self-critical and neurotic, and thus is an unfettered expression of the thoughts of precocious adolescents translated into sound. The components of Swedish death metal are the modified d-beat, the use of melody to expand song development, a gritty electric explosion of guitar sound, and a tendency to write songs that are half searing budget riff and half horror movie sound track.
Sepultura – Morbid Visions/Bestial Devastation
The first EP in this two-EP package is the more classic death metal version and packs a solid blast of inventive riffcraft staged with theatrical precision into songs that form narratives of the topics denoted in their titles. But the riffs are instant creations of their own, shaped from raw chromaticism and whipped into fury by two levels of rhythm, both in the change of chords and the texturing of the sounding of them. The result owes quite a bit to Slayer, Bathory and Hellhammer, but also to the punk hardcore underlying those acts and a good knowledge of dark metal of the time, and yet is still its own animal. Nothing sounds like this except it, and by giving itself a unique voice, it conjures a power of revelation that endows these songs with lasting enjoyment for the listener.
Foundational death metal band Incantation have released the first single off their upcoming album, Dirges of Elysium. Entitled “Carrion Prophecy,” the single showcases Incantation widening the extent of their genre limit and leaning in the direction of modernity’s post-death metal doom/sludge marketplace.
While half of the song creeps by in this fashion, which is far below the par of structural arrangement Incantation has demonstrated in the past, the track picks up whenever this riff fragment concludes. Here, the band plays more to the level of their ability of merging torrential bursts of arpeggiation alongside their unique rhythmic signature of straightforward American death metal alongside the more dextrous, syncopated “push-pull” structures that easily identify bands from that original era and location, including Immolation alongside Incantation.
Incantation’s throwback to their past discography along with more mainstream song structures lends credence to the notion that Dirges of Elysiumwill be similar to their last album, Vanquish in Vengeance, which surpassed the artistic vision of many contemporary releases but ultimately fell short of the artistic heights of the past. However, we here at DMU headquarters remain hopeful that this track is merely intended for commercial distribution and does not necessarily reflect the tone of the entire album.
Dirges of Elysium will be released, in the US, on June 24th via Listenable Records.