Gorguts preview new Pleiades’ Dust EP

gorguts ep

Article by Daniel Maarat

Gorguts have previewed (https://www.youtube.com/watch?v=RDyn5lkVNlo) their upcoming EP to be released on Season of Mist. “Wandering Times” is the first track of Pleiades’ Dust sole, thirty three minute long composition. Listeners can expect Luc Lemay’s LP length EP to continue in the technical life muzak style of Coloured Sands: Random dissonant verses clashing with jazz fusion interspersed with ambient interludes incongruent as a whole to all but music theory majors. The commissioned cover and lyrical theme of the Islamic Golden Age suggests this release will persist in trying to irrumate headbangers with vaguely oriental spiritualism. Lemay seems to be appealing more to coffee shop guitarists wanting salvation from their poor life choices.

Werner Herzog made a documentary (Wheel of Time) about fifteen years ago on the same sand mandalas as Coloured Sands. Here are his views on yoga to spare you from Lemay’s orientalism:

Magrudergrind – II (2016)

magrudergrind2_1500

So famous that you might’ve just heard of them right now for the first time. Magrudergrind is back after a hiatus with an album that makes a potent case for keeping simplicity tightly under wraps so that we don’t risk every band with half a half-hearted interest in songwriting nabbing it from the medicine cabinet and hoarding it all for themselves.

I don’t exactly listen to much straight up ‘grindcore’, which adds to the holes in my listening experience, but II sounds pretty much like what I’d expect any half-proficient band in the genre to put out. It’s understandably a little slicker than most of the formative efforts in the genre (Napalm Death, Carcass, Repulsion, etc.), although from what I’ve heard this album trades in some of the bits of schlock comedy that “distinguished” previous Magrudergrind content from its contemporaries for more standard, basic, banal grindcore. On some scales, this is really a perfect 5/10 album; it’s exactly what I expected aesthetically, it does nothing particularly interesting, and it doesn’t even have the temerity to offend me even slightly lest I end up shaming Magrudergrind on the internet; does this sound like anybody we know? II is basically the equivalent of a blank cassette waiting to be recorded to for the first time, but like most albums of little musical merit, we can at least learn a few lessons from the circumstances surrounding it.

As I hinted at in the intro, Magrudergrind’s latest is a very simplistic album that isn’t far removed from the starkest, most deconstructive efforts in its genre. The problem working in such a limited palette is that most of the time, it’s only a sign of low effort; it takes surprising amounts of skill, ambition, or at least luck, to cut down your music and still retain some shred of coherence and communicative value. Grindcore, as a genre, is especially vulnerable to the dark side of these tendencies; once you reach maximum violence and intensity there isn’t much left to do in the confines of the genre. The various famous bands of the genre all found their coping mechanisms; I’m personally most familiar with Carcass’s rapid pivot towards pop music. Magrudergrind’s, on the other hand, was apparently to go on hiatus for a few years and then return when everyone had forgotten not only them, but also the very knowledge that they had forgotten about Magrudergrind.

Obscura – Akroasis (2016)

Akroasis

Akroasis stands proud as a representative of cracked out incoherent sugar high penguin of doom random technical “death” metal, and even has a cover that looks like various forms of congealed sugar melting together into a nutrition-free whole. It is truly the perfect product – a deceptively simplistic and potentially addictive recording with little in the way of more rewarding development. Obscura’s efforts on this album alternate between either random gibberish or surprisingly basic song constructions that don’t quite fit the apparent intent and would be shockingly obvious were they not surrounded by thousands of rapid fire notes like a swarm of flies around rotting meat.

One thing that makes reviewing Akroasis particularly easier is how the first track (“Sermon of the Seven Suns”) encapsulates so much of what Obscura is attempting to do. Much has been made of what this band takes from Death, particularly from their later traditional/death fusion works, but the most patronizing is the circular song structures. “Sermon of the Seven Suns” doesn’t have a lot of content, and after an intro arguably inspired by Cynic, it awkwardly rotates between its two major sections of rapidfire blasting and slow jazz fusion jams. The band uses some basic modulation techniques to disguise the repetition, particularly in the first section, but the overall structure does little more than hide the excessively basic structure. While the band’s apparent devotion to this on this track is vaguely admirable for how holistic it is (extending even to the lyrics), it doesn’t make for particularly compelling listening once the shock factor of Obscura’s instrumental proficiency wears off. At best, they’re slightly more creative than Chuck Schuldiner was with song structures – as an FYI, pretty much everything Death put out went main section -> bridge -> repetition of main section -> who needs a coda anyways?

The rest of Akroasis is more densely packed with content, but instead of employing the care and diligence required to shape these into anything coherent, it just falls into all of the typical metalcore traps, so it sounds less like an album and more like a checklist of errors. Besides what I’ve already mentioned in dissecting the first track, Obscura’s songwriting is full of aesthetic novelties (vocoders, non-metal instruments for no apparent reason) and they even incorporate a goofy breakdown in “The Monist” because apparently, metalcore musicians just can’t resist the temptation. Obscura would be a much better band if they could resist their vices, but were they to try and succeed, they would probably become completely unrecognizable to their fans. Why would they bother? The disorganized candy coated tech-death approach seems to be netting them enough fans.

Metalcore manager Derek Brewer talks touring and finance

Preparing_to_teach_GIs_personal_finance_at_Guantanamo

Finance and accounting skills are useful life skills for everyone, not just Derek Brewer.

In response to the “popular” deathcore act Thy Art Is Murder losing their vocalist over finance, an employee of Outerloop Management, a company that handles the finance of several modern popular metal bands, wrote up a budget analysis of a metal band’s touring budget for our competitors over at MetalSucks. Derek Brewer claims that with sound budgeting techniques and by avoiding expensive luxuries like cocaine, a “mid-level” band can make enough money through touring and merchandise to survive and maintain an okayish standard of living while arguably contributing more to society than a retail drone.

There are a few holes you can poke in Brewer’s assumptions, but overall his numbers give me the impression that a band that gets big enough to receive regular coverage on heavily trafficked news sites can reach some degree of financial security. My real emphasis here is on the idea that getting to the point where your band is even moderately successful to the point of even potentially being fiscally self-sustaining is going to be the difficult part. Barring enormous luck (or a potentially lucrative if musically dubious gimmick like adding a flautist to your grindcore band), building up a fanbase for any sort of creative content requires an immense and persistent amount of work over time. Society in general knows that by now, and by traveling this path you’ll also be in competition with an enormous amount of other bands who think they’re going to be the next big thing and are also working long hours to get noticed. The competition isn’t necessarily going to improve the quality of metal works released (at least by our standards, since most bands aren’t writing specifically for our tastes), but it is something to note if you look at Brewer or similars’ figures and think that someday, you could make it as a metal rockstar.

Steve Wilson criticizes the glut of “progressive” metal bands

Steve Wilson of Porcupine Tree recently conducted an interview with Metal Wani. In the linked second part, he suggested an aesthetic reason for the backlash against the swarm of “progressive” metal acts – according to him, there are too many progressive metal bands that are overusing the “metal guitar sound”, to the point that such loses its impact. In the mean time, Wilson is trying to explore dark and melancholic themes outside of metal, most notably in his collaboration with Mikael Akerfeldt in Storm Corrosion. This is obviously a different perspective than our usual narrative here at DMU – if you ask us, your pseudo-progressive band failed not because metal guitar is a cliched sound (which doesn’t eliminate the possibility), but more likely because your songwriting either took the form of modern pop in disguise or incoherent nonsense.

Sadistic Metal Reviews mini-feature – Arreat Summit

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.

Phil Anselmo Forms New Extreme Metal “Supergroup”

Phil Anselmo being the lovable goofball he is.
Article by Daniel Maarat

Tough guy empowerment activist and former heroin addict Phil Anselmo has formed a new extreme metal “supergroup.” Scour features members of metalcore and post-hardcore bands Pig Destroyer, Cattle Decapitation, Decrepity Birth, and Animostiy. Anselmo claims they play “predominantly, in my ear, modern-ish black metal sounding, thrashy black metal type stuff.” All underground metal fans can do is wait and hear if former Pantera frontman is describing randomized first wave black metal with breakdowns, the Britney Spears black metal exemplified by Aura Noir slowed down, or Gothenburg melodeaf influenced metalcore with nu-metal vocals.

Can we admit that metalcore is the glam metal of our time?

glam_metal_will_give_you_aids

In the early 1990s, a new music burst forth. The dark sounds of Black Sabbath and the guitar-oriented heavy rock of Deep Purple and Led Zeppelin merged and, through the wizardry of Hollywood-style image, became a new genre that hyper-extended the characteristics of the most rebellious music in the previous generation of rock. This was called glam metal, and you may recognize it by names like Motley Crue, Poison, Twisted Sister, Quiet Riot, Cinderella, Van Halen, Ratt and Winger.

Glam metal stood out from other rock at the time. It was more technical, featuring early shred guitar wizardry, and more visual, incorporating gender-bending into its image as well as tattoos, long hair and leather. For the radio music of the era, it was one of the more advanced and outside the mainstream sounds one could purchase at the local record shack. Kids liked it because it drove parents mad; politicians responded by trying to criminalize it with Tipper Gore and the PMRC targeting glam metal bands for their overly-sexual lyrics about outré topics such as drugs, suicide and promiscuity.

What makes glam metal stand out is to look at the backdrop of music at the time. Most bands were taking advantage of newly-available electronic instruments and more options in the studio, and were focused more toward being synthpop or album-oriented rock. The nascent indie rock movement, to explode with bands like REM and U2, dwelt still in the basements. Punk had died and punk hardcore was unlistenable by most, as were bands like Motorhead and the NWOBHM who were still just a bit too loud, and too controversial. Glam allowed people to be rebels without really rebelling against anything, because glam rock was just what David Bowie and Sid Vicious were doing with the actual danger removed and all the imagery turned up to eleven.

Compare this to the present time. Radio is much louder, and rap-based music has replaced synthpop. Indie rock became huge and expanded into emo and post-Joy Division quasi guitar ambient bands. The old dad rock like Springsteen and Mellencamp faded like an autumn sunset, and while millions of niches exist, most people hit up the big favorites. Metal is the radio now, too, and thanks to nu-metal — the second generation of rap/rock — people are accustomed to heavy distortion, detuned guitars and raucous drums. People wearing bizarre costumes and masks while acting out self-destructive tropes are common. What remains to shock the parents of today?

Much like glam metal, metalcore attempts to pick everything that stood out in the past generation and amplify it. The introspective despair of indie rock joins the progressive stylings of 90s bands and the whine of alternative rock; the proto-djent of Pantera and Helmet shows up as well, alongside the deliberately random songwriting of emo and post-hardcore bands. Add them all together and you have a template for making infinite music: an aesthetic of randomness, with high technicality, and metal power but not its threatening antisociality, melded together into a product that is more like a jam session than a planned event. This resembles what happened after progressive rock fiddled the first time, and jam bands showed up that merged jazz, progressive and rock into expanded-format songs that wandered. Metalcore can take any form, whether melodic death metal or math-influenced grindcore, because it is at heart a philosophy much like glam was. It takes what shocked the last generation, adds it all together, and ramps up the imagery to deliver a “new” (old) product.

If we are honest, we will admit that metalcore is the glam metal of today. Designed to shock, it pretends at being “underground” only to keep its indie cred, and relies on the disturbing self-absorption of indie and emo to make parents quake. Formed of too many elements to support together in one coherent genre, it focuses on incoherence, and ties it together with imagery. It emphasizes technicality, which thanks to endless instructional videos and better access to guitar equipment (thanks Guitar Center!) has cranked up a notch, but uses it as a means to the end of its appearance. While band members no longer dress up in clothing of the opposite gender and tease their hair, they perform the equivalent through their embrace of passivity, feminism and self-pity as fundamental values. This shocks parents as much as glam metal did, and has correspondingly bad effects on metal as a whole.

Obisidian ­ – No Self to Sue (2015)

noselftosue
The basic sonic template for this album is late-­model melodic hardcore in the vein of Champion or Verse; that means a melodic base of straightforward four-­chord (or less) progressions in a basic minor scale played rhythmically on the guitars, looped for four or eight bars, usually until the progression becomes stale (more common) or the vocals lead to a new riff cycle (less common). Each riff continues until Obisidian see fit (as typical of modern “hardcore”) to abandon the progression altogether and move on to a riff with a completely different feel instead of developing the last riff (through harmonic augmentation rather than plain repetition) and moving toward a new one logically.

Generally, this method of composition would be frowned upon, but in the case of this album, the changes are welcome since the listener is undoubtedly anticipating the next riff with relish since the last one is sure to have become stale after a few cycles. Obsidian avoid this jarring transition sometimes by simply shifting to another rhythmic style (for instance, playing the same (or a similar) chord progression with palm-­muted strokes and a half­-time drum beat). However, this is not always the case; toward the end of the album, we see some interesting melodic progressions that move forward in the style of black metal without the need for vocal embellishment. For the worse, these sections appear too few and ­far between.

The saving grace of this album is Obsidian’s ability to throw in NWOBHM­ style guitar lines which,
although rarely progressing rationally from the last riff, are very cool-­sounding and give a boost of energy to each song. However, the riffs feel generally out ­of ­place since, once they are over, the next section invariably drops back to cliche modern hardcore dime­-a­-dozen riffs. Nevertheless, the guitarist(s) display a refined sense exactly how far they can push the hardcore­ style riffs augmented by vocal rhythm before needing to introduce a more harmonically­ rich dual­ guitar segment. Beyond that, the band seems very comfortable when tying off­-time (usually switching from a 3/4 to 4/4 beat) rhythms together in a way that avoids the typical metalcore­ style riff­ salad style that feels like something you could hear during a tour of a zoo; “And if you look to your left you’ll see our lions as they feed on… oh, look to the right to see the zebras in a galloping herd!”

All ­in ­all, the music achieves its purpose as being something that impels the listener to charge their adrenaline and accomplish something physically demanding. It might make good workout music or something that would be great to experience in a live setting. However, a listener (particularly of the metal persuasion) looking for music that describes a series of situations narratively might find themselves bored by melodies that wear out their welcome before being augmented rhythmically, as this album is chock­full of cool riffs that make just as much sense when listened to at random intervals rather than in a riff­ by ­riff manner.