Continuing the tradition of Texas shows that require the National Guard to calm down the audience afterward, Last Nightmare Productions presents Destroying Texas Fest VIII, featuring the following acts of pure power: (more…)
A supergroup composed of King Crimson musicians, The Crimson ProjeKCt, will release Live in Tokyo through InsideOut Music on March 18, 2014. To commemorate the announcement of the live album’s release, the band have issued a video of their live performance of the 1974 King Crimson classic “Red” off the album by the same name.
“Red is one of the pre-80s instrumentals that has remained an integral part of King Crimson’s repertoire up until the early 2000s. Our interpretation of this classic piece is uniquely energetic and always ‘on-the-edge’, especially the double drumming from Pat and Tobias. Markus is doubling the main guitar part in a baritone register, which adds a subtle new pushing element to the song. The roar going through the audience when we start playing this is one of the highlights of our shows for us,” said the band in a statement issued collectively.
The Crimson ProjeKCt is organized in the “double trio” lineup that King Crimson popularized from 1994-1997, and features Adrian Belew, Tony Levin, Pat Mastelotto, Markus Reuter, Julie Slick and Tobias Ralph, all of whom have played with King Crimson during the past. The band mostly focuses on later King Crimson work that was popular from the early 1980s through mid-1990s.
Frame By Frame
Larks’ Tongues In Aspic Part II
Thela Hun Ginjeet
5th March – Heichal Tarbut, Tel-Aviv – Israel
6th March – Bingo Club, Kiev – Ukraine
7th March – Usine A Gaz, Nyon – Switzerland
8th March – Amager Bio, Copenhagen – Denmark
9th March – Cosmopolite, Oslo – Norway
11th March – Ziquodrome, Compiegne – France
12th March – O2 Shepherds Bush Empire, London – UK
13th March – Trabendo, Paris – France
14th March – De Boerderij, Zoetermeer – Netherlands
16th March – Arena Club, Moscow – Russia
17th March – Palace of Culture Lensoveta, St. Petersburg – Russia
19th March – Palladium Club, Warsaw – Poland
20th March – Klub Studio, Krakow – Poland
21st March – Neuberin Halle, Reichenbach – Germany
22nd March – Konzerthause, Karlsruhe – Germany
23rd March – Frankfurter Hof, Mainz – Germany
25th March – Grughalle, Essen – Germany
26th March – Z7, Basel – Switzerland
27th March – Archa Theatre, Prague – Czech Republic
29th March – Auditorium Supercinema, Chieti – Italy
30th March – Auditorium Manzoni, Bologna – Italy
31st March – Auditorium Verdi, Milan – Italy
1st April – Auditorium Parco della Musica, Rome – Italy
You may have read our previous coverage of Deathgasm, the metal-themed horror film that independent producer Jason Lei Howden of New Zealand intends to make. The film, which focuses on the story of two teenage boys who unwittingly summon an ancient evil entity known as The Blind One, will begin shooting in another eight to ten weeks.
Deathgasm is able to be produced because its producers won funding from the Make My Horror Movie competition designed to foster higher quality independent horror films. “With some of the most inventive and shocking gore ever captured, Deathgasm will gush bodily fluids, rain limbs and tickle your funny bone, before tearing it out and giving you a stiff beating with it,” the film’s prospectus promised.
Funds in the form of $200,000 will enable the filmmakers to create the final movie. The film idea beat out 400 other entries and will be funded by Make My Movie, the NZ Film Commission, MPI Media USA and nzherald.co.nz. Director Jason Lei Howden is currently seeking death metal bands who would be willing to allow their songs to be used on the soundtrack, with a preference for underground acts.
The Internet grew out of 1960s DARPA projects and has been with us a long time. Most of us however only began to explore it after September 1993 when AOL began mailing out all those free disks that allowed anyone (and they meant, Satan help us, literally anyone) to get on the internet. After that, the Internet became public property.
But before those times, in the days of the late 1970s through early 1990s, the BBS was king. Someone would set up a home computer on a second phone line, install and configure (or hand-code) some software, and then send out the word to others friends on their own BBSs. People traded files and wrote messages to one another, both private (email) and public (forums).
They say it is devil music. They say it is Satanic. They also mention it being the source of many teen-age suicides. Why, do you ask? Well, this file is hopefully going to bring that point to light. Finally, just when you thought everyone was against you, you have found the truth in Heavy Metal: The Untold Truth.
We, the listeners of heavy metal, have been called many a thing. Metalheads, headbangers, pieces of scum. But, why do people continually call us that? Is it because we are a minority among other listeners of music? Is it because they think we deserve it, because we refuse to listen to “their” music? Whatever the reason, for two decades now, people are still believing that everyone who listens to heavy metal is Satanic or something along that line. Have psychologists proven that striking a chord on a guitar with distortion causes the mind to turn into an uncontrollable atmosphere of evil thoughts? I think not, and the reason many think they way they do is because of the lyrics to the songs.
The lyrics are often portrayed as the root of the evil in heavy metal. One might call it is the root of all evil is in the music that the children listen to. The lyrics themselves do not imply anything such as Satan worshiping or suicide. More times than not, the lyrics sing about the cold harsh reality that befalls us all in this world. Destruction, corruption, and many things pertaining to the real-time life of people are what cause these rumors of heavy metal. Megadeth for example sing about the destruction of the planet and the corruption and manipulation of a person’s mind. Why would “normal” people listen to the horrors of real-life, when they can live in a fantasy world created by Debbie Gibson?
The harsh reality portrayed in Metallica’s tape And Justice for All is another example of the manipulation and corruption of a politician’s mind. The lyrics often speak of revolution also, such as in Queenryche’s tape Operation: Mindcrime. They imply, “Why should we have to live in a world ruled by those who can afford it, when we could be living in a much better place?” If you have read any of Metallica’s, Megadeth’s or Queensryche’s lyrics, you’ll know where I am coming from.
Another coincidence that is often blamed on heavy metal is suicide. Think about it this way. When real-time life hits you through a song, and you’re not prepared for it, you might just say fuck it, and go off the deep end. People need to be more prepared to face reality when they turn on Megadeth or Nuclear Assault.
The music itself is often and crunching to the mind. One might call it noise, but to those of us who understand it as music, it often resembles the lyrics in many ways. A good example of this is in And Justice for All. When listening to this tape, the music often prepares the listener for a cold and harsh representation of life. Such as in “One,” the intro with the helicopter puts the listener in Vietnam. The music then turns from a sad, painful melody into a hard, cold, highly distorted melody that depicts the character’s hatred toward life. This is a remarkable example of what the music part of the songs is all about. It is to set the mood. Want to live in fantasy? Go listen to Milli Vanilli. Set to take a first class ticket tour through real life? Listen to Metallica.
Slower music sets a nice pace for the slower, less knowledgeable minds. One might call a headbanger “dumb,” but nine times out of ten, the guy will survive the onslaught of political mindgames better than the smartest “normal” person would. It is much harder for a “headbanger” to be brainwashed by politicians because of the music he or she has listened to for years.
If you are a metalhead, read carefully the last few paragraphs. It is the true reason heavy metal, acid rock or whatever you call it, came around. To make people aware and to keep people from being brainwashed into mindless cyborgs that revolve around one who can afford the company. Believe me when I tell you that heavy metal is not all the noise that it seems to be; it is much more than that. It is a way of life to many.
From: Starmaster… To keep those who want to be knowledgeable full of knowledge. And to keep the pricks, pricking.
While this piece may have been written by a non-professional and inexperienced writer, he or she makes some good points. Let’s look at some of the highlights:
The lyrics sing about the cold harsh reality that befalls us all in this world. This is not protest music, where people complain, or idealistic music, where they sing about what might be. It is descriptive music that portrays the world in a way people cannot see through the fog of consumerism, politics and socialization.
The lyrics ask, “Why should we live in a world ruled by commerce, when we could be living in a much better place?” This paraphrase cuts to the core of the underground metal argument: as soon as money shows up, our priorities shift from reality to money and bad results come of that.
[The music] often resembles the lyrics. He makes a good point here. Metal’s harsh riffs are often shaped into song by the lyrics, and the two work together. It is as if the music is a delivery system for the lyrics, like ancient Greek theatre where music and drama were used to convey essentially philosophical messages.
[A headbanger] will survive the onslaught of political mindgames better than the smartest “normal” person would. This is the actual theme of the piece: politicians/money preach obliviousness and most people choose that path because they’re afraid. Metal is for those who want to go beyond and result the false world created by politics, money and popularity.
And to keep the pricks, pricking. This one is up for grabs. If you have a plausible interpretation, post it in the comments.
For what it was, a single text file uploaded onto a BBS somewhere in 1990s America, this document covers a wide range of topics and has a fairly depth-seeking thesis. Perhaps metal was stronger when more people thought like this.
Coroner occupy a unique place in metal history. Coming from the speed metal camp, they injected their music with technicality and a high art sense that placed them alongside Voivod and Prong as some of the 1980s oddities. (more…)
Apparently Kirk Hammett’s Fear FestEvil went off without a hitch, bringing together metal fans and horror movie fans in a celebration of movie artifacts, horror movie personalities and metal bands saluting their favorite genre of film.
The festival featured performances by Exodus, Death Angel and Carcass, but also had as guests Kerry King (Slayer), Scott Ian (Anthrax/SOD), Doyle (Mistfits) and of course Hammett (Metallica) himself. In addition, you could meet movie legends like Boris Karloff’s wife and son, the man in the Godzilla suit Haruo Nakajima and a number of a directors and actresses from horror movies over the years.
“There’s a lot of horror elements that have been used in heavy metal for a long time ago. I mean, Black Sabbath was named after a movie. And that was the amazing thing. I was a horror fan and then I became a music fan and then I discovered hard rock and heavy metal and I’d see all these little pieces of imagery or song titles or lyrics borrowed from horror films throughout all these heavy metal bands. They’re made up of the same ingredients. For me, a good horror movie is fun, dynamic, exciting to watch, peaks and valleys. A good heavy metal song, for me, is the same way — exciting to listen to, peaks and valleys, really fun and energetic.”
This leads to the broader question of the connection between metal and horror movies on an artistic level. While many writers have focused on the economic connections, shared fanbase, or similar aesthetic, few have analyzed the question as Hammett has by showing how the two gesture in artistically similar ways. But this resembles statements made by Black Sabbath about the invention of early metal:
One day I thought that it seemed strange that a lot of people spend so much money to see scary movies. Nobody really wanted to listen to us, so we decided to play slightly scary music. We liked it and, yeah, that’s how it all got started. That’s the story of Black Sabbath.
As many commentators have noted, Black Sabbath came out of the late 1960s when “flower power” was still in full flourish. The band wanted to inject a note of darker reality into the notion that one could simply peace out and all would be well. In the world that Black Sabbath introduced, darkness was preeminent but invisible, much like the threatening characters in horror movies who owing to their supernatural or psychotic states can never be pinned down and isolated.
Over the years, metal has cemented its relationship with horror films with lyrical and topical allusions aplenty. As various other cultural movements run themselves over cliffs like drunken parties touring the countryside, and yet metal (and horror films) endures, it might make sense to wonder if those who see the darkness were correct after all.
We reviewed Zloslut in our latest Oration of Disorder reviews. Response was good, and so we wrote to the band and asked if they’d do an interview. Hunter of Zloslut was good enough to respond and create this interview.
What does “Zloslut” mean? Why did you choose this name?
Zloslut is a Serbian word that means “The one who feels evil coming”; the translation in English is “Ominous.” This word simply best describes our music, lyrics and state of mind.
When did Zloslut form? Did you face any opposition from the society
Zloslut made its debut during 2010 in Serbia as a one man band; last year we turned into a real band. No, we did not face any opposition with society, except humanity in general.
What makes the members of Zloslut choose to play black metal music? Wouldn’t you rather make post-metal and sell lots of albums?
We didn’t chose what we are going to play, and create… We just wanted to play music that best fits our ideas. And it is black metal.
Selling a lot of albums is not my purpose. If it would be, then yeah, I would play post metal, haha.
How many releases do you have so far? Can you tell us what is different about Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti?
From our inception through the present day we have made a solid discography, including a demo, split, EP, compilation, an album and several singles.
The different thing about Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti is that it is simple; it’s our zenith. We have advanced ideologically and also musically.
Is this latest album a concept album? If so, what’s it about?
Yes, it is a conceptual album… The strangest thing is that I don’t like conceptual stories… But it turned like that from itself.
The main pillar of the album is death and its philosophies, the second is misanthropy and its spiritual effect, and the last one is more like a question about nothingness.
Where can people in the US and the rest of Europe hear this album? Are there places in EU and US where they can buy Zloslut albums?
Since people today are more and more ignoring phisical releases, I decided to upload the whole album on YouTube, and several tracks on bandcamp and myspace. All of our releases are of course available physically, and can be purchased on our official website.
There are several labels and distros that hold some of our releases, but it’s been a while since i was in contact with them. Currently I am working with distros all over the globe, and in the months to come you can expect to see Zloslut releases in the lists. Until then you can order from me.
You sing in your native language. Why did you choose to do this?
I think that every band should sing on their native language.
But you know, it also depends on the ideology… Some texts are better fitting in English.
I personally didn’t choose that. I have some texts from my demo that are in English and also in French.
Some of my new tracks that will appear in the future are not all in Serbian.
How do you define black metal?
For me black metal is surely not to be close-minded as many of them today are, especially the new trend of Watain wannabe.
Personally, I am a very open minded person when it comes to music, books and so on…
We all know that religious people are close-minded, stopped from following their heart… Because of what? It’s not the question now.
We also all know that in the beginning of black metal, it was an opposition to all kind of religion, political direction etc…
So, to come to the point, black metal is not stopped from following the heart, black metal was always open minded, even when there is something that doesn’t fit its inner direction.
What is being open minded? Certainly not to like and support at once whatever you see, hear and feel… But its to consider what you don’t know or see the first time, analysed it, and then you know what is your personal definition on that subject.
I am not selling education about black metal, but only what I can say… Black metal has been dead for some time now… We might play it, but it’s only a massive tribute to that cult. Maybe one day it will be resurrected, but that I can’t tell you.
What is the process of songwriting in Zloslut? Do you start with an idea, or just play and see what happens? Or something in between?
I don’t have a special way of working. Sometimes I can take a guitar at a party, play it, and accidentally I come to an interesting riff, melody…
And when I make a song, I assemble them, piece by piece, just like puzzles… Until I come to something that may reflect to a song.
What’s next for you — will you tour, release more music, or change style?
2014 will surely be a year of concerts… We have been confirmed so far only in Serbia, but we are still persistent to cross the border and play some European dates. (Promoters get in touch!)
When it comes to releases, we have finished 95% of the second album. When this is going to be recorded/released, is still far away in my mind, maybe middle of 2015… We are also working on a split release where we will contribute with one completely new song. I can’t tell more for now, since we can never see our next obstacle.
The recent revival in non-ultra-niche zines for underground metal continues with the success of Codex Obscurum, an old-school style zine that takes advantage of modern technology. Our previous coverage of Codex Obscurum chronicles its development from the early days to mastery of aesthetic and content.
When the underground was new, zines were the way to find information for metalheads in a world that refused to air, play, show or print information about such a tiny and unprofitable genre. With the rise of niche marketing, glossy zines have taken over much of the underground, driving most xeroxed print zines into ultra-niches where they cover topics specific to about 500 people each. Codex Obscurum resurrects the general-purpose underground metal print zine in about 50 xeroxed pages of interviews, reviews, features and reports.
Issue #4 of Codex Obscurum is now available for pre-order at the Codex Obscurum fulfillment site. The zine costs $3 + shipping and handling and will hit the mails at the end of this month. This issue features interviews with Blaspherian, Autopsy and Primordial, a selection which reveals the breadth of coverage that Codex Obscurum delivers.
Satan won 2013’s Best of the Year award from Death Metal Underground for its album Life Sentence which shows the best of NWOBHM merged into the powerful techniques of the speed metal the band inspired back in the day.
Now, for the first time, Satan is touring North America starting in April. You can catch this classic metal band (which shares personnel with Blitzkrieg) at several locations already announced for the east coast, with more to come.
If you enjoy metal anywhere from the late 1970s through late 1980s models of technical, inventive riffcraft bearing and emotionally complex metal, Satan Life Sentence provides an older and wiser take on that era with just as much invention and perhaps more intensity.
Necrotic NYDM band Thevetat will enter the studio on February 19, 2014 to record three songs for an upcoming EP on Dark Descent Records.
“While the style is akin to the early material, a progression can be heard,” said main composer and band anchor Thomas Pioli. The lineup is Thomas Pioli (vocals, guitars, bass), and John Mischling (drums).
Thevetat rocked the underground and old school metal world with Disease to Divide, a short but potent EP of raging fermentive occult death metal with doom undertones.