As America’s conservative renaissance thrives through its flourishing Alt Right movement, the time is ripe for a full fledged rebirth of its black metal identity.
With the genre having reached rock bottom in recent years due to pop punk and screamo influences, beta male journalism, communist ideologies, and a faux transcendentalist philosophy, we can begin to right the ship by exhuming and examining the cadaver of its formative age.
In darkness heavy metal finds its greatest friend. From the ominous tritone of Black Sabbath to the most vicious and bestial extreme metal of the modern day, diving into the abyss to find meaning has been metal’s clarion call. Keeping true to that paradigm, and displaying the ability to build upon it, Wormreich have crafted an EP of atonal black metal titled Wormcult Revelations.
Standing above ordinary circular composition, Womreich use leitmotifs if even on a small scale to expand the power of experience in this work. The narrative of this EP reveals itself through four songs which share returning ideas across the album, like a Satanic opera concluding in sinister victory. Cold and dark riffs, like a gathering of fervent souls brought together to recite the devil’s gospel, enclose this stygian mood. The dark, horror-like atmosphere of this EP separates this band from similar acts. The two instrumental keyboard tracks, “Shaare-Maveth” and “Codex Lvciferivm” use the dark-ambient style to emphasize that murky atmosphere.
Wormreich succeed in delivering a batch of haunting and devilish black metal similar to the likes of Aosoth, old Watain, and Deathspell Omega. Wormcult Revelations leads you through a whirlwind of smoke and fire for an authentic ritual experience.
I. Revelation I: Vox in Rama 2:30
II. Revelation II: Serpents of Choronzon 7:06
III. Shaare-Maveth 1:57
IV. Revelation III: Devotion’s Final War 7:15
V. Revelation IV: Enim Satanas Meum Sanguinem 7:25
VI. Codex Lvciferivm 5:08
VII. Malign Paradigm [Deathspell Omega cover] 4:45
The next Krieg full length will be titled Transient and will be recorded in 2014, according to Krieg frontman Imperial. The new album will be 40-50 minutes long, “with some return to the old Krieg style in the sense that there will be a lot of very aggressive parts and a fair amount of samples.”
Transient will also blend in more influences from strange industrial projects, nothing you can dance to obviously, but the feeling you get from certain Coil, Whitehouse, and Controlled Bleeding recordings as well as a strong push into the more crusty rock n roll moments from the last three records.
Active since the middle 1990s, Krieg pioneered a unique sound of semi-improvisational and chaotic New World black metal that took many influences from violent and disoriented punk music and merged them with the minimalistic black metal of Darkthrone and Havohej. Recently, Krieg has been incorporating more post-metal influences in their music with The Isolationist, the record releases in 2010.
“It’s going to be a strange beast for sure, as always uncomfortable and hopefully challenging to the listener. We will be recording the majority at a different studio than we’ve used previously as to try to bring a newer feeling to the overall recording,” said Imperial.
Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.
Ares Kingdom – Incendiary
There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.
Autopsy – The Tomb Within
Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.
Avzhia – In My Domains
Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne‘ from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.
The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……‘ by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.
The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.
Profanatica – Disgusting Blasphemies Against God
True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.
Slaughter Strike – At Life’s End
Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty. Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.
When black metal became in popular perception “the next big thing”, around 1992, it was rightly considered an European phenomenon which contained a cultural bias based on tradition, arts and society impossible to spiritually clone in the American way of life, even in the underground which had spawned death metal. Bands like Profanatica and VON showed that it is possible to create the blasphemy spewing minimalistic barbaro-black metal in USA as well as anywhere else, but the Romanticist type of black metal bands from USA were for a decade, if not more, the laughing stock of even American BM maniacs themselves. There was something wholeheartedly absurd about Sumerian sorcerers from Texas, druids from Minnesota and vampires from California. David “Blackmoon” Parland of the insipid Dark Funeral waged verbal war in zines against Proscriptor of Absu, who cast curses and spells in return. Judas Iscariot printed Nietzschean statements in German and moustached overweight pro-wrestling fans took pictures of themselves corpsepainted in suburban woods. Whereas musical quality grew through the times, so did the amount of excess people circulating in the American BM underground, leading to the explosion of “bedroom black metal” in the turn of the millennium, while black metal messageboards became populated with people whose IQ would be statistically rather rare in Norway and Sweden.
The dilemma seems to lie in the artificial distance between the sophisticated intellectual and man of the street which characterizes also the separation between the art and entertainment of 20th century America. Whereas the Oslo or Bergen black metaller would have been raised with equal awareness of Ibsen’s plays, American movies and classical music as well as punk, the US black metaller often came from the background of very little cultural perception besides TV, baseball, horror movies and aggressive competitive values. The obsession with social standing is such that looking or behaving different would easily be seen as gay or the sign of a wimp or nerd, but what fan of black metal would want to represent normality in every piece of action? Scandinavian, Austrian or even Polish metalhead did not and does not share this pressure of having to be a regular conservative guy because there are more different roles and stereotypes available in the society to identify with. Thus most of the US youth involved in black metal came to view themselves as either depressive, perverted losers or occult maniacs oriented to conjure the otherworld dressed in robes and armed with litanies of every available ancient magick tradition and spellcasting culture.
As case studies, take for example Crimson Moon from San Diego and Night Conquers Day from New York. Both are bands with respectable instrumental skill, dedication to the black metal arts beyond the normal “scene kid” wannabe interest and an intuitive grasp of the Romantic and Faustian in black metal. Yet, both are bands hard to take seriously at face value, because there is so much absurdity, alienation from reality and bad aesthetic choices involved. Crimson Moon presented themselves as a magical collective of energy vampires but the music was often a too simplistic rip off of influences from Cradle of Filth to Ancient, damaging the beauty, while their reputation suffered a blow from public arguments on online messageboards not at all fitting for the sorceric image – even splitting the band in two factions, Gorgoroth-style. Night Conquers Day posed in full daylight near a storage building with one of the members wearing corpsepaint (and the infamous moustache!) and the personal history of the members included getting into headlines for stealing gravestones and a keyboard player who disappeared but returns now and then to play a piece over the phone (I think I would go that way too if I had to live in the American society) and the 10-15 minute epic songs quoting several eras of metal from Mercyful Fate to Burzum remained unmemorable because of sounding like too many parts had been stitched together with no spiritual theme arching to wrap up its diverse aspects into a continuous whole.