Sammath re-releasing Strijd in 2016

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Dutch-German black metal band Sammath will re-issue its first album Strijd on Hammerheart Records during the first quarter of 2016. This under-appreciated classic has made fans for its enduring emotional and technical power. As our review at the time opined:

Sammath achieve a vast sonic landscape with this release that merges fast black metal riffing with elegant melodies that rise out of the chaos and return to mesh with its themes and transit to a final state which expands upon the conflict. On Strijd, riffs are heuristics which evolve over time as more texture emerges.

The result feels like a land constantly wracked by war and disaster in which brief moments of intense beauty emerge. The majority of riffing here is consistent with what one might expect from late-1990s black metal, which is a stripped down but highly genre-conventioned vocabulary. Unlike most bands Sammath fits these riffs together into a language that fits each song, and as such there are no random bits floating around for the purpose of being faithful to a template.

The emotional state of black metal is fragile because it is finely delineated and requires a great deal of background experience and understanding to parse. Sammath achieves the violence and yet arch beauty of black metal, a Romantic vision in which the lone thinker takes on the herd and triumphs by denying the human pretense which unites dying societies like our own. Strijd shows Sammath at simultaneously its most emotional and most violent. While not as technical as later releases from this band, Strijd won over fans for its plain-spoken truthfulness and elegant melodies.

A statement released by the band detailed the upcoming re-issue of Strijd:

Sammath to reissue debut LP on Hammerheart Records

In the first quarter of 2016 the long sold-out debut album “Strijd” from Sammath will be re-issued.

“Strijd” delivers black metal in high-powered generous doses but also maintains its introspective side, creating the perfect melancholic warrior album for a dying world.

The LP will be released on gold vinyl and is limited to 300 copies.

Many of us are also hoping for a CD re-issue so that new generations can own this powerhouse in a compact format.

An Impression on Stormkult

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Like a tapestry woven of coloured threads Kaeck Stormkult is music in which simple individual elements are brought together with a larger vision in mind. The overall expression is an affirmation of violence and chaos tempered by a sense of order and beauty. Individual ideas are violent sawing chromatic fragments which generate new material by subtle variation. This tendency to unify songs through variations on a single idea is contrasted by the occasional introduction of a more expansive melody, these melodic phrases will be familiar to Sammath listeners for their strangely chromatic and yet tonal quality. These elements combine to make Kaeck one of the more interesting recent acts in black metal. There is an understanding here that individual riffs cannot stand alone but require a conceptual framework which transcends them. Each song is unique in its composition and yet there is a sense that this work is a unified statement. Whilst there is still room for improvement in overall consistency Kaeck offers black metal with real vision and some hope for the future of the genre.

Sammath to reissue debut LP on Hammerheart

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Sammath unleashed its debut album Strijd in 1999 to not much fanfare. The black metal community had essentially collapsed under a wave of Dimmu Borgir/Cradle of Filth clones, and the underground had retreated to the Full Moon Productions board to re-style punk riffs as black metal and make boring music that is forgotten at this time. Almost no one wanted to simply keep their eye on what had worked and make it return.

As our review published at the time opined, however, Strijd succeeded because it conveyed both the elegance and violence of black metal, instead of becoming a top hatted children’s show satire focusing only on what the Thomas Kinkade fans of the world think is “elegant” (in America at least, every pretentious but incompetent person must have at least one Thomas Kinkade painting, Ansel Adams print, and dreamcatcher). Sammath brought back the ancient feeling, the meditative look at a life shrouded in darkness, and the misanthropy and intolerance for stupidity and lies that made black metal so satisfying in the midst of the lie-drenched 1990s.

Hammerheart Records has been focusing more of its attention on resurrecting classics and picking out modern bands with the same power, which seems to signal that the great metalcore trend is on the wane and people are looking for the kind of power they found in traditional metal genres, again. Strijd delivers this in high-powered generous doses but also maintains its introspective side, creating the perfect melancholic warrior album for a dying world. Although a date for the vinyl re-issue has not been specified, it is something to look forward to sometime in the latter half of 2015.

Antaeus – De Principii Evangelikum (2002)

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After a very promising debut album which the band explained as consisting of a collection of demos and other recordings, Antaeus released their first “proper” album in 2002: De Principii Evangelikum. Antaeus play a saturated black metal that foreshadows the developments of Sammath and shares with it an antecedent in Uranium 235 Total Extermination. For all the violence expressed here on the face, the riffs ride very short melodies that make up for the constant percussive assault. The more one gets familiar with the album, the more this balance is perceived. Like most black metal albums, the front assaults or deceives the listener (some albums present a saccharine front that actually contains very thoughtful and detailed music, even if not reflected in quantity or variation of patterns) that only reveal their whole worth after both repeated listens and emotioal immersion in the music.

De Principii Evangelikum does sound like a consolidated Antaeus, insofar as they choose a very particular approach narrowed down from their previous album, Cut Your Flesh and Worship Satan. In a Faustian gambit, Antaeus ripped all pretension of ambience and took the frontal assault that only figured as one aspect of their earlier music. As such, this is a condensation of that style that even if it limits the expression range of theband, it allows it to refine a very particular language and also sets it in a track in which a band attempt to perfect a sound until they get it. A parallel would be Sammath’s more-than-a-decade long efforts that finally culminate in 2014’s Godless Arrogance, a kindred spirit of De Principii Evangelikum.

As a first full-album effort, De Principii Evangelikum show us a highly focused band that knows what they want and that have matured musically. It is the realization and not the concept that is still being experimented on. In De Principii Evangelikum this is practically realized in potency and convincing excellence. The question is, is this all the band is aiming for?

More on Stormkult

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Following up on Brett Steven’s review of Kaeck’s Stormkult, the present review starts off where he left off: the fusion of styles in Stormkult that are brought together under one unifying banner. The truth is that trying to split this album into its influences is almost pointless as it broke them down to such atomic and almost indivisible parts to build something that is completely their own. We may hear a trace of what Sammath or Kjeld sounds like almost only because we were told that members from these bands participate here. Otherwise, we would be hard pressed to find concrete influences.The previously mentioned review does a very good job at describing the album both in an evocative way, as in describing a picture and by summoning the presence of other bands as to give the reader some idea of how Kaeck goes about building their music, but in no moment does this imply that Kaeck actually sounds like any of them (except, of course, for the fact that they are all black metal).

Kaeck’s “sound” can be broken down into the layered functions that the instruments fill. First we have the drums at the bottom. These are used more like a heartbeat rather than a metronome. A typical background black metal drum pattern will keep the beat with standard beats, but here the drum patterns are reduced in such an intentional manner to something that can only be described as primitive battle drums whose sole function is to drive deep and resounding vibrations in the martial host’s body. Guitars distorted to the poing of disfugurement provide the thickness of the sound, notes and chords themselves being barely recognizable through the fuzz and chaos of frequencies bent to the whims of an unfathomable will. Riding the maelstrom of riffs comes a coarse voice which simultaneously commands us out of lethargic inaction and commends us to embrace the defying and righteous — though heretical — mission of the Angel of Light. A luminescence that, contrary to what the waylayer Paul would have us believe, is in all truth the true essence of that entity shrouded in damned robes of exhile. A garb worn as camouflage to avoid the tyrannical embrace that paralyzes thought from within in exchange for blissful mental atrophy. Echoing across the catacombs that serve as an imaginable setting for Stormkult we can hear a keyboard that outlines short melodic motifs counterpointing and delineating the whole in a loop, only changing with the tempestuous guitar and arising from within its bowels only to go back to them as a lost, desperate soul attempting to escape imminent destiny only be pulled back by a reality that admits no denial.

What we have now, is a static picture of Kaeck. But the enduring power of Stormkult resides in the living movement through temporal dimension that music is. Affirming dominance over the elements of music, bending them in an abuse characteristic of a necromancer trespassing the bounds set by divine order, we hear the violent plight of Godless Arrogance coming to fruition in the reining in of a beast of unnatural origin. The experience through which Kaeck hauls our terrified soul appears at first as an indistinguishable blur. It is only after our eyes have time to adjust in the dim light pushed into corners by an overpowering darkness that we see a pattern emerge in the frescoes on the walls splattered by blood old and new. And from the synchronized layers of sound we hear subtle transformations that a moment ago seemed to comprise only one motif in repetition. Once we latch on to the combat-inciting beats, and the voice guides us over the patterns of the riffs as the melodies produced in the keyboard and a soloing guitar move in and out of our field of view, we start to envisage this humble temple in all the dimensions conceived by its creator: the evolving motifs on the timeline as well as the entities represented in the melodies existing as reflections of the riff itself on parallel worlds.

While any music can rightfully pronounce themselves as comprising all necessary dimensions, seldom do creators actually think fully in all of them. It is usually the case that the whole is forgone to give prominence to one of the elements, no matter what is claimed. When the goal is the whole, all the parts are cared for in an obsessive manner in attention to how they affect the whole and not according to how they stand on their own which often leads to an imbalance in the relation of the parts that obstructs communication, for what is intended by the whole is either distorted or fades into the background to give way to the prominence of egos. These considerations must include the temporal relations of things, it is not just how the instruments in the present riff interact, but how they interact with different parts throughout the song. Balance, then, does not imply a static situation where everything is still as a result of equating forces pulling in different directions, rather, a stable condition is attained without which a clear direction would be very difficult to follow. And although one should also keep in mind that there is no one singular formula to approach composition, each tradition has its guidelines based on conventions without which music would only be what modern popular music wants it to be: personalized pleasure fountains.

Kaeck approach this ideal of balance in all dimensions from the particular filter of minimalist and raging black metal. In Stormkult the tempered voices of the outward chaos of late Sammath and the adventurous impulse of Kjeld are not just channeled but fused and distilled to the point where only the most basic of essentials remains. This is why although we cannot actually hear Sammath or Kjeld in the music (apart from predictable superficial observations like “the vocalist is the same” or “it’s also aggressive black metal”), their approaches to music construction — from the naturalistic violence of Sammath that defines consistent yet distinct riff-writing to the refined delicacy of movement of Kjeld provided by a melding of sections through simple yet perspicacious rhythmic and melodic devices that makes such changes almost imperceptible, Stormkult is the titan born of a god and a primordial monster.

https://www.facebook.com/Kaeckhorde?fref=ts

Kaeck Stormkult to be released on August 28, 2015 via Folter Records

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War metal/traditional black metal hybrid Kaeck will unleash their first album, Stormkult, via Folter Records on August 28, 2015 worldwide. The band, comprised of members of other Dutch black metal acts, creates a sound like older extreme acts such as Zyklon-B or Niden Div 187 that achieves an unrelenting war metal powerhouse drive mated with a subtle melodic lining.

As written in a first impressions review of advance Kaeck tracks:

Kaeck is a new style of black metal that upholds the intensity of war metal but infuses it with the elegant melody of classic black metal. The result is a surging malevolence on the surface with an inner core of transcendent beauty.

To the experienced ear, comparisons arise immediately to Impaled Nazarene and Zyklon-B, both of whom used the blasting full-speed attack with undertones of melody to its advantage. A more bestial presence occurs here, taking influence from both the death metal crossover of later black metal and the burly high-intensity rhythm and noisy attack of war metal. The result melds sawing riffs with rising hints of melody and then runs that violence into archly ascending phrases which emphasize a union of the aggression and the beauty into a rejection of all but the pure feral naturalism of both beast and forest.

This new style of black metal takes what made war metal powerful and reduces the repetition and tuneless grinding that lowered its listenability, then added what distinguished Norwegian black metal from the rest, which includes unique but straightforward song structures shaped around the concept guiding each song, and melodic underpinnings that allow songs to develop and keep listener interest.

Kaeck is comprised of:

  • Jan Kruitwagen – SAMMATH
  • Swerc – KJELD
  • Oovenmeester – NOORDELINGEN

DeathMetal.org is fortunate to have a unique and exclusive stream of this new material. We are proud to present “De Kult” from Kaeck and its upcoming album Stormkult, unleashed on Folter Records on August 28:

Infernal Execrator – Add Infinitum Satanic Adherent

INFERNAL EXECRATOR - Ad Infinitum Satanic Adherent - cover

An incredibly brief, foggy, quasi symphonic intro with Marduk-like vocals pronouncing some indecipherable gibberish, followed by minimalist and recklessly fast riffs could fool one into thinking this is precisely a Marduk clone. In truth, there are mid-paced sections interspersed here and there to mitigate the onslaught of the indecipherable and impetuously fast sections. This upgrades this release to a later Marduk clone. Although probably upgrade is not the most accurate descriptor here.

The best and undeniably valuable product of extremely fast, loud and unrelenting black metal has been contributed in the last few years by albums like Advent Parallax and in the veritable modern classic Godless Arrogance. Marduk, on the other hand, was always wild abandon to mindless, truly mindless, speed and minimalism for the sake of it and more importantly for the joke of it.

But while Marduk are explicitly joking about everything they write about while staying somewhat seriously offensive, Infernal Execrator manage to sound like a joke more easily acceptable among the Godflesh Apocalypse extreme metal crowd. The words Ad Infinitum Satanic Adherent themselves are more than enough warning that this should be placed besides the likes of Tol Cormpt Norz Norz Norz. The only difference is that Impaled Nazarene triumph in the same way that Sharknado does: by embracing the joke and being happy with it. These Singaporeans purport to be more (by calling posers out) while not being able to take themselves entirely seriously. Fans of the Marduk, Behemoth and Cannibal Corpse will find this release palatable and fashionable.

The historical background of MetalGate

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From a recent interview with our editor:

You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?

These metal albums have stayed in weekly rotation over the years:

  1. Massacra – Final Holocaust
  2. Slayer – Show No Mercy
  3. Incantation – Onward to Golgotha
  4. Sepultura – Morbid Visions/Bestial Devastation
  5. Deicide – Legion
  6. Beherit – Drawing Down the Moon
  7. Cianide – A Descent Into Hell
  8. Atheist – Unquestionable Presence
  9. Demilich – Nespithe
  10. Demoncy – Joined in Darkness

The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.

I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.

What contemporary bands should we be paying attention to?

In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.

Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?

SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.

Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.

Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.

When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.

Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.

First impressions: Kaeck (NL)

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Composed of members of Kjeld, Noordelingen and Sammath, Kaeck is a new style of black metal that upholds the intensity of war metal but infuses it with the elegant melody of classic black metal. The result is a surging malevolence on the surface with an inner core of transcendent beauty.

To the experienced ear, comparisons arise immediately to Impaled Nazarene and Zyklon-B, both of whom used the blasting full-speed attack with undertones of melody to its advantage. A more bestial presence occurs here, taking influence from both the death metal crossover of later black metal and the burly high-intensity rhythm and noisy attack of war metal. The result melds sawing riffs with rising hints of melody and then runs that violence into archly ascending phrases which emphasize a union of the aggression and the beauty into a rejection of all but the pure feral naturalism of both beast and forest.

Although Kaeck is in its earliest stages, the band has material currently being mastered which will unleash itself within the week. Several labels have shown interest and one will probably snap up this promising new take on older sounds because it achieves the rhythmic intensity of current metal in concert with the elements of black metal that made it the most enduring underground metal genre, namely its ability to find purpose in nature and alienation from the corrupted mess that is our society. Both listenable and true to its genre roots, Kaeck opens a door to new possibilities in black metal.

The Best Underground Metal of 2014

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

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Blaspherian – Demos (Compilation of Death)

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

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

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

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

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

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Conquering Dystopia – Conquering Dystopia

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

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Dead Congregation – Promulgation of the Fall (Martyrdoom)

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

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

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

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Desecresy – Chasmic Transcendence (Xtreem)

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

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Enthroned – Sovereigns (Agonia)

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

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Entrench – Violent Procreation (War Anthem)

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

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Heresiarch – Wælwulf (EP, Dark Descent)

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

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Kever – Eon of Cycling Death (Dark Descent)

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

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

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

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

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

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Massacra – Day of the Massacra (Century Media)

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

CD Booklet

Nausea – Condemned to the System (Willowtip)

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

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Nunslaughter – Angelic Dread (Hells Headbangers)

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

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Oppression – Sociopathie & Gloire (Preposterous Creations)

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

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Personal Device – Microorganismos del Mal

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

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Ripper – Raising the Corpse (Underground Defenders)

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

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

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

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Varathron – Untrodden Corridors Of Hades (Agonia)

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

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Witchblood – Hail to Lyderhorn (Aurora Australis)

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

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Woodtemple – Forgotten Pride (Sacrilege)

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

Album of the Year 2014

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Sammath – Godless Arrogance (Hammerheart)

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

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