Rotting Christ’s name stirred once more controversy in their native country, with the recent cancellation of their live concert in Patras, Greece. According to the band, the organizers and the Greek media, the blame falls on the ‘dark medievalist forces’ of the Orthodox Church and the far-right.
The end of the year for some people is a time where they participate in debauchery and related idiocy as they are convinced that the arbitrary beginning of a calendar year absolves them of past mistakes and gives them the possibility to renew themselves without the burden of accepting reality. Those who don’t hide behind such comforting fallacies accept that this is a day like no other and that no actual changes will occur except for remembering to write 19 instead of 18 when it comes to paperwork. Metal has continued its sad and hilarious explosion to the top of the mainstream while pushing out less and less meaningful art. Rather than go ever end of the year lists as they are just useless and contain mostly salvaged junk with the occasional pearl. Here at DMU we shall analyse new compositional tools we would like to see implemented and which ones should be discarded.
09/02/16 Ft. Lauderdale, FL Culture Room
09/03/16 Tampa, FL The Orpheum
09/04/16 Atlanta, GA The Masquerade
09/05/16 Baltimore, MD Soundstage
09/06/16 New York, NY Gramercy Theatre
09/07/16 Boston, MA Brighton Music Hall
09/08/16 Montreal, QC L’Astral
09/09/16 Toronto, ON The Opera House
09/10/16 Columbus, OH Al Rosa Villa
09/11/16 Chicago, IL Reggie’s
09/12/16 Minneapolis, MN Triple Rock
09/13/16 Kansas City, MO The Riot Room
09/14/16 Denver, CO Marquis Theatre
09/16/16 Vancouver, BC Rickshaw Theatre
09/17/16 Seattle, WA Studio Seven
09/18/16 Portland, OR Bossanova Ballroom
09/19/16 Oakland, CA Metro Opera House
09/20/16 Las Vegas, NV LVCS
09/21/16 Los Angeles, CA Regent Theater
09/22/16 Phoenix, AZ Joe’s Grotto
09/23/16 El Paso, TX Mesa Music Hall
09/24/16 Dallas, TX Gas Monkey Bar & Grill
09/25/16 Austin, TX Dirty Dog Bar
Another album that I briefly wrote about a while back is approaching its official release date. Rituals by Rotting Christ will release on February 12th, 2016, and is still available to preorder from Season of Mist in the meantime. You know how a great deal of established and older bands stick to their stylistic guns, especially now that the crisis of the 1990s is but a dim memory? Rotting Christ is amongst them; they’ve continued their traditional-black-etc fusion ways as hinted at on their earliest albums and established, at the very latest, on Triarchy of the Lost Lovers. If this album fails to be of any value, you’ll at least have Thy Mighty Contract as a fallback.
Rotting Christ’s 12th studio is in the works. Entitled Rituals, it will come out on Feburary 12th, 2016; a single has already been officially released to the internet for streaming. Given the timing, I’m not under the impression that Rotting Christ’s latest upcoming album was directly inspired by Varathron’s most recent efforts, but that’s something to ask the band’s personnel, if at all. Interestingly, the album is currently available for preorder from Season of Mist‘s online store. While I am not familiar with Rotting Christ’s later discography, I haven’t heard much complimentary about it from the DMU types. If they’re to be believed, it doesn’t really measure up to the band’s strong formative work, perhaps even coming off as a pale and overly streamlined imitation of such. Might be better for you to stick to modern Varathron if that’s the case.
Returning from the brutality of a Bolt Thrower show to recollect the events that defined it brings to mind the task of Ernst Junger, depicting the graphic scenes of martial violence and destruction in his soldier’s memoirs, ‘Storm of Steel’. Not merely the sounds of war and chaos, but the philosophy of death is what one has to confront on such a stage, and this sums up the depth of the Bolt Thrower experience. The great elemental gods of Britannia fired the opening salvo of the evening, unleashing a torrential downpour on the troops to be in attendance once conscripted into the dismal but still functional ULU venue, around the University College London site and home of the un-elite Utilitarian philosophy. A single flash of lightning, probably striking the Cenotaph for the war dead a few minutes away in Whitehall, would indicate that this night belonged to only one elite group, and the slowly multiplying hordes as if signalled to the venue by this storm omen, proved that the headliners were in everybody’s iron sights.
In the meantime, some fairly well-known bands would run through comparitively uninteresting sets in order to plug new albums or just an association with Bolt Thrower on this Next Offensive European tour. For the one unknown band, clearly grateful to the Coventry squadron for being able to provide opening infantry support, Ancient Ascendant took to the stage with some confidence and raged through their set infront of the minimal crowd at this time. The sound was not good and the technical setup of the venue’s sonic equipment would be a recurring issue throughout the night, usually leaving bands with an unbalanced sound. Even less impressive was Ancient Ascendant’s music, which was practically educated by the newer schools of Death Metal exclusively, sounding like a more frivolously melodic version of Bloodbath. A lot of generic rhythmic business with some predictably inserted flourishes of lead guitar lines and none of the compositional sense that at the very least ripping-off the old school Death Metal formula would have imbued the songs with by default. Even the next band, The Rotted’s only listenable song was from the older generic Gorerotted project, which is not much less moronic than The Rotted who are really damn retarded in this incarnation, with their stripped down songs consisting of one riff from a later Cryptopsy song played out as blasting Punk music. It’s also quite strange and not recommended to watch old, drugged up men performing breakdowns.
Considered by many as nothing more than a brief distraction, this was soon forgotten as the once powerful entity of Promethean Greek Black Metal took to the stage and the floor swelled with eager hordes. For someone that reveres the older fraction of their catalogue as highly as the Nordic classics, the Rotting Christ set provided both frustrating disappointment but also possibly the biggest surprise of the evening (not the appearance of Diamanda Galas). The transition from ancient Heavy Metal-inflected compositions of blackened mysticism to a boring and cheap form of fast and extreme Rock music with pseudo-cultural embellishments that would make Vangelis either laugh hysterically or summon the wrath of Mars upon Sakis and company, was made quite some time ago when the band sold out to Century Media and although the recent jump to Season of Mist has only marginally improved the quality of their music, the bulk of their songs is blockheaded rhythmic work that wouldn’t sound out of place on a System of a Down joke and disembodied keyboards typical of mainstream Black Metal bands to accompany the minute flickerings of nostalgia that is the signature Rotting Christ melodic style, the same tactic used by fellow Greeks, Septicflesh. Within this disastrous but obviously crowd-pleasing selection of tracks was something quite unexpected given the current direction of the band and their most recent live performances. Almost as though the old spirit of Necromayhem broke free from his sealed confines, the band launched mercilessly into ‘Sign of Evil Existence’, flooding the crowd with a sea of beautiful, extended phrasal work, causing an absolute frenzy and evoking the first old school invocations of the night. Not content with such a brief introduction to arguably the pinnacle of their early discography, ‘Fgmenth, Thy Gift’ continued the magic of ‘Thy Mighty Contract’ with the folky but regal opening riff surging into those magestic, ascendant patterns of guitar. The higher register key of these older songs manipulated the flatness of the sound setup brilliantly, with every note perfectly audible and a memorable contender for song of the entire show.
Benediction were next on stage, an aging group of Death Metal punks fronted by Dave Hunt of Anaal Nathrakh, Mistress and Never Mind the Buzzcocks fame, who nearly talks as much shit on stage as Barney Greenway, including an embarrassing appeasement of some girl’s sob story about a now deceased Benediction fan, thankfully met with a shout of ‘Only death is real’ from the front of the crowd. The set itself was a typically reliable collection of songs spanning most of their discography, better suiting the live environment than on CD, inducing as much violence from the crowd as their primitive, bouncy Death Metal can, like ‘Harmony Corruption’-era Napalm Death meeting ‘Tower of Spite’ by Cerebral Fix. It wasn’t much of a loss to have a guitar cut out during their stint, as the rest of the band seemed to push onwards, building up as much aggression as possible and justifying their placement on the bill, though it was huge relief to hear the end of Benediction at long last, for the lights to dim and the next offensive to commence proper.
Anticipation was immense for the legendary Grindcore/Death Metal ensemble and the battle hordes pushed forward like a scene from Braveheart, rivalling the force of a 90,000 strong audience gravitating towards the celebrity status of Metallica. Faint sounds of approaching war lingered from the amps over the field as Bolt Thrower finally took to the stage and launched straight into the sombre yet mammoth opening riff to ‘IVth Crusade’. The deliberate, sinister pacing of the double bass began to roll through and the crowd imploded into deadly chaos and aggressive force. As bodies began raining from the skies like mortar fire, crushing necks and leaving temporary indents of fallen victims, the atmosphere became thick with the smell of blood, sweat and the disturbing fragrances of shampoo. A large bulk of the set consisted of tracks from the last album but these were all delivered with enough power and rousing, anthemic vigour to blend seamlessly with the more skillful dynamics and evocative melodies of the older songs, from the brilliant rendition of ‘World Eater’ into ‘Cenotaph’ to the unforgettable lead guitars of ‘…For Victory’.
Bolt Thrower commanded the crowd, Karl Willets looked like a war-torn veteran but still yet to be tamed as the ferocity of his vocals didn’t let up for an instant. Jo-Anne Bench is undoubtedly the most menacing female presence in the entire Metal scene, and the poorly balanced sound worked well to render the songs with more bassy fury than can be heard on record. The subtle rhythmic variations of Baz’s guitars on the other hand were not as discernable, but for a seemingly undiscerning crowd, this did nothing to quell the primal violence that tore bones asunder in a ritual of combat replication. The signature riffs were also fairly muted but managed to somehow shine through like the sun between Afghan mountain peaks, and as the band returned for an encore, the perfect choice of songs scorched the stage like a vast napalm attack, with the ominous theme of ‘War’ transforming into ‘Remembrance’ as though the sorrows of Arjuna had been cast aside as he takes to the empty plains of Kurukshetra, seeing the world as it is.
Even as the band exited, the feelings of confrontation and pugilism reigned as brawls ensued and battered humans walked out to count their wounds. The show proved how bands such as Bolt Thrower who retain their integrity, remain possessed by this same eternal process of nature’s evolution and deliver like a well-trained soldier, with precision and consistency will rule for the longest time. We will remember them.