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Profile: Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay

November 15, 2013 –

industrial_soundtrack_for_the_urban_decay

When we first heard about Industrial Soundtrack For The Urban Decay, the upcoming documentary about industrial music and its origins, it struck us as relevant for a death metal site.

In the landscape of popular music, there are obvious “pop” genres on the surface next to accepted forms like jazz and classical, but underneath that are the surly and dangerous types of music that are underground because they don’t place nice with the contemporary mythos and ideology of our society.

That group includes metal, hardcore punk (not pop punk, which belongs under rock/pop) and industrial. These genres just refuse to play by the same rules as everyone else who wants mainstream acceptance, mainly because they flirt with or outright endorse ideas that the mainstream has decided are unpalatable.

We were fortunate to get a brief Q&A with Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay.

Industrial Soundtrack For The Urban Decay as a title seems to suggest both a documentary on industrial music, and some sense of the motivations behind industrial artists. What made you choose this approach?

Industrial Soundtrack For The Urban Decay is the first film to document the history of industrial music, featuring interviews from the genre’s most influential bands, artists, labels and fanzines.

I was motivated to make this documentary as I felt this genre and these artists deserve to be exposed to a broader audience. This film is about more than just industrial music, it also reflects on art, politics and social issues, post­industrialisation and urban decay.

Are you and your fellow filmmaker industrial fans? If so, what first got you into the genre?

Amélie: ­ I came across industrial music while directing my first documentary Paris/Berlin: 20 years of underground techno. I’ve always enjoyed the harsher and darker side of music. Throbbing Gristle’s song “Convincing People” is one of the first industrial songs I remember hearing. I was immediately attracted to Genesis’s monotonous British voice and the hypnotic repetitiveness of the song. This led me on a path to discovering more industrial, post punk and dark ambient, as well as beautiful crossovers bands like Coil or In The Nursery. As I dug deeper into the industrial genre, I realized that I shared a lot common influences and preoccupations with those artists, even though they were from a different generation. From a really young age I read books by Burroughs, Ballard etc and became interested in art movements like the dadaist or the futurists, so I felt an instant connection to this music.

Travis: Working in a record store from a young age, I discovered techno and experimental music and was immediately appealed by the rawness of this sound. While living in Perth, Western Australia I had the opportunity to meet and collaborate with Cabaret Voltaire’s Stephen Malinder on a radio program and had him DJ at a club night I hosted. Mal and I became friends over the years and he was the first industrial band I fell in love with. I also got into bands like Throbbing Gristle, Meat Beat Manifesto, Silver Apples, Renegade Soundwave and others through my favourite DJ at the time, Andrew Weatherall. I met Amélie while traveling Europe and we decided that this film needed to be made.

I am no expert, but it seems that metal, punk and industrial come from a similar root, which is a rejection of the social impulse of mutual tolerance. Why do you think this is, and how do you think it relates to social decay?

All bands and collaborations bring different influences to the music they make and the environment and social context of the musicians also plays an important role. Most of the early industrial bands we interviewed grew up in turbulent times, where unemployment, high­rise living and cultural oppression were all part of the decaying environment in which this music blossomed.

When the history of humanity is written, how do you think industrial music will be recorded? Do you consider it a historically ­important musical movement?

Industrial bands have been influential in many ways inspiring art forms, using tape loops and edits that pre dated sample music and these days you can hear noise and industrial elements in all forms of music from, electronic music, pop through to classical music.

Industrial musicians are educated, artistically minded and politically aware artists. They found inspiration in the avant­garde movements from the early 20th century like the Futurists, Dadaists or Surrealists, as well as contemporary writers William Burroughs and Brion Gysin. They were also influenced by early science fiction movies, Krautrock artists Kraftwerk, Can and Faust, The Velvet Underground and the DIY ethos of punk music. These artists rejected major labels, mass media and mainstream culture to invent a culture of their own.

When will Industrial Soundtrack For The Urban Decay be released and how can people watch it?

We’re still editing the film, licensing music and applying for funding, but we’re hoping to release the film in 2014. You can follow the film’s progress on the Industrial Soundtrack For The Urban Decay Facebook page.

It’s been a great experience working on this film. We look forward to sharing our work and hope people will enjoy it as much as we do!

Amélie Ravalec
Travis Collins

Interview with MM of Emit/Hammemit

November 13, 2013 –

mm-emit-hammemitSome years have passed since Emit was first featured in these pages, but the UK dark ambient/noise/black metal-influenced project returns in the coming year with the newest edition of its most recent work.

MM, the creator of Emit and Hammemit, took the time to answer a few of our questions. Not only is he an underground musician, but he is also a zine publisher, having produced three issues of the Anti-Art Manifesto zine during the later years of underground black metal.

Emit claims influence from a number of sources, including its constitutent genres of black metal, dark ambient, electro-acoustic music and noise. However, there are extra-musical influences as well, such as a rumored connection to the Order of Nine Angles and other mystical groups.

As metal seeks new influences and directions in which it can go without losing its essential metal-ness, it makes sense to observe how others are navigating paths through the chaos. Thus we are very proud to present an interview with MM of Emit/Hammemit.

So… Emit’s back. What made you decide to resurrect this project?

Typically, Emit resurrected itself because it began to irritatingly manifest unbidden within recording sessions for Hammemit. Rather than contaminate the pure spring waters of my youngest son with the angry attentions of the estranged eldest, something had to be done with it. They are of the same blood, but are of different temperaments. I now create music as Dr. Jekyll might.

What have you been doing in the intervening years between Emit’s cessation and resurrection? Do you view these as similar activities in spirit, even if not in sound?

emit-logo

Well, there is Hammemit. To inaccurately quote myself from an unpublished interview: in varying shades of subtly dark sound I have raised again to their former use and gestalt such structures of worship and diligent study as may currently be found ruined or in state of repair within a certain radius of my guitar, in spectral form. These existing in an ancient realm quite recently known as England that I understand from books and hearsay actually once existed and is become resurrect via such musics as mine own. It is the spirit of a dead realm I still sadly bear living memory to.

Of course they are similar in spirit as I speak with one voice, searching for the ultimate expression, faltering with words yet more fluent in music to express the mysteries I am bound to darkly perceive yet struggle to grasp since earliest memory.

What motivates you to make music? Is there a philosophy to your life?

The motivation is a sudden urgent and painful desire to attempt a capturing of the essence of mysterious elements of existence, because mere words fail me as already explained. Music fails me too, but comes closer to describing that experienced than any other medium I might think of using for such means.

My most fervent hope is to capture perfectly, like ancient insect in amber, this unexplainable inexplicable. I perhaps came closest to doing so with a Hammemit piece called “The Trod of the Darklie Faye,” but yet still remains so distant from the core of the thing.

If there is a philosophy to my life it would surely be the cause of many a smile in the Greek underworld, in the unlikely event they bothered to peer up from their dice games to take notice.

Your CD is coming out on Crucial Blast Records in 2014. Can you tell us what the new Emit will be like? What’s the title?

It has already been available on cassette from a label called Glorious North, originally a demo. However, such is its apparent accomplishment that it deserves releasing again with full album status, expanded tastefully where necessary (I mean no bonus tracks).

mm-ikon-777-emitThe title is not quite borrowed from a compendium of M.R. James short stories, Spectre Music of an Antiquary. The cover (for the CD) is a photographically recorded arrangement of what “might” be called necrotic artifacts, of varying degrees of relevance to the music in question. Items with history and spectres of their own tied to them. In any case, not just some accidental collection of random rubbish as can often be seen elsewhere on album covers belonging to profane Public House crawling musicians with time and nothing else to kill.

It is musically comprised of bio-mechanically haunted vignettes, with a subtle 1980s film soundtrack aftertaste.

How do you think the metal community has changed between the last Emit and the next?

My connection to and interaction with any kind of music community or movement was always minimal. This not being by choice and I sometimes in the past regretted that fact. However I realise now in the light of maturity I was happier that way. I remain a writer of letters (and emails), mostly to people I have known a long while. Most of these people, if not all, bear the same opinion as myself, namely that there is little that such a community can offer people like us and increasingly so. The majority of those comprising these communities have no spirit or panache and wish for acceptance.

What’s next for Emit, and for you as a musician, after this album? Tour? More recordings?

A tour is unlikely to say the least. But some more live examples should be made where possible. More recordings are not out of the question, but only if there be a violent urge to do so. I never record anything for the sake of making a “new” recording. Especially as everything I have ever committed to tape (or .WAV file nowadays) has already been given birth in some form or other many hundred years previous. Even if it took the shape of a church or priest hole rather than unpopular song.

Industrial Soundtrack For The Urban Decay documentary explores origins of industrial music

November 11, 2013 –

industrial_soundtrack_for_the_urban_decayIndustrial Soundtrack For The Urban Decay explores the history of industrial music, featuring interviews from the genre’s most influential bands, artists, labels and fanzines.

The documentary film by filmmakers Amélie Ravalec and Travis Collins is currently in post-production. Its topic is industrial music, meaning the noise-based variety more than the post-EBM variety, defined as “an experimental music genre inspired by a wide spectrum of ideologies and interests” which “combines improvisation and performance with avant-garde, provocative, political and taboo themes alongside harsh noise and environmental sound recordings.”

According to the filmmakers, industrial was a DIY genre that rejected mainstream society — much like the original hardcore punk and metal — and “found inspiration in the avant-garde movements from the early 20th century like the Futurists, Dadaists or Surrealists, as well as contemporary writers William Burroughs and Brion Gysin. They were also influenced by early science fiction movies, Krautrock artists Kraftwerk, Can and Faust, The Velvet Underground and the DIY ethos of punk music.”

What follows is a list of the interviewees for this film:

  • Throbbing Gristle
  • Cabaret Voltaire
  • NON / Boyd Rice
  • SPK
  • Click Click
  • Test Dept
  • Clock DVA
  • Re/Search
  • Z’EV
  • Sordide Sentimental
  • Hula
  • In the Nursery
  • Hands Production
  • Klinik
  • Ant Zen
  • Orphx
  • Prima Linea

For more information, check out the group’s Facebook page.

Eric Syre: Unlife – Ossuary and Unlife – Unlife

September 11, 2013 –

eric_syre-unlifeEric Syre, a musician from French Canada, is best known perhaps for his work with TheSyre or Pohjast. However, he lives a double life. He is also an industrial/ambient musician recording under the name Unlife.

Unlife comes in two flavors. The first is a more Ministry-influenced version, while the second is almost pure Beherit Electric Doom Synthesis worship. For this reviewer, the first was actually the more intense because it is near completion as a unity of aesthetic and content. The newer material struggles with a bit of self-definition and because of this loss of familiarity, is more awkward but nonetheless compelling.

Ossuary (2005) uses guitars and vocals in a more traditional industrial-metal hybrid atmosphere and shows an influence not only of Ministry, but the generation before (Killing Joke) and lighter influence from the generation after (Godflesh). Songs emphasize heavy, mechanical beats over which Syre loosens up his pipes to give a melodic underpinning to what is otherwise purely “industrial” in the old sense, meaning it sounds like a cross between a factory and a war set to post-punk music.

Unlife (2007) on the other hand is all electronic. There is no attempt to fit songs into a traditional rock framework or imitation of its instrumentation, and cut free, the music experiments a great deal more with song form and texture. Clearly the largest influence here is Electric Doom Synthesis, which also gets alluded to if not outright quoted in a few of the songs, but this is in loving tribute and not some attempt to ride coattails. This longer work seems too simple at first, but suspends belief over time, and introduces a ritual trance mindset in the listener.

It’s our hope here at DeathMetal.org that Mr. Syre continues to develop these projects or at least the direction he was pursuing with both of these releases. His work on Ossuary more captures the power of his singing and sense of dynamics than TheSyre was able to, and Unlife shows us the potential of his composition as a viral stream of ideas alone.

Godflesh – 2013 tour dates

June 12, 2013 –

godflesh-tour_2013

Godflesh – 2013 TOUR DATES. with: Prurient & Nails

10/18 Philadelphia, PA @ Theatre Of Living Arts
10/19 New York City, NY – Irving Plaza
10/20 Boston, MA @ Royale
10/22 Chicago, IL @ Metro
10/24 Seattle, WA @ Neumos w/ Nails, Prurient
10/25 Portland, OR @ Hawthorne Theatre w/ Nails, Prurient
10/26 Oakland, CA @ Metro Opera House w/ Nails, Prurient
10/27 Los Angeles, CA @ Fonda Theatre w/ Nails, Prurient

Assimilate: A Critical History of Industrial Music

May 21, 2013 –

assimilate_a_critical_history_of_industrial_music-s_alexander_reedBilling itself as “the first serious study published on industrial music,” a new book entitled Assimilate: A Critical History of Industrial Music has gone to press in an attempt to uncover this cryptic genre that has directly contributed to much of heavy metal’s approach to both percussion and topic matter.

Finding it difficult to unite a genre that stretches from Einstürzende Neubauten, Throbbing Gristle, and Skinny Puppy to Ministry, VNV Nation and Godflesh, author S. Alexander Reed explores a “network of ideologies” which are traced through industrial music’s attitudes and practices. In particular, he analyzes its troubling side, such as its “ambiguous relationship with symbols of totalitarianism and evil.” Like metal, industrial plays with the dark side, and this book attempts to uncover the relationship between that dark side and positive attributes found in the music.

Citing thinkers like “Antonin Artaud, William S. Burroughs, and Guy Debord,” the author creates a hybrid between a history and an explanation of industrial music, presenting a viewpoint that will probably not make it onto the evening news, but might stimulate the curiosity of those who like extreme music and appreciate its relevance in darkening days.

The book is available for pre-order on its Amazon page.

Killing Joke release video for “Corporate Elect”

May 9, 2013 –

killing_joke-the_singles_collection_1979_2012Iconoclastic and idiosyncratic industrial traditionalists Killing Joke release the video for “Corporate Elect” today in anticipation of their new compilation, The Singles Collection 1979-2012, and riding on the heels of their success last year with their newest full-length MMXII released on Spinefarm Records.

Active since the late 1970s (hence the title), Killing Joke explored the murky zone between punk, metal, synthpop and industrial music. Years before Ministry, Godflesh, Nine Inch Nails or Fear Factory, Killing Joke found their own voice in this nomansland of styles and also found their own voice in terms of content, exploring ideas that most pop music couldn’t articulate much less contemplate.

The Singles Collection 1979-2012 comprises thirty-three career-spanning singles over two CDs with an additional third disc of rarities which includes previously unreleased studio tracks. The limited three-CD version will revert to two CDs containing the singles tracks. The three-disc deluxe and regular two-CD version is set for release via Spinefarm on the new date of June 4, 2013 and can be pre-ordered here.

For more information, visit the band’s official website at www.killingjoke.com.

Killing Joke – MMXII

April 2, 2013 –

killing_joke-mmxiiStaying true to roots is difficult because as time goes on and learning increases, one must necessarily spread wings and soar to more ambitious ground. Killing Joke do both on MMXII, an album that showcases the style of their first album as interpreted through a more modern style and revisiting their influences.

Categorizing Killing Joke has never been easy. They sound like they should be an electronic music band, with spacious beats and future pop song structures, but then they add in guitar which sounds like a lighter version of Amebix, and a distinctly sweet-sour male vocal that gives the music an expansive mood and lightens the sometimes intense distortion on the guitars. They augment this with atmospheric keyboards and a throbbing, pulsing aggro-pop bass groove.

On MMXII, the band get closer to their roots in early electro and British techno pop, using melody to lead the otherwise unstoppable fusion of industrial, pop, punk and rock that they wrap into a final product that is both passionate and furious. While this is no way a metal band, Killing Joke has influenced a good many metal bands because it shares a similar mood: mythological, metaphorical, distanced from the human and yet emotional in the sense of someone watching a lovely mountainside burn in a drought.

As fierce critics of the modern life and its favorite crutches, Killing Joke also have a mood that is more punk than the most righteously self-proclaimed punk. This gives the music a surging quality, between a contemplative Britpop melancholy and harmony, and a driving rage during which the vocals distort to the edge of black or death metal territory. The result is an enclosing wall of sound that catches the listener in its emotion.

MMXII presents an amazingly consistent package. While songs are generally verse-chorus with strategic breaks, and cycle around to circular structures that repeat with changes, they are not consistent and each one has a different set of moods. Like actors playing a role in the drama of the album, each seems like a shard of the glass face reflecting the true experience of this album, which is both elaborate and brilliantly compelling.

S.U.P. – Room Seven

April 10, 2010 –

By the time 1997 rolled around Death Metal had all but returned to the primordial abyss from which it had emerged, and Black Metal had basically committed suicide. As if sensing the demise of extreme metal or unable to overcome the perceived expressive limitations of extreme metal, S.U.P. with an eye to their Heavy Metal and progressive rock influences, release a surprisingly expressive, intelligent and interesting album that could be referred to as industrial progressive death rock. Mid-paced, melancholy, unsettling, dreamlike and enigmatic, the listener of “Room Seven” is submerged into a world of varying and compelling experiences that often times work simultaneously to challenge and lift the listener beyond the simple, linear and emotive reactions that arise from rock and other forms of popular music. Despite some of the heavy metal fist pumping riffs and the common and accessible themes, “Room Seven” does a great job of placing the listener in a relative position of omniscience and thus introducing a position from which to contemplate and apply the wisdom of this release to one’s own life.

Masters at presenting simultaneously varying and subtly different shades of a theme, SUP reminds those who have the ears to listen that life is more than the mere temporal, logical and linear succession of events and experiences. Rather the listener is urged to contemplate life as the compound and expression of various and seemingly disparate elements, working simultaneously to create the complexity of life and its experiences, while remaining fundamentally connected. Vocals themselves, while melodic are emotionally restrained, dreary and often times express a profound fatalism, stoicism or a dissinterested acceptance of the superior forces alluded to above. Although “Room Seven” remains a compelling listen, the heavy metal and rock based themes preclude the possibility of this album reaching the cosmic heights of certain Black Metal and Death Metal classics, nonetheless as a testament to the intricacies of the human experience this album offers satisfying insight.

-TheWaters

A year in Norwegian metal – a purgatory of recombinations

July 20, 2009 –

Mord – Necrosodomic Abyss
Satyricon – The Age of Nero
Throne of Katarsis – Helvete – Det Iskalde Mørket
Aura Noir – Hades Rises
Celestial Bloodshed – Cursed, Scarred and Forever Possessed
Keep of Kalessin – Kolosus
Blood Red Throne – Souls of Damnation
1349 – Revelations of the Black Flame
Mare – Throne of the Thirteenth Witch EP

Mord – Necrosodomic Abyss

The new Osmose recruits Mord seem to have been actually born in Poland, then relocated to near Kristiansand, which is remembered as the location of a violent death metal sect in support of Varg Vikernes back in 1991 and the origin of Tchort (Blood Red Throne, Emperor, Green Carnation). Not quite living up to the bloody and progressive traditions of the area, Mord specializes in a cold, modern, thrashed-out black metal sound that could scientifically have been developed in a norsecore factory to create an endless amount of productive clones. Maybe because they are originally from Poland, they do seem to possess a better grasp of what makes Nordic black metal good than most Scandinavians around exhibit. They keep the album vile and to the point, imitating the blasphemous rhythm guitar of, besides Euronymous, Ivar Bjørnson during the phase of Enslaved when they dropped most of their classical influence and switched to riff rock. Later Ancient springs to mind in tracks such as “Opus II” which is essentially is a meeting of pop and black metal in a graveyard infested with drunked teenagers who wear makeup and like to flash stupid expressions in photos. It may sound bad but in fact, as guitar rock or something, it excels. It is simply lacking in the Romantic nature worship, warrior ideology and mysticism of Burzum, Ildjarn and the other greats. So while musically this has potential for an above average Norwegian black metal album (even though these ideas are 15 years late) it ends up as one more relic that brings black metal closer to mainstream acceptance and youth culture phenomena today, and no-one will remember it in ten years.

Satyricon – The Age of Nero

It should be obvious to anyone with even the slightest exposure to black metal music and ideas that while it’s arguable that he ever was a genius, for the last decade Satyricon has really gone far out of his way to create the most crowd pleasing, catchy, insipid rock’n’roll version of black metal. It sounds quite redundant to say in 2009 that this kind of music is abhorrent to “Euronymous’ ideals” or the Weltanschauung of the scene that existed in 1991-95 but I can’t help it. This is simply so far from anything that was great in old Norwegian black metal, what made me and so many others interested and follow the events and music with awe inspired by mystique. In this music there is no trace of passion, only of pure professional approach to musicianship and studio production, not even oriented to mastery of the style (in jazz sense) but to a desire to make money and gain profit. This sort of capitalist black metal makes for a new genre in itself. Mechanical, vapid and outdated, it mostly sounds like a collection of random groove metal tunes given a superficial black metal treatment (raped by the half beaten corpse of norsecore) for the mainstream listeners who want to get a piece of black metal’s evil but refuse to go all the way to possession. Precise riffs and metronomic drumming approach Rammstein-like monotony as they are arranged into the laziest sequence and development imaginable. Frost’s sometimes interesting drumscapes have been lost to the adult contemporary studio values and his fans are probably better off listening to 1349 or one of the other bands he plays/played in. Satyr is not trying to play Voivod riffs anymore (as he was doing in Rebel Extravaganza) nor can he duplicate the fast thrashy parts of Nemesis Divina – these new riffs by Satyr have a habit of getting old before the song is over.

Throne of Katarsis – Helvete – Det Iskalde Mørket

While the gloomy shroud of 21st century black metal clichés weighs like lead upon Throne of Katarsis, a sense of ambition and greatness, the carefully followed tread of frozen melody including an airy vastness copied from In the Nightside Eclipse or early Taake and some elegant and progressive forms makes this rise above the level of total weakness. Like Isvind and Tsjuder, Throne of Katarsis explore the melodic territory in between Darkthrone and Emperor in an effort to replicate the impression of transcendent evil boiling in the depths. Fast percussion underlies the sonic depression of dubiously plodding, soaring but monotone and unenergetic low production (Grieghallen copy) guitars repeating spherical themes (rotating the minor chords “De Mysteriis” style during the slow parts over and over again to give the melancholic feeling) over to vastness. The best of the musical ideas are hidden by the desire to create a standard black metal album, as they probably succumbed to creating an album too quickly and thinking that it’s enough to put out cold and intensity-devouring two-penny riffs that have been overused for 20 years – bulk Norwegian black metal in good and bad.

Aura Noir – Hades Rise

I do remember the Apollyon/Aggressor duo Aura Noir as a high-energy, motor powered and tradition respecting black metal cult from the days of the bewitching “Dreams Like Deserts” MCD, never afraid to rock out nor experiment with unusual guitar and drum techniques – even cross-quoting with Ved Buens Ende material. Something really devastating has happened and I don’t know if it has to do with Aggressor’s falling down from a balcony or something, but they sound totally drunk, tired and old on this album. I mean, if you think that Darkthrone nowadays sounds like a lazy beer-swilling band from the pub, try this one! I can hear they are trying to play like Sodom, but I can’t hear any Germanic “raaaaaah!” mania. I can hear Autopsy, but I can’t hear the stinking amputated corpses rising all around to wreak their vengeance upon the societies of the living. I can hear hardcore, but I can’t hear the decisive violent power of wrath against conformity. So, what is there left? It sounds a bit Southern Lord-y – you know, ironic old metal fan hipster who likes to get stoned out of his mind and listen to feel-good old-times metal. By the way, the drum production sounds like MIDI – utter failure. If you want real speed/black metal power, go for the originals, this one is a weak joke.

Celestial Bloodshed – Cursed, Scarred and Forever Possessed

It would be quite interesting to see if someone, somewhere in Norway, has during the year released black metal or death metal which does not a) try to duplicate the old Grieghallen soundscape with in the most generic no-sense-of-style manner, b) fill their album with a load of budget riffs called depressive black metal by the kids (which is actually C, D, E minor again… and again…). Anyway, while Celestial Bloodshed has ripped off these ideas from better bands, they are 50% better in their songcraft than Watain, Funeral Mist and other generic black metal of the era. Also, they have been able to create inner beauty towards the realization of the music in melodic intensity. Additionally, the fullness of the soundscape and the implications of the structure make this release more grim, oppressive and grinding than the mainsteam manipulations of Norwegian metal which can not be but a good thing. After a beautiful intro which sounds somewhat like one of the demos from Equimanthorn (Absu members’ ritual project) the album pounds into a lexicon of guitar techniques borrowed from a range of musicians from Mayhem to Enslaved, with a dynamic range from slow romantic soulseeking to blasphemous speeds, sometimes bridged with jarring changes, while death metal influenced vicious, likeable and personal (down to some insistent mannerisms) vocals pace like hammer upon an anvil the grim predictions of mortal future and the drummer operates battery like Faust and Hellhammer used to in the early 90′s. While all of this is not fully developed yet into pure communication, it speaks with instant, amazed, satanic impressions of life facing the darkness of Infinity – Celestial Bloodshed has replicated the old school with care, honesty and vicious intent.

Keep of Kalessin – Kolosus

Keep of Kalessin arouse my interest during their demo days, as 1997′s “Skygger av Sorg” repeated the style of old Satyricon in a series of simple, emotional song fragments that revealed a sad beauty lying underneath the grim soundscape. I had heard some less interesting newer material but it is truly shocking what they have submerged into now – an arrogant, over-produced tribute to the honor of Greek warriors through quasi-talented commercial death metal. Synth washes and expressive vocals (in the vein of Nergal when he’s really pissed off in the later Behemoth albums) fill this piece of plastic because they want to sound big and they want to play on a stadium. I am convinced that someone with their musicianship should be able to create a listenable and consistent album, but these super fast blastbeats and commercial heavy metal oriented song dynamics from quiet to loud make this just a faux extreme version of something like Spearhead or Deströyer 666, made worse by the angry shouter vocalist. The people interested only in dry technique and production standards will love this for being an emphatic and empty opera of sharp drumwork and the constantly shifting death metal type fast guitars and entertainment value. They are also happy that it lacks the primal natural force of old Norwegian metal, because it might be distrubing. The sense of space created should be one of a studio or a big venue, instead of a woodland crypt, right? This amount of polishing emphasizes the superficiality of the entire composure, down to metalcore action computer game synchronized by MIDI in Kolossus, where accurate but inconsequential fast drum beats follow cheap-ass tremolo melodies from the pits of norsecore Hell and the vocalist sounds angry at people at the nearby mall and emo pop chorus in “Ascendant” which doesn’t even fit the music underneath. Likewise the arabic solos in the middle part of “Kolossus” don’t seem to have anything to do with the metal riffs, nor do the “300″ soundtrack reminiscent bits with synths and tablas. Whoever has produced this must be a commercial minded jerk.

Blood Red Throne – Souls of Damnation

Tchort from Kristiansand was a newcomer to the death metal scene with his band Green Carnation right when the genre went out of fashion because of Euronymous’ hatefulness towards it and while that name was resurrected for Tchort’s progressive metal project he formed the neo-death metal group Blood Red Throne at the end of the millennium. While not having heard the early Green Carnation material, it’s easy to hear from this that some trace of early influence from excellent bands like Grave and Cadaver does exist, but none of their ability to turn basic riff structures into progressive and morbid magic. This type of song construction mostly resembles Cannibal Corpse and Deicide during the latter’s worst days of In Torment In Hell, filling songs with groovy mosh parts, faux-brutal growls and the drummer and bass player (from Deeds of Flesh) insisting wimpily on always playing to the beat of the riff. If this is the king on Norway’s death metal throne since Cadaver disbanded, it is quite sad actually. Most good (death) metal is memorable from its melodies, however convoluted and vicious they may be, but Souls of Damnation is mostly simple rhythmic phrases like guitar exercise patterns for introducing mechanical creation technique for sub-Florida death metal. Like all boring death metal, it severely underestimates its audience. I mean, many listeners do like death metal that sounds like basic no-frills brutal grind, but this worthless chugging goes too far. It seems like the whole album lacks even one interesting melody part or arrangement.

1349 – Revelations of the Black Flame

One of the newer Oslo bands mostly known from relentless and uncompromising fast black metal, 1349 surprise with their latest effort in refusing to conform to the rules of the flock. This time conjuring echoes of Samael’s Ceremony of Opposites and later Mayhem, 1349 composes suffocated, devilish and industrial tinged black metal sounds which despite being somewhat predictable, retain the doomy beauty of an industry of inferno. The loneliness of space as described in Moorcock’s trippy novel “The Black Corridor” and the classic fantasy movie “Alien” fill this Gigerian landscape of planets, threats and biomechanical blasphemies. Bodies twitch into contorted positions in a sea of light. The psychedelic feel is enhanced by a cover of Pink Floyd’s “Set the Controls for the Heart of Sun” featuring Tom G. Warrior. Several tracks use minutes to unfold submerged ambient and experimental soundscapes, while there is some Red Harvest type digital manipulation featured in many of the metal songs too. The arrangement is dramatic and regal, with Frost’s drumming skills put to good use. Multiple vocal styles herald the theatrical nature. Some interesting lead guitars add desperate wails to the background. Some parts are in their wicked minimalism close to what one could also expect to, say, Beherit to compose if he were in a more commercial high budget recording project, making this one of the more worthwhile efforts from Norway last year in producing new vistas of black metal.

Mare – Throne of the Thirteenth Witch EP

This little EP from Mare, one of the infamous Trondheim cults tends to sound a bit like Live in Leipzig era Mayhem recording in a sewer infested with rats and worms and the decrepit and rotten soundscape makes this one an aesthetically more attractive listen than most of the studio produced turds. Intuitively they grasp the idea of structuring long songs in the old Emperor vein so that while the bits and pieces are redundant, it is a journey through minimalist music themes into the realization and acceptance of the power of darkness. Slow, crawling, anti-logical repetition of simple melody (where the keyboards add a tasteful of old Enslaved) make it a bit of an un-musical experience – the composition seems to be mostly oriented to the fans of droning soundscape whereas the planning and calculation in the overstated reverb, vocal sound (while Kvitrim is good at pacing) and lack of invention in the riffs suggest seem to be aimed for the black metal consumer. But it is deconstructive, degenerate and deceitful music – for pure ideas, about as good as the best of the bunch reviewed here. An ambience and sense of space is reached, the Faustian concept of man as a warrior who travels and explores the universe, only to relinquish his individuality to the higher natural order – in death and rebirth.

Written by Devamitra