Tomas Nyqvist, the founder of legendary Swedish label No Fashion Records and the Putrefaction Magazine zine, was interviewed by Bardo Methodology. Tomas talks about his zine and label, the careers of Morbid, Mayhem, Merciless, Dissection, and Katatonia, and how the infamous Stockholm record store House of Kicks screwed them all over. A book compilation of Putrefaction Magazine is scheduled for 2017 too.
Varg Vikernes discussed how Dead from Morbid and Mayhem ratted out to Euronymous that Old Funeral didn’t like Venom, preventing them from being the first release on Deathlike Silence Productions, as he tuned up the brakes on his UAZ personnel transport. Want to learn about the Indo-European reincarnation, veneration of the dead, and excarnation rituals? What for Varg constitutes cars for real men? Let’s find out!
Varg Vikernes talked more about how he recorded the Burzum demos by overdubbing cassettes and the bass lines on Mayhem‘s De Mysteriis Dom Sathanas at Grieg Hall in yet another metal history video posted to his ThuleanPerspective Youtube channel.
Mayhem are touring North America with a setlist composed of their De Mysteriis Dom Sathanas album in its entirely. Mayhem are playing larger venues in many cities (probably due to the publicity from Necrobutcher’s recent book) so this might be a good opportunity for headbangers to see them play some of their only material worth caring out. Maybe Mayhem will throw in a few tracks from Deathcrush as an encore? Maybe Hellhammer won’t bring out that transparent MIDI kit?
Varg Vikernes uploaded another black metal history video to his ThuleanPerspective Youtube channel. In A Fatal Acquaintance (Euronymous, April 1991 – August 1993), the Burzum creator summarizes his relationship with Euronymous prior to their fatal fight on August 10th, 1993. Varg explains how the Mayhem guitarist was a fat Communist who stole the money used to preorder Burzum records and sunk it into his money pit Helvete record shop in Oslo.
Varg Vikernes has started posting a series of black metal history videos on his ThuleanPerspective Youtube channel. “About a day in 1993 that changed Black Metal forever” summarizes how Euronymous was completely unfit to run a business as a communist, bungled the release of the Burzum self-titled album, and how Euronymous’s clownishness ended his reign as the media’s go to spokesperson for the Norwegian black metal scene follow Varg’s arrest in connection with the church arsons.
Mayhem recently announced that they would be headlining Temples 2016 in Bristol, England. Perhaps more interesting is that this is going to be the first time that any lineup of the band has performed De Mysteriis Dom Sathanas in its entirety. Since the current lineup of Mayhem relies on Attila Csihar for its vocals and contains two other musicians from the band’s early ’90s lineups (Necrobutcher and Hellhammer), odds are this is going to sound pretty close to the studio version of DMDS. Regardless of your preferences for Mayhem vocalists (I very much value Attila’s contributions to the album) and recordings, bootlegs, whatever, the band’s performance at Temples is probably a better novelty than the band’s recent studio albums.
I guess Peaceville really doesn’t know when to quit with the compilations and reissues (or that at least they’re a viable way to make more money off known famous works), since they’re also rereleasing Mayhem’s Live in Leipzig. This is specifically the 25th anniversary of the concert documented, as opposed to when it was first ‘officially’ pressed and sold to a mass audience some years afterwards. The CD version of this rerelease also contains a contemporary recording of the band in Zeitz, Germany. See Peaceville’s site for more details.
Whether Live in Leipzig is at all worth your time depends, perhaps, on how you value the various ‘eras’ of Mayhem. It is likely the easiest way to experience the band’s ‘classic’ lineup, featuring both tracks that would eventually make it onto De Mysteriis Dom Sathanas as well as somewhat revamped older tracks from the band’s early, proto-death metal days. As a listener, I find the most value in the polished studio work of Mayhem’s formal debut (because I value Atilla Csihar’s contributions), but the looser intrepretations here are worth at least a few spins.
The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.
The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.
The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.