Jim Konya/Sadist from Nunslaughter, 1971-2015

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Much respected and befriended drummer Jim Konya, a/k/a “Sadist,” of Nunslaughter has died. He suffered a series of strokes beginning three weeks ago and was put on life support last week, with the machines deactivated on October 7.

Over the years, Nunslaughter with Konya at the helm has produced a series of speed metal/death metal hybrid records known for their unrelenting energy, gleeful anti-Christianity and creative riffs. His drum work propelled the work forward with a type of combat-like integrity.

We have dimmed the lights at the Dark Legions Archive in tribute to this legendary metalhead. As his obituary reminds us, “He was an avid sports fan, especially of the Pittsburgh Steelers. Jim has many friends all over the world because of his musical tours and love of music. He will be missed by many.”

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Nunslaughter drummer Jim Konya to be removed from life support

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Nunslaughter drummer and vocalist Jim Konya, who once famous ran for a local political office with a quasi-Satanic platform, and fueled Nunslaughter through almost a dozen full-length releases and nearly infinite 7″ EPs, experienced a stroke three weeks ago and recently worsened. He will be taken off life support today, October 7, and is not expected to survive.

Konya, whose output with the band was matched by his fierce loyalty to the underground metal scene, will be remembered by many as a generous and committed persona who along with several others created one of the longest-running and most prolific bands in death metal history.

The Best Underground Metal of 2014

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William Burroughs often wrote about the “edge,” or the liminal threshold between states. The last real edge year for underground metal was 2009 when strong contenders and new voices united to defend extreme metal against the onslaught of imitators making Potemkin village metal from hipster flair and lite-jazz fireworks but underneath it, nothing but disorganized songwriting and an absence of something to express. As the underground has come back with a vengeance, it has begun to displace the imitators because their music simply does not measure up. This has created a backlash as the hipsters defend their territory with guilt, ostentation, pretense and surface-level novelty. On the other hand, the underground has produced some strong contenders. And so we move forward through the past to the future, remembering that what is true is eternal, and trends, novelties, fads, hipsters and other transient moments pass quickly away…

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Blaspherian – Demos (Compilation of Death)

Compilation of Death Records has re-issued the a classic demo and rehearsal from a band of recent vintage but oldschool origins, Blaspherian. Their thunderous death metal sounds like Incantation and Obituary covering Deicide but has a voice of its own and unique perspective. It also carries forward the old school sensibility of building intensity and contrast in a morbid mood that is not self-echoing and redundant. Songwriter Wes Weaver (Imprecation, Infernal Dominion) avoids solos and other adornments to focus on tunneling riffs that are distinctive and create interplay with others in each song to give every song a unique feel within the lexicon of symbol and emotion that death metal addresses. Like the bands that inspire it, Blaspherian aims to create an immersive atmosphere of doom and morbidity in which it can bring forth other emotions in layers, such that the “mixed emotions” feel common to much music is not something achieved at the peak of a song, but is a constant in which the emotions mixed vary like a texture, revealing new combinations under the shifting striations of darkness.

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Blood Urn – …of Gory Sorcery and Death (Terrorghoul)

Death metal of the classic style fascinates this young band who write music much like the early years of death metal but with more of an emphasis on melodic bridging material, avoiding the pitfall of using melody as essentially a production technique and instead causing it to highlight songs that come alive with a ferment of conflicting riffs. Vocals use the old-school method of shadowing riffs and the salad of phrases itself fits together and creates a deepening mood. While on the heavier and slower side of death metal, this demo is varied enough to touch on all areas of the genre, assembling rich textures as a means to develop depth to the emotions in each part of the song. Unlike many newer bands, Blood Urn decided not to follow a single identifiable influence but instead sound like a study of European and American death metal rendered by someone approaching it with a fresh vision.

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Cenotaph – Riding Our Black Oceans (Chaos, re-issue)

A re-issue of this album restores it to its rightful place in the death metal canon. After the immensely powerful Gloomy Reflections of Our Hidden Sorrows, the thunderous Mexican death metal band Cenotaph changed their style to an airier and more intense high-speed melodic death metal sound. Unlike contemporary “melodic death metal” this style embraced the vigor of death metal by expressing it through sequences of tones that added melody without obscuring structure and darker moods, and Cenotaph displayed its customary acumen for songwriting by keeping each track centered around an idea that came forth not only in the whole but in the shape of its riffs. In the years following Sentenced North From Here and At the Gates The Red in the Sky is Ours, many bands attempted this newer style but few made it as vicious and uncompromising as Cenotaph.

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Conquering Dystopia – Conquering Dystopia

Conquering Dystopia creates instrumental mental that hybridizes death metal styles with progressive heavy metal and some of the newer progressive styles like that of At War With Self. The result often sounds a lot like Joe Satriani’s older works in that clear theme is expressed and highly repeated, but varied with other instrumental detours which strengthen it as the song progresses and all the pieces fit together more an in interrupted linear way than the geometries of pure death metal. While this is like most commercial rock indulgently emotional, the underlying music is good and the technique interesting without leaving service to what each song needs, which keeps it not only topical but interesting.

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Dead Congregation – Promulgation of the Fall (Martyrdoom)

Although this band gets mentioned as the foremost in the “Incantclone” series of bands inspired by streaming columnar detuned tremolo underground metal in the style of Incantation, Demoncy and Havohej, Dead Congregation draws influence as well from the subtler structuring of older Immolation in its use of melody to underscore is otherwise a thunderous series of chromatic rhythm riffs needing a center. Although songs vary in completeness throughout the album, generally these storming high-intensity dirges fit together well and produce an encompassing atmosphere which both crushes and awes the listener. If anything, this band could let up on the classic technique and float more of their own aesthetic ideas now that they are established.

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Demilich – 20th Adversary of Emptiness (Svart, re-issue)

Back when death metal was viewed by just about everyone as an incompetent genre of malcontent losers who would go nowhere and who were complaining about our new consumer+hippie paradise, a few bands emerged who saw the emerging genre not as a style but as an artistic voice with unlimited possibilities. One of these, Finland’s Demilich, created an album so circuitous and bizarre that the metal press basically dropped it and ran in fear, as did many fans. For those who discovered it however, Nespithe presented unlimited potential as to how death metal could adopt technicality and yet not be mastered by it and forced into the type of generic jazz-blues-rock theory that served to actually limit what musicians could conceive of and execute. With its twisted passages and seemingly erratic rhythms, Nespithe resembled a strange machine risen from the bowels of earth to conquer humankind. Instead, it inspired generations of fans and musicians to visualize death metal as a broader language than many wanted it to be. This re-issue pairs up older works with a handful of newer songs to make for a complete experience of this distinct voice and its concept.

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Desecresy – Chasmic Transcendence (Xtreem)

Desecresy combine Swedish death metal, doom-death metal and atmospheric influences from black metal to create towerlike scenes of dark moods in collision. With Chasmic Transcendence, the band update the formula with more easily separable rhythms to riffs and use of melodic transitions to intensify the building sense of doom. It builds grinding tension and discharges it in lengthy melodic passages which expand beyond their origins into new landscapes. Add to this a tendency to use lead melodic rhythm guitars over its power chord riffs and this makes for a haunting listen that resembles a descent into the underworld. With this third album, the band shows not only its staying power but the depths of the well of its creativity in not just re-inventing older styles but finding a new combination of them and using that to express a perspective which elaborates upon the basics of the genre and gives them new elegance and power.

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Enthroned – Sovereigns (Agonia)

Famed for their high-speed melodic black metal, Enthroned take the populist approach of middle-period Dimmu Borgir — before it went into its final stage as warmed-over hard rock — and craft it with greater urgency and the instrumental approach of older black metal. The result more resembles the later Bathory albums where heavy metal, proto-black metal and post-Slayer death metal influences merged to create a potent ferment. Sovereigns does not achieve the vast contrasts and epic sense of loss of earlier black metal, but upholds a battle-spirit and pushes it into song with strong melodies that do not lapse into the cloying saccharine world of “feelings” — personal observations based on personal perspective — but instead appeal to emotions, or the shared sense of importance and value to certain things which might be eternal. This album breaks up the formula slightly with slower songs as the album expands, in the style of Hypocrisy Penetralia.

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Entrench – Violent Procreation (War Anthem)

Following in the steps of Merciless, who could be seen as the stylistic ancestor of this band, Entrench craft speed/death metal with melodic underpinnings and a frantic but strident voice which guides riffs much in the way Dio narrated his own songs. To the Merciless formula of adroit ripping riffs concluding in both ambiguity and alignment, Entrench adds a Kreator style of finality to both vocal and guitar phrase, making these songs less emotional but more solidly violent. While speed/death hybridization usually ends badly, here the essence is speed metal riffs played as if by a death metal band in the context of a rhythm more like that of death metal. The result is satisfyingly impact-oriented but for it to take the next step to where Merciless is, it will have to coordinate its melodies and cultivate ambiguity both for it to resolve and preserve to keep the dark sensation produced by the riff-style of death metal, minor key melodies and mentalities outside those of the herd.

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Heresiarch – Wælwulf (EP, Dark Descent)

Attempting to forge a niche for itself in the Incantation/Blasphemy inspired style that has become a de facto underground currency during the past few years, Heresiarch create a muddier and more obscure version of their previous works, focusing less on tunneling riffs and more on simple two-chord riffs introducing songs that expand to greater degrees of structure with the slightest hints of melody. The band, in hoping to take war metal to the next dimension, probably consider their work to be unstudied and arising on impulse, but these songs show a clear pattern of development from the grinding to the structural and as a result, take the listeners with them on a journey of finding beauty in darkness and coherence in chaos. The violent slamming intensity remains but by lessening its consistency the band achieves a greater sense of contrast, like raising a sacred object higher above the marble floor to ensure that when it shatters the pieces are irreducible.

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Kever – Eon of Cycling Death (Dark Descent)

Perhaps one of the most inspiring releases this year, Eon of Cycling Death wears its old school influences in Suffocation and Morbid Angel on its sleeve but without imitating them in pale imprint of their technique without understanding their essence. Instead this band forges on with a kind of fantasy death metal that shows them living an alternative and parallel timeline to these bands, developing the basics they innovated with a voice specific to these individuals regardless of what time they are born into. Percussive riffs give way to an ensemble of death metal styles united by rhythm and space which convincingly outline the ideas of each song and then give them depth through internal dialogue. On top of it, an abrupt and croaking vocal gives new life to a very familiar technique with its guttural but carefully sculpted sonic enunciation.

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Massacra – Enjoy the Violence (Century Media, re-issue)

One of the great classics of death metal, long passed-over for more dramatic acts, gained new life with this re-issue. Massacra created their early music in the style which stretches from Slayer through Morbid Angel and emphasizes fast strumming of rapidly-colliding riffs which emphasize ambiguity and openness over the kind of certainty that works well with more percussive styles. Enjoy the Violence is like a rollercoaster between extremes where all things lead back to the same point, but the experience is changing enough that it is almost unrecognizable as the same. With the remaster, some of the weaker sound from the earlier recording is corrected and bonus tracks are added, giving new life to this under-recognized classic of the genre that was more highly influential among musicians than fans, and took on new life in the bands it influenced.

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Massacra – Final Holocaust (Century Media, re-issue)

This foundational album of death metal by Massacra has been re-issued by Century Media with bonus tracks and a booklet rich in information. That provides a good introduction to this view of the death metal style, which instead of attempting to be “heavy” aimed for shock and awe with fast riffs and convoluted songs that somehow emerged into an almost peaceful calm after chaos and combat. Massacra derive their strength from the ability to write fast-fingered riffs that capture the thrill and terror of being alive into a single moment and use this to make basic clashes within life into a mythology of trying to conquer empty spaces with the will and sensibility of a warrior wandering a dystopian wasteland. While this album was forgotten in the day mostly due to its mids-heavy (in contrast to bass-heavy) production and relative availability through distribution contracts more circuitous than its riffs, it rides again in new form.

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Massacra – Day of the Massacra (Century Media)

Century Media compiled several early Massacra demos into a single disc, paired it with extensive liner notes and pictures, and remastered everything for an insight into the rise of the Massacra sound while it was recognizable as what would emerge on the first two and most influential Massacra albums. These recordings show the band merging its early influences into a style and then finding its own voice within that beast, allowing it to compose distinctive and evocative songs immediately including several pre-album tracks with some duct tape still visible. While this might appeal most to Massacra maniacs, it also serves as a useful introduction to new fans who may appreciate the heavier production and more aggressive primitive approach here as a means of transitioning to the albums that follow, which focused not so much on slamming impact as a kind of sky architecture of riffery.

CD Booklet

Nausea – Condemned to the System (Willowtip)

Straddling the line between grindcore, crust and old-fashioned hardcore — which are inches apart as it is — Nausea return with this recording of older and newer tracks alike. Carefully pared down to incorporate only necessary elements and keep energy high, Condemned to the System demonstrates the simpler style of punk composition with all of the riff power of early grindcore, including several tracks (and pieces thereof) that later made it to the first Terrorizer album, World Downfall. The listener who can forget that heritage however will discover merely a crushing, efficient and streamlined album of enjoyable but hard-hitting punkish music that will not win awards for extremity or technicality, but shows care applied to songwriting so that a listener does not feel lost in a sea of riffs or drone, but can isolate each song in the mind and appreciate its individual attack.

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Nunslaughter – Angelic Dread (Hells Headbangers)

While some may be tempted to categorize Nunslaughter as dinosaurs, the fact remains that this band takes the raw ingredients of power metal, speed metal and most death metal and makes a stripped-down, hardcore-punk style ripping version of this that remains highly listenable even if not particularly distinguishable on a song-to-song basis. Like other collections of many short songs, such as Dead Infection or Carcass, Angelic Dread operates like many small insights into roughly the same idea. Somehow, what this band creates never gets old, in part because they understand their riffs as a language from the same basic source, and in part because like a thrash band their song format carefully fits the particular clash of the two riffs (with a few budget transitions, and sometimes rhythmic variations, Nunslaughter uses two riffs per song on average) and the need of presenting them in the best light. The result is compelling and enjoyable and upholds the best tradition of riffcraft and expressive violence in underground music.

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Oppression – Sociopathie & Gloire (Preposterous Creations)

Merging Oi!-style punk with some enhancements from black metal, tracks are short (2-3 minute) affairs. Melodies are catchy, yet wistful lines grounded in simple guitar and bass riffs, with vocal alternating between manic shrieks and an idiosyncratic, youthful attempt at melodic singing. Using the more linear style composition of punk, as opposed to the riff-stacking song construction used by much of black metal, each song contributes a sense of motion that builds the album up over successive tracks. Production values are what one would expect for this style of music; clear enough to make out each instrument, but raw enough to preserve low-budget ethos. This is a release that is not attempting to invent a new genre, but rather one which seeks to renew genres that had collapsed under their own entropy. The strange aesthetics may be off-putting to some, but if those can be sublimated into the spirit of this album, a refreshingly honest work will open itself for enjoyment.

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Personal Device – Microorganismos del Mal

First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range.

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Ripper – Raising the Corpse (Underground Defenders)

Much like Merciless, Ripper know to invoke a melodic hook with a rhythmic hook and gradually bring a song into unity, at which point they hammer home the infectious chorus until the audience is ready to carve it into their own flesh. While some may point out that little new occurs here stylistically, and many of these riff forms can be traced back to Slayer or Destruction, what Ripper does well is keep this music high-intensity without falling into sameness and to streamline into an effective delivery mechanism that outgrows the confused collision of styles that was the mid to late 1980s. This approach fits within the early speed metal model that formed the basis of great hook-laden German bands like Destruction and Sodom, and this tradition continues with Ripper. Where Ripper succeeds is in removing extraneous material and cutting to the core of its music, eliminating some of the distraction and randomness that blighted later work from the German bands.

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Sorcier Des Glaces – Ritual Of The End (Obscure Abhorrence)

Flowing dark melodic forest black metal band Sorcier des Glaces burst onto the scene as any appreciation for this style of Graveland and Immortal influenced black metal fully waned as the initial loss of momentum in the genre caught up with its inertia. Since that time, the band has continued its path of making naturalistic long-melody black metal with the distinctive wandering tempo and phrasal development that many of the French bands also explored. With Ritual of the End, Sorcier des Glaces present their vision in a more focused style that nonetheless preserves the inconclusive nature of their earlier music, becoming like a vision of the woods at twilight equal parts promise and ambiguity, revealing the continuous nature of life through its inability to achieve finite endpoints. When metal mistakenly went toward faster/more extreme variants of the past, it lost the majestic beauty which inspired imagination as well as aggression, and Sorcier des Glaces return it.

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Varathron – Untrodden Corridors Of Hades (Agonia)

One of the original Greek black metal bands, Varathron returns with higher speed and more dominant melody in a style that approximates what Borknagar and other later black metal bands tried to do, with some nods to music since but fundamentally a sensibility closer to Rotting Christ Thy Mighty Contract. Keeping energy high with frequent changes but return to theme and focus on a melody or progression at the heart of each song, Varathron expand their repertoie and craft an album that speaks enough of a contemporary language to dominate that style with the vocabulary of the older era, invoking both a return to and a continuation of the past. While the influence of the present time makes itself known, it remains under control of the guiding forces behind this band that seek to open the imagination instead of gratify self-image, and as a result more possibility emerges here than in other contemporary works.

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Witchblood – Hail to Lyderhorn (Aurora Australis)

Attempting to uphold the values of classic black metal while introducing to them some of the more recent developments in tradfolk-inspired music, Witchblood combines the catchy attack of Venom with riff technique from mid-90s black metal and adds its own voice, which consists of equal part narrative bardic style and an idiosyncratic ability to make memory-haunting tunes. The result features a range of techniques from the history of metal, including NWOBHM-inspired riffing right alongside streaming tremolo picked melodic riffs, but this band makes it work by keeping focus on an essential melody in each song paired to a vocal rhythm designed to deliver a foot-tapping chorus, as bands like Sodom or Destruction did years ago. The result takes the Venom school of metal, upgrades it with black metal, and restores it to a 1980s delivery that is both clear and dark and then infuses that with the type of ancestral identity and epic sensation of purpose that arises from folk music. Through this, Witchblood creates its own form of metal that shows clear roots in much older traditions.

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Woodtemple – Forgotten Pride (Sacrilege)

Showing more of an influence from Following the Voice of Blood era Graveland, Woodtemple return with a more focused version of their flowing black metal. In the past, the music more resembled flowing hills in a landscape of vast breadth, but now greater internal contrast makes what is portrayed closer to a mountain range with ragged crags over deep valleys. The addition of floating female vocals and gentle keyboards allow the band to put more aggression into guitars and bass, keeping vocals semi-backgrounded which produces the effect of reducing the “human” feel to the music. As a result, songs come together with more focus, making this the clearest statement from Woodtemple yet made. Like most metal in this style, Forgotten Pride creates an effect of distance from the human world, isolation and a focus on the larger picture through a lens of large leaps in time, but now creates another hypnotic effect in a distancing from humanity itself. This band, while not a Graveland side project, features Graveland composer Rob Darken on bass.

Album of the Year 2014

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Sammath – Godless Arrogance (Hammerheart)

Godless Arrogance features nearly constant high-intensity rhythmic riffing and finally has a production to match which emphasizes internal harmony but projects vocals and guitars to the forefront, creating an enveloping wall of sound. Drumming is violent martial battery without the happy kickbeat tendencies of overly rock-trained drummer; percussion here is more like punk, hard-driving intensity to channel the guitars, which alternate between abrupt chromatic confrontation in the Demoncy style to gentle unfolding melodies much like were found on Strijd. Bass folds into the guitar, and vocals are the high-volume bluster that reduces distorted vocals to a sound like a whisper spoken close to a microphone in high wind. The result is incessant and unrelenting but also has an inner life of melody that gives it depth and allows it to manipulate riff context like a death metal band while evoking ambient atmosphere in the best tradition of black metal. For resurrecting the black metal spirit of great beauty hidden within massive aggression and alienation, Godless Arrogance deserves to be seen as the best album of 2014.

Related:

Nunslaughter – Angelic Dread

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This band have been around for over 400 years and have made the same album over 75 times, but each time it is good for a simple reason: this band know what they are aiming for and carefully edit their songs to make sure all parts fit together into a smooth musical experience. While it is tempting to categorize Nunslaughter as death metal, they are in fact speed metal, as most of these riffs come straight from the late-1980s fully-developed speed metal that incorporated advances by Slayer, Exodus, Anthrax and others into the Metallica standard.

Although Nunslaughter first came to the US on the Mayflower many years before Metallica existed, it is believed that Nunslaughter developed this style on its own and may have in fact invented it before the band was formed during the final days of the Roman Empire. While some may be tempted to categorize Nunslaughter as dinosaurs, the fact remains that this band takes the raw ingredients of power metal, speed metal and most death metal and makes a stripped-down, hardcore-punk style ripping version of this that remains highly listenable even if not particularly distinguishable on a song-to-song basis. Like other collections of many short songs, such as Dead Infection or Carcass, Angelic Dread operates like many small insights into roughly the same idea.

When paleontologists recently unearthed a complete Archaeopteryx fossil, they found early Nunslaughter recordings beneath it. Somehow, what this band creates never gets old, in part because they understand their riffs as a language from the same basic source, and in part because like a thrash band their song format carefully fits the particular clash of the two riffs (with a few budget transitions, and sometimes rhythmic variations, Nunslaughter uses two riffs per song on average) and the need of presenting them in the best light. The result is compelling and enjoyable and upholds the best tradition of riffcraft and expressive violence in underground music.

Nunslaughter – The Devils Congeries Vol. 1 release date set

nunslaughter-the_devils_congeries_vol_1Grinding midwestern primitive catchy death metal band Nunslaughter will release The Devils Congeries Vol. 1 on July 23, 2013, on Hells Headbangers record label. This 2-CD set is part of a series of releases which will attempt to compile every single short-length Nunslaughter vinyl release from the late 90s and early 2000s with their Killed by the Cross early 7″ as well.

The second disc contains live versions of many of the same songs. An elaborate booklet contains artwork from each EP and other background information. While this CD set seems designed for collectors, it’s probably a great series like the Relapse Underground series from the late 1990s which can be both introduction and archive.

For those who enjoy the humorous, ribald, blasphemous and rhythmically infectious style of primitive death metal that Nunslaughter have produced for decades, The Devils Congeries Vol. 1 should be a delight of chaotic metal thrashing noise.

Disc 1 (studio)
1. I.N.R.I
2. Power of Darkness
3. Sacrifice
4. Emperor in Hell
5. Demons Gate
6. Bring me the Head of God
7. If the Dead Could Speak
8. Devil Metal
9. Black Beast
10. Church Bizarre
11. Midnight Mass
12. Resurrection
13. It is I
14. Poisoned Priest
15. Fire
16. Obsessed with the Visions of a Satanic Priest
17. Atheist Ways
18. The Fucking Witch
19. She Lives by Night
20. NunSlaughter
21. I Am Death
22. NunSlaughter
23. Hells Unholy Fire
24. Killed by the Cross
25. Burn in Hell
26. Hells Unholy Fire
27. Death by the Dead
28. Killed by the Cross
29. I Am Death

Disc 2 (live)
1. Face of Evil
2. Emperor in Hell
3. Dead Plague
4. Midnight Mass
5. Killed by the Cross
6. I.N.R.I
7. Fire
8. Power of Darkness
9. Blood for Blood
10. The Fucking Witch
11. I am Death
12. Death by the Dead
13. It is I
14. Altar of the Dead
15. Atheist Ways
16. Reign in Blood
17. In the Graveyard
18. Obsessed with the Visions of a Satanic Priest
19. Burn in Hell
20. Burning Away
21. NunSlaughter
22. Satanic
23. Black Horn of the Ram
24. Piranha
25. Hellchild
26. Ritual of Darkness
27. Devil Metal
28. Church Bizarre
29. Poisoned Priest

The Best Metal of 2011

I’ve just completed reading the 2011 “best of” lists from a number of popular websites. The results are predictably dismal. Are these people incompetent or just deaf?

These lists tend to favor the nu-style of metal, which is to say a mixture of indie rock, post hardcore, shoegaze, emo, alternative rock and popular metal influences.

This new style is especially noisome when disguised as “underground metal” (Krallice) or letting its alt-rock roots hang out (Boris). Since this stuff is not metal at all, but rather a sad old product dressed up like some “new” version of metal, it appeals exclusively to over-educated idiots, and so these pathetic reviewers throw in some “old school” metal, but they invariably pick the one-note derivative ripoffs that ape the past but never come close to its attention span or clarity.

To save you from the fools and their delusion vision of music, we present this year’s list of especially violent music because the metal audience of today needs to experience metal of actual integrity and power, not pretenders of either commercial or faux underground types.

Esoteric – Paragon of Dissonance

Minor key dirge pace lamentation defines this funeral doom album on which Esoteric discover a new exhaustion that enables them to winnow their approach. At the cadence of a nocturnal mausoleum tour, the band alternate between spacious chord progressions with internal harmony, and grinding chromatic intervals. Chords collide and abrade one another slowly, letting distortion hang over the listener like curtains of lead, and then a second guitar fills the space with gentle sweeps to bring in a sense of melody. Semi-circular song structures take frequent detours, providing the most listenable and organized album from this band.

Gridlink – Orphan

Napalm Death deconstructed music by transcending scale, key, tempo and even intelligibility. What cultural purists of the 1950s said about rock ‘n’ roll came true in Scum, but with Brutal Truth grindcore shifted from deconstruction to a postmodern imitation of information overload. Gridlink picks up this mantle by throwing many different influences together into a high-speed stream of sound that mocks modern life by flinging at us an extensive lexicon of riffery in minute-long songs that never relent from their sprint. The ensuing rush holds together because these diverse riffs are variations on a not-immediately-visible common thread, delivering a cryptic but satisfying listening experience.

Death Strike – Fuckin’ Death

For the past 40 years musicians have sought the elusive metal/punk hybrid, but few have come close to the power of Paul Speckmann’s series of bands (Master, Death Strike and Abomination). Merging angry hardcore with streetwise heavy metal, these bands created simple songs with energetic riffs that avoided the rock cliches for the day to become a form of resistance music directed at modern society. This re-issue shows the songwriter at his best. Like punk, these songs construct themselves around simple riffs of a constant rhythm, but like metal the riffs fit together to drive tempo and structural changes. The result is plain-spoken but infectious and captures the spirit of metal in an instant of screaming anger.

Cianide – Gods of Death

Having contributed fundamentals of the doom-death genre, Cianide return with a late career album that shows them casting aside expectations to make the metal they enjoy, which is a cross between Hellhammer and Motorhead that thunders through the skull like an avalanche. They keep their riffs bold and simple so the resonating repetition can change over the course of each song as transitions change the nature of each song. Unlike most old school revivals, this album comprises changing moods that are startingly “mature” in that they are not polarized anger but moral ambiguity and relish for the morbid and aggressive. By escaping the self-conscious nature of most retroactive metal, Cianide land a slab of explosive power.

Deceased – Surreal Overdose

People want speed metal back and Deceased have listened. They replaced death vocals with a hoarse shout and upped the pace but otherwise this album comes straight from the days of Metallica and Rigor Mortis. Riffcraft shows familiarity with forty years of metal but for every couple of driving riffs, Deceased have thrown in something sweet like the candied fruit in a fruitcake: melodic interludes, doomy detours and passages of mixed emotion wrought in adroit lead guitar. If they want to take it to the next level, they can slow it down like Doomstone and make better use of dynamics, but as it is, this album is both more musical and more powerful than most of contemporary metal.

Heresiarch – Hammer of Intransigence

If you crossed an old school death metal band like Morpheus Descends with an energetic blasting terror like Angelcorpse, you might have something like Heresiarch. Chromatic riffs hammer you while war metal drumming races to keep up. Each song stays focused on a throbbingly catchy rhythm which it counterpoints with oppositional textures. Like a constant counterattack, this album is as primitive and amusical as possible, verging on the relativity that defined free jazz and noise. Rhythmic hooks and a pounding intensity make this EP a compelling effort from a newer band.

Morbus 666 – Mortuus Cultus

Going back to the roots of black metal, this album attempts to unify the melodic sound with the feral atavism of rhythmic violence that defined the birth of the genre. Showing familiarity with the wide range of melodic black metal riffs from the past, Morbus 666 nevertheless veer away from the noodly “Iron Maiden” style riffs for the kind of austere rigid blasting that early Gorgoroth and Impaled Nazarene made fly. Vocals vary from rasps, to shouts and Attila Csihar-inspired operatic singing with possible inspirations from Benedictine chants. Nothing too complex occurs here but it organizes itself around a singular intent, giving it a power most music lacks.

Nunslaughter – Demoslaughter

This two-disc retrospective reviews the career of this immensely prolific and influential band. This is primitive, rhythmic music that barely touches on concepts of key or harmony. Nonetheless, it uses vocal rhythm and riff to create strong themes that are distinct between each of the many songs from this band. If you like shades of grey in your riffcraft and emotions in the range of terror and despair, this highly creative band offer what are like horror movie soundtracks distilled to the barest of elements and infused with a rage for order that no human civilization can tame.

Ungod – Cloaked in Eternal Darkness

Back in the 1990s Ungod crafted primitive black metal from elementary guitar riffs and catchy choruses. Twenty years later and they return to do exactly the same thing. While guitar playing has improved, using more awareness of harmony and some influences from other metal subgenres, the basics remain unchanged. These songs are like the whispers of a devil who knows the simple self-referential phrases will stay in your mind and corrupt it. Songs emerge from a basic verse-chorus idea to mutate and discover new territory before returning to form, packing a lot of complexity into what seems like a basic form. The result is compelling.

Apocalypse Command – Damnation Scythes of Invincible Abomination

The approach of this high-energy outfit may be familiar to Angelcorpse fans since with songwriter Gene Palublicki is a founding member. If you combined early Bathory and early Slayer, you might have this constant stream of fluid riffs strummed at humingbird pace over drums which clatter to catch up. Songs charge through several interludes on top of the a circular structure of paired riffs, creating a discourse that is overwhelming by sheer energy and singular purpose. If you found yourself wishing that Fallen Christ would make a new album, and stretch out those hard-hitting riffs into pure ripping rhythm textures, then this will appeal.

Blotted Science – The Animation of Entomology

Despite the recent influence of faux progressive and technical death metal in the form of warmed over post-hardcore, Blotted Science start with later King Crimson-styled musically literate rock and add to it the ability to weave seeminly unrelated riffs into a narrative that made death metal great. Like Jarzombek’s other projects, Blotted Science use counterpoint and diatonic melodies to create a broad spectrum of emotions that transition through the course of each song. Aesthetically, the band eschew vocals and like to have a “kitchen sink” approach, but underlying that seeming chaos is strong technique. As they do not forget the metal soul in doing so, this band remains a favorite for those who seek additional dimensions of musicality in their metal.

Bahimiron – Rebel Hymns of Left-Handed Terror

After starting out as a band attempting to make black metal both feral and melodic in the style of Gorgoroth or Zyklon-B, Bahimiron detoured through a series of new sounds — swamp metal, raw and fast war metal, and chaotic rising of the Id — before finding their voice again with this most recent album. These songs are composed of only a few riffs, some variations of each other, but each has a topic idea that it expresses fully, giving this album a pleasant sense of being whole. Despite having a rushed second half that holds together less palpably, this album possesses songs that have a sense of being about something, even if an undefinable emotion. The result combines technique from the different eras of this band into a hard-hitting, ripping package.

Vallenfyre – A Fragile King

Using songwriting techniques from melodic doom metal, this band up the tempo and make a Swedish-style old school death metal band. Crude-hewn riffs are boxy and sparse but capture the death metal style of phrasal composition with a tantalizing melody buried within and emerging through hints, creating powerful mood pieces. While the riff tropes are simpler and fewer riffs are used than in proper death metal, if you view this album as sped-up doom metal it becomes a new experiment in mood music using old school death metal as a tapestry. It is more interesting than the death metal revivals which use nothing but disorganized rhythm riffs, and at times refreshingly beautiful.

Cruciamentum – Engulfed in Desolation

Working in the style of continuous long-phrase old school death metal like early Incantation, this newer band craft riffs of great potential energy and for the most part triumph into making them into onrushing apocalyptic songs. If they want to make it to the next level, they will drop some vestiges of pre-death metal genres — to be supreme in this form of music one must sound inhuman, arch, abstract and disinterested in petty human concerns like foot-tapping rhythms — but at present, the band create a reality distortion field that allows the listener to see past the ruined industrial horizon into the dark forces gathering in the future. Ominous, this release thrives on powerful riffcraft and vocals that sound like occult rage shouted from the depths of a funeral shaft, and portends great things from this UK band.

Rudra – Brahmavidya: Immortal I

Unlike most underground bands, Rudra embrace a highly musical approach as exemplified by their construction of riffs with a melodic basis to their structure yet without the surface element of “melodic” caused by overuse of fast strum and certain repetitive intervals on the higher strings. Over the course of songs, simple riffs develop into themes which then subdivide and evolve in linear progressions within the overall cycle of each song. Vocals are higher-pitched like black metal, but riffing is reminiscent of Demigod as fused with Afflicted’s first album. On the whole, this is an impressive work of music that includes some influences from progressive alternative rock within its death metal but never loses its direction and perhaps as a result makes more interesting music than all the “top ten” lists of commercial sites combined.

Abhor – Ab Luna Lucenti, Ab Noctua Protecti

This Italian band combines the open-string drone of Graveland Following the Voice of Blood with a seemingly horror-influenced, frequently melodic older black metal style. Vocals follow the Graveland model but the band alternates this homage with melodic riffs from other areas of melodic metal. As if forecasting a future for black metal, songs specialize in the transition of moods, suspending the listener in the midst of a dreamlike trance state based on more fluid harmonic motion. While not unique in style, this band makes up for it in spirit.

Primordial – Redemption at the Puritan’s Hand

Working in a hybrid between metal and celtic rock, Primordial craft a sound that is not unlike Iron Maiden using slower and more doom-metal style chord progressions for its choruses. Over this, a man bellows and then curves his straight enunciation into singing. This music is thoughtfully not noodly, and while repetitive, gains intensity from the building of a mood through a trope, and knows when to break the verse-chorus with profoundly musical variation. This is what U2 should have been: an emotional appeal to the common sense of land, heritage and history as expressed through dark songs which allude to rather than reveal their soul, which is a maudlin determination to resurrect the energy of creative destruction in all humans.

Beherit – At the Devil’s Studio 1990

For years, Beherit’s first “album” — a collection of noisy demos pressed onto CD by the label — have been a source of contention. Many love their devil-may-care chaotic burst of raw enthusiasm and dark, Blasphemy- and Sarcofago-inspired morbid rage, but others point to later material by the band and show a discontinuity. However, through their career Beherit have shown a fondness for noise, ambience, ambient noise, and highly structured experiences that like Wagnerian mini-operas walk us through a transition of realizations. At the Devil’s Studio 1990 shows us all of these influences in nascent birth from the noise into a more austere, deliberate and subversive vision of evil. This album gives these songs new life and black metal new dark energy.

Sorcier des Glaces – The Puressence of Primeval Forests

This unabashedly sentimental melodic assault creates a melancholic beauty through its two opposition parts, which are dark minor key wanderings and a counterpart in soaring powerful melodies that expand through variation on theme. The result is like Summoning a transition state from black metal in which the verse-chorus grouping has been replaced by a sense of unravelling or a story being told. While this is more polished than early Norsk black metal, it preserves that intensity with some of the lush melodic development of the Greek and French varieties integrated for a new sensation of possibility.

Obsequiae – Suspended in the Brume of Eos

Fortunately, this release replaces two odious variants of contemporary “black metal.” First is the faux progressive style which insists that a series of fast riffs with offtime picking of notes from “unexpected” chord shapes somehow constitutes interesting music. The second is a tendency to milk any boring three-note melody into “folk music” by playing it without distortion while beating on an ox-skin. Obsequia belt out a Celtic music hybrid not unlike what Celtic revivalists did in the 1970s by combining their music with jazz fusion and progressive rock. The songs sound very similar and by their focus on depth of musicality, often obscure the direction of melodic development or song structure, but are technically adept and offer a better vision of Celtic black metal than most of what has come before.

Amebix – Sonic Mass

In their return after two decades of absence, Amebix create a hybrid of their original crustcore, speed metal and shoegaze. If you can imagine Killing Joke, Prong and My Bloody Valentine in some kind of bizarre collision with UK pop, you will be able to envision the style of this album, which varies quite a bit as it tends to be ad hoc adapted in order to express what each song calls for. The hidden influence seems to be an influence as in early 1980s music on making songs that correspond to a visual idea (for an MTV video), much like the ancient Greeks combined poetry, music and theatre. This album wisely does not try to re-live the past. Instead, it gives us tuneful music that can compete with the best from the slick mega-media bands, and replace their quasi-truths with a more insightful vision of reality.

War Master – Pyramid of the Necropolis

The new style of old school death metal that War Master brings to the table wears its influences on its sleeve, from the expected Bolt Thrower influence to other notables like Obituary and Suffocation. The resulting fusion is a thunder of bassy power chords piled on each other in a series of inventive riffs, with song structure following along as best it can. Like a good puzzle or maze, the passages make sense when they connect but not before, and War Master avoid riff salad by judiciously using repetition of several main themes per song, some conforming to verse-chorus and some more abstruse in nature. Purists will appreciate the low end open-throated growl and the warlike percussion, as well as the range of tempi from doom-death to the more energetic grinding of later death metal. The end result is low-tech but powerful and brings a new language to the ancient art of old school death metal composition.

Blaspherian – Infernal Warriors of Death

Among those who still yearn for the epic power of old school death metal, Blaspherian deliver a satisfying cavernous descent into the dark netherlands of the subconscious. Drawing from older Incantation, Deicide and songwriter Wes Weaver’s previous efforts in Imprecation, Blaspherian sculpt songs out of a few chords twisted into protean riffs like bent wire, stringing it together with a sense of inexorable rhythm. Over this roars an unrelenting guttural growl and the decimating battery of militant percussion. No guitar solos mar the insurgent tunnel of destructive sound, but through its internal consistency it creates and then selectively textures a mood, creating a constantly changing experience that like the winding passages of a subterranean fortress leads through confusion to clarity.

Sadistic Metal Reviews 11-19-11

Vallenfyre – Desecration

If you can imagine a cross between newer Bolt Thrower, old Paradise Lost and recent Fleshcrawl, you would have a good basis for the rock from which Vallenfyre carve their death metal hybrid. They use the Swedish buzzsaw guitars and the kind of melodic hooks that would make Watain proud in that these riffs are simple and hard to get out of your head, but then use a layered style of riff and response that comes straight from old Paradise Lost, with fewer of the heavy metal touches. If this EP gets its pop influence from anywhere, it would be Brit electro. The riffs are reasonable, and while sparse in the longer song constructions, the band’s habit of treating them as phrases and thus giving them multiple endpoints creates a sombre and contemplative atmosphere. Looking forward to seeing what the full length will bring.

Pestilence – Doctrine

Attempting to keep up with the times, Pestilence make a Meshuggah-style version of a deathcore album and add in their trademark ecclectic tone-twisting jazz leads. As if thinking that fans now must be blockheads to like such music, Pestilence deliberately dumb down the music with lots of chanting verses and repetitive, ultra-simple riffs based on old heavy metal tonal patterns. They vary these up with breakdowns and interludes, using abundant percussive strumming to shake two chords into forty seconds of constant texture variation. This is well-executed and unlike their previous album, does not feel off-the-cuff; attention has been paid to making these songs flow well and stay together. However, like most djent and textural music, it’s almost binary and thus is exhausting from a mental perspective. If you can imagine Celtic Frost Monotheist combined with Meshuggah’s None and Coroner’s Grin, you have a good idea of what Pestilence is doing these days. As an improvement over the past, Doctrine gives me hope, but I still think these guys are best when making complex, twisted, ingenious old school death metal.

Antidote – Thou Shalt Not Kill

NYHC came in on the punk scale halfway to thrash, being very much based in the more extreme school of UK hardcore. This album of short, straight-up, anthemic songs belts out a paean to working class existence in New York by combining the catchy choruses of punk with the fast, nearly technical riffs of later UKHC. Vocals are eerily similar to what Kurt Brecht did in the same year with DRI, a youthful voice shouting itself breathless and yet managing to capture cadence and through it, the hook of the chorus. Guitars are minimal but pick more challenging rhythms in order to underscore the chorus and its lead-up in the fast ranted verse lyrics, giving these songs like early speed metal an insanely infectious quality that borders on frustration with how the message bores into the brain. This is almost like the Circle Jerks sped up 4x with the middle class faux angst translated into rage at the three-block area surrounding the squat.

Atman – Like Pure Unawaited Magic

This CD would stand a chance if it weren’t so goofy. The intrusion of operatic vocals at random times with maximum pretense and minimal musicality pretty much kills its chances of ever having people want to listen to it, but underneath it are good, simple minor key melodic riffs like early Abigor or Emperor simplified. Huge parts of this CD feel pasted together, as if the artist kept creating as many different elements as possible to extend a song, and many of the melodic riffs are too similar in structure for this to really take the top shelf, but it has moments that match the intensity described by the title.

Evil – Pagan Fury 1994-1996

Probably the only band that can compete with Ildjarn for turning the obvious into the profound, Evil are high-speed pneumatic drums with a languid bass following searingly distorted, simple riffs that rise into sublime three-note melodies. While this is well executed, this is all they have to offer; if you like Ildjarn and Blood, you’ll like this because it sounds like a cross between the two. Songs generally feature two grindcore riffs and a melodic black metal riff to unite them, which produces a sense of high energy potential flowing into a melancholic panorama that encompasses the moods previous.

Aosoth – III

The only underground trend to counter metalcore can probably be blamed on Thorns and the emergence of the 7-string guitar. In this style, open chords or oddball movable chords are strummed in quick sweeps to produce a wash of sonic possibility; this can give great power to a quality song, like the “sonic cathedral” approach of some classical composers, but with a directionless series of riffs it falls apart like later Mayhem. Aosoth strides the line, sometimes sounding like Portal or Molested in the harmonic possibilities unveiled, and other times sounding like an avantgarde acoustic band that somehow got the wrong guitar rig. The tempos and riff styles are compelling but songs often do not pick a direction other than restating their theme, which leaves us stranded in the sonic wash between what could be and what is.

Denial Fiend – They Rise

These guys have a unique intepretation of old school death metal. Imagine proto-death like early Master, but instead of faster tremolo riffs, the kind of muted strum chugging that distinguished bands like Exodus predominates during verses. A Misfits influence rides the vocals and the hookish rhythms of the choruses, but otherwise this is 100% straight-ahead metal. Like many of the caveman bands from the past, no silly punches are pulled here and it is refreshingly free of ornamentation and other artifice for the sake of disguising its basic simplicity. Percussion keeps energy high by creating a forward momentum that catches itself in tidy pockets that drive it forward like tempo changes; vocals are a hoarse yell with the riot delivery of Demolition Hammer or Exhorder.

Nunslaughter – Demoslaughter

This primitive, rhythmic metal is hard to justify as anything but five-note modal stripes bent into song through riffcraft, but for the old school primal style this band is at the top of the curve. Vocal rhythms and the ratio of riff rhythms used in transition resemble Deicide; some riff patterns approximate early Death; many of the more sing-song riffs evoke early Mayhem. Nunslaughter on some level understand the “soul” of death metal, in which a riff puzzle constantly expands in context like a winding journey that descends into profundity. Nunslaughter, despite having many holdover elements from early punk and radio-friendly heavy metal, understand this essence of underground metal. The result is primitive, at types awkward, but represents a surge of energy toward expressing an idea of such magnitude that among the 56 tracks offered here, much as on other micro-omnibus albums like Impulse to Destroy, Expositions Prophylaxe and From Enslavement to Obliteration, a complete vision of humanity and where it stands regarding its ultimate purpose is expressed.

Shrinebuilder – Shrinebuilder

To kill a darling, raise the knife above your head; there is no point pretending contrition or doubt. While sludge and stoner doom metal are the darlings of the industry at this point because they appeal to legions of new fans bleeding over from rock, they are not the heir to the throne of metal. In fact, they are taking it in the opposite direction back down the evolutionary ladder, a man devolving to chimpanzee to mouse. Since the inception of metal, industry has sought in vain for a way to adopt the rebellious image of metal and slap it on music basically indistinguishable from other rock; this way, they maximize profit by using interchangeable parts for the music and handling the “genre” through studio fakery. This album could easily be a U2 album. It is three-riff rock music, with one each for verse and chorus and one for the bridge or jam interlude, and as a result it relies heavily on repetition and basic harmony through which a “melody” (fragment of melodic scale + pentatonics) rambles. If you can imagine early Crowbar and later Eyehategod mixed up with some Sonic Youth or Nirvana, that roughly describes what you get here. It probably helps to be stoned so you have a short memory and cannot notice how repetitive this album is.

NYC Mayhem – Discography

It is not difficult to see why metalheads loved this band. Like Agnostic Front and the Cro-Mags, these guys are a hardcore band that shied away from the simplified rock songs of most punk bands and instead went for metal-like riffs, thrash tempos and a brutally post-human view of the world. Riffs are phrasal and have actual shape, unlike hardcore riffs which were boxier; there are plenty of moments that resemble Slayer or Destruction. These alternate with punk-style riffs returning to a single chord for stability instead of remaining open-ended or slammingly conclusive. Vocals fit the hardcore style of a masculine shout without the bassy tone of later voices. Song composition is closest to early COC, with an effort made to distinguish each song by use of varied structure and introductions, interludes and unique changes in tempo. They write great riffs, but never manage to keep momentum in each song, which causes a process of acceleration followed by breakdown that is somewhat exhausting to the listener. The decrepit garage production merges sounds together into an organic whole, showing us a window into history with grit on the edges.

Calciferum – The Beast Inside

Inside of this old school styled album lurks a new school sensibility: a random collection of riffs, vocals taking over from guitars as the primary instrument, bouncy rhythms and a theatrical sensibility imposed on top of the music not emanating from it. It is tempting to like this, but it’s too linear and too random at the same time. Underneath the slamming exterior is a good sense of binary pop, but its vocabulary is limited, which creates the effect of a listener thrown into a washing machine on spin cycle, ratcheted back and forth by a relentless and circular process.

Anu – Opus Funaerum

The intro to this album captures a vision of chaos rising from order that exists only in one other art form, which is structured noise music from Japan. What follows is pleasant black metal that sounds like Kvist and Gorgoroth had a baby. The band tend to make good use of the harmonic minor scale to achieve a lasting atmosphere, and write some pleasant basic riffs. The problem is that atmosphere is all that is offered here, and it is very 1994ish, right before black metal jumped the shark, meaning that there’s no exceptional direction. If you want competent and pleasant music that does not distinguish itself particularly, this will be OK, but this musical elitist requires more.

Agalloch – Marrow of the Spirit

Do you remember positive jazz and lite rock from the 1980s? Hopefully not: it was the crossover between Muzak, or elevator music, and the new jazz fusion and adult rock categories. Industry needed music that it could play in communal areas and not offend anyone, so they took the soul-searching out of jazz and rock and came up with two super-consonant, super-upbeat and uplifting formats that they then used to beat the heart out of us. Post-rock is the new positive jazz (Kenny G) and lite rock (Michael Bolton). However, in order to cater to a new generation of self-pity, the lords of industry have made this both minor-key and self-reflexively super-balanced, so it’s like uplifting music that tells you it’s not your fault and watches Napoleon Dynamite with you. It is impossible to distinguish post-rock from the audience who listen to it, who are indie-rockers and hipsters, or those who have found no meaning in life so they focus on themselves, and accessorizing their personalities with beaucoup “ironic,” “unique” and “different” things. Industry encourages them because they are perfect consumers who will quietly work as web designers their whole lives, stay single and keep buying entertainment products, and despite all their grumbling are only too happy to report to work. Agalloch make an interesting meshing of textures and styles in Marrow of the Spirit, and there are no musical grounds for criticism. Artistically, for all its attempts to be different, the underlying songwriting is more like regular indie rock music and so while it’s “unusual” for metal, it’s actually the usual thing when you look at music as a whole. Summary: Agalloch make great rock music and should drop the metal pretense and just get bigger than Dave Matthews, because their current style panders to insincere people and those so clueless they think novelty in style is more important than clarity and meaning in content.

Triptykon – Eparistera Daimones

Tom G. Warrior, although an artist of great talent, gets sidetracked into trying to “stay current.” This happened to Celtic Frost in the late 1980s, and it now happens with Triptykon, which tries hard to be modern metal with touches of Rammstein and Marilyn Manson yet keeping the underground honest morbidity. This impossible task results in Triptykon dumbing down their music through repetition and really obvious, repetitive choruses that rant out memes in raw form and pound them into our heads. Songwriting is good although directionless because all else has been shoved aside to keep those “catchy” ranty choruses, and some interesting melodies come of this, but I don’t want to listen to it. It’s annoying and reduces consciousness to a background hum because it’s so loud and repetitive. What we loved from Celtic Frost was the atmosphere; Triptykon is the anti-atmosphere. It’s too bad because if Tom G. looked honestly in the mirror, he’d see that he is loved for the quality and content of his music and not its style, so he should get more honest with the style even if it seems 20-30 years out of date. Who cares what the trends are? In three years they’ll be gone along with this album, and in 30 years kids will still be learning to play “Triumph of Death.”

Abraxas – Damnation

Nothing wrong with this band — standard late-model death metal, like Vader crossed with Devourment. Not bad but nothing particularly exciting. Overuse of “intensity” makes this monolithic, like reading a page of zeroes. Like the band named Damnation, it hammers too hard to achieve any kind of variation in which a story or drama could play out, and so the result is like Napalm Death’s “Scum” if the songs had been five minutes instead of ten seconds, and rigid instead of sloppy. Nothing is done wrong here but the whole does not add up to much of enduring power.

Decrepit Birth – Polarity

Someone crossed Cynic’s Focus, Death’s Human and modern technical death metal to get a fruity sounding progressive band embedded in the midst of blast and breakdown. Individual parts are great, the whole is hilarious and absurdly unclear on any kind of direction. In fact, it reminds me of modern society: the salesperson goes through the list and ticks off all that is required, and then it gets passed to the factory floor, where they bolt everything together and hope it flies. The result here is really goofy and entirely misses the grandeur and imagination of metal. Flee.

Bahimiron – Rebel Hymns of Left-Handed Terror

Against all odds, this band have reinvented themselves with a new sound. This new styling works because the band have both stripped-down what they do and focused on making every bit count. The songwriting sounds hasty but as if a very deliberate focus were placed behind each piece, so that the band knew what they needed and fought until they found it, even if it went rather quickly. Combining the Demoncy “Joined in Darkness” cum Profanatica “Profanatitas de Domonatia” sound of fuzzy, foreboding, inverse-march riffs with the remnants of the original Gorgoroth-inspired sound that propelled this band into focus, albeit with bits of the Southern style (Down, Eyehategod) and classic death metal mixed in, the new Bahimiron makes fast songs in the style of hardcore punk but gives them a uniquely metal vibe. They aim at being incomplete; the songs themselves are complete, but the emotional concept they express is one of partial completion. Plenty of speed and power in these riffs; no particularly groundbreaking variations occur, and the noisy lead guitar (Watain “Rabid Death’s Curse” style) creates no enduring atmosphere. Even the EP itself tapers off, bringing in a few speed metal riffs and even modern metal influences toward the end (blame Krieg’s latest) but the riffs wrap up in hard-hitting songs that are not scattered random thoughts and as a result, create a memorable listen. Glad to see these guys returning on a high note.