Some metal was created to be enjoyed drunk and alone with reality TV blaring in the background.
Some metal was created to be enjoyed drunk and alone with reality TV blaring in the background.
Article by Lance Viggiano.
The Escalation perfects the misunderstood Australian art of Cimmerian metal – a deliberately low-brow affair which has little tangible relationship to the Common Practice Period and therefore easily panned. Vomitor deliberately flaunt rock’s loud and emotive ethos through boorish motifs qualified further by a thin and mid-centric texture executed in characteristically poor-taste. Constructed primarily out of recombination of past forms, The Escalation is a deliberately retro affair which succeeds by forming a singular and immediately identifiable voice. Historical precedence for this identity is found in the work of Spear of Longinus – specifically the first demo contained within Black Sun Society. Vomitor do not present a way forward for metal; instead the entity finely maps a territory which was discovered but left largely unexplored by ancestors who clung to the safety and security of the coastlines looking into an inhospitable thicket which obscures a familiar but nonetheless unique landscape.
Maryland Deathfest once again has visa troubles forcing the cancellation of a headliner. Sodom‘s visa troubles last year led to the cancellation of their headlining appearance on the main stage of the parking lot festival. Now, British hardcore legends Discharge (the originators of d-beat hardcore) get the short end of the stick from the Baltimore festival’s disorganization.
Many lost “gems” have been reissued to capture undiscerning millennial money. Most never found a market as they weren’t up to par. The Death Metal Underground hopes that readers were not gifted any of these on the Unconquered Sun’s birthday.
Hydra Vein – Rather Death than False of Faith (1988)
Raining blood, from a lacerated sky! What? This isn’t Slayer. What the hell is this? Did Tom Araya have too much to drink? Wait this idiot’s British and doing drunken Motorhead karaoke and Kerry King air guitar solos at the pub. The cover looks like a ten year old’s Clash of the Titans fan art. This album is a fifteen year old’s Slayer fan art. Maybe if I drink half a bottle of whiskey my brain will think Hydra Vein is actually Slayer. I could just turn it off and play Slayer.
Morpheus – Son of Hypnos (1993)
Morpheus (no relation to Morpheus Descends) was an early nineties musical project put together by four residents of a Stockholm group home. The vocalist sounded like Sylvester Stallone imitating Glenn Benton, the guitarists idolized the Hoffmans, and everyone attempted to cover Kreator. During the recording sessions, the band members expressed situational homosexual behavior by prostate massaging one another with their genitalia. The orgasmic screams of these disturbed sodomites echoed jungle fowl being rended by monkeys. Son of Hypnos makes for an amusing pornographic soundtrack.
Bloodstone – Hour of the Gate (1996)
Hour of the Gate was produced by Tomas Skogsberg and Fred Estby at Sunlight Studios. I hit play and instead of crusty Swedeath my ears hear Incantation’s “Profanation” breaking down into Necrophobic riffing. Then Gothenburg leads and more Profanation. That lick’s from Megadeth. How many salads were tossed here? The shit-buttered anus of death metal was licked right well and clean. I need to get a drink. I blacked out listening to this turkey. This CD was not repressed as history wanted to black it out too.
Sacrificial – Forever Entangled (1993)
The sound of groove riffs ‘cross the glade,
Heshers cover your ears in horror.
This death trash is rather staid
Chugging along into the gutter.
Pantera meets Destruction
What a horrible production
Vocals are just way too loud.
Matti Karki would not be very proud.
Many metal songs are raped.
Their holes torn apart and gaped.
Watched Blackadder the Third.
Another reissued turd.
Article by David Rosales (read the original by Dan McCormick here)
Ares Kingdom has brought yet another stillborn child into this world. It has all the ingredients, but somehow it is not alive. It possesses such an unbearable need to be metal that it becomes so self-consciously metal that it could be considered tongue in cheek, but it isn’t. This makes it painfully embarrassing to listen to, the annoyance it causes being staved off by a feeling of uncomfortable pity. While this will entertain and even have the superficial effect of caffeine on the young metalhead, it will translate into a sure headache for anyone expecting the music to say something besides “I am so cool”.
The Unburiable Dead is the sort of album that a band with a lot of metal in its “system” but altogether too few neurons could put together in about a month or so. It suffers from a reliance on rhythmic riffs completely divorced from strong themes that it is borderline nu metal. As it replaces concrete content with emotion, this music is a huge mess. In order to counter the effects of its own unfocused babbling, Ares Kingdom resorts to the simplest means of keeping the music on some sort of track, namely, bringing the song back to early riffs and verse-chorus appendages within the incongruous mass of wacky solos completely out of context running over riffs with little to none motific connection most of the time.
The previous review on this site placed the album squarely in an ultra-musical context to better appreciate it. This is very appropriate and we could argue that it is the best way to appreciate music. Music nonetheless must deliver powerfully, especially from within its intended context and mentality! If it fails to exploit the ground from which it grows, expanding from the idea to musical moods concretely and coherently expressed, then it simply has failed as music, no matter how interesting the original idea was. Rather than a metaphysical reflection of the world thrown into chaos, I get a picture of a drunken brawler swinging an axe at imagined foes in the middle of a forest. Perhaps this picture is also an accurate representation of civilization’s thin veneer, after all. Perhaps Ares Kingdom has succeeded in portraying the self-deceiving nonsense and purposeless chaos they criticize in civilization through the literal mediocrity of their music.
While at first one could be tempted to say that Ares Kingdom speaks a language of its own, that it has stylistic coherence, the microscope reveals something different. Their music, not only on this last fiasco but throughout the band’s play discography, is namely an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads (those who listen to metal in social contexts only and are not actually addicted to it).
For while the gilding of modernity instills an inability to fully appreciate to the horrors of history, and we find ennui at the heart of much that is claimed to be injustice in our first world padded cells, the voice, these specters, still speak to us.
Now, turn back the hands of time twenty years prior to the Austrian Civil war and we find ourselves staring down the thick steel of a Vickers machine gun, at the onset of WWI. This is the stage for Ares Kingdom’s third full length album, a concept album of sorts, and a memorial in its own right to the “Unburiable Dead” and the vicissitudes which enveloped nations. From an unprecedented influx in engineering and patents that took place over the forty years prior to the onset of war came the engines of death capable of destruction beyond the understanding of the milieu which bore them. Such misery and violence underlies the imagery of the first four tracks, and, like Zarathustra come down from the peaks, the final three pieces are as songs of experience and wisdom, or is it despondency and spleen? Nonetheless, the album bears a easily followed framework, and one befitting the subject matter.
The music carries a continuity through out the album, and is very much in step with what one has come to expect from Ares Kingdom. Melodic and death stylings seem tied to a steel spine of traditional thrash, and at times verging on an extreme form of heavy metal. Alex Blume performs the vocals with great consistency, and while his range may be minimal the execution is imbued with virile aggression. Alex’s bass work seems solid, and to expectation but doesn’t offer me much on which to build commentary- may be it’s a different story in a live environment? Mike Miller’s percussion does well to accentuate and amplify the dynamics, though I did find myself with the nagging feeling that I was wishing it to go places at times which it never did. With a stand out performance in “Nom De Guerre”, “Demoralize” didn’t seem to indulge my attention in the same way, and overall the drums are greater than sufficient but well beneath virtuoso. A tight backing, as it were, for the main interest.
Chuck Keller’s guitar work, as I’ve come to expect, is the specific reason to seek this album out. If you’ve ever caught one of Ares Kingdom’s live sets, you’d know what I was talking about. Highly creative with technical prowess and gear capable of capturing a dense, traditional, metal tonality, the sound achieved on this album is a paramount effort. The high production values only further the experience. Chuck expressed in interviews that this album was a long time in the making, having begun writing some five years prior to release, and I believe there is much evidence of that. The music communicates – having been well developed, with a harmonious rhythmic body that consistently builds in intuitive and accessible manners, and which drives, with excess, the emoting of phrasing. Essentially, this is a brilliantly written and executed album by a true underground veteran.
The basic sonic template for this album is late-model melodic hardcore in the vein of Champion or Verse; that means a melodic base of straightforward four-chord (or less) progressions in a basic minor scale played rhythmically on the guitars, looped for four or eight bars, usually until the progression becomes stale (more common) or the vocals lead to a new riff cycle (less common). Each riff continues until Obisidian see fit (as typical of modern “hardcore”) to abandon the progression altogether and move on to a riff with a completely different feel instead of developing the last riff (through harmonic augmentation rather than plain repetition) and moving toward a new one logically.
Generally, this method of composition would be frowned upon, but in the case of this album, the changes are welcome since the listener is undoubtedly anticipating the next riff with relish since the last one is sure to have become stale after a few cycles. Obsidian avoid this jarring transition sometimes by simply shifting to another rhythmic style (for instance, playing the same (or a similar) chord progression with palm-muted strokes and a half-time drum beat). However, this is not always the case; toward the end of the album, we see some interesting melodic progressions that move forward in the style of black metal without the need for vocal embellishment. For the worse, these sections appear too few and far between.
The saving grace of this album is Obsidian’s ability to throw in NWOBHM style guitar lines which,
although rarely progressing rationally from the last riff, are very cool-sounding and give a boost of energy to each song. However, the riffs feel generally out of place since, once they are over, the next section invariably drops back to cliche modern hardcore dime-a-dozen riffs. Nevertheless, the guitarist(s) display a refined sense exactly how far they can push the hardcore style riffs augmented by vocal rhythm before needing to introduce a more harmonically rich dual guitar segment. Beyond that, the band seems very comfortable when tying off-time (usually switching from a 3/4 to 4/4 beat) rhythms together in a way that avoids the typical metalcore style riff salad style that feels like something you could hear during a tour of a zoo; “And if you look to your left you’ll see our lions as they feed on… oh, look to the right to see the zebras in a galloping herd!”
All in all, the music achieves its purpose as being something that impels the listener to charge their adrenaline and accomplish something physically demanding. It might make good workout music or something that would be great to experience in a live setting. However, a listener (particularly of the metal persuasion) looking for music that describes a series of situations narratively might find themselves bored by melodies that wear out their welcome before being augmented rhythmically, as this album is chockfull of cool riffs that make just as much sense when listened to at random intervals rather than in a riff by riff manner.
Wolf Hoffmann asserts that Accept wrote the first speed metal song ever with “Fast as a Shark” from Restless and Wild way back in 1982. While the debate rages across the internet, now the equivalent of 1980s daytime television, the question can be answered by looking to what speed metal is.
Speed metal — as distinct from thrash a genre popularized by Thrasher magazine devotees and skaters making hardcore/metal crossover such as Dirty Rotten Imbeciles and Cryptic Slaughter — originated in the use of a single technique: the muted strummed downpicked power chord. This technique combined the repetitive downpicking of punk with palm muting, previously used only to emphasize specific notes. Much of its appeal came from the changes in amplification and production since the previous decade which allowed louder music to exist. Much like the 1980s itself, the muted strum conveyed a sound of clashing absolutes and decreased the amount of harmony heard in each chord, making the music more purely percussive like techno and early industrial. Even more, it gained the volume punks had always aspired to with its explosive and uncompromising sound. In the process, it inspired more use of accidentals leading to more chromatic fills, which in the next generation with death metal became a form of riffs themselves, where speed metal relied more on the NWOBHM song form and harmony.
Generally regarded as starting in 1983 with Metallica Kill ‘Em All, speed metal presented a radically new sound which had precursors in extreme (for the time) bands like Motorhead, Judas Priest, Blitzkrieg, Tank and Satan. However, no bands had fully adopted the new technique as the basis of their composition until the early cluster of Metallica, Exodus, Mercyful Fate, Nuclear Assault, Anthrax and Megadeth. During the 1980s these bands were the most extreme metal that most people could find in their local record stores, which were how most people got music back then, with the exception of Slayer which was a speed/death hybrid and Venom which was a punk-influenced form of NWOBHM. Accept does not measure up to this standard on the basis of technique, since its song fits within older heavy metal format and does not use the muted strum.
This statement does not decrease the importance of Accept in the creation of speed metal. A long line of innovations occurred leading to speed metal, starting with the incredibly rough sound of Motorhead in 1976 but aided by progressive bands like King Crimson and Greenslade as well as a chain of punk acts who pushed the envelope such as Discharge, The Exploited, Amebix and the Cro-Mags. Below you can hear “Fast as a Shark” and see this heritage for yourself, contrasted with the archetypal speed metal song, “Creeping Death” from the second Metallica work Ride the Lightning and Blitzkrieg’s self-titled track from their 1981 EP Buried and Alive.