“Melodic death metal” is meaningless. What is popularly called “melodic” death or black metal can be roughly divided into the three different types of music sketched out by Ludvig Boysen in his “The Three Types of Melodic Death Metal” article for Death Metal Underground. While Ludvig’s three categories are essentially correct, refining and broadening them allows formal classification of all “melodic” death and black metal. Note that Death Metal Underground’s extensive Heavy Metal FAQ covers the topic of genre in great depth but a brief rundown for the ignorant and lazy is in order.
Carcass have been touring almost-nonstop since reuniting and releasing their phoned-into-ProTools excuse to tour, Surgical Steel. Right after supporting Slayer, they have announced yet another set of dates. Despite the mainstream metal openers, this “One Foot in the Grave 2016” might be worth worth checking for grindcore and death metal die hards as Carcass play material from all periods of their career when headlining.
Following a successful assault on our shores alongside label mates SLAYER and TESTAMENT, disinterred British metal icons CARCASS, will return to North America for a headlining tour this summer.! Joining them are southern metal heavy weights CROWBAR, horror thrashers GHOUL, and Los Angeles based metal act NIGHTDEMON.
“One Foot In The Grave 2016”
CARCASS, CROWBAR, GHOUL, NIGHT DEMON 07/16/16 Chicago, IL – Chicago Open Air Festival 07/17/16 Lawrence, KS – Granada Theater 07/19/16 Denver, CO – Bluebird Theatre 07/20/16 Salt Lake City, UT – The Complex 07/22/16 Sacramento, CA – Ace Of Spades 07/23/16 Santa Ana, CA – The Observatory 07/24/16 Los Angeles, CA – The Roxy Theater 07/25/16 Phoenix, AZ – Club Red 07/26/16 El Paso, TX – Tricky Falls 07/27/16 Albuquerque, NM – Sunshine Theater 07/29/16 Memphis, TN – New Daisy Theatre 07/30/16 Louisville, KY – Mercury Ballroom 07/31/16 Columbus, OH – Park Street Saloon 08/01/16 Baltimore, MD – Baltimore Sound Stage 08/02/16 Richmond, VA – Broadberry 08/03/16 Philadelphia, PA – Underground Arts 08/04/16 New York, NY – Gramercy Theatre 08/05/16 New Haven, CT – Toad’s Place 08/06/16 Montreal, QC – Heavy MTL Festival (Carcass only)
Keep in mind that Carcass are still entertaining when shitfaced:
Illusions Dead put this descriptor on their Bandcamp page; “black/death metal with influences from bands like Gorgoroth, Anata, Insomnium, Intestine Baalism and more”, but what these Finns actually offer with Celestial Decadence is a shareware version of Slaughter of the Soul 2.0, now with even sappier melodies that won’t alienate the ex-emo kids who are looking for the next edgiest music culture from which they can leech a persona.
Generally, any given song on this album starts with two guitars playing some volleyball-style counterpoint with a relatively cool-sounding riff. The drums punctuate when necessary, and then the vocals come in and the whole experience deteriorates. Aside from the opening track (which features a more effective low-end growl), all of the vocals sound like a half-assed take on later Gorgoroth’s shrieking style, but more forced and less congruent compared to the brittle guitar tone. The vocals (and drum mixing) only deserve a minor critique though; the real problem with Celestial Decadence is the total lack of energy and motivation that bogs the entire album down.
The best riffs in the album are short-lived and are essentially half-assed plagiarisms of At the Gates melodies. Spontaneously switching between up-and-down single-string melodic patterns and chugging percussive cadences can’t save the utter lack of passion and purpose in every musical segment. When I imagine the recording process of this album I actually picture a couple of rock band guitarists being held at gunpoint and forced to jam out pointlessly “metallic” riffs that will later be organized by a randomizing program and pieced together by a computer that doesn’t know a thing about composition except for the absolute minimum level of human tolerance for illogical irregularity.
Lacking a single distinct riff (except for the particularly emo-sounding middle-and-end section of “Shadow and Flame”), this album flew right past me even after several listens. The musicians definitely have a refined sense of when a melodic pattern becomes too boring to repeat, but they seem clueless as to the efficacy of the melody itself in the first place. I can’t recommend this album to any sane person, except for maybe masochists.
A quick EP of melodic metalcore/techdeaf – Arreat Summit’s Frostburn definitely hits all the expected points of 2008’s darling fusion – high levels of technical proficiency, candy coated melody, constant breakdowns, haphazard composition, and so forth. Usually this sort of thing doesn’t even rise to the point of being worthy of discussion (and I did find the actual music went almost unnoticed as I listened), but in this case, it resonated with me how eerily similar this is to playing the video games in the Diablo series that inspired it.
A quick primer – The first two games in the series are surprisingly atmospheric titles, at least by the standards of their age. In fact, I would go as far as to say that much of their potency is a result of Matt Uelmen’s excellent soundtrack work; Diablo II in particular frequently demonstrates his ability to mix coherent thematic development into unsettling ambient soundscapes. Back when I was most thoroughly engrossed in the game (read: 2008), though, my attention was instead turned towards repetitively grinding the game’s bosses in the slim hope of locating a powerful item that would allow me to do so slightly more efficiently. That was a much shallower and less fulfilling experience, albeit a powerfully addictive one more capable of destroying productivity than heroin. When you remove the setting from Diablo, it turns the game into a series of tangentially related and nonsensical murders. Similarly, when you remove the ‘setting’ from metal music, you’re left with what is little more than a technical exercise.
In summary, Arreat Summit’s successful portrayal of the grinding postgame of the series (to the point that they are named after a valuable piece of treasure that has no real lore attached to it) is a dubious honor at best.
Someone’s brain at Century Media wasn’t firing on all of its cylinders, because this music video didn’t quite make it out in time for the 20th anniversary of Slaughter of the Soul. “The Night Eternal” is the final track of At the Gates’ 2014 comeback, At War With Reality. We didn’t give the album a great deal of consideration when it released, except to say that it wasn’t quite as offensive and simplistic as the band had been in 1995. Instead, it took after the band’s mid-period for whatever reason, showcasing some efforts towards musical depth without really reaching the career and genre peak of The Red In The Sky Is Ours. The video showcases little to dispel that belief and is likely only really worth your time if you’re into the 2D graphics manipulation visuals it showcases… and if you are into that sort of thing, you should really learn 68000 assembly and write a scenedemo for the Commodore Amiga.
On the 93rd (number of the Thelemic Law) anniversary of the independence of Finland from the Russian Empire, let the northern lights flash their yearning flames beckoning the souls of the fallen warriors of the Civil War. While it may seem to some as a sacrilege to play anything but the Romantic sylvan mystery plays of Sibelius, the true heir of Wagner and one of Finland’s national composers, the early death metal symphonies of Oulu’s Sentenced epitomize a great deal of the same thundering natural melancholy. Following the youthful, reaping, Dismember-esque debut album Shadows of the Past, the musical theory of Jarva, Lopakka and Tenkula turned like the Roman mythical Janus statue two ways at once: towards the pure riffcraft of Iron Maiden and the ethereal, streaming melody of Nordic black metal. Much like At the Gates had captured nearly protestant-religious passion and sadness in Sweden, Sentenced managed to concoct music which was worshipful, raging, realistic (even pessimistic) and imaginative all at once, in defiance of the taciturn apathy characteristic (like alcohol) of the working class of northern Finland. In Sentenced, the pent-up rage of skeptical and prematurely cynical young men was transformed into elaborate poetic reflection.
Power metal riffs in a death metal production would later experience a horrible mangled mutilation death in Children of Bodom’s excessive rock stage theatrics, but the sharp minds of Sentenced treated their source material with such profound affection that heavy metal, thrash, death metal and black metal weave into each other as interminable patterns of tangled paths amidst hypercosmos – a Northern Finnish shaman’s spell. The careful production recalls the most biting moments of Kreator while the technical skills of the guitarists are on par with the hallowed “prog” moments of Atheist and Death. The songs hardly suffer from any useless repetition (the anthemic verse-chorus structure of “Awaiting the Winter Frost” serves a specific purpose in exclaiming the satirical “heavy metal victory” over the forces of light, while it is deliberately obscured whether the narrator is a man, a beast or a spirit). That North from Here was never Sentenced’s most popular or esteemed moment is a total wrongness, as Amok followed on the footsteps of this work adequately, but only that. One of the strongest candidates for the best Death Metal album in the history of Finland, the bewitching maledictions of North from Here, from “Capture of Fire” to “Beyond the Wall of Sleep” (and practically any piece since there is no filler), achieved the aims of “Gothenburg” much more effectively and impudently than the horde’s western neighbours.