Extremity is a term that has lost its meaning in the metal scene long ago, to the point where the most “extreme” acts are now by way of popular opinion mostly consisting of the knuckledragging mutants that churn out indistinguishable slam records with interchangeable logos and covers.
Death metal folk wisdom tells that the epithet “technical” generally connotes music that is bad for a unique reason: it tends to get trapped in technique, including cute tricks from music theory, for its own sake, which in turn deprecates the art of composing memorable and relevant songs.
Article by David Rosales. Occasionally our staff have differing opinions on unpristine works from upcoming or past their prime bands. The editor’s sobering take on Garroted – In the Court of Nyarlahotep was presented in Sadistic Metal Reviews: Taste the Rainbow!
A modernist acoustic guitar intro, an undefined progressive death metal tirade, cavernous vocals and death-grind guitar tones. An exquisite Old School written all over it, and yet, the young Garroted manage to avoid becoming guides in nostalgia trips. Like Colombian Condor, Garroted takes the tools from the past and forges a future strictly on the loyalty to those traditions.
Blood Incantation have announced their debut full-length Starspawn out for release August 19th on Dark Descent Records.
Unmerciful’s second album, Ravenous Impulse, of technical brutal death metal comes out on July 22nd on Unique Leader Records.
The line up to 2016’s returning Summer Slaughter Tour has just been announced.
This review was contributed to Death Metal Underground by Neil Sigmundsson.
The best albums are greater than the sum of their parts and provide the capability for listener immersion due to their length and integration but the song is still generally the most important and most fundamental compositional unit in death metal. Paying too much attention to atmosphere, musicianship, individual riffs, or other aesthetical and shallow (though important) qualities of an album can lead to overlooking compositional shortcomings, especially after the mind starts to fatigue or when listening to dense material. This is the case with Doomed Passages, which feels convincing – and in some aspects it is – but suffers from a number of flaws that might be missed during casual listening. That being said, even though the music of Question is imperfect, it is modest and sincere and at its best moments overflows with contagious vigor and energy that leaps fearlessly towards the abyss, a mark of the upper echelons of death metal artists.
First, praise is due to some of the mechanical and aesthetical elements of this album. The roaring, expressive vocals, replete with various single-syllable exclamations and grunts, are highly enjoyable and benefit from a cavernous quality due to studio-induced reverb. The drums are commendable in their creativity and in demonstrating a subtle understanding of the level of activity that best complements any given situation. Rumbling double bass creates a “rolling” sensation of high momentum at certain tempi. The production is deep and clear, and has a bit of cushion, but more separation between the instruments might have been beneficial.
There are two truly excellent songs on Doomed Passages: the second and fifth tracks. “Nefarious Conclusion” is the most structurally rigorous composition on the album, being basically linear but still having a clear exposition, rising action, climax, and falling action. This results in a rewarding experience. 0:00-0:50 is an example of creating variation, exploration, and motion out of a single phrase. The drum build-up to the invigorating climactic riff is genius; it sounds like transitioning from walking to running. The transitions at 1:15 and 4:34 are somewhat rough, but not enough to harm the composition. “Universal Path of Disgrace” has one of the most memorable riffs on the album, a sprawling eight bar tremolo-picked cycle. After the second occurrence of this riff and its accomplice, the song heads logically into a strange middle section that sounds like being in an unstable, slightly psychedelic limbo. A climax and resolution emerge from there. This song offers an interesting journey but it is slightly less satisfying than “Nefarious Conclusion.”
Aside from these two tracks, the remainder of the material on Doomed Passages shows promise and has shining moments but suffers from various problems. Some of these issues are abrupt transitions (“Mournful Stench” at 3:35), weak conclusions (“Devoured from Within”), and segments that overstay their welcome (the introduction of “…Bitter Gleam of Inexistence”). However, the major recurring problem and the biggest downfall of Question, though it is not immediately apparent due to the large number of riffs (many of which sound similar), is the purposeless, wandering song structures. In their template, Question take a single riff or a small group of riffs that act as an “anchor,” and they dance a bunch of ideas around that anchor before departing in an uncertain, random direction. This resembles a very relaxed version of what Slayer pioneered on tracks like “At Dawn They Sleep,” which completes two verse-chorus cycles and then departs radically from pop structure. The difference – and it’s a significant difference – is that Slayer maintained a strong narrative and a sense of purpose and tension throughout the entirety of their songs, whereas Question is usually content with wandering aimlessly. That Question can string a huge number of riffs together without the result sounding like patchwork is impressive (see “Grey Sorrow”), but cohesion alone does not make death metal of lasting quality, and as a result an appreciable amount of this material feels pointless and is frustrating to endure.
As hinted at above, there are simply too many riffs on Doomed Passages, a large proportion of which are interchangeable and forgettable, appear only once, and serve no vital function. Question demonstrate that they know how to overcome this problem in multiple ways (developing phrases, relating riffs through common or similar phrases, writing highly memorable riffs, returning to previous ideas in different contexts, etc.), but they need to apply these habits more diligently. There are focused passages, and there are highly memorable riffs, but ideally all of the passages should be focused and all of the riffs memorable and necessary. Thus, whereas many death metal bands have simplified their song structures to the detriment of the music, Question can actually benefit from being somewhat more repetitive in order to remove the forgettable and less evocative riffs and develop only their best and darkest ideas. This can be done while retaining the narrative, exploratory song structures. It will occurs more naturally and easily when the music is written and played with specific purpose and direction. More dynamics might also help in stressing important sections, as the sound sometimes blends into a monotonous stream. The digital, compressed production is of no help.
Another lesser issue with Doomed Passages is that consonance sometimes feels out of place when it appears in the midst of the generally dissonant and chromatic music. The interlude “Through the Vacuous River” is the most blatant offender, though the riff at 5:28 of “Universal Path of Disgrace” is questionable as well. While consonance is not vital for this music to express something meaningful, there is potential in its skillful application, as demonstrated by 3:00-3:35 of “Mournful Stench,” a section that arises at an appropriate time but is unfortunately not fully developed. The acoustic final track also works fairly well in context. If Question would hone their skills at incorporating consonance into their musical language, the wider range of expression will provide them with more tools for communication.
The standout songs on this album prove that Question is capable of writing intense and adventurous narrative death metal of the highest caliber. All of the tracks have redeemable and enjoyable qualities and marks of skilled craftsmanship, but most are hampered by the flaws discussed above. To further improve their already above average music, Question need to at least scrap the forgettable riffs and instead develop more extensively their best ideas while taking the reins and writing more directed and focused compositions. The second change can be realized either by forcing the songs to move toward clear climaxes and satisfying conclusions or by finding some wisdom and inspiration that can be represented in and communicated through the music. These young musicians are certainly technically proficient but need to write more coherent compositions if they want to inspirit their music instead of joining the ranks of so many other failed techdeath endeavors.
Article by David Rosales.
On their tantalizing debut album, Zealotry showed charm that often characterizes first releases. Debuting bands earnestly try to capture the aura of the music as they juggle with the technical aspects of playing it. First albums often come off as awkward or even flawed but there still containing endearing and thoroughly captivating elements. Many groups lose this enchantment in their sophomore album only to recover it with the third. This happened to Sepultura, who reached the pinnacle of their transcendental contributions on their only death metal album, Morbid Visions. They followed it with a boring mass of riffs with no heads or tails. Their much superior 1989 speed metal album, Beneath the Remains, fortunately corrected this. Hopefully, this will be the case with Zealotry as well.
The Last Witness plays like an extension of The Charnel Expanse‘s final track, “The Unmaking”, the least structured song on the album. The band tangentially explored the technical ramifications found by playing their particular style. From the creators’ perspective, this seemed like a clear path. In taking this choice to focus on a narrower voice, the evocative deficiencies of that streamlined, tremolo-picked, sequence-of-riffs approach had to be compensated for. This was completely ignored and instead there is a heavier emphasis on playing the technical parts of the songs correctly.
Musically, there is a lot of worthwhile content here; It just doesn’t tell a story as much as give scattered visions that are not arranged properly, do not have clear beginnings, and even less conclusions. The painstaking composition in a self-conscious style with a corrective attitude is extremely promising. This is admittedly the hard route as it requires extreme discipline; it is the classical composer’s way for reaching to perfection on all fronts. However, composers need many, many errors before turning trial into triumph.
As it stands, The Last Witness is a collection of exquisite details into which a very attentive reader can dive. He will discover many forms but nothing solid enough to materialize a clear vision. In part, this is due to the tendency towards extreme variation and superficial indulgence of musicianship, and too much escapism in the codas. Follow the title track attentively to hear what I am referring to. The problems here mirror those of Monsieur Tougas on his side project except that Zealotry has a much more individualized voice.
Zealotry would also do well to stay away from the death and war metal influences with atmospheric pretensions seen in the empty music of Phobocosm. Instead, they should work on their motific death metal, develop the themes to establish long-range links, and fully utilize their proper sense of breathing space. Zealotry should play to their strengths instead of diverging horribly and incoherently as in the final track, “Silence”. I am sure with practice and discipline, the time will come when this band will dominate a wider range of expressions. For now, shaping up this very narrow music into that which breathes, lives, and envisions a story is still a goal.
Article by Lance Viggiano
Liers In Wait cast chains of non-random riffs in the legato style of metal pioneered by Morbid Angel to no effective artistic purpose. Spiritually Uncontrolled Art comprised of rationally woven re-contextualization of familiar death metal patterns which never manage to take on a distinct character as individual tracks. The album as a whole doesn’t begin to approach a definable emotive personality because the subject of this work is the personality of the composer: a master of phrasing with an encyclopedic knowledge of metal so adept in his craft that self-editing would diminish the efficacy of his work. These streams of coherent yet cold consciousness are hewn to Necrolord’s own sense of bravado; made concrete by a vocal delivery that proffers dominance rather than dread.
This is neither music for music’s sake nor music for the sake of expressing a transcendental idea. It is entirely about the composer’s ability to write coherent music out of the first thing that comes to mind – a mind that is very much a wellspring. In some ways this album is analogous to Eighties shred which existed as a pure demonstration of superiority over its contemporaries by parasitizing familiar content that was then latticed to the listener through overly sentimental melodic hooks. Antithetically, Necrolord eschews hooks entirely as they would constitute breaks and disruptions in the stream by deploying recognizable moments and thereby give the impression of emphasizing the better material, and consequently highlighting the lesser ideas of which there are none to be found. Conceptually this seizes the middle ground between tuneless noise and the summa cum laude of ten-mile-long cock rock.
Lasting impressions, significance and meaning is for the sensitive feminine types, not the fucking overlord. In this sense, Liers in Wait is a resounding success. Those lamenting the fact that this music does not “Do something” gravely miss its point.
Sarpanitum’s Blessed Be My Brothers was one of Death Metal Underground’s rejected albums for the Best of 2015. The album initially showed promise. The introductory track, “Komenos”, presents the audience with Sarpanitum’s combination of chromatic death metal riffs, melodic heavy metal leads, Unique Leader Records brutality, and Emperor-like use of a melotron to approximate medieval polyphony to anchor the concept album’s theme of the Crusades.
“By Virtuous Reclamation” surges forth with soaring, harmonized guitars calling for the conquest of the Holy Land continuing into an Immolation style rhythm riff. A break starts the counterpointed dissonant riffing in the Unique Leader style that variates logically enough for Pope Urban II to call for crusade against the heathen Saracens with a metalcore scream, providing a harbinger of the randomness to come. The band returns to the opening riff minus the accompanying lead. The lead’s eventual return signals the start of the Emperor melotron. A sudden slowdown for a cheesy emotional solo continues into the original riffs, climaxing into a polyphonic blend of every musical element and texture. The song barely avoids falling on its face on the way to to the finish line.
The second real song, “Truth” opens directly with Unique Leader riff salad. The Emperor worship is only to plant listeners in a Western European medieval mindset to distract them from the fact the tension built up by the dissonant riffing is never appropriately resolved. The emotional stadium rock solos are just as disconnected from the death metal as the Emperor aping. “Glorification Upon the Bones of the Sundered Dead” better glues the riffs together but still resorts to emotional, Slash-style solos to impart the triumph of the Siege of Jerusalem.
If Blessed Be My Brothers had ended there, it would have been a disparate but listenable concept album. Instead Sarpanitum use the second half to tell the Muslim side of the later Crusades through similarly flawed but less effective songs. This isn’t just a 180 degree change in perspective: the band added another of their heavy metal heroes to the blender. Ersatz Gorguts riffing plus even more masturbatory glam rock solos leads distract from the effective atmospheric and brutal elements. The songs turn even more so into senseless technical deaf metal with Emperor rendered down into pop hooks.
The drastic changes of viewpoint and influence betray the album’s semi-successful first half. The atmosphere of Western mysticality established using Emperor to approximate a polyphonic medieval choir is wrecked by the hippie drum circle interlude, “I Defy For I Am Free”. Blessed Be My Brothers is a postmodern, apologetic Frankenstein. Wikipedia “neutral point of view” metal for meek liberals is antithetical to Emperor’s classical triumph and heavy metal’s “Compassion is the vice of kings: stamp down the wretched and the weak,” virtus.