Last month we ran the first of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now… (more…)
Some bands gained prominence because of their influence on other musicians but were given less credit by fans years later because they no longer had current releases. The Dutch death metal assault Sinister crafted three albums of great influence but then faded away in the mid-1990s, leading to fewer people mentioning their place in the death metal canon.
“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:
My experiences with Brutality prior to Sea of Ignorance‘s release lead me to believe that all of their works take a disproportionate acclimatization in order to properly comprehend, only surpassed in my experience by the wall of voodoo that is Incantation’s debut. This album has little to do with Incantation’s style, like most of their others, but it has only reinforced my hypothesis. Brutality’s take on “melodic” death metal consistently contains enough harmonic hooks in the riffs to draw a listener in, but odds are you’ll only find their music truly rewarding if you give it some time to sink in. That’s not exactly suited to the fast paced world of online music criticism (advertising thinly veiled as criticism), but odds are you’ll get more out of Brutality’s latest than your average death metal album even if you don’t give it a proper chance.
In general, Sea of Ignorance varies only subtly from its predecessors, and most of these changes play out on the surface. Brutality settled on their current approach early in their career, occupying the liminal space between their often sparser Florida contemporaries and the emphasis on structural and harmonic complexity of a band like At the Gates. The comparison to the latter has come up on occasion when DMU covers this band’s exploits, but Brutality synthesizes enough disparate influences that pulling any one out is difficult, although in my more comparative moments I might bring up Autopsy, since the band plays around with speed and atmosphere enough to significant enhance their formula. Sea of Ignorance follows from previous works in a fairly predictable way – more emphasis upon melody and simpler, more streamlined song structures than the past, but when they aren’t flat out covering Bathory (“Shores in Flames”), the lineage is obvious.
My opinion on this album is ultimately very similar to how I felt about Skull Grinder, although like most of the comparisons I’ve made in this review it’s a comparison of convenience as opposed to significant musical similarity. Sea of Ignorance is a stylistically appropriate if not particularly ambitious continuation of Brutality’s previous work; while it’s not particularly essential if you own any of those albums, it’s still a valuable purchase for those who want to study the strong points of this sort of death metal, and a good enough release to be worth financially supporting.
Exmortus is a speed metal band with leanings towards what is commonly called ‘power metal’, although the general public seems to lump them in the mixed bag that so-called melodic death metal is due to their use of angsty growled-barked vocals. Exmortus have built up quite a following in the young, mainstream metal community. Ride Forth is the exciting fourth album these youngsters and guitar enthusiasts have been awaiting. This album features ‘neo-classical’ metal gestures that were first introduced in very small quantities by NWOBHM bands in combination with pentatonic soloing. It took the likes of Malmsteen and Randy Rhodes to bring this aspect to the fore. Exmortus themselves highlight it to the point of making it more than just the center of the music; enlarging it to be all the relevant music to be found herein.
In Ride Forth, Exmortus wears their infatuation with Beethoven and outward classical aesthetics on their sleeves and include a metal cover of the third movement of Beethoven’s Piano Sonata No. 23 (“Appasionata“). Their previous album also included a track based on the third movement of his Piano Sonata No. 14 (aka “Moonlight”). Compare this to other bands that have gone beyond mere adaptation and have used them to expand compositions that take the themes and scale runs of the original piece such as ‘Pathway To The Moon’, by Pathfinder, based on the same Beethoven. Right at the top of the list lie the adaptations done by the Italian band Rhapsody, who only use the themes themselves for arrangements of interludes within otherwise completely original compositions. ‘Heroes Of The Waterfall’s Kingdom” sees Rhapsody using the main theme from the 4th movement (“Prestissimo”) of Beethoven’s Piano Sonata No. 1.
Exmortus Ride Forth can be vivisected for analysis in at least two ways. The first is in terms of the functions and performance of each of the three functional layers of metal; namely rhythm, leads and vocals. The second concerns the structuring of songs, the quality of the sequence of ideas exposed throughout the album. We may take a look at each of these individually and then at how they interact to produce a result.
The three layers are executed with metronomic precision, echoing the modern classical musician’s obsession with machine-like performance. The drums are standard and give no sign of humanity. The bass is functional but rigidly moves under the needs of the alto-soprano guitars. The guitars themselves have a clearly leading role. The whole instrumental texture is very reminiscent of C.P.E. Bach’s classical music, in which all layers are in the service of a main melody. The vocal department is not only out of place but also overdone, although this may have been somewhat enhanced and disfigured by a too clear-cut, synthetic production.
As a an aural story, Ride Forth shows the audience two faces. The first is what gives them what they think is their distinctive taste, their blatant and superficial imitation of classical music. The second is a mechanical speed metal without character that serves as neutral receptor for the former pretensions. The strongest contributor to the personality of the music on the side of metal is the vocalist. But just as Exmortus interpretation of classical music remains on the level of reflected shadows, their take on metal is that of a rebellious attitude that is closer to a child’s tantrum whose candy has been taken away than to a raiding viking.
The downplaying of the whole of instrumentation to emphasize guitar action along with the simplification on the metal side as mere bridge and support for pseudo-classical posturing give rise to the worst incarnation of Yingwie that one can imagine. In regards to the content, it has very poor communication value, as it takes music as pretty wallpaper noise. While these now cliched patterns were born out of the lingos of late 18th-century classical music and the incipient NWOBHM of the late 1970s, it is now presented as mere paper-mache for the fabrication of shiny toys; symbols without depth or reflection, enjoyed sensually in a tongue-in-cheek manner.
Here, we may insert a more general critique of the general ignorance the public suffers when it comes to genre significance and the importance of its ‘sub-cultural’ context for it to acquire meaning. We may assume that the reason why two genres are smashed carelessly in this way is because whatever gestures are native to each are considered mere adornments. However, we have reason to think that the particular tropes of different genres are very specific reflections of a very particular group’s intuitional understanding, so to speak, so that without understanding its proper setting, its depth is lost.
Exmortus’ guitarist obviously worships Ludwig van Beethoven, but instead of being inspired by the deeper aspects of the late master’s work, he seems content to masturbate to the angry German’s portrait while wearing a man-bikini made out of fur. The general metal ‘critic’ (haha…) will love this for its easy-going technically appeal and comical value, perhaps giving them the typical, meaningless high scores they hand out cheaply like condoms at a gay-fest. A more critical mind unmoved by gimmicks may see through the ruse and form a useful opinion. It is, therefore, that Death Metal Underground hereby assigns Ride Forth a score of 133/666 Bleeding Anuses.
Arghoslent are frequently and incorrectly tagged as a death metal band while they are actually a speed metal seasoned with a traditional heavy metal approach to the use of melody and soloing that goes can be described as lyrical or ‘singable’. The barking vocals that are featured here are the only thing that is borrowed directly from death metal and their usage is still more heavy metal in nature, given that the relationship of vocals to the underlying music is more akin to the riff-riding of Ozzy than the punching counterpoint of Suffocation or Gorguts. (more…)
On Friday, November 13th, you will be able to purchase Carcass’s latest compilation (Casket Case) for up to one minute. Earache Records claims that their previous ultra-limited box sets have sold out incredibly fast and it seems unlikely that this will be an exception. Casket Case features all five of the studio LPs Carcass released for Earache, meaning that you get the later underwhelming “melodic death metal” material as well as earlier, formative grindcore and death metal if you manage to get your hands on this. As a consolation price for those who fail to get their hands on this apparent bounty, Earache is also discounting the separate albums on CD for some time, as well as two compilations from when the band was dissolved during the late ’90s and early 2000s.