Sadistic Metal Reviews 02-02-15

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We all seek a claim that our lives are worth living. For some, this comes from money; for others, being right or at least being cool. In order to achieve either or both, one must emit product, and far too often this product tries to flatter and pander to its audience rather than grow some balls and make a point. You could write an album about cooking an omelette with more passion than most bands approach topics like war, death, genocide, evil and emptiness. When the surface takes over from the core, the cart has come before the horse and all is lost, which is why we savor the sobbing tears of poseurs, tryhards and scenesters with Sadistic Metal Reviews

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Like a Storm – Awaken the Fire

In a flashback to the bad parts of the 90s, this album opens with a digeridoo before breaking into predictable hard rock riffs with heavier production and more basic rhythms. Then some guy starts singing in his best lounge lizard voice, building up to a pop chorus that could be straight off an Eagles album if they sped it up and did not worry about how truly incongruous the whole package would be. If you like speed metal trudge riffs paired with AOR favorite techniques and Coldplay-style vocals, this album might be for you. But the question remains: why even bother to release this as a metal album? Clearly it would be happier as country, pop, rock or even blues if they truncated the scenery-chewing vocals. It seems the music industry has found an update for nu-metal which is to channel it into this rock/metal hybrid which takes the angry parts of Pantera and pairs them with the smarmiest parts of overproduced, excessively pandering fraternity rock. These guys have a Titty Bingo sticker on their van. The scary thing is that the “inspirational” rock stylings here are a kissing cousin to much of what has infested power metal. But this takes it a step further to the point where what comes out of the speakers resembles the worst of corporate rock from the 90s and 00s to the point that heavier guitars cannot disguise the essential frat party rock tendency of this flaming turd. This goes well with a pukka shell necklace and lots of hair gel, with a NO FEAR sticker on the overly polished ‘stang next to the keg of Natty Light.

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Abominator – Evil Proclaimed

Angelcorpse invoked a revelation in death metal, but not entirely a good one. The basic idea was to accelerate the rhythmic fill to the level of riff, such that the composer could use one or two chords in a charging rhythm much like war metal or hardcore punk, but then work in elaborate brachiated chord phrases to avoid the riff concluding in the stunningly obvious chord progression that otherwise must result. Add a bunch of these together in constant rhythm and the essence of that style shines forth. Abominator attempts to break up the constant charging and give songs more shape, as well as use actual fills which complement the riffs, but despite this effort and some inventive songwriting, the blockhead forward charging — like Cannibal Corpse working on the longer Bathory riff outtake that opened the first Angelcorpse album — continues and ruins any atmosphere except a constant tension that starts to resemble an eyestrain headache after a few songs. Speaking of songs, these are nearly indistinguishable, written at similar tempos with similar riff forms and while not random pairing of riffs, reliance on phrasal similarity to the point that songs sound like one giant charging riff with some textural flickering within. To Abominator’s credit, Evil Proclaims is a lot better than the other Angelcorpse tributes out there. Unfortunately, that’s about all that this album remains as and a few moments of power notwithstanding, remains mired in a sea of formless raging metal which never reaches a point.

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Venom – “Long Haired Punks” (from From the Very Depths)

Venom are NWOBHM, not black metal; this fact flies in the face of what you will be told in 99% of the metal propaganda out there. The band themselves have never denied it. On this track however, Venom throws us a twist by sounding exactly like Motorhead except with more sudden stops at the end of each phrase where Motorhead would have kept a methamphetamine groove going. “Long Haired Punks” features punkish riffing combined with Venom’s archetypal primitive, broad leaps of tone and nearly chromatic fills. A bluesy solo that seems designed to be slightly abusive to key and chaotic accompanies this as do the purely Lemmy-styled vocals in what is essentially a verse-chorus two riff song with a bridge. The sudden pauses grow tedious within the passage of the song to newer listeners but then again, those grew up after metal assimilated Discharge, Amebix and The Exploited. For someone from 1979, this would seem like a slicker version of Venom with more emphasis on carefully picked chords and less onrushing punk energy, which makes the title ironic. It is well-composed within the limited style that Venom has preferred all these years, but attempts to update the NWOBHM stylings plus Motorhead of Venom have failed and should either be rolled back or the original style entirely discarded. This band is halfway between trying to be what it was, but in a post-1983 sound, and what it could be, which probably would resemble nothing like the original except for the raw “gut instinct” energy which unfortunately, attempts to modernize have limited. While I am not the world’s biggest Venom fan, it is hard to deny (1) their catchy punk/Motorhead/NWOBHM pop power and (2) their aesthetic influence on much but not all of underground metal, and it would be great to see this band develop into all it can be. From “Long Haired Punks,” it seems in doubt that From the Very Depths will be that evolution.

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Unrest – Grindcore

The title proclaims this release as grindcore but a better description might be later punk styled as grindcore with a nod toward pop punk. These songs fit together nicely, but rely on two unfortunate things that doom them: repetition of classic punk and grindcore tropes as if they established something in themselves, and use of very much pop rhythmic hooks and song transitions. The vocals are great, the instrumentation fantastic for this genre, the melodies adequate and the rhythms good, but the meaning is not there. The recent Nausea album achieved a great deal more with less by focusing on having each song present an idea and then developing a basic, albeit circular looping context. Grindcore attempts instead the infamous “outward-in” composition of tribute bands everywhere where the need to include the tropes on the surface pushes out the need for internal structure based around a coherent thought, so songs end up being technique only, which is somewhat ironic in such a theoretically anti-technique genre. Most of these result in that “feel” of classic punk and hardcore but add to it the heavy technique of grindcore, which only serves to reveal how disorganized these tracks are. By the time they fall into imitating classic punk open chord picking and stop/start conventions halfway through the album, it has already been long clear that this is a highly competent tribute band but nothing more. To the credit of the label, production is flawless and clear without sounding too slick and the vocals are perfectly mixed. That cannot save Grindcore, nor can its periodically great guitar work, from being reliant on the crutch of imitating the past in lieu of writing songs. Maybe all the great hardcore and grindcore that could be written was long ago.

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Archgoat – The Apocalyptic Triumphator

Much like the late days of hardcore, underground metal is standardizing into a war metal/death metal hybrid that emphasizes fast slamming rhythm without the obvious rock, jazz and blues breakdowns that make it clear that music belongs to the peace, love and happiness side of metal. Archgoat, by applying the structure of Scandinavian metal to the raw onslaught of Blasphemy/Sarcofago styled proto-black metal, stands as an innovator to this sub-genre which tends to combine Onward to Golgotha, Fallen Angel of Doom and Tol Cormpt Norz Norz Norz into a single style that like the bands which combined The Exploited, Black Flag and the Cro-Mags into a single voice, standardizes itself and becomes just about interchangeable. The sad fact of The Apocalyptic Triumphator is that a lot of good songwriting went into this album and some quality riff-writing, but this band remains literally imprisoned by the style in which they choose to create. About half of this album, preying on all of us who wish there were somewhere undiscovered in a vault another four hours of Drawing Down the Moon, borrows rhythms and arrangement patterns from that highly-esteemed work, as well as developing known riff types from the above influences. None of this is bad; however, it does not add up to enough to be compelling, like previous Archgoat works. This album represents the most professional work from this band so far and clearly exceeds any previous efforts, but the genericism of its riffs make songs indistinguishable both from one another and in terms of structure, creating the musical equivalent of listening to a flood sewer. For every good riff, four “standard” ones borrowed from the war metal/Blasphemy-tribute/Incantoclone group crowd them out. Periodic moments of greatness are balanced by a double frequency of moments of staggering obviousness which make it hard to get behind hearing this one on a regular basis. What I want to know is: what do these musicians actually idealize in music, outside of this style? Their work in such an artistically liberated medium might unleash the creativity that this narrow style suppresses.

Heaving Earth – Denouncing the Holy Throne

  • Disruption metal. In business, the idea of disruption is that some new entrant into the market disturbs it to the point of throwing everything else out. This should simply be thrown out. Trudging riffs, squeals, chortled vocals, mind-numbing rhythms and melodic fills that sound more like video game noises than metal. An album of this would be excruciating, doubly so if you listened to it.

Ancient Wind – The Chosen Slain

  • Style over substance defines this release: built on a base of melodeath, Ancient Wind regurgitates several different influences but predominantly Sodom and Wintersun. The result is a sampler plate of styles that never comes together but, because it has no topic other than the need to record something for a half hour or so, the lack of style damages nothing nor salvages anything. You are left with the typical experience of hearing something disorganized, then seeing a fat woman eat ice cream, and suddenly being unable to recall if the music had been on earlier. In one ear and out the other, if you’re lucky.

Sacrilegium – Wicher

  • 1996, out of Poland. Like Graveland? A more conventional version of Graveland: less scary, more uptempo, more musically predictable. Sounds a lot like there was a Dimmu Borgir influence. While it’s tempting to like the style, the lack of substance suggests this album should have stayed in 1996 with the other proto-tryhards.

Battle Beast – Unholy Savior

  • An album’s worth of that one song your junkie ex-girlfriend is really into. For Lady Gaga listeners who like the sound of electric guitars. Halestorm meets fantasy. Daddy-issues metal. I’m out of jokes, just don’t listen to this.

Sadistic Metal Reviews 01-26-15

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Sturgeon’s law holds that 90% of everything is mediocre. This condition occurs because most people are not thinking at all about what they are doing. When they want to be important, they create a metal band to make them look important, instead of trying to make good music. With brutal cruelty and ecstatic sadism we separate the poseurs and tryhards from the real deal with Sadistic Metal Reviews

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Collision/The Rotted – Split

Three tracks comprise this aggressive split. Collision leads in with two tracks of rigid, violent grindcore which incorporates a few ideas from percussive death metal to give it additional crush. These tracks keep intensity through speed and chaotic blasting but harbor no surprises in chord progression of phrase, which makes them fun to listen to incidentally but perhaps nothing one would seek out. The Rotted on the other hand slashes out a single track of old-school hardcore with a catchy chorus, extremely rudimentary but melodically hookish riff balanced against a sawing (but not grinding) verse riff, and genre conventions from older punk. Both of these bands aim to uphold the genres they are from and do it competently but when a genre is well-established, every band is a local band until it rises above from some distinctive personality or idiosyncratic perception. They do not need to be “unique,” since such a thing has never really existed, but they must be their own creation. Both bands here feel like minor variations on known archetypes and, while competent, do not inspire particular allegiance. That being said, they both remain enjoyable for that local grindcore/band experience, and together these tracks enhance each other like memories of the set you saw while drinking craft beer and talking up that sexy Facebook consultant at a bar that has changed hands eleven times in the last quarter. It would be interesting to see what these bands did with a longer recording as that would put more pressure on them to differentiate style or at least expand upon it.

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Decline of the I – Rebellion

Someone raised this question the other day: is metalcore a new style, or simply incompetent death metal? After all, we had bands who tried that Pantera-Fugazi-Nasum hybrid stuff in the past and generally it turned out that they were simply terrible songwriters who had no idea how to focus on an idea and bring it to clarity. Similarly, one wonders about “post-metal.” Is this just idiots dressing up garbage and incompetence as the avantgarde, because that’s what the avantgarde really is? Seriously, I’d love to see one of these artists who makes sculptures of his own feces that interpret the metaphysics of Schopenhauer as quantum physics, for once, just for once, make a classically beautiful art work first so I don’t simply think he’s a Damien Hirsch style conjob. Decline of the I is really hilarious when you realize that it thrusts this question upon us. It sounds like stoned desperation with a home studio: random bits of metal songs that went nowhere, stitched together with what every 90s con man used in his band, the sampler. It doesn’t flow in any direction or express anything other than “moments” of perception, like standing on a street corner while two cars collide and a pigeon defecates on a 24-year-old copy of Thus Spoke Zarathustra. Rebellion amalgamates speed metal, death metal and punk riffs together with a bunch of influences outside of metal. There is no continuity, only a series of exhibits like a subway train going through an art gallery. These clowns use the different styles as wallpaper slides to color otherwise empty music and hide the collection of hackneyed tropes made “new” by hackneyed avantgarde tomfoolery and snake oil salesperson confidence jobs. Even the most incompetent ordinary metal band is preferable because its dishonesty is limited to its music, while Decline of the I brings in every posture, pose, pretense and fabrication necessary to make this hacked-up studio defecation seem like music.

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Napalm Death – Apex Predator – Easy Meat

It has often been suspected that bands, when they run out of actual motivation, pick one off the shelf to make themselves seem profound. Their profundity means our guilt if we do not buy the album because we have turned down a great gift to humanity, you dig? But the fact is that they went into the big closet of Hollywood motivations — the poor, the downtrodden, the children, suffering animals, drug addiction and being raped — and pulled out one giant compulsion to make you like their empty music. Napalm Death went down this route when after Fear, Emptiness, Despair guitarist Jesse Pintado embarked on a course of alcoholism so crippling he could not bail out the rest of the band anymore. That is too bad, since Pintado essentially revitalized the band and created three of their best albums with his homegrown grindcore know-how. Ever since then, Napalm Death has been wandering in a wilderness of not giving a damn buuutttt something needs to pay for this condo, so they puke out another album. Apex Predator – Easy Meat takes Napalm Death full cycle from a band that protested pop music to a band that makes the worst of pop. This pretense-pop would be OK if it were good pop, because then we could laugh off the guilt, but instead it is a series of very similar riffs that break into very similar choruses which cycle until the end with a few breaks that are almost visual or high school theater department drama because they are so transparent and obviously manipulative. It was embarrassing to be noticed listening to this because it is not just bad, it is inept; its ineptitude is covered up with rock star glitz and production, but it still sounds hollow and horrifyingly empty. Please, give these guys jobs in media relations because they are done as a band and this embarrassing formalization just removes whatever shreds of self-respect they once had.

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The Chasm – Farseeing the Paranormal Abysm

Although Daniel Corchado is obviously one of the most talented composers in underground metal, The Chasm does not present his best work. The appeal can be immediately seen: epic metal band with lengthy songs that play out internal conflicts in a way the audience can identify with. Under the hood, while there are some touches of DBC-style riffing, what greets us here is the cliches of 1980s speed metal with added progressive-ish fills that demonstrate guitar talent and knowledge of harmony. The songs remain basic when you factor these out, excepting the longer instrumental passages, which also rely on riffs from the past dressed up or lots of rhythmic downpicking that adds little other than keeping a place in the harmony. Additionally, occasionally comical vocals and a number of hackneyed metal stalwarts mar this release, but the real crisis here is the lack of interesting riffs, the shamminess of the songs in dressing up the mundane as exotic, and the coup de grace which is the inability of this album or its songs to convey an emotional experience outside of the music itself. They resemble nothing other than constant variations in a style of technical speed metal riffing that bands like Anacrusis made great by putting around evocative songs, but the latter part is missing here. Individual moments shine with the brilliance that can be expected of Corchado, and moments in songwriting show insight. The problem is that there needs to be more of the random or evocative in riffs, which would allow Corchado’s song structure ideas to take on significance, and less of the highly talented progressive tinged touches that are impressive on a guitar-playing level but compositionally, serve the role of filler. On the whole, this album resembles the kind of tuned-up musical entropy that all of us ran to death metal to escape around 1989 or so.

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Edge of Haze – Illumine

In theory, this should be hated: a hybrid of Gothic music, power metal and djent-inspired percussive speed metal. In reality, Edge of Haze restore balance to these genres by putting them in the right context. Speed metal is the hard rock of the 2010s, thirty years after its release, and updating it with a smary 1980s Gothic pop vocal and power metal “inspirational” choruses gives it the right context as the popular music of the age. It may be cheesy, as one might expect from these populist niche genres, but Edge of Haze seems at least comfortable in its own skin and the removal of the usual death metal vocals gives this album both greater levity and a greater intensity, as well as removing the crowding effect of harsh monotonic vocals. In addition, this re-introduces the voice as a melodic instrument which allows guitars to focus purely on rhythm and rudiments of harmony without losing direction to a song. Edge of Haze executes this hybrid well by capturing the dark pop aspects of Gothic and creating for them a framing of boldly abrasive metal that runs the gamut of styles from the last three decades without creating an oil-on-water effect by having those styles dominant the rhythm and song structure for a segment so that other parts seem like extra organs in a cadaver, puzzling the drunken pathologist at 4 AM as he files the report on the latest Jane Doe. Edge of Haze present something as intense as nu-metal but with a darker aesthetic that carries more gravitas than the dad-hating victimhood affirmation that nu-metal conveyed, also removing the rap/rock beats and making a form of popular metal that can be not only relatively heavy, but have a grace of beauty in darkness, and still write some quality pop songs. Aesthetically, this makes my skin crawl; musically, it is well-done and should be praised for putting this style of music in the context it warrants and deserves.

http://www.youtube.com/watch?v=Qw8qJedbrjA

Sadistic Metal Reviews 01-19-15

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Why do most people lead lives of quiet desperation, obeying all that they must do, and then choose boring and pointless music on top of it? Nonsense music flatters the ego and requires nothing of the listener. No person of any quality lives that way, so it’s time to force people upward and not outward, with the sweet tears of poseurs, hipsters, scenesters and tryhards occasioned by these Sadistic Metal Reviews

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Moonblood – Blut and Krieg

When black metal died in 1994, it did so by losing sight of its direction. In art, direction takes the form of something which can be communicated only through metaphor, an idea in formation. In part, black metal had given its ideas to the world and was sitting back to watch them spread, but in another sense, the message — a copy of a copy of a copy at that point — simply got lost as bands imitated the form without the substance of those that inspired them. The Moonblood review exists in the last sentence, since this album represents all that is odious in music: an imitation of the surface configuration and emotional tropes of a genre not only while not understanding what the genre and its founders valued, but without even trying to make coherence out of the noise. Most people like this for the vocals which are like a hybrid between Varathron and old Mayhem, and maybe they enjoy the winding minor key riffs, but the fact remains that these songs go nowhere. They set up a sensation, loop through it, and then end with a convenient exit like a hipster suddenly realizing the people at his party not only do not eat quinoa exclusively, but cannot pronounce “artisanal.” Lack of direction is fortunate for Moonblood since these songs wander when attempting to extend themselves because they have no center and no purpose. It is not surprising that shoegaze took over from this weakened form of black metal because this is directionless atmosphere that apes the past but approaches none of its value or even ability to communicate. In comparison, this is incoherent posing.

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Vital Remains – Horrors of Hell

If you see this in a sale or cut-out rack, you will perhaps feel it unjust. But compilations of demos tend to show a learning process, which means they start with the early attempts the band would rather forget (which is why bands tend to put boring covers on demo comps) and slowly work their way up to the ability level and hence material that you are accustomed to hearing. The demo that most are buying this for is “Reduced to Ashes” from 1989 which is the foundation of Vital Remains as a death metal band. This six-song offering shows the nascent death metal genre still emerging from a hybrid of speed metal (Metallica), thrash (DRI) and varied standout influences like Slayer, Sodom and early grindcore. In particular, large parts of this demo sound like they were heavily influenced by Repulsion, from riff style to the tendency to bring songs to a quick peak and then break away to a recapitulation that restates the main theme in coming and going perspectives. Vocals sound like the grim rant of Repulsion with all of its rhythmic power inherited from thrash, rather than the chant of speed metal or the full death metal growl. Riffs could fit on a Possessed or Dark Angel album, generally avoiding the muted down-strum of speed metal but not fully into constant tremolo of death metal, choosing some of the recursive open strumming of heavy metal. Rhythmically however this band does not fit into death metal. As in the first Possessed album, the drummer stays within the speed metal idea of aiming for concrete resolution at the end of each phrase, instead of recognizing that post-Discharge drums follow the guitar and thus must keep a continuous phrase. Although the band clearly knew more music than many of their contemporaries, it’s a stretch to call this “death metal.”

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Bloodhunter – Bloodhunter

Imagine the melodic style of At the Gates Slaughter of the Soul that did not attempt to hide its roots in heavy metal and some speed metal, instead of death metal. Bloodhunter has the same strident emo death vocals that At the Gates and The Haunted put to good use, but the underlying music comes from the melodic heavy metal camp with some of the technique of speed metal filtered through power metal. This means for the most part that songs follow the intro-verse-chorus format but that the band will double riffs with a melodic guitar attack and break songs for lengthy solos or other classic heav metal tropes. As a result, this album flows easily and abandons much of the pretense of profundity that flows from the more metalcore offerings, preferring instead to be heavy metal with a few observations of life and a triumphant attitude. Nothing here will surprise the experienced heavy metal listener but most will appreciate its competent musicality and ear for songs that are enjoyable to listen to as well as hard-hitting within the range that this style can achieve. Riff diversity is high, spanning a wide range of tempi and styles including NWOBHM, all updated with the newer approach to rhythm that emphasizes constant forward motion in the speed metal style. Where this band falls down is in trying to distinguish itself with whispered vocals and (excruciating cliche of cliches) a sampled intro from a Tarantino movie. Bloodhunter does best when it sticks to its strengths. This album will not be varied enough internally for death metal fans but should delight power metal and classic heavy metal appreciators.

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Sargeist – Satanic Black Devotion

Experienced reviewers wince at tryhard titles like “Satanic Black Devotion” because they indicate advertising, not a coherent statement from the band. Satanic Black Devotion might as well be a can of pureed, processed, sugar and salt added, preservative enhanced black metalTM. Imitating the style of later Gorgoroth and droning melodic black metal like Ancient or Marduk but with the chaotic approach of the first Krieg album, Sargeist is long on vocals and short on song construction. They hit on a few good riffs here and there and deliver those like Christmas presents, then repeat them ad nauseam. Most riffs show a tendency to cycle between symmetrical extremes and so fall into the same boring tropes as later hardcore did. Plenty of sawing guitar adorns this album as do riff patterns from past black metal albums but these are arranged in pleasant repeating rings that do not develop in any particular direction, leading to the listener’s brain grasping a bunch of droning minimalist guitar with an occasional melodic hook. Songs express nothing other than participation, and the inclusion of local band B- riffs alongside more developed ones leads the reviewer to wonder if the band has cribbed its best moments. Several patterns are note-removed from essential parts of Gorgoroth songs, but without the strong buildup, the Christmas riff drops in as a sudden variation and not a culmination or enhancement. This album does better than most because the band keeps the energy high and is smart enough to use the same song structure again and again to present its few powerful riffs, but the result of this randomness is more of what black metal wanted to escape, not create.

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Watain – Lawless Darkness

Pretense is the fundamental state of humankind. As apes with linguistic brains, we rage against our impotence and insignificance and come up with poses: “I am important because I am good, smart, rich, sexy, hip, unique, different, wise, etc.” For some, the pretense is more or less accurate. These we call arrogant instead of pretentious. For others, in fact for over 99.98% of humanity, the pretense is merely self-important vaingloriousness backed up by nothing other than some hipster friends, a few possessions, or maybe a claim to fame like having punched out a local celebrity. Watain launched themselves with Rabid Death’s Curse, a pop black metal album in the style of The Other Side from The Abyss which won fans for its simple direct melodic songs. Several albums later, it becomes clear these guys do better giving interviews on metal theory (where they exceed almost all others) than writing music. Lawless Darkness resembles the kids show at the circus where as soon as one act fades another takes its place in relatively random order with the goal being to distract the audience so they eat up more of that popcorn and cotton candy. The album opens with dramatic violin, but then drops into disorganized metal music where riffs are joined through energetic flourishes of drum and Pantera-style bounce riffs. These songs make “sense” in that they follow a basic rhythm but most of what is written here is closer to the technical speed/death riffing of Behemoth than black metal, and none of it serves to build an atmosphere other than constant distraction. It is in fact comically random and empty of message. Presumably the ringmaster coems out and doffs his top hat and juggles live frogs somewhere in here to keep our attention but the music utterly fails to do so.

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The Cult of Light – The Cult of Light

Crafted in the style of Meshuggah rather than the metalcore it partially inspired, The Cult of Light creates rhythmic speed metal — similar to Prong, Exodus, Pantera and various proto-prog bands like Anacrusis and Supuration — which installs a jazzy bounce into the speed metal cadence. This approach creates problems in that it makes it difficult to pace together multiple riffs in the speed metal style because the rhythms either conflict or resemble each other too much to distinguish the riffs. On this album, the band chooses instead to have only two major riffs per song but numerous transitions/intros and budget riffs to distract, as if installing turnarounds at each segment of the song before restoring the normal loop order. Vocals are the post-At the Gates rant which aims to complete before the beat and then hold an open-throat growl like a ringing note. Underneath this album lies a heavy metal work pointed toward the art-rock sensibilities that graced the far edge of off-mainstream rock in the 1990s, which means that despite the monotonic growl vocals the aim here is ultimately to set up a dense harmonic space which serves as the hook of the song and provides a space for contrast by other instruments. Unlike most heavy metal bands, The Cult of Light prefer keyboards and what can only be described as aggro-mood-jazz leads which use repeated patterns to serve in more of a lead rhythm guitar role than pure lead. The band builds its songs in layers in order to create spaces for effect, then introduces dramatic changes led by vocals, resulting in a sense of a radio play unfolding before our ears. While this style seems overdone, even on this composition where the need to keep the rigorous bounce and “different” riff styles contorts song structures in several cases, the underlying gentle arty heavy metal is worth appreciating. At the moment of that realization however one begins to wonder why bother with the adornments of style at all, since there is a shortage of arty heavy metal and an audience waiting for it.

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Necros Christos – Nine Graves

Southern fried, bluesy rock/metal hybrid with swinging beats and hookish choruses, the new Down album — oh wait, this is Necros Christos. How did this make it into the underground black metal pile? It has deathy vocals but everything else is a slightly sped up version of Pantera but with more dimestore Satanic cult chanting vocals. Some of the chants come straight out of NWOBHM and many of the melodic riffs resemble those from the technical metal period that lumped itself on top of speed metal, calling to mind Anacrusis or DBC. Songs hold up well but basically express nothing but a vague gesture toward a certain type of experience while drinking beer and feeling sleazy somewhere lost in the modern morass. This could easily be a Ratt side project. Musically competent, it nonetheless expresses no greater mood than confusion and a certain type of teenage grimness which could be summarized as “my French fries are cold, and I suffer for it.” The chanting vocals add a certain unreality to the whole thing but evoke more of a sense of Marilyn Manson trying to rile up the apathetic, bored and directionless than the summoning of evil forces. When the band does force radical change in song dynamics or structure it seems more of a transition to a different seat in the same room than a change in how life or the song is viewed. Doubtless reviewers praise this as a fusion of stoner doom and black metal, but what really emerges here is a careful camouflaging of the same old stuff as the latest evil thing, and the real victims here are those who had to listen to this without getting it for free. Ignore trends, focus on structure and meaning in music. Learn from what Necros Christos has failed to apprehend.

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Yob – Clearing the Path to Ascend

Someone made Trouble Psalm 9 for idiots, wrapping it up in the 1960s stylings that shows our commercial overlords that we, too, follow the one true path to the light. Because stupidity loves pretense, it contains Cynic-style statements about opening your mind and being a hip groovy 23 skiddoo cat… hasn’t anyone realized this crap is ancient? Other than the periodic death vocals and louder production, this stuff comes to us right from the hippie era. Musically it is not terrible but not terribly interesting either, since it essentially repeats tropes in circularity until ready for a linear withdrawal to equilibrium. The whining vocalist sounds like he is trying too hard to be pacifistic and profound under his patchouli and denim and the riffs fit more in line with jam bands of the 19670s than a heavy metal band. Yob count on the listener being lulled to sleep by the pace and the hypnotically boring vocals so that the person listening forgets what has happened and every riff is new like it fell right out of the sky and exploded. Instead riffs just kind of plod along, barely related to each other, in what might be filler songs on a Bruce Springsteen album if they sped them up and got rid of the posturing. This really has nothing to do with metal but it tries hard to fit in like a bear lost in the coatcheck room. Its pacing and wailing call to mind the albums from Confessor more than the Trouble works, but aesthetically it resembles the early heavy metal doom metal bands like Trouble, Pentagram, and Candlemass but made safe by turning them into warmed-over TV dinner hippie rock. Not surprisingly the music industry gave this a big thumbs up in a nod to the Baby Boomers.

Sadistic Metal Reviews 01-12-15

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A few speak the truth, but most lie, not because they mean badly but because they think it helps them “get ahead.” Later do they learn that unearned merit simply means they are trapped in a world of having to uphold false images and it destroys their souls. To avoid this, we just cut the chaff from the wheat with pure linguistic and musical cruelty. Welcome to the latest installment of Sadistic Metal Reviews: come for the tears, stay for the (occasional) corn in the turd.

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Rippikoulu – Musta Seremonia

Musta Seremonia is clearly B-level death metal that imitates many of those that went before it in the 1989-1991 period. It is excessively primitive, like Grave or Obscurity. Much of it tries to be doom metal, which is — with a few notable exceptions — boring music for boring people. Expect cudgel-primitive low-end power chords rumbling against each other and moveable melodic patterns which create an atmosphere of forward motion and near-symmetry. Like the best of the doom-death slice of the death metal genre, including Asphyx, Miasma, early Atrocity and Funerus, this band creates a grinding atmosphere but refuses to make it wholly repetitive, creating the sense of a plane flying through a ruined city to observe new interactions each time like disconnected visions of a mad prophet. The point is to lower you into the darkness and not let you up, which is excellent as an experience but like many bands in the doom genre, probably not an everyday experience. Unlike its contemporaries, Rippikoulu understand how to put contrast into a song and yet keep it focused on a goal of expression, even if in utter primitivism this goal is so basic as to be very similar from song to song… If this band falls down, it is the intersection of the disadvantages above that brings it down: the B-level death metal with citations in rhythm or melody from Amorphis, Incantation and Deicide; the repetition and relative similarity of approach; and the extremely basic nature of these riffs which, as in Swedish bands like Uncanny and Suffer, can create a sense of pervasive doom bordering on total entropy instead of preparing us for reconquest of the wasteland in the name of terror. And yet, Musta Seremonia lives on with infectious rhythms and a distinctive presence to itself which distinguishes it from others who have traveled this lonely path. It is less rhythmically recursive than Grave, and songs hold together better than Obscurity, and it does not fall into the reheated speed metal patterns which doom Insanity and Num Skull. It simply thunders, aiming to be primitive and basic in the same way Belial or Agonized. While this will not hold a candle to the best of Finland, like Demigod Slumber of Sullen Eyes or even Amorphis The Karelian Isthmus, it stands above the other retrospective acts for at least having a sense of purpose.

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Deconstructing Sequence – Access Code

Tragically progressive and technical metal have become gigwise, or in other words are composed for an existing audience on the basis of what they have liked in the past, instead of forging their own path to attract an audience on the musical merits of the composition. Deconstructing Sequence launch into this arena with a highly informed, creative and periodically musically elegant entry which bears a second look. The surface adornment will unfortunately drive away many die-hard fans and simultaneously attract the type of greebos who were drawn to Opeth because it made them look musically profound among the fedora m’lady crowd of NEETs and hipsters. Much of the surface aesthetic involves voice overs about space landings, lead guitars that cleverly emulate the beeps and quirks of digital computers, and jazz fusion-inspired riffing that mates the ultra-texturalism of Meshuggah with the harmonic depth that bands like Dream Theatre and Gorguts used to establish contrast for their melodic themes. A mixture of Pestilence from its technical years with Dream Theatre and Meshuggah might accurately describe the sound, but the composition here hearkens back to simpler — think Rush or Camel-level — interpretations of mid-1970s classic progressive rock, although this is sometimes hard to find under the layers of postmodern configuration. Underneath all the layers, much of the riffing here as in Meshuggah is the same early 1980s speed metal where guitar serves a purely rhythmic role with a secondary melodic role, as harmony is impossible, thus adopting the chromatic fills that death metal later turned into phrase; a comparison between Meshuggah and Linkin Park is appropriate because they both have their origins in blending this essentially keyless, harmonically-moveable style with jazz fusion and rap/rock respectively. If I have any advice for this band, it is to lose everything but the music. We’ll understand the space exploration theme from the cover and the Hal 9000 guitar noises. Then it might make sense to worry less about writing the heavier riffs and to focus instead on why people will like you, which is your harmonically-rich composition in which melodies stand out in context and are not used as a production quirk-cum-purpose as they are in most “melodic death metal” bands. Access Code compares favorably to works from Sadist and other progressive death metal bands even if its heart shares dual loyalties in the 1990s and 1970s.

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Sacrocurse – Unholier Master

If you want to make metal strong, be hard on metal, especially of the type you like best. Otherwise, in the absence of quality control, that which is mediocre and predictable but familiar gets promoted and any musician who wants his or her work to be heard will avoid that genre like the plague. This is the problem with the NWN/FMP attitude toward classic metal, which is to find an aesthetic imitator that is “true” by being extreme and unrelenting and uphold it as an ideal. These bands are neither satisfying with the same musical punch as the individuals had, nor do they present a quality level markedly different from the newer metalcore hybrids, and thus they maintain a small but diehard audience while driving everyone else toward the newer material. In this way, the “underground” labels maintain a symbiotic relationship with the big media pap labels dumping warmed over hardcore with jazz fusion fixins onto a clueless audience. Unholier Master on its surface fits the underground with charging power chord riffs and extreme death metal vocals under high-speed drumming. The problem is that every riff on this album is excruciatingly obvious and repetitive, song development is near zero, and the main focus has thus become the vocals chanting repetitive but semi-catchy choruses. This reduces death metal to the same level of entropy that speed metal hit toward the end of the 1980s when tons of bands appeared who composed with almost exclusively chromatic rhythm music and hoped to distinguish themselves with vocals and increasingly random guitar solos. This album is an insult to the underground; throw it out and embrace natural selection instead, or you weaken death metal with your good intentions.

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Monuments – The Amanuensis

Excruciating: soaring Gospel-like power metal suddenly breaks into some dude… rapping… in a death metal vocal. The album proceeds in this pattern, with simplified (but less chromatic) Meshuggah style riffing banging out hard rock tunes and then, as if nu-metal went underground, the rap-influenced death vocals kick in. The whole thing seems designed to distract at any given moment which is probably palliative care for the listener who presumably could not be dissuaded from putting the album on and, short of a power failure, will not be immediately delivered from it. Not only is the heavy metal part of this music as cheesy as humanly possible, the brocore rap/metalcore side of it is as insulting to the intelligence as possible. If you are a person of no intelligence who likes stupid things because they make it seem like the world is compatible with your utter lack of positive mental attributes, purchase this immediately and get the tshirt too so we can spot you at a distance, adjust for windage and elevation, and do what is necessary. An experienced listener hearing this is immediately embarrassed for the band, and those who listen, and those who accidentally must hear this album, which would confirm every negative stereotype of metal (maybe it is a counter-astroturfing effort by vegan techno bands). It combines everything stupid in rock, rap, metal and inspirational music into a single ball of string which drips a fermented slime of human oblivion over all that it touches. While normally I oppose censorship, this album makes me re-think censorship on a level of excluding bands of poor musical quality, since all this album does is create a heap of landfill that even bacteria will find insults their intelligence.

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Infra – Initiation on the Ordeals of Lower Vibration

From the tryhard realm of the underground comes love for a new type of band that combines the simplistic Blasphemy/Incantation clone with “high art” and produces music that seems stately, deep and profound. Somehow all of these bands explore spiritual philosophies or ancient religious texts and invent large mythos for themselves. This parallels the tendency of nu-metalcore acts to write about whatever literature they remember from high school, or spiritualist topics of peace and love like Cynic did, which is a way for metal bands to improve their image through pretense. The problem with this approach is that it leads to a flood of metaphysical bullshit which is ill-advised for bands to mention. This band from Portugal, and that fact seems important from the bio, makes this new hybrid low/high-brow grinding black metal. Where Blasphemy channeled the id, this music may be too self-conscious, but is nonetheless well-executed but from these two tracks create a lukewarm effect because song-form and “purpose” rather than content dictate what occurs in each song. Thus we have songs about songs, a kind of theory about black metal, and they never come to a point. Further, they like to stack primitive riffs up against melodic ones, which creates a kind of “precious” response which is every bit as contrived as numu bands switching from distortion and shouting on the verses to acoustic and singing on the choruses. On Initiation on the Ordeals of Lower Vibrations, the black metal moments express themselves and fade into the background as we wait for Profound Moments… but these come not from this kind of preciousness, but in the form of melodic/atmospheric material that exemplifies the best of the old school, both simple and evocative of events in life.

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Bleed – Seven Billion Demons

What is it that is so appalling about judging a band by its style? It is OK with some forms, clearly, since no one ever said “Well, you shouldn’t write that band off just because they’re disco.” But in metal we shy away from it, ignoring the fact that some styles are designed to reduce music to what attracts like moths to flame the most basic, blockheaded and purposeless human tendencies. Brocore is one such genre, and while Bleed is clearly above-the-fold brocore, it is still brocore: the ranting speed metal of Pantera, updated with the chromatic riff texture noodling of Meshuggah, but simplified to fit around hard rock chord progressions in the background, against which all the riffery serves as simply decoration. Thus when you peer down into the core of this album you find something closer to Look What the Cat Dragged In or Hysteria than Meshuggah or Pantera, just done up in a new (or should I say… “nu”) aesthetic for a new generation of the credulous and inexperienced who will spend their parents’ money on dreck that will keep the slacker jobs program known as the music industry operating for another year. No offense intended slackers, and none taken; as a proud slacker I defend the right of everyone to slack off as appropriate, but wish the music industry would admit this fact and stop wasting time with clear filler. Nothing on Seven Billion Demons is badly executed and in fact the album as a whole is quite professional, just empty, like a streetcar at night or an entry-level job. Thus if you have a soul — and you might if you’ve kept reading this far, not sure — you should probably avoid this. But if you’re looking for Brocore 2.0 and something to chant along with as you drink beer and (no homo) wrestle with your buddies at a keg party on the beach, Seven Billion Demons may be for you. Kegstand!

Sadistic Metal Reviews 01-06-14

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The music fan possesses limited resources to achieve the goal of an enjoyable listening experience: time, money and energy. Reviewers tend to write about how cool everything is, but they should be writing about how mediocre most albums are so they can focus on the few that can be enjoyed for the next few years at least. It is hard to be cruel, but it is kinder than kindness. With that I introduce our latest round of Sadistic Metal Reviews

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Villainy – Villainy I

This enjoyable little romp reminds the death metal listener of later Sentenced crossed with the Venom-worship of Nifelheim and other bands who, in the old school days, were simply referred to as Venom tributes. Heavy metal genre riffing, combining the best tropes of the late 1970s and early 1980s, meets a harsh Cronos-styled vocal and updated technique. Nothing sloppy here; the band are tight and the arrangements show no spurious detail. However, despite the somewhat harsh vocals, like Venom this is NWOBHM and 1970s heavy metal revivalism without any particular relevance beyond that era. It skips speed metal textures for a death/black metal styled fast strum and continuous drumming as if taking notes from Merciless, and injects melody, but mostly stays within verse-chorus with introductory and transitional riffs different. The riff forms will be familiar to fans of heavy metal from that era. Lead guitar strikes a pentatonic blitz that is both enjoyable and very much within form. Unlike Merciless however this album focuses on writing hard rocking tunes and does not develop an evolving mood or atmosphere beneath.

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Tenebrous – Arias Toward the Black Sun

Underground metal needs a new trope for a certain type of composition which appears frequently among our ranks. I dub this “80s situational comedy” after the movies where a character makes a bad decision, then to hide it chooses another bad option, then deceives and conceals in a string of events leading to absurdity and eventual plot collapse. Sitcom metal occurs when a band finds a riff they like and write other riffs to fit that riff without having an awareness of what the riff communicates emotionally to the listener, thus what the song is actually about, and so you end up with a cool riff and reactions to that riff which are designed to put it into context but ultimately have the opposite effect. Tenebrous fits this pattern through its work in a style that combines a whole lot of Graveland with some of the more aggressive strains of black metal. They have mastered the basic flowing riff, but not building a song around it, only building a song commenting on it. This is underscored by the cover of “Unpunished Herd” which ends the album and makes the rest of it look incoherent in contrast.

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Pagan Flames – Symbol de Vie et Lumiere

This atmospheric black metal band combines Burzum-styled lead folk melodies over sweeping guitar riffs. Its strength is its melodic composition; its weaknesses are its vocals, which focus on rhythms that are too obvious and thus trite, and its tendency to try to work slamming full-stop and bounce rhythms into what should be a more continuous architecture. Barring those two disadvantages, Symbol de Vie et Lumiere presents black metal that unlike most recent efforts tries for the ancient, melancholic and epic warlike sound that made this genre popular before idiots invaded with thinly-disguised rock music to keep the mouth-breathers occupied. Many of these songs verge on being folk music itself and like the Darkthrone sidepoject Storm, feature trudging rhythms over which pagan lyrics are chanted to volkisch-reminiscent melodies. The fractured aesthetic presented by the overly busy vocals and tendency toward self-interruption with choppier rhythms narrowly keeps this album from being top tier but it distinguishes itself on its essence — attempting to write actual music through melody — from the formless legions of tryhards, shoegazers and hard rockers trying to use black metal as a vehicle for their own failed prior attempts at other genres.

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Skrømt – Sjelebrann

Not since Disharmonic Orchestra Not to be Undimensional Conscious has a hybrid of this variety yet which retained its ability to express itself been cast among the metal minions. Skrømt combine alternative metal, post-metal, rough punk and older black metal influences (Ancient, Enslaved) into a form which keeps the catchy songwriting of indie rock bands but fleshes it out with a rich backdrop of shifting harmonic texture and, like metal, combines multiple riffs into chains to create a moveable part of a narrative. For the most part, songs stick to verse-chorus as augmented by background material and sometimes with a second instrumental chorus to expand upon the first loop. Like alternative metal, songs guide themselves through the vocals and the presentation of lyrics in a combination of shouted, sung and harsh vocals. Where this goes wrong is that rock and metal do not mix on an aesthetic and thus artistic level, and so the end result is rock gilded with metal riffs which are quickly absorbed, and some of the best work of this album exists in the shadow of the alternative rock tropes that it stands far superior to. This is unfortunate as clearly many good ideas and musical insights went into this album. Most inspiring in this release is the technical work applied to making the various riffs and styles fit together. It is rare for a band to understand how to connect different emotions together without following a blatant formula, but Skrømt stitches together multiple moods and styles into a coherent whole on a musical level, even if making it work on an aesthetic level seems difficult.

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Church of the Dead – Vol. 4 – Meet Me in the Tomb

The term “cultural appropriation” seems trendy these days but few realize what it means. Blatant theft of the cultural methods of another group is too easily detected, so people appropriate those cultural methods by translating them into a form that most will not recognize. In this case, while Church of the Dead clearly uses death metal riffs and death metal vocals, its vocal rhythms are influenced by rap and its riff rhythms are closer to Motown than standard issue death metal. Thus while this disc shows some musical promise, it remains a confused aberration that wants to be in one genre but keeps itself in another, losing the spirit and atmosphere of that genre. Each piece tends to feature both Cannibal Corpse style trope cadence rhythm vocals and sing-song jingle-style vocals, making these hard to listen to without a wincing cringe, but also internalizes groove to the point where riffs take a basis in Morbid Angel and Malevolent Creation and become closer to Pantera. As a result, despite the many positives for this album, the overall negative is that its overall presentation is bouncy, poppy, and very much “rock” and not metal in form.

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Deep Wound – Deep Wound EP

At some level all hardcore punk approximates the same thing because the genre solidified certain tropes and combined with the mathematical limitations on complexity, these defined the variety of punk songs. Deep Wound creates songs that sound either like Black Flag without the dissonance, or early Corrosion of Conformity without so many pauses. The vocals strikes a jaunty and sarcastic pause when they are not in full blur mode. As far as thrash goes, this is closer to the punk side like the first DRI LP, and its riffs are less metal than hardcore in minor key, but it beats the recent “crossover thrash” rebranding that verges too much on speed metal territory and becomes either tame or inanely jingle-y as a result. The hardcore spirit lives faithfully in this music but because of the vast similarity of hardcore, it also does not stand out in any particular way — riffs are not radically different, nor song forms, nor even vocals — so qualifies as a fun listen but not as definitive as the albums from DRI, Cryptic Slaughter and COC that defined thrash as a genre. However, this stands head and shoulders above the “party thrash” of recent years and by coming at the genre from the hardcore side, brings in an energetic simplicity that metal riffs make too complex to self-sustain.

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Nidsang – Into the World of Dissolving Flames

  • Basic black metal combined with Angelcorpse-style aggression, but leaning on the latter for songwriting. As a result, not much atmosphere but plentiful aggression. Melodic riffing adds some depth but consistent song form and intensity rob this album of much enduring power.

Aborted – The Necrotic Manifesto

  • Aborted took their high-intensity low-complexity grind and gave it the modern metal (a/k/a deathcore) treatment which made it more chaotic. The more elements you add, the more internal complexity (melody, structure, theme) you must have or you reduce your core complexity to nothing, which is what happens here. Catchy chorus + two grinding riffs + hard rock influences.

Abysmal Dawn – Obsolescence

  • Workable death metal with heavy metal influences in abundant lead soloing, melodic riffing and catchy choruses. Very paint-by-numbers however with not much of an intent to put anything into a song but energy and internal cohesion. Good riffs give it strength but do not make it compelling; modern-metal-style chanted choruses ahead of the riff also increase frustration.

Cemetery Fog – Towards the Gates

  • This attempt at Paradise Lost-styled doom metal is both well-composed and artistically relevant, but highly cheesy from the use of melodies that directly gratify pop instincts to the occasional female vocals which aesthetically create the type of cheese that Motley Crue could only dream of. Songs are well-written and express a unique form and content for each, even though they drone on through a series of heavy metal riffs slowed down and are united by a melodic lead shadowed by vocals. While not bad, this makes the album as a whole somewhat sentimental in the sort of obvious Thomas Kinkade calendar way that drives away people like me, but it would be remiss to not notice the quality of songwriting here.

Abigor – Leytmotif Lucifer

  • Black metal needs to stay black metal. Abigor try to work in late Gorgoroth through early Deathspell Omega influences and it makes their already spotty music more spotty. Some good melodies, no continuity, too much style.

Aevangelist – Writhes in the Murk

  • Imagine Teitanblood with melodic riffing and slowed down to fast mid-paced death metal. The one cool effect here is the use of abrupt transitions to create a theatrical effect, but the lack of underlying riff and song consistency makes even this seem hollow.

Bethlehem – Hexakosioihexekontahexaphobia

  • Most will notice the creeping Rammstein influence: clean vocals, more dance-able beats, more pronounced use of German lyrics. However, a good deal of this sounds like recent Absurd as well with more of a folk influence creeping in and while the rhythms are more popular music friendly, they are far from industrial, and what appears instead more resembles NWOBHM with more groove than the quasi-modernist sound of Rammstein. Otherwise, the riff wizardry remains but is muted, with more emphasis on vocals and repetitive choruses, but generally these songs fit together well musically and develop an internal melodic sense that produces a multifacted atmosphere.

Agatus – Dawn of Martyrdom (re-issue)

  • Sort of like a cross between Legion of Doom and old Rotting Christ, Agatus uses the full punk style of even strumming speed creating droning riffs. These are pleasurable in themselves, and fit together well in songs, but they are both too obvious as melodies/phrases and too similar as rhythm riffs to make this work. In addition, many of the melodic choices here are simply rudimentary crossing into bad. This could have been an epic album if a more critical eye had been applied during composition.

Acheron – Kultes des Hasses

  • The challenge to Acheron has always been to overcome their cadenced rhythm that comes to a full stop in perfect symmetry, sounding a bit like a child’s song. On this latest album they work up the usual assortment of great riffs in bad rhythm and occasional disorganized order.

Baphometh – In the Beginning

  • Essentially speed metal with plenty of repetition, catchy choruses and circular song structure, this band nonetheless adopts death metal vocals. However, it is better for fans of B-rated Metallica and Exodus clones than anything newer. While none of this is incompetent, songs have no center around any kind of conflict, so the general mode is repetition and circularity.

Authorize – The Source of Dominion

  • Thudding, predictable, circular and confused, Authorize are Swedish death metal in the style of Suffer but with none of what holds songs together or makes them anything but basic guitar practice. Lead guitars totally incongruous, other elements equally out of place. Should have stayed unreleased.

Aurora Borealis – Worldshaper

  • The melodic death metal band works Absu-style jaunty vocals into the mix, but they take over composition too much. Riffs follow the vocal lead which dominants rhythm and creates a kind of circus atmosphere with the MC describing each act and then the trained bears of the riffs, clowns of the background vocals and highwire dancers of guitars take over. Sounds a lot like Warfather but more melody.

Sadistic Metal Reviews 12-27-14

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Nothing is less metal than accepting everyone and everything. Metal discriminates. Fundamentally, we recognize that most people have their head in their clouds and like craven mice prefer comforting illusions to even only moderately disturbing truths. In fact, over 90% of everything is simply disorganized garbage made by distracted mice. For this reason, we unleash our cruelty and separate the music from the squeaking with Sadistic Metal Reviews

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Arkham – “Demo 2014″

It may become necessary to invent a genre for this style because it shows up frequently. It might be called “narrative speed metal” for music that adds heavy metal and death metal into speed metal but fundamentally follows the vocal line for song development, as if narrated as background action by the lyrics. The dominant influence on Arkham seems to be Iron Maiden, whose harmonized riffing and song structures bleed through, but the band has chosen a death metal vocal and a basic speed metal verse-chorus approach with introductory riffs leading to change in the verse riff for each section of the song. Good riffs, and good sense of melody, but this band ends up being too linear in narrative and the chaotic vocals interrupt their melodic songwriting.

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Bloodscribe – Prologue to the Apocalypse

Fairly standard brutal percussive death metal in the post-Internal Bleeding style that is essentially deathcore but with more internal coherence through simplicity. The problem with this genre is that, like Cannibal Corpse and the post-Suffocation clones that inspired it, it requires reducing itself to a catchy guttural vocal phrase and distracting riffs with lots of squeaks and squeals but very little put together into tremolo or complex textures. The result is that this is the musical equivalent of elevator music, just a lot more intense sonically and with far better technique. It misses (however) the mind-blowing aspects of death metal and replaces them with the toe-tapping, head-bouncing and brick-eating mental state of listening to someone force a jackhammer around a sewer line.

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Gnosis – The Third-Eye Gate

This band of some local repute comes to us playing the style that some call shuffle metal. In this genre, the vocalist chants and the drums race to catch up while guitars strobe a two chord riff in the background. It has the gratifying tremolo sound of early Florida death metal but the vocal dominance inevitably makes this combination sing-song and thus the foreboding sense comes apart, replaced by the feeling that one is in a local pub, drinking a warm brew, listening to the local band whose songs are as familiar as backyard dirt at this point and while improving, never seem to get good. Interesting ideas appear on this album but never develop because they are too busy keeping the chanty choruses going for the Budweiser drinkers who are wondering if they should pass out or vomit first. If this band wanted to get good, they would lose the vocal hook and replace it with monotone until the guitars sounded good, then re-write vocals to fit the guitars.

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Nameless One – Thousand Memories and Nameless Sword

Essentially Iron Maiden styled heavy metal with death metal vocals and riffs thrown in for emphasis, Nameless One achieve a reasonable fusion of the genres but cannot hide the sickly sweet pop music underlying their Iron Maiden tribute composition. It is catchy and elegant in the way Iron Maiden is, but everything wraps up too nicely and the result is a sense of listening to one of those pop bands that pop up and vanish overnight in the dance music community. All instruments are executed with aplomb and solos are highly professional, and no song drops into lower-quality riffs, suggesting these guys have good quality control. Riffs are cut from archetypes, and the fusion is a little goofy, but the real sin here is making Iron Maiden into a candy pop band and thus making it as saccharine form of the irritation of nails on a chalk board.

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Winds of Genocide – Usurping the Throne of Disease

This album is hilarious. Imagine taking a standard hard rock album and trying to do it in the style of Blasphemy (yes, the Ross Bay one). Then add vocals which linger past the phrase or lead the vocals much like a pop band, and allow individual musicians to show off in the process. The result is unintentionally comedic as it sounds like Hollywood hired a bunch of Charles Bronson style tough guys to make Poison relevant again. In an attempt to hide the roots of this music, the band play fast and loud and layer it in vocals of several types, including the electronically processed chant and the barking chihuahua howl. For comedy’s sake they throw in citations to Sarcofago, Von and other ultra-basic bands, but no experienced listener will be able to get past the hard rock progressions and bouncy glam metal riffs even if played in detuned, double BOSS HM2 distortion’d power chords. Do not listen when stoned, as you might have a laugh attack.

Sadistic Metal Reviews 10-18-14

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What are Sadistic Metal Reviews? As you lie on your deathbed and look over life, you will divide everything you know into things you will miss and things you have forgotten already. Some metal is worth remembering, but the vast majority is just background noise. We hail the former and smite the latter, salting their wounds with our sardonic laughter…

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Internal Bleeding – Imperium

After Suffocation got big in the mid-90s as the next big direction for death metal, lots of bands took the Cannibal Corpse hint and started imitating the easier parts of the Suffocation percussive death metal approach. Unfortunately, doing so creates music that is dumber than malformed concrete, and Internal Bleeding quickly distinguished itself as the death metal version of Pantera: brocore for bros who like to you know drink beer and punch their heads into walls. Checking in with them 19 years later, it seems little has changed. These songs are hook-laden and not fully random, but the hook relies on the most basic of rhythms and their expectation, sort of like watching a chihuahua chase its tail. The band tries to compensate for their basic and unexciting music with really active vocals and occasional melodic touches on guitar, but nothing changes the fact that these songs are based around extremely basic patterns designed to numb and erode the mind. The famous breakdowns are back and serve to break up some of the constant muted-strum chugging and ranting vocals that shadow the rhythm of the guitar riff, but even if they dropped occasional symphonic parts into this Internal Bleeding could not hide the fact that most of this music is designed to destroy brain cells or appeal to those who have already voluntarily obliterated their own minds.

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Oppression – Sociopathie & Gloire

This band will be overlooked by many because the production on this album makes it hard to hear anything but bass, vocals and metals (cymbals and high-hat). However, what lies beneath the obscurity is a quality melodic punk album that verges on Oi and shows us what emo could have been in the hands of quality songwriters; you could compare this to the Descendents and the Misfits because this band write quality vocal melodies over melodically hookish riffs and rhythms, producing a sense of familiarity and yet a sense of weight like that of history or topics that pop up in every life no matter what age. Vocals alternate between a black metal-ish rasp and sung punk vocals, with the latter being more convincing. As with Misfits, the composition of these vocal melodies defines the song, combining old world melodic intensity with a casual punk sense that favors the simple and almost childlike. Touches of metal technique accentuate the harmonic space created by these rather open melodies, but generally, what you hear is punk that sounds as much like Blitz or Reagan Youth as something more recent. The result brings together the best of punk in its attempts to combine its energy with depth, and provides for a good listen, if the listener is able to hear past the abysmal production.

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Steve Hackett – Genesis Revisited: Live at Royal Albert Hall

Among the 1970s progressive rock bands, Genesis is frequently mentioned but often forgotten. It seems to me that the reason is that its vocalist, not its guitar-keyboard duo, dominated the composition and thus it drifted closer to the regular-rock tinged Pink Floyd style of “light” progressive rock, without getting as populist and compact as Pink Floyd or Rush did. However, it would be a mistake to overlook the first few Genesis albums which were ambitious although steeped in a self-righteousness which seems more pretentious than the usual self-indulgent musically masturbatory egoism of progressive rock. On this live recording, Genesis guitarist Steve Hackett revisits the older Genesis material with the benefit of an extensive solo career and an entirely different band. The result makes Genesis sound more pastoral, with greater emphasis on vocals and mood in the style of later-1970s big radio rock bands, but also brings out some of the more aggressive guitar that got buried under keyboards and vocals on the originals. Vocalist Nad Sylvan manages a more soulful and less starchily self-referential voice than the original, and all accompanying musicians are excellent including a cast of highly talented players who, while not fully noticed by name in the mainstream, have demonstrated their abilities in complement to larger acts in the past. While all of this shines, the fundamental problem with Genesis remains the “oil on water” feel when it switches between something that sounds like Queen and a sort of extended figurative structured jam. While highly musical, Genesis often seems atopical and thus lost between its rock drama and its progressive underpinnings, and in many ways, having Hackett reinforce the role of guitar both reduces this gap and highlights what is left. For Genesis fans who wondered what this band might have been like with a different internal balance of power, these re-envisioned tracks will provide hours of exploration.

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Wolf – Devil Seed

This album takes the speed and intensity of a speed metal album, adds in Accept-style power metal vocals, but underneath the skin is something more like a hybrid between the first albums from Motley Crue and Queensryche. The result is… well, there’s no nice way to say this, but: annoying. Highly skilled and highly repetitive, vocally demonstrative and vocally over-dramatic, catchy and infectious and yet cloying, it hammers out the earworm qualities of glam metal at the pace of speed metal with the production and sound of power metal. If this is your first album from this style, it might be interesting to own, but probably difficult to listen to on a regular basis because of the similarity of the tracks and the consistently high levels of sentiment and bounding energy. The 1980s varied moods of glam metal have been replaced with the aesthetics of techno or punk, and it just keeps going and eventually even drowns itself out. Musically, nothing here ventures outside of the camp of what has worked before and become established, although a few adept variations give greater power to the framework. As with most metal/rock hybrids, what brings it down is the need for vocals to lead which crowds out other instruments, in turn squeezing the space available for song development. While the vocals are impressive, when they become too predominant like this they lose some of their power; Halford or Dickinson (or Di’Anno) would have been more selective in the use of their full-bore intensity and emotional depth.

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Vardan – Enjoy of Deep Sadness

This band combines “suicidal black metal” with the shoegaze/emo/indie variant that specialized in certain minor key chord progressions turning upward at the end of each phrase to convey a sense of misplaced “hope,” much in the way early 1990s emo-punk bands did. The result is merely a new aesthetic slapped on top of very ancient and pointless music, since the “mixed emotions” sensation has been popular in rock music since the 1960s and produces the type of emotions one might want in the background of a movie about losing your favorite race car, but apply not at all to any life with depth, where the emotions are more than mixed but intertwined in some way more than a balance of sadness/joy that seems like it came off a greeting card. This isn’t bad in execution; it’s soulless in intent. While the former is forgivable, the latter renders this music irrelevant to anyone who is here to live for the purpose of living, because to such a person confused self-pity and weepy “hope” is completely non-applicable. In the same way it is entirely possible to listen to this entire EP, nod once, and then read a book on database administration and be more thoroughly moved by its depth and emotion than anything Vardan will ever record.

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Savn – Savn

Anyone else remember The Gathering? They had a female vocalist, a quite good one name Anneke something-impossible-in-Dutch, and she was not only adorable but also could sing. But that’s the distraction. The question of whether a metal band can have a female vocalist is never asked when the female vocalist goes the route of Doro or another high performer. It’s when the presence of a female vocalist changes the sound of the band that people start wanting to talk about that instead of the music. And Savn cleverly starts out with very black metal sounds, then the keyboards kick in, and then very pretty female vocals intrude. Excellent production. There’s even a harmonica, for the sake of Zuul. The whole nine yards. But if you stop hearing the distortion for a moment, you realize you’re hearing standard folk rock that has been 100% consistent from the 1960s through the present day. It fits the female vocal and range but even more, it fits the needs of people in boutique shops that sell crystals to feel vaguely empowered, slightly sad and yet charged with some kind of great Meaning that has lifted up their insignificant lives of watching television and answering phones at work to the focal point of some vast collision between human emotions that form the basis of the cosmos itself. You can imagine Jewel belting out this album, or Linda Rondstadt, or even Taylor Swift. Savn would do better to just run Doris Day vocals over old Burzum albums. I do not contest the assertion that they are talented, good players, imaginative, and that the production here is amazing. I just question what it has to convey. The answer is feeling good while you shop and pretend that the universe is not a cold empty place, and that somehow your emotions derived from pop music are totally relevant and might even determine the future. On an emotional and artistic level, this release is poisonous; on any other level, it is simply a product that doubtless will sell many crystals, possibly cube cars and haircuts too.

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Provocator – Antikristus

Joining on the primitive black metal thread which bands like Von thrust to the forefront, Provocator crafts simple sawing black metal based on extremely rudimentary chord progressions that are nonetheless not pure chromatic, giving it a more accessible base of tones to expand upon. Like Acheron or Ungod, these riffs rely on building momentum and then redirecting it with quick rotational motion, but the repetition of this technique wears thin. Extensive demonic vocals crowd over the top but instead of giving this depth, simply distract from both the underlying guitar and the effect of the vocals to the point where it sounds like trying to listen to a portable radio in a busy train station. Nothing on this is terrible or misplaced, but it also provides no particularly compelling content and no reason to revive this style as a result. While it plays, the comfortingly familiar Sarcofago-style drone and chaos at the right BPM will make most black metal fans accept it without a further thought, but the real question with any release is whether you will seek it out again. In this case, nothing is offered that cannot be found elsewhere in a less repetitive form. Although this is no reason to choose an album, the blasphemous song titles and Blasphemy-style prison escape vocals add to some enjoyment but cannot compensate for the fact that this is like listening to a throttle test on a ’78 Camaro.

Sadistic Metal Reviews 10-13-14

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What are Sadistic Metal Reviews? The first metal album that you really connect with should be a magic experience, one that transforms your life. But a large group of people want you to apply that same feeling to their album so they can take your money, but their music is mediocre. SMR is the dividing line between the greatness and the forgettable, and we exult in the tears of the latter, for they are the sweetest of wines…

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Solace of Requiem – Casting Ruin

A new epidemic trend grips metal, following war metal, which is the tendency to Angelcorpse — yes, that’s being used as a verb — a mixture of metal influences and tie the mess together with loud vocals. Fast guitars and overactive drums work for Angelcorpse, who clearly came along in the Fallen Christ vein of blasting streamlined death metal, but metal bands now are using that style like a tortilla to dump everything else into, wrap up the ends and make a metal burrito. While some bands that make burrito metal are able to keep interest, the problem with this style and the carnival music high contrast (read: randomness) aesthetic of bands like Behemoth that rose in parallel is that by turning the volume up to 11 for everything, it creates a constant flow of essentially invariant sound that possesses no dynamic and no real progression. It is thus easier to write; songs require no real internal contrast, and songwriters can stack bits of whatever they have on hand and stitch it up with some technicality. I find Solace of Requiem to be unlistenable for this reason. It is a barrage of noise that, if someone were to take any part of it and break it out into parts divided by its internal tension and then make a song of it, might work. But the whole burrito does not. The Solace of Requiem burrito includes more lead guitar and melody and some NYDM style technicality and sweeps borrowed from metalcore, but that does not differentiate its essential approach from all the other Behemoth/Angelcorpse hybrids. Like Taco Bell, it goes down quickly, is easily forgotten and leaves an unpleasant odor lingering in its wake.

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Wombbath – Internal Caustic Torments

This is one of those bands that makes plodding rhythms catchy to the point that a listener will fall into the groove and not mind, but also will not seek it out repeatedly because of the sheer repetition without much of a direction. These riffs came straight out of hard rock, got detuned and had some quick fills added, but remain as predictable as listening to AC/DC covers at the local karaoke bar. The result is that Wombbath batters your brain until it gives up, then pours a layer of relatively obvious material over it, including songs that complete an arc but without any real doubt or tension in the middle, such that like the riffs, the structure of the songs themselves is duplicative and numbing. Nothing is done poorly and this band clearly shows mastery of the old school style, but what it lacks is a reason for a listener who is aware of the best of old school death metal to embrace this. Internal Caustic Torments expresses in many ways the worst of old school death metal and the tendency that caused the genre to collapse on itself, which was nailing the style and then using it to hammer out repetition like propaganda. This album could be improved overnight by introducing actual tension between the first and second riffs, then seeing where that leads and using it to reorganize these songs, because many of the raw elements are there.

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Pilgrim – II: Void Worship

Stoner doom metal happened when 1970s jam music swallowed up doom metal and remains basically stuck in the 1970s, Slacker, That 70s Show, etc. mentality. In other words, it aims to dig out wonder in the smallest of things, much as stoners can find a universe in their toenails. In this case, it is not the “doom” aspect that is problematic, but the fact that this music seems designed to find the fascinating and earth-shattering in simple chord progressions that remind us of Foreigner and Journey releases but without the strong sense of harmony. Instead, it’s every stoner’s dream: just start plodding along, then jam over that until some sort of magic emerges. When you think about it, that is what the Grateful Dead did for decades, blarting out never-ending tuneless solos that incorporated every technique in the book but to no end, because there was no point, only a desire to keep the jam going for as long as possible so the audience and band could take more drugs, be more groovy, pose more in front of the flower-painted school bus and other activities for people who have voids in their souls and no purpose to their lives. Pilgrim are more musically adept than most bands which cross this desk, but they take it nowhere. Songs jam, build up, trail off. Solos and fills drop in competently but express nothing. The album has a big concept somewhere if you read the theory about it that they include with all releases nowadays — I never do — but it is not expressed in the music. Much like a recent failed indie-metal album about whales, the putative topic is not the subject matter, but a cover story for playing the same crap. Really, just go get the first Def Leppard album because it does everything that happens here but with a purpose. A vapid purpose, but no purpose is more vapid than no purpose itself. Flee.

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Midnight – No Mercy for Mayhem

Warmed over NWOBHM with American glam metal glitz under a glaze of alt-death bands like Nifelheim or Gehennah. Remember when that stuff came out? It was 1998 and black metal had officially shot its wad, following death metal the dubious status of having a fully developed form but having expressed all of its relevant content three years or more prior. Thus bands thought, “Well, we have this new technology in the death metal and black metal styles, why not mix them and use them to encode the same old crap that bands were talking about in the 1970s?” You know, the safe stuff: alcohol, sex, partying and pissing off your parents. No one in a modern liberal democracy will argue with you for such an assertion of individualism and defiance of The Establishment. Thus it’s about as challenging and volatile as tap water, as controversial as feeding pigeons in a park, and the perfect product because it takes almost zero effort to make a few catchy hard rock songs with heavier vocals and more intense drums. Anyone can do it! Those were the words they used in the dying years of punk, also, which meant that anyone and everyone did do it, which ensured that the music became boring because it wasn’t about anything. Midnight isn’t about anything either. Its members are fixated only on being in a band and making some tunes that people like. That’s sort of like a chef deciding that he wants to make Big Macs instead of Filet Mignon because “people like it.” Like a Big Mac, No Mercy For Mayhem is soft and uniform in consistency and slightly sweet with a tangy sauce of rebellious high school rock. But it resembles an average of every burger ever made with the never-fail treatment of adding fat, salt and sugar, thus there is no growth, learning or evolution in it. It is simply an object, a product. And like all soulless things, it can only occupy your time, not enhance it, which means you stagnate, and you know what they say about stagnation.

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Cemetery Lust – Orgies of Abomination

I suppose this is intended to sound like Autopsy, but it more sounds like the bad SOD and DRI clones of the late 1980s: really simple sing-song two-point riffs driven by the vocals to keep the rhythmic hook alive because that is basically all the song does. Rhythms are very similar to old DRI, COC and SOD as well. Lots of downpicking. Nothing is poorly done and yet this style, like all rap music, is just too simple to express much of anything especially with these entirely standard song structures. Each song consists of two related riffs, a vocal hook, and support from other instruments. The result is not exciting unless people playing stuff faster than normal excites you. Lots of tropes from middle-1980s speed metal and early death metal, but the songs never really get any momentum going and sound about thirty years old, out of date and without personality. Some things belong in the past and should be buried next to all the bands who didn’t make it because they sounded like watered-down versions of their influences. This band can join them.

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Rippikoulu – Ulvaja

Funeral doom metal with death metal touches in the vein of Skepticism, Rippikoulu on this release create a convincing atmosphere that relies too much on texture of vocals and instrumentation but nonetheless is convincing. These songs begin with simple riffs and expand both depth and tonality, moving from minor-key intervals to more open intervals much like Ancient used to on its longer tracks, creating a sense of a moving target on a lengthy journey. Use of piano, strings and female vocals both soften the abrasive distortion and force more spacious dynamics, allowing other themes more room to move. While these songs clearly focus on atmosphere, the more important idea here is the change of moods like seasons, which gives them a grace and makes the distorted guitar seem actually jarring by way of contrast. Although this release is an EP and thus short, the mood created by this musical approach could be, like Summoning Nightshade Forests, the basis for a short escape from reality that reveals more about existence than direct confrontation ever could.

Sadistic Metal Reviews 10-08-14

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What are Sadistic Metal Reviews? When fans, writers, radio presenters and musicians get fed up with the exhausting flood of imitators and demand that music have a purpose, because only music that has content can express something of beauty or horror about reality and thus be relevant to our lives, because unlike the herd that seeks escape, we seek a means of understanding and glorifying life. Death to the imitators, drowning in a sea of angsty tears.

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Edge of Paradise – Immortal Waltz

This jaunty take on a cross between burlesque music and hard rock with symphonic overtones seems designed to showcase the talents of vocalist Margarita, who layers her vocals in waves that create, along with the carnival horror show keyboards, a sense of being in some oddity of a dream. But this band really invites comparison to bands like Genitorturers and Marilyn Manson more than heavy metal; these songs are vehicles for the vocals and are designed to create a sensation of spectatorship more than have the music itself inundate the mind. Aesthetically, this will strike underground fans as cheesy; while not terrible musically, it also derives much of its compositional direction from riffing off known archetypes of the type of music it cites. That and the way songs are entirely driven by vocals places this outside the range of most expecting riff-based music, and the simplicity of its delivery ensures that it will sound like children’s music to most death metal fans. If this is symphonic metal, it is clearly not for me, but if you like the Marilyn Manson style spectacle and ironic deconstruction of cultural tokens, it might appeal.

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Krieg – Transient

Krieg started as purely chaotic improvisational black metal, then organized itself into a ripping war metal variety, and finally detoured into indie/shoegaze. With Transient, the band returns to roots with a primitive type of death metal fused with a heavy amount of punk and garnished with varieties of its previous influences. The shoegaze influence is still here as are some classic black metal riffs but they are suspended in a gelatinous mass of punkish simple death metal riffs which keep an energetic uptempo charge. While it sculpts atmosphere with agreeable verve, most of modern Krieg consists of transitions into moods and then riding of those moods, which interrupts the frenetic energy this band once conveyed while simultaneously not building up to its transitions with enough groundwork to give them power beyond their own attributes. Black metal works its atmospheric magic by manipulating context and showing a progression between events like a battle scene, but this new style is more like visiting different rooms in a spooky hotel. That being said, Krieg is stronger in riff-writing and understanding of the dimensions of harmony and how to navigate them with a riff than other American black metal bands, and also beats the hell out of Sonic Youth.

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English Dogs – The Thing With Two Heads

This punk band uses a lot of metal riffs and rhythms in that it likes to interrupt continuity with abrupt internal collisions in its music, and uses the muted strum in a style spanning the spectrum from speed metal to Meshuggah. Unfortunately, it also mates this with a rock style of offbeat leading phrases that make this music bounce just like rock or hip-hop, which kills any gravitas or building of intensity. There are some great speed metal riffs on here and some moments of pure punk energy but the whole is torn apart by musical discontinuities which result in what sounds like a train crash between the 1980s and early 2000s that never resolves itself into a voice that can express anything. If this band dropped half the riffs and focused on making songs that generate momentum and then channel it somewhere, it would hit like a ton of bricks but as it is now, it sounds like something that should be on in the background during an LMN late-night movie about kids hanging with the wrong crowd and ending up in an organ harvesting gang.

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Horrified – Descent Into Putridity

This album shows a great deal of initial promise in its attempt to resurrect the old underground. It gets beyond the two-point riffs that hammer a rhythm and then answer it and go nowhere, preferring longer riffs that lead on to different points and at times in the Deathspell Omega way extend themselves into wandering melodies. Its combination of Swedish death metal and Autopsy power death metal worship works on the surface. But the nu-underground has never understood the purpose of death metal riffing which is to create subterranean structures that mirror what goes on in our subconsious minds; death metal is about looking beneath the surface to reveal structure and a subtext of motivation. Horrified in contrast has one layer, which is some riffy music on the surface that fits together nicely, but lacks a core of something which cuts between the mental state and the music. Thus over time this wears thin and repetitive at about the same time the listener starts noticing how many riffs are anchored with doubled downpicking and how few of these riffs, despite growing in their own right, amplify the subject matter of the song. Horrified come closer to the original than any others attempting this style recently but still miss the root of what makes the underground what it is, and so verge closer to the much more “face value” work of speed metal bands, at which point the repetition creates bad flashbacks of late 1980s metal and the repetition PTSD kicks in.

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Xerath – III

The horror, the horror. Symphonic metal must be done gracefully but with aggression and force; Xerath approach it like hard rock and use it as a vehicle for over-dramatic vocals. This hurts to listen to because the keyboards drift, the riffs sound like a heavier version of Def Leppard, and the metal gets forgotten. Synthesizing two disparate things only works when a common ground and thus basis for a common voice is found, and otherwise what emerges is the oil-on-water effect that produces carnival music where random patterns contrast one another as if they were designed to accompany a cartoon and its wacky action. Xerath goes down all of these rabbit trails and comes out at a comical level. Distraction, deflection, recursion, confusion. Like Behemoth and other bands in this newer style, Xerath does great work at the level of detail, but when you add it up the only picture that emerges is confusion and haste resulting in an entirely random platter of stuff that is recognizable as metal but by depriving itself of continuity and context, entirely lacks the punch. It compensates for that lack by hammering extra hard on pounding rhythms and blasting passages which do nothing but highlight the sense of On Through the Night colliding with a roadside minstrel show on its way to play the outer reaches of Alaska and hope its luck changes there.