Metalcore manager Derek Brewer talks touring and finance


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?


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)

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.

The “metal bubble” bursts


Humanity follows this pattern: someone breaks away from doing the same stuff everyone else is doing, does something different and it resonates with smart people, so everyone else starts doing it but they use it as a new flavor for doing the same stuff everyone else is doing. They think this will let them be both new and familiar at the same time, and it attracts an audience who thinks like them, and then the different thing is destroyed.

Heavy metal goes through these bubbles every decade. Black Sabbath set the scene with proto-metal in 1970, but by 1976 most bands had hybridized that with heavy rock like Cream, Led Zeppelin, the Kinks, Deep Purple and and The Who. The result was “heavy metal” the sub-genre of the larger metal genre, and it quickly got so bad that the New Wave of British Heavy Metal (NWOBHM) rebelled against it with do-it-yourself (DIY) albums that hit hard but never quite got to the long phrasal riffs that Black Sabbath had innovated, in part in emulation of horror movie soundtracks. In the early 1980s, speed metal, thrash and proto-underground metal emerged to counter the calcified edifice of heavy metal which was currently dominated by glam metal, a Californian crossover between European heavy metal, surf rock and American album-oriented-rock (AOR). By the late 1980s, that bubble too had burst as speed metal bands very publicly sold out, and death metal and later black metal formalized themselves in response. But by 1994, both had spent their momentum and languished in inertia. What came in their place was a rapid succession of bad imitators, war metal, indie-metal, metalcore and finally a breath of fresh air with revitalized speed metal and classic heavy metal merged into power metal.

That was 21 years ago.

Currently, the metal scene languishes. The nu-underground fascinates itself with FMP/NWN bands that resemble three-chord punk translated to metal aesthetics, while the mainstream extreme metal scene uses late hardcore songs with metal riffs in random order. No “greats” have emerged, but there are plenty of favorites, and if you read most review sites, you will see praise heaped on the release of the week without any concern for its actual staying power. However, the audience who surged in to take advantage of the new metal-rock hybrids remains large, and therefore there are profits to be made, creating a “metal bubble”: a zombie genre kept afloat by inertia, lacking any real substance, and worst of all, one that blocks any actual innovation by the sheer popularity of imitation.

Current bands are distinguished by being hipster bands. A hipster is someone who has nothing to believe in, so uses things that might be worth believing in as a way of accessorizing and making himself look interesting. Hipsters love bands that no one else listens to, ironic use of instruments or lyrics, and most of all, anything that sounds like nostalgic indie rock but with new exciting combinations of flavors. Hipsters love pirate metal, jazz-metal, post-metal and other variants of the late punk songs with metal riffs in random order that is metalcore. Witness the hipster:

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.

Hipsters also have their own ideology, called “social justice,” which is their way of one-upping you by being better than you on a level that joins morality and politics. It is like the neighbors who, on hearing you went on vacation, inform you that instead of going on vacation they went to some impoverished country to help the poor. It is the people in the office who make a show of giving lavish gifts to charity. It is politicians kissing babies and making speeches on the site of tragedies. In short, hipster is everything wrong with humanity, and its ideology is not even an ideology; like all things hipster, it is a pose designed to convey that the person making it is morally superior, politically more well-informed, socially more empathetic and compassionate, and most of all just more interesting than you. That is hipsterism in a nutshell.

The point is not that their ideology would be wrong, if it were adopted out of belief, because that is beyond the topic of this article. Their ideology is fake like their bad metal bands which created and maintain the metal bubble. You may be a hipster if you only listen to metal bands with theremin because they are different, or if you collect rare kvlt underground tapes that only 42 other people have because they are obscure, or only listen to bands with “socially conscious” (a more antiquated cliché is hard to find) lyrics because they are more righteous. Most people in metal now are either hipsters or the mainstay of metal’s transient audience, which is suburban kids desperate for some way to rebel against their parents that will not get them in actual trouble, like a school shooting or hacking the local newspaper, among other alienated white kid pastimes.

In the meantime, the metal bubble is popping because of a dearth of bands of actual musical importance, which makes metal just like everything else on television an oversold nostalgia item from previous generations foisted on today’s youth because aging once-hip people in media are desperate for a tangible symbol of rebellion that is simultaneously innocuous enough to sell products for their advertisers. Metal itself has become clich&ecaute;. Think of the big name movies: when a character is introduced as rebellious, they trot out the hackneyed symbols of conformity safe rebellion like heavy metal, motorcycles, tattoos and cigarettes. These things no longer threaten any social order and are generally accepted, so they can be used to sell an image. At the same time, the audience recognizes these tropes to signal rebellion, so they are useful when you want your brand of artisanal organic free-trade rooibos tea to stand out from the rest as being “edgy” and “different.” Cliché is a language that advertisers and consumers speak to one another.

Yet the signs appear on the wall. Guns ‘n’ Roses guitarist Slash spoke out on the pop trend in heavy metal:

I think the music business itself sucks. It’s turned into a very corporate, materialistic… I mean, even artists are trying to conform to the record industry now. It used to be the artist was for the artist and there was a conflict of interest between the creative artist and the record company wanting to make a lot of money, and eventually they’d sort of work it out. Because then, they used to develop artists, and now it’s just like Top 40 — everybody’s trying to be Top 40. Even heavy metal bands are trying to be Top 40. So it’s not a big turn-on, like it was for me in the ’60s and ’70s and ’80s where it was exciting and there was a sense of rebellion and whatever…And even if you have a good band — you’re talented musicians and songwriters and whatnot — it’s, like, if you don’t have a Top 40 success on your first single, there you’re done. And in order to get a Top 40 success on your first single, you have to make compromises for your material for the record business itself.

This followed commentary toward the same effect by Kerry King of Slayer and Rob Halford of Judas Priest. Halford made the damning statement that the metal community is essentially spamming itself and blocking the rise of quality bands:

And so this thing about the Internet, it’s great to get your music across quickly, it’s very simple to get your music to the world, but it’s very difficult to break through the clutter, break through all of the noise.

While he blames the internet, much as later underground metal musicians would, the question we must ask ourselves is whether the problem is breaking through the clutter or the clutter itself. When a genre is littered with many bands that sound different but offer nothing musically or artistically — a fancy word for the content of their music, what it expresses emotionally and as commentary on life — then quality will not be recognized because people are accustomed to mediocrity. They will buy what they recognize and literally pass over good bands in favor of more of the same old stuff because it is safer and their friends recognize it. Kerry King chimed in with another damning statement:

We were at a festival in South America a few years ago and we were watching a video feed of the band that was playing onstage. I was watching the screen and I just did not get why this band was popular at all. I pulled [EXODUS/SLAYER guitarist] Gary Holt aside. I pointed at the screen, and asked him, ‘Hey, Gary, would you aspire to be these guys?’ He said, ‘Not at all.’ It was because they were the most boring and lethargic guitar players I had ever seen. I would never want to be these guys. I’m looking at a lot of these bands and it looks like it’s the road crew soundchecking to me. There’s no vibe. There’s nothing that gives you aspirations to be awesome.

This sounds like the doldrums for metal. You cannot be a rebel if you are doing what is safe and what affirms the illusions by which most people live. Heavy metal has always been about smashing a single boundary, which is the line of denial that most people have about reality and from which they flee toward “socially accepted” pleasant illusions in fear of the difficult questions of reality itself, and when it fails to do that it fails to live. Its guitar heroes leave, its innovators go to other genres, and worst of all, its best up-and-coming musicians, writers, artists, producers, editors and photographers stay home or get into jazz. With that in mind, here is the latest installment the podcast from anti-censorship/anti-repression movement Metalgate, which hopes to renovate metal by smashing the denial line and popping every bubble it can:

Organ Dealer – Visceral Infection (2015)


Organ dealer play a brand of metalcore influenced by the sound of those in that genre who call themselves “technical death metal”, but excuse themselves from any responsibility to make complete songs or to make them coherent at all by claiming to be playing grindcore. While at some level there is a reason for this claim, Organ Dealer only fulfills the requirements of a grindcore outfit on the superficial level. That is, if one asked the general public to describe grindcore, Organ Dealer would meet the “requirements”. It is in the details, the realization and what we read in between the lines of music that the deception is identified.

While grindcore does introduce a mixture of frenetic passages and mid-pace groove that do not necessarily have concrete links between them, the emphasis of grindcore has traditionally been on the strength and trance that each section evokes arising from a certain clarity of expression, the modern metal nature of Visceral Infection place the emphasis on the contrast between them. Each individual section is more forgettable, usually lacking a clear image, the emphasis being on the brutality as a whole and their form usually channeling into the next incredibly contrasting section. In the first one is pulled towards each riff, in the latter one is led towards the intersections between riffs. The nature of grindcore is replaced by that of carnival modern metal.

Organ Dealer to Release Visceral Infection on July 14


Frenetic metalcore band Organ Dealer is a five-piece hailing from Montclair, Mendham, and Rockaway, New Jersey. The band has announced a July 14 release date for their full-length debut titled Visceral Infection.


  1. Intro
  2. KPC-Oxa48
  3. No Answer
  4. Piss & Gasoline
  5. The Pear of Anguish
  6. Festering Maze
  7. Anencephaly
  8. Consumed
  9. Black Dolphin
  10. The Creeper
  11. Pyrophillia
  12. Small Talk