As the death metal genre becomes buried under layers of history, the details of its creation gradually emerge, with the most recent being North From Here: The Sentenced Story by Matti Riekki, now available in English:16 Comments
Intestine Baalism are a Death metal band formed in the suburbs of Tokyo in 1991, their first full length only came out in 1997, having only released a pair of demos featuring songs that ended up on this album, it is safe to confirm that Intestine Baalism is a latecomer to a genre that had already seen it’s apex and was now slowly descending into Brutal and Technical Death metal territory. Anatomy of a beast takes advantage of the power of hindsight to successfully fusion the works of Carnage,Dismember and Suffocation against the more Heavy metal derived melodies of Sentenced, bringing to life a potent record that is at times just as peculiar as the band’s name.
You know your nation has reached peak sadism when kids are using the shooting deaths of their classmates to catapult themselves into celebrity stardom. That means the time has come for frequent, merciless, rapid fire sadistic metal reviews.
BUCKLE UP, BECAUSE THE RIDE NEVER ENDS21 Comments
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According to a source at Blabbermouth, the owners of Candlelight Records in the UK have recently sold their assets to Spinefarm Records in Finland. By doing this, they have consolidated even more label power into Universal Media Group. For now, former Candlelight members keep their previous licensing deals, and the deal has prompted the usual pieces of corporate rhetoric; what becomes of the former label’s assets is really more of a question for the roster. Spinefarm and Candlelight Records have both made indelible marks on metal history by releasing many famous metal recordings. In Spinefarm’s case, this includes formative works by Sentenced and Beherit, while Candlelight brought out Emperor’s studio work, as well as the debuts of Havohej and Opeth. Both went on to even more commercially successful artists.No Comments
Back in the chaotic early 1990s, most death metal bands were racing to catch up with albums like Morbid Angel Blessed Are the Sick and Deicide Legion. Bands increasingly experimented with complex rhythms and riffs but eschewed the radio-friendly sound of the last generations of metal, including the melodic harmonized guitar attack of Iron Maiden.
Enter Sentenced. Like At the Gates before them, this Finnish band decided to work with melody in addition to complex riffs, and to do so began to work with lead-picked single-string melodies. After their first album of Swedish-inspired primal death metal called Shadows of the Past, Sentenced improved musically and artistically and took the leap into melodic metal. At this point, almost no bands would touch this style as it seemed an anachronism held over from the 1980s where death metal was forging ahead with chromatic riffs and difficult tempi.
Sentenced took the Slayer approach to songwriting with verse-chorus songs interrupted by transitional riffs for emphasis wrapped around a lyrical concept and added to it the Iron Maiden style harmonized guitars producing a melodic effect. Following a lead from At the Gates, the band also allowed melodies to evolve over the course of a song, creating an immersion in similar sound in which slight textural and phrasal changes could take on greater effect. Along with other bands like Unanimated and Cemetary, Sentenced forged a different path which succeeded because it kept the alienated and dark sound of death metal.
Just a few years later, this sound would explode as bands like Dissection mixed more of the NWOBHM melody and even more abrasive death metal and black metal technique into the mix. After that, clone bands like Dark Tranquillity and In Flames took this style further toward radio metal, but for a few years, this small group of melodic death metal bands revealed the potential of this style. North From Here much like its iconic cover transports the listener to a consciousness beyond the everyday in which union with the empty cosmos and the potential of transcendence of the everyday propels the mind through not only darkness but into a sense of magical light which rediscovers life as a visionary journey. Without losing any of the intensity of their earlier album, Sentenced layered emotion on top of aggression and produced a lasting and unsurpassed testament to the power of this genre.37 Comments
On the 93rd (number of the Thelemic Law) anniversary of the independence of Finland from the Russian Empire, let the northern lights flash their yearning flames beckoning the souls of the fallen warriors of the Civil War. While it may seem to some as a sacrilege to play anything but the Romantic sylvan mystery plays of Sibelius, the true heir of Wagner and one of Finland’s national composers, the early death metal symphonies of Oulu’s Sentenced epitomize a great deal of the same thundering natural melancholy. Following the youthful, reaping, Dismember-esque debut album Shadows of the Past, the musical theory of Jarva, Lopakka and Tenkula turned like the Roman mythical Janus statue two ways at once: towards the pure riffcraft of Iron Maiden and the ethereal, streaming melody of Nordic black metal. Much like At the Gates had captured nearly protestant-religious passion and sadness in Sweden, Sentenced managed to concoct music which was worshipful, raging, realistic (even pessimistic) and imaginative all at once, in defiance of the taciturn apathy characteristic (like alcohol) of the working class of northern Finland. In Sentenced, the pent-up rage of skeptical and prematurely cynical young men was transformed into elaborate poetic reflection.
Power metal riffs in a death metal production would later experience a horrible mangled mutilation death in Children of Bodom’s excessive rock stage theatrics, but the sharp minds of Sentenced treated their source material with such profound affection that heavy metal, thrash, death metal and black metal weave into each other as interminable patterns of tangled paths amidst hypercosmos – a Northern Finnish shaman’s spell. The careful production recalls the most biting moments of Kreator while the technical skills of the guitarists are on par with the hallowed “prog” moments of Atheist and Death. The songs hardly suffer from any useless repetition (the anthemic verse-chorus structure of “Awaiting the Winter Frost” serves a specific purpose in exclaiming the satirical “heavy metal victory” over the forces of light, while it is deliberately obscured whether the narrator is a man, a beast or a spirit). That North from Here was never Sentenced’s most popular or esteemed moment is a total wrongness, as Amok followed on the footsteps of this work adequately, but only that. One of the strongest candidates for the best Death Metal album in the history of Finland, the bewitching maledictions of North from Here, from “Capture of Fire” to “Beyond the Wall of Sleep” (and practically any piece since there is no filler), achieved the aims of “Gothenburg” much more effectively and impudently than the horde’s western neighbours.