Iron Bonehead Triggers Witchhunt by Portland Maoists

Article contributed to Death Metal Underground by Seth Berg.

It seems the Portland neoliberals weren’t content with indoctrinating gullible college students into their pseudoscientific belief system and badgering people for triggering them, since anyone who’s anyone has had to contrive some sort of PTSD in the past five years to keep with the trends.

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Upcoming Unaussprechlichen Kulten Album

Unaussprechlichen Kulten have a new record, Keziah Lilith Medea (Chapter X), coming out on Iron Bonehead Productions June 2nd. Baphomet Pan Shub-Niggurath was good so this is one of the few death metal releases this year that Death Metal Underground is looking forward to. Hopefully our staff won’t stick the CD in the toaster upon hearing the new Sammath record.

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Blaspherian – Upon the Throne…of Eternal Blasphemous Death

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Texas old school death metal (which is to say, “death metal”) band Blaspherian return after the triumphant Allegiance to the Will of Damnation with a two-song EP showcasing a newer style which is both more brooding and more raw, chaotic and abrupt.

These two songs show the Celtic Frost influence in the way riffs are arranged to contrast one another, as if by competing groups of demons howling blasphemies across a chasm in Hell, each building the intensity of its own blasphemy based on the statements of the others. “Awakened Into Impious Absolvement” starts with a relatively simple charging riff, than breaks into another one and picks up the narrative there by adding textural variation, then creates an interplay between competing riffs that allows a return to the original pattern with greater strength. “Phoenix Of Uncreation” on the other hand shows a fully intense influence of early Incantation (most intensely “Profanation”) by building from a fast riff to an extensive doomy passage which is developed into a series of mid-paced riffs which alternate between the textures already introduced, as if preparing us through a long journey for something revelatory found at the end, which comes through an atmospheric detour into a riff played at the pace of doom metal with the fast death metal strum. That creates an otherworldly atmosphere which is resolved in return to earlier themes which like a snowball build intensity with each break and restatement. The song ends in blazing fury as its contrary impulses collide, culminating in faster and streamlined versions of earlier patterns exploding into a final theme.

Upon the Throne​.​.​.​of Eternal Blasphemous Death shows Blaspherian exploring its roots in more idiosyncratic and chaotic death metal with the application of songwriting principles learned from the last full-length. This creates a more moody sound and one which requires more from the listener, but like the more polished works reflected on the unpolished days of their demos, resurrects the sense of a detached and irrational world manifested through evil intent.

    Tracklist:

  1. Awakened Into Impious Absolvement (5:58)
  2. Phoenix Of Uncreation (5:30)

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Unaussprechlichen Kulten – Baphomet Pan Shub-Niggurath

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Named after a fictional work of occult literature in the Cthulhu mythos by H.P. Lovecraft, the “nameless cults” give their name also to this band who create modern death metal that remains true to the death metal style. Like Immolation circa 2000, carefully tuned guitars and use of odd diminished melodies create a suspension of reality that a rhythmic approach like that of the Deathspell Omega era “progressive” black metal complements and expands.

Baphomet Pan Shub-Niggurath cites from fully four generations of metal, mixing speed metal riffs with modern black metal and the aforementioned dissonant and complex death metal, but sometimes slides in old school death metal riffs and transitions reminiscent of the hybrid era of underground metal in the early 1980s. The tendency to offset rhythms to insert additional riffs comes from the newer style of black metal, which permits groove so long as it is disturbingly detached from consistent expectations, but the core of this album comes from the streamlining of death metal in the early years of this century that brought different chord shapes and dramatic conclusions to the genre.

Other influences work their way in here including a use of plodding cadences that would have fit onto a God Macabre or Afflicted album. Songs work riffs into a circular pattern that always returns to familiar themes for choruses but splits verses across multiple riffs using a Slayer-inspired pattern of working in a precursor riff, then changing riff, and then altering its texture and tempo with layers of drums, bass and vocals. Then the song culminates much like later black metal in a kind of revelation which melts down into the soup of primordial riff ideas that earlier served to introduce or complement themes.

For contemporary metal, Baphomet Pan Shub-Niggurath keeps its focus more firmly in the continuance of past traditions into the future than bands like Immolation managed. It does carry the tendency to be too emotive on its surface like Deathspell Omega, which leads to technique replacing content, but keeps this in line. This work impresses with the first couple listens and while it will undoubtedly socket itself into the secondary tier of death metal bands, crushes most of its contemporaries handily and displays a blueprint for death metal to get out of the metalcore funk and back to a newer version of its roots.

http://www.youtube.com/watch?v=Z15bfUxUEn0

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