In the Death Metal Underground, the promos are reviewed in two separate yet equally important groups: the worthy which are investigated thoroughly and the shelf turds used to test the wounding potential of artillery. These reviews are the latter.
Mastiphal – For a Glory of All Spirits, Rise for Victory (1995, reissued 2015)
Emperor started the mass delusion among basement dwellers that adding dark wave keyboards to random metal riffs constituted black metal rather than loose stool. Mastiphal obliged, stopped jerking off to Sailor Moon, and wrote carnival music around stolen metal riffs and goth rock choruses. Celtic Frost, Slayer, Deicide, and all your other favorites get the Clan of Xymox cocks. These uncut, smegma-encrusted Poles rim that Castlevania cartridge, gape it, and slam their sweaty balls away. The breakdowns are there for pulling out and sword fighting.
Also sprach Zarathutsra : man discovering tools :: Mastiphal : man discovering anilingus
Goatblood / Nuclear Perversions – Rex Judaeorum / Wolves of Apocalypse (2015)
More three chord hardcore punk played out of time by fat hipsters who want to enslave the south side of Chicago. Good luck with that pickup beat. How about a delightful goat curry instead? True island flavor. Only long pig available? It will be delicious. The succulent belly fat from all those PBRs will melt right in.
Fat War Metal Pig Curry
1. Thoroughly restrain the long pig. Pry off the gas masks and slit the pigs’ throats over a bucket in the Jewish and Moslem tradition. If their faces are too ornamented and disgusting to look at, put the gas masks back on and savagely strike the necks until all heads are severed.
2. Let the carcasses drain of blood for the black pudding. Did you think blood libel was false? Our bodies will naturally turn theirs into excrement.
3. Be sure to cut off all metallic ornamentation. Flay all subcutaneous ink. Scalp the upper part of the body and use your blow torch to defoliate the chest hair. When butchering and gutting the carcasses, be sure to save the intestine and fat for the pudding. Discard the diseased livers.
5. Clean the intestines and cube the meat not too lean.
6. Fry the cumin, coriander, tumeric, and peppers with ghee. You may also use some of the fat obtained from the thighs and midsection.
7. Rub the curry onto the cubes and let marinate for at least twelve hours. This is a smart time to prepare the pudding.
8. Heat oil and cook the mixture in a sauce pan on low heat for hours. Cover and be careful. Do not rush with your dish’s composition but do not worry too much; like war metal, curries play themselves.
9. Serve over rice.
Ithaqua – Initation to Obscure Mysteries (2015)
Greeks broke. Greeks need foreign currency. Greeks see black metal autists who buy everything with bullet belt. Greeks know metal autist like black metal on pro-tape cassette. Limited tape trade Discogs Ebay. Rotting Christ and Varathron most true drum machine sampler Hellenic black metal. True cult early 90s. Cover them on 300 limit copies. Sell all rights of recording to label to buy case of skunky Euro piss lager. Stroke hairy Hellenic forearms. Wish you were cool. Drink away 51% youth unemployment. Kill self.
Flake tobacco has a reputation for being for the more experienced pipe smoker because of its dense and hard-to-light form and the higher tobacco of most of these blends. Tobacco undergoes a process of refinement where it is picked, dried, cased and then cured by a number of methods. Some are fermented; others cooked; still others sun-dried or aged. The many varieties of tobacco come mostly from how the plant is grown, with varying degrees of nutrition and water, and how it is cased — a process where a small amount of flavoring is added — and cured, which also includes topping off with other scents, producing “aromatic” or flavored and scented tobacco. Coniston Cut Plug gets close to the raw tobacco with minimal casing and simple curing during which it is pressed in large blocks and allowed to age. When curing is done, these are sliced and those are somewhat broken up to produce lanky fibers of clumped tobacco leaf. This dense mixture has a reputation for being hard to light, although I have found that if you bend it in the middle and cram it loosely into the pipe with frayed ends pointing upward, two cardboard matches or one solid wood match will get it going. At that point, be ready for the gods of Nicotine. This alkaloid finds praise throughout history for those who mention its intoxicating powers. With Coniston Cut Plug, the gods of Nicotine ride in on a chariot of iron and whip your skull with burning flails. Many of us find this quite agreeable, but others pass along recommendations to smoke this while sitting down and after a full meal as you might feel it in your stomach. Glorious, rich smoke with a natural flavor somewhere between fresh-cut hay and charred wood-bark, Coniston Cut Plug provides a wonderful basis for a smoke that would be recommendable for all except for one horrific glitch: during the curing or casing, someone approaches this tobacco with a giant bucket of soapy rosewater and soaks it thoroughly. This creates a stench of noxious ammoniac rose around the tobacco that is so strong it is ill-advised to keep it in the same room where you sleep, lest it kick off a fit of sneezing. In addition, the rosewater smell permeates through the smoke, ruining an otherwise delightfully savage leaf-burning experience. Some writers speak of “ghosting” of the pipe, where former tobaccos can be detected in subsequent bowls. Coniston Cut Plug summons an entire army of undead zombie rosewater demons who infest the next several bowls, usually toward the end when the drippings ignite and momentarily haunt you again with the stench of decaying soap-slathered roses. If it were not for the rosewater infiltration, many of us would rank this among our favorites. Instead, it goes into the (far) back of the cupboard, where it will wait for a few years to see if the spectral roses will depart.
Playing a mixture between the primitive South American black metal of Sarcofago, the unrelenting and mindlessly simplistic assault that borders on comedy of Marduk and something of its own, Deiphago’s Into the Eye of Satan is both a highlight and representation of half-cooked modern nostalgia metal. The references to the influences are pretty clear for someone to see and even though Deiphago escapes them and proposes something of their own, the sections in which we hear the older voices are two transparent. Rather than an integration of influences, we hear quotes to other composers in the midst of Deiphago’s maddened ramblings.
These raptures proper of a madman that Into the Eye of Satan exposes us to are as endearing as they are nonsensical. It makes one think of the epileptic attacks that Colombian’s Parabellum subjected the listener to. The difference is that the Latin American savant band actually produced coherent music within the wild and often disorienting music that nonetheless had a clear large-scale plan. Deiphago on the other hand attacks the listener with pure chaos, subjecting it to passages that border on noise improvisation and structures that appear to consist of haphazardly placed extreme-sounding sections. The theme here is chaos, the destruction of music and ideas themselves while the picture is not completely given up on. While not incurring in the sin of trying to become atmosphere itself nor becoming self-referential symbols, Into the Eye of Satan sadly still falls short of a year’s highlight due to what I perceive to be compositional laziness and/or lack of controlling musical notions in spite of a solid artistic vision.
One consistency in human behavior is a tend to lie about motivations and conceal them behind justifications, such as the kid caught with his hand in the cookie jar who claims he saw a mouse and tried to catch it. For this reason, most human arguments can be assumed to be not only wrong but malevolently deflective. One such argument is the “but music is subjective!” trope beloved of the internet’s zombie patrol of angry, isolated, lonely, vengeful and bitter people.
It is commonly used to retard the forward motion of anyone with an actual idea. When you find a great new album, and start talking about it, other people assume — as their glorious Simian ancestry would suggest — that you are attempting to seize power by appearing to be unique and wise. Perhaps you only want others to recognize the greatness of this album, but in their minds, that possibly is made remote. They retaliate by saying, “You might think that’s great, but it’s just your taste. Music enjoyment is subjective and so we are getting every bit as much enjoyment out of this album as you are from that one.”
This territorial response seems consistent across human times and ages. Any new idea is viewed as an incursion into the old, or if a realistic idea, as an assault on the fanciful vision of others which they want us to accept as literal reality. They fear that music might be shared and not entirely personal, because then it no longer serves as an expression for their own self-image. Most of the behavior you see in rock music is fans projecting themselves into the experience, and musicians attempting to use fan projection as a justification for self-esteem, mostly to themselves.
But is music subjective? The term subjective refers to any quantity for which appreciation by the individual is the only measurement. Nothing however fits this description because all quantities relate to something external to the individual; either events in reality, objects or concepts which in some way relate to elements of reality. The idea of subjectivity is in itself totally flawed. Even a priori conceptions are not subjective because they are intuitive and thus not properties of the individual, but pre-exist the individual. This calls to mind the troubling term “appreciation” which implies a type of preference, an action which itself requires an external referent, and also seems a typically human dishonest approach in that to “appreciate” implies enjoying something for its own sake only for the purpose of gatekeeping approval. That way, the individual can say “I recognized that truth, but I only appreciate this notion,” implying a truth-optional and reality-optional outlook. Obviously then the term “subjective” exists as a pre-emptive argument in defense of a choice rather than the reason for the choice itself.
This leaves us with the notion of objective, which in the human use is similarly flawed. Humans — being talking monkeys with car keys — view the objective as the universally recognized as true because it exists in reality. A more accurate assessment shows us that what is objective exists outside of individual humans, or in other words is reality itself. There is then no reason to label it “objective,” since it is merely real. However, the objective/subjective dichotomy arose as a type of euphemistic deflection designed to explain how something can be true and obvious, but appreciated by only very few because the rest are too distracted, narcissistic or physically incapable of the cognitive processes necessary to understand it.
We can then dispense with subjective and objective as a dichotomy, and look toward the question hiding in shadow behind the question that opens this article: is appreciation of music consistent between human beings? That is the definition of objective that people want because it translates into the statement “Beethoven is better than Bieber” not merely “most people prefer Beethoven to Bieber.” If music can be ranked in this objectivist way, then we can definitely say that Darkthrone is superior to Deafheaven or at least of a tier above it. On a social level, music becomes no longer “personal” because we the fans do not create it, or make it cool by our liking it, but discover it as it is and then alert others to that possibility. With “objective” appreciation of music, the music hipster fades away and the hype machine dies out, because both of these rely on projection by fans to make the otherwise unexceptional music they pimp seem important.
Certainly history seems to lean in this direction because the endless stream of favorites from the music labels tend to fade away, but a few bands that stand out seem to persist. History is not infallible because as any student of history knows, civilizations have a life cycle: at some point they start to decay and then die. When this is happening, they forget about all the good music and rush toward the trivial because people need distraction more than quality. In a healthy civilization however if a musician lasts for centuries it suggests something “eternal” about their music, as if it has a value beyond the immediate gratification of those who like it. Research suggests that humans recognize music as having certain attributes independent of culture:
Whether you are a Pygmy in the Congolese rain forest or a hipster in downtown Montreal, certain aspects of music will touch you in exactly the same ways. A team of researchers from McGill, Technische Universität Berlin, and the University of Montreal arrived at this conclusion after travelling deep into the rain forest to play music to a very isolated group of people, the Mbenzélé Pygmies, who live without access to radio, television or electricity. They then compared how the Mbenzélé responded both to their own and to unfamiliar Western music, with the way that a group of Canadians (in not-so-remote downtown Montreal) responded to the same pieces.
This provides a good argument that music can be appreciated across cultures and across ages of a culture because its language is universal. This could explain why some music, such as Beethoven’s Ninth Symphony, find willing audiences across the globe. It also suggests that music which outlasts a generation and finds new fans who are unaware of its social, political and generational significance may possess qualities above the transient. Another source of support for the idea of universality of music comes from Arthur Schopenhauer, who wrote that music expresses pure thought:
That music acts directly upon the will, i.e., the feelings, passions, and emotions of the hearer, so that it quickly raises them or changes them, may be explained from the fact that, unlike all the other arts, it does not express the Ideas, or grades of the objectification of the will, but directly the will itself.
Without getting into a complex discussion of Schopenhauer’s use of the term “will,” we can roughly equate it to thought and awareness in the individual. Schopenhauer believes that music does not convey situations in which the will can be identified, but the will itself, meaning that it translates thoughts into sound and communicates directly. As written about on this site for two decades, music is a communication, in this case a metaphorical one in which can be seen many situations but which belongs to no one specific situation. This can be seen in many cases where musicians thought they were writing about a specific experience or condition, and found that people attributed the music to a broader state which appears in many types of situation. No matter how this is parsed, it reveals that the truth of music is not on the subjective side, and matches what people mean when they say “objective.”
#metalgate is about something that politicians call freedom, but I think of instead through the hacker principle: information wants to be free.
Metalheads want to write and enjoy music about topics that don’t fit in the hugbox of modern society. In the 1960s it was “peace, love and freedom” and in the 2010s it is “social justice” and commercial rock pretending to be underground.
But did you, in your three-piece psychology and 1950’s technobrain, ever take a look behind the eyes of the hacker? Did you ever wonder what made him tick, what forces shaped him, what may have molded him?
I am a hacker, enter my world…
Mine is a world that begins with school… I’m smarter than most of the other kids, this crap they teach us bores me…
Damn underachiever. They’re all alike.
I’m in junior high or high school. I’ve listened to teachers explain for the fifteenth time how to reduce a fraction. I understand it. “No, Ms. Smith, I didn’t show my work. I did it in my head…”
Damn kid. Probably copied it. They’re all alike.
I made a discovery today. I found a computer. Wait a second, this is cool. It does what I want it to. If it makes a mistake, it’s because I screwed it up. Not because it doesn’t like me…
Or feels threatened by me…
Or thinks I’m a smart ass…
Or doesn’t like teaching and shouldn’t be here…
Damn kid. All he does is play games. They’re all alike.
And then it happened… a door opened to a world… rushing through the phone line like heroin through an addict’s veins, an electronic pulse is sent out, a refuge from the day-to-day incompetencies is sought… a board is found.
“This is it… this is where I belong…”
I know everyone here… even if I’ve never met them, never talked to them, may never hear from them again… I know you all…
Damn kid. Tying up the phone line again. They’re all alike…
You bet your ass we’re all alike… we’ve been spoon-fed baby food at school when we hungered for steak… the bits of meat that you did let slip through were pre-chewed and tasteless. We’ve been dominated by sadists, or ignored by the apathetic. The few that had something to teach found us willing pupils, but those few are like drops of water in the desert.
This is what it means when we say information wants to be free. Society is interested in controlling information; those of us who want to escape society want to know how things actually work. That places us beyond their little plans and the positive-sounding terms they use as carrots and the scary-sounding terms they use as a stick. Their game is social coercion: be with the good people in the hugbox, or you’re not included. You’re bad.
All groups go out this way. Once they get established, their game becomes to maximize the power they have. This leads them to control people with language, which then causes outsiders to become the only tellers of the full truth. At this point, anyone alert becomes an outsider, and instead of working on its own internal problems, the group scapegoats them and tries to destroy them. Scapegoating provides that feeling of “unity” that witch-hunts and mob rule use to hold together a group.
In a press release praising the FBI and the NYPD for their work on the case, Senator Dianne Feinstein of California said the following:
I am particularly struck that the alleged bombers made use of online bombmaking guides like the Anarchist Cookbook and Inspire Magazine. These documents are not, in my view, protected by the First Amendment and should be removed from the Internet.
As the decline of Western civilization accelerates, our leaders are focused on their fear that we might have implements of power. Yes, these will also be used by bad people. But the thought of those in power is that if we edit out — censor — bad methods, we can remove awareness of our failure. Focus on the methods, not the reality.
Ms. Feinstein identifies two documents, Inspire magazine published by al-Qaeda, and The Anarchist Cookbook written by William Powell. These are inferior to the definitive hacker anarchy files resource compiled over the 1980s by people who actually did this stuff (and society did not fall apart). But now they are under fire for telling you how to do things which might allow you to defend yourself against this society and its crazy, rent-seeking elites.
To that end, Death Metal Underground presents these files in a handy “First Amendment Pack” for easy download, containing both the most recent issue of Inspire and The Anarchist Cookbook:
Like life itself, these instructions can kill you. There are known errors in The Anarchist Cookbook and likely errors in the other files. You can also get almost all of this information from your local library if you research books on this topic, including chemistry texts and military manuals. But we are not here to control information. We are here to liberate it.
What is the human problem? Everything we do is insincere, and any time someone rises above that standard, they are torn down out of the fear that their excellence might offend those who are mediocre, who (conveniently) comprise the majority of humanity. We separate mediocre conformity from people who make realistic, sincere and inspired art out of heavy metal genres, and ignore the blood on the floor and the tears on the fedora because feelings are always less important than truth. Step over the bodies of hipsters, poseurs, tryhards, SJWs, scenesters, day trippers, rationalization hamsters and sell-outs, and welcome to Sadistic Metal Reviews…
Torche – Restarter
What is sludge? It is what failed in other forms slowing itself down and mixing metal into its techniques in order to disguise that it has failed. If you tuned the guitars up, played it at mid-pace and avoiding the metal downstroke technique, Torche would be just another indie rock band in the late 90s style. The focus is on melancholic but egotistical vocal lines which are almost autistic and certainly narcissistic (and aren’t the two degrees of the same problem, which is exclusive self-referentiality?) in their tendency to confirm their precepts with their conclusions, backed by lots of downstrummed guitars and slow drums. In the 1990s, labels tried this style with Fudge Tunnel and later even Godflesh got in the game, but went nowhere, because people could realize the basic “Nirvana + doom” formula used back then. The formula now is even more basic. It is indie rock with metal technique and nothing else. Much of this sounds like outtakes from a Filter or Faith No More album, but updated with the kind of simplistic approach that became popular when music videos faded and became incorporated into mainstream cinema instead. This would be great background music for teenagers smoking dope by the old reservoir or similarly pointless rebellion that ends with them just getting locked into the system harder. This music is a fraud and its fans are idiots.
Armageddon – Captivity & Devourment
The title refers to the album itself: it lures you in with the promise of extreme metal, then subjects you to the 80s speed metal/nu-metal/melodeath hybrid cooked up by music industry executives looking over Excel spreadsheets of sales successes, or maybe just opportunistic musicians. Either way, most of our species are simple-minded idiots and this music panders to them with lots of Pantera/Meshuggah style violent verses and binary riffs that sort of wiggle around in the space between two points, ending symmetrically on the opposite note from the one that resolves the first half of the phrase. Lots of e-chord rhythm riffing in this style combines randomly with other influences and creates an end result that is not quite as blatantly distracting “carnival music” as Behemoth but more like heavy metal featured in movies: it sounds good when the solo kicks in, but the rest is lead-up to that with industrial music style vocals disguised as metal, and random riffs fleshing out what are otherwise pop songs whose parts barely relate to one another. For all the instrumental prowess of this band, they seem to have no idea what to write, and it shows in this amalgam of label darlings lashed together with rhythm for the brain-damaged.
Vermis Mortem – Evil Never Dies
The intro to this EP is pointless and should be deleted for being both without purpose and annoying. What follows is very closed-circuit death metal in a style like Angelcorpse merged with Hate Eternal and older Death, which is to say a very modern style, that emphasizes the vocals which lead songs through some rather stereotypical and extremely balanced and basic riffs. The result is painful boredom unless you like the vocals, which enunciate and jump around like a performer at a Shakespeare revival in the park, but this over-acting does not save us from the musical tedium of this release. It is catchy, its rhythms are compelling, but it develops nowhere. Vocal rhythms are obvious like children’s rhymes and riffs represent streamlined versions of what has worked well in the past 20 years, but in this streamlining, the parts of the riff that gave its shape interesting dimension are removed, and we are left with a three-part puzzle with no mystery. Burden a riff like that with the duty to provide support for vocals which are blurting out similarly quasi-catchy patterns and the result is a song which seems to chant in unison the most simplistic elements it has in common, and the listener is back in pop territory where repetition becomes a bludgeon and even small variations seem exciting. For as much as this band wants to be old school, its reliance on the ego — the vocals — forces it into surface-level composition and obliterates whatever of depth it may have hoped to express.
Pentagram – Relentless
We can all agree that 90% of everything on earth is crap and that most people are merely self-interested, meaning that there is no greater dimension to them, and as they tend to be incompetent they become the type of parasite that takes everything for itself and then destroys it, left blaming others for its “misfortune.” Most people behave this way and because they are somewhat aware of this, they seek material to camouflage their mediocrity with irony, novelty and other “different” and “unique” signals. These signals allow them to defer criticism by showing how they aren’t like the rest, which is a way of saying they are afraid we will find out that they are exactly like the rest. Pentagram has become somewhat of a media favorite and a crowd favorite mainly because it is not metal. This is straight out of the 1960s rock explosion, focused on melodic hooks in chorus and voice acting on the verses. They even made a movie about this band and its strung out vocalist, as if trying to make Pentagram into the doom metal version of Roky Erikson. The problem here is that Pentagram is a step back to before Black Sabbath but uses the muted strum of speed metal and the detuning of a heavy metal band, although its songs really have more in common with the previous generation. Beware of what the herd likes because they are liars trying to conceal their mediocrity, and this applies doubly with Pentagram. This band would not have gone far as a regular rock band but if you add the novelty factor of doom metal plus Satan-ish overtones, people are interested. Stoner doom metal is generally a fraud that disguises failed rock as innovative metal, and Pentagram is no exception. The herd lies and it will destroy anything it can control in its desperate quest to hide its own lack of soul, integrity and purpose. Throw this band in the ditch with the other 60s burnouts and move on to real, actual metal instead.
Acid King – Middle of Nowhere, Center of Everywhere
Heavy metal grew out of many influences including psychedelic music. The challenge to psychedelic music is to make sound that induces hallucinogenic experience in sober people, not to create music which appeals only to the very stoned with cover art that looks good next to a bag of Cheetos. Like most stoner rock, Acid King is a fraud: basically slow jam rock with heavy distortion played with a few aesthetic elements of doom metal, but essentially unchanged from the 1970s jive that sent people fleeing to heavy metal in the first place. This is boring music played slowly to disguise how little actually goes on. A female vocal drones alongside a rock-style riff, with no “shape” as metal riffs have, and then guitars wheedle-beedle and zeetly-zeetly-zeet after prolonged “melodic” solo introductions that are merely repetitive. If you are very high, preferably on the higher grade of cheap weed that deactivates all higher brain function except what is required to order pizza and play NES ironically, you may find this appealing because it is sonically well-formed and texturally distinctive enough. But there is no meaning here, nor even a really good distraction, which tends to be the case with all stoner doom (which we might as well be honest and call “nu-doom” or “nu-heavy” metal).
Eternal Solstice – Remnants of Immortality
What a horror: death metal styling applied like vinyl siding to what is essentially hard rock with an addiction to uniform conclusions and obvious riff forms. It is just blockhead, paint-by-numbers death metal. At this point, nothing more needs be said except to mention the electronic vocals, which would not be a problem except they sound like a bad American crime show where the bad guy uses a voice disguiser bought from Radio Shack back in the 1970s to hide his identity when calling over a pay phone. The style alone would not doom this band, if they could simply make hard rock in the heavier vein somewhere between early Motley Crue and later Pantera, but their music is just boring. No harmonic or melodic hook exists, and the rhythmic hook consists of the same type of expectation that comes from waiting for the person in the apartment above to drop the second shoe on the floor before retiring to bed for the night. Sometimes, bands like this get miscalled “heavy” because they are numbing through repetition and sheer simplistic mentality to their riff-writing, and Eternal Solstice qualifies in this department. What drives you to listen to this band is the quasi-OCD that people on the internet talk about, which is that if there is a basic sequence of events, you want to see it completed. Other than that, no appeal, and this one should go back to the pits of hell for recycling.
Recueil Morbide – Morbid Collection
Recueil Morbide takes the fertile music of the late 1980s where bands verged on death metal from speed metal and adds to it a sense of melody and modern metal vocals. The result attempts to fuse the Unique Leader style of brutal deathcore with melodeath and come out with a good result, which this band mostly does, but is limited by the demands of the style that it keep within one level of cause and effect, resulting in pounding riffs and soaring melodic passages being used as effects in otherwise fairly straightforward death metal songs. That is distinct from the classic death metal approach which used structure to express content, instead of doing so on the surface where structure was recombinant and vocals, lyrics, effects, etc. were required to make an impression on the listener. Too much of Recueil Morbide takes the same approach and the result is that meaning and interest — what distinguishes this band from all others — are left on the surface with a feeling of being unexplored. If this band wants to succeed, they will focus less on the stuff everyone else does and more on what they do, taking it from 10% of this album to a much higher figure. As a side note, the melodies that this band writes sound like variations on the James Bond theme, which happens several times on this release. Maybe it’s an allusion.
Znafelriff – Ruin
Creating melodic death/black with simple song structures, Znafelriff uses a number of influences along these lines — “Ruin” borrows quite a bit from “Mountains of Might” from Immortal Blizzard Beasts — to forge together music which keeps charging energy high but never intensifies the energy itself, leading to a kind of circularity. Songs start, launch into a riff, add a counterpoint riff, and then cycle until they wear down. When the band wants more power, they add blasting drums and more extreme vocals; for emotion, they work in melody. Many parts of this resemble early Tormentor given a death metal makeover. While nothing is particularly wrong here, it leaves no particular impression either since songs are exercises in maintaining a mood rather than developing it, and the style is a semi-unique mix of standard influences resulting in a genericism of low expectations. If this band wants to move further toward excellent, it should rely less on vocals and more on combining riffs to create a focal point at which atmosphere shifts, and to make that atmosphere resemble something other than a vague uncertainty, darkness and rage.
Nader Sadek – The Malefic: Chapter III
When I first heard this artist, I thought: someone attempting to make something of the Hate Eternal style, itself a smart move by Eric Tucker which tried to harness the appeal of modern metal through a style that still retained the coherence of older metal. The problem artists deal with is that this style brooks no compromise. It demands constant charging vocals ahead of the drums with insistent patterns and those lead the song, which crowds out other instruments as lead, which demotes guitar to a secondary role and thus demotes melody and structure as well, in favor of relatively monotonic vocals. Guitars appear as adornments to this basic style, which is closer to pop than heavy metal, but when the detour is over the ranting vocals resume. This forces the band to cram its best activities into relatively small areas of each song. Nader Sadek struggles with this impossible burden as well. It is simply paradoxical. The interesting parts of these songs are the little transitions and flights of fancy between the “hard” verse riffs with charging vocals and the parts of the solos that are designed to be fireworks for a “wow factor” with the mouth-breathing, fetus-hands and neck-bearded audience. Can’t some label give this artist enough money that he can write songs based on those interesting parts, instead of the parts which we know the herd will clap its little hands without forearms for? The style betrays the artist.
For that feeling of old school mid-paced death metal, Ossuaire makes a credible stab: good riff variation, songs fit together well, but with too much emphasis on vocals and not enough on structure, and often too much reliance on riffs that make their hook out of brief interruption of utter predictability. Those disadvantages are minor compared to the overall appeal of this brief recording which is its ability to keep intensity in a death metal style without relying on crutches, and while maintaining a character of its own, somewhere between old Morgoth, Infester and later Suffocation. The challenge for this band will not be to develop its own style, although it will want to go further in that direction, but to edit its material so that it presents its most dramatic elements at the right time after the right build-up, and so creates the kind of mood-shifting experience that made classic death metal great. All of the parts are there and the execution rapidly approaches that place; it would be aided with less reliance on the vocalist, which as many classic death metal bands found out, results in lessening of the influence of other instruments which bends composition back toward the rock/pop standard, which is designed as background music for vocals which exist to blurt out some message of peacelove or happiness, which was generally the point of rock ‘n roll. Ossuaire have done well to escape that, but if they do better, can be a top-flight death metal band.
Keep of Kalessin – Epistemology
This band went from being a bad black metal imitation to being a thinly-disguised modern metal band that uses melodic choruses to hide its otherwise bog-standard post-Pantera speed metal approach. Their “black metal” combined boring tryhard blasting with purposeless folk-metal styling and fooled a number of people, most notably the clueless NWN/FMP crowd, but apparently eventually the market caught up with them and started over-producing sing-song black metal so Keep of Kalessin switched to what could easily fit into the MTV hard rock of the late 80s with a stylistic upgrade to be contemporary. The melodic hooks are adequate but of well-known forms, and verses emphasize some kind of drama to distract from the underlying purposelessness, and the songs progress according to the formula of friendly verse, dramatic chorus, a brief bridge with noodly solo and then return to the loop. This formula appears in all rock, techno, blues, etc. and serves its purpose well for being background music to the unexceptional lives of the many people out there who, unwilling to step beyond the bounds of self to escape narcissism, flit from one distraction to the next without caring much about content. For anyone with a functional brain or any listening experience, Keep of Kalessin rings hollow and seems as commercial as it secretly is underneath the skin. It would be more honest to pick up an old Def Leppard album where these riff patterns and song forms are crafted with more conviction, and the nature of the music does not have to hide itself behind pretense, subterfuge and illusion.
Certain movies or albums clearly reveal the presence of bad management. Either leadership by committee, which isn’t leadership so much as compromise that satisfies no one, or a bad manager who spends too much time worried about surveys, business objectives and the like to place his focus on whether or not the product is good. Such is the case with Robocop 2014 version, a movie so stunningly bad that with its obviously huge budget it can only be the result of thorough mis-management and execrably poor judgment.
Following up on a winning franchise is never easy because viewers have high expectations, but one thing is clear: the new movie must be at least within the ballpark of the old, or it will be interpreted as having the same failure as most sequels which is too many cooks in the kitchen, too many fingers in the pot, etc. The 2014 version comes nowhere close to the 1987 original on any level and even where it attempts to pay homage to the original, completely misses the point. This occurs because management decided the 2014 version must fit within the parameters for television shows, namely that each scene must have one unambiguous point and one only. Remember, that which communicates clearly wins out over the truthful when you’re dealing with the masses, and so these filmmakers decided to sacrifice not just nuance so that every idiot in the room could understand it, but also depth. The result paint-by-numbers script is as excruciating as a Creative Writing final exam, moving from point to point with absurd over-emphasis on the basics so that even if you are brick-stupid, obese, lazy, drunk and distracted, you will still understand what is going on. Which, as it turns out, is not a whole hell of a lot.
Instead of taking the intelligent course of action and creating a sequel set in 2014, the filmmakers decided to re-tell the Robocop backstory but with new actors and new settings. This becomes troublesome because they insist on dumbing this down and, as if pitching this movie to millennial women, centering the plot on the surface emotion of a generic character in its setting, rather than letting the emotion arise from this character’s struggle to understand his circumstances. Everything is surface level, cut from whole cloth in broad colors with boundaries double-underlined in thick market like an idiot kindergarten teacher might do, and the result is that the characters become caricatures. The expressive Jennifer Ehle (Pride and Prejudice) is utterly wasted in her role, and the excellent Michael Keaton and Gary Oldman are expended without purpose in theirs. Keaton portrays a CEO who dutifuly turns evil as the gimpy plot requires, instead of focusing on the fascinating side of his character which seems an amalgam of Dot-Com CEOs in his pursuit of technology and wealth with the zealous belief that nothing but good can come from progress. Oldman also experiences a character deformation as he goes from a good guy scientist to a self-interested quasi-villain to a hastily rehabilitated hero. Even Samuel L. Jackson becomes neutered as he must contort his acting to fit within the manipulated plotline. The filmmakers seem narcissistic in the worship of their own cleverness, forgetting that “writing in” details does not obscure the form of the plot itself, which shakes off their little footnotes and rampages straight into paradox.
The above are terrible sins against the artisanal craft (heh) of filmmaking. But the worst sin of all is that they removed the fun and terror from Robocop. In the original, audiences were shocked by the situation, the horror of people themselves and the self-serving decisions they made, and the clash between man and machine. The whole movie might be described as man emerging from within the machine to triumph over it. The new movie removes the tension. Combat scenes are outright boring, with Robocop playing the role of either omnipotent effortless victor or duty-bound moral martyr, but the tension of tight situations and intelligent responses to them dies in a video game simulation that looks about as boring as most first person shooters are after the week they get introduced. Even more, fight scenes are over quickly with little resolved. The movie just moves on like a checklist between points the filmmakers wanted to establish, with utterly zero dimension to the characters. It is probably difficult to botch a story with this much promise, but the director and his staff on this one did so with ease, which is about the only effortless and unforced thing about this movie. Avoid!
Idealizing the darkest edge of the first wave of 1960s rock that carried the true stamp of the counter-culture revolution that was forming, the Doors hit in 1991 just as the first Generation X kids — the children of the 1960s generation — were graduating from high school. At the time, it was perceived as glorifying the culture of the 1960s and the legend of Jim Morrison, but on seeing it many years later, it seems more a revelation of the emptiness of that time.
To understand the 1960s, one must first understand why the counter-culture was so influential. Rock music gripped the American mind because it had both messianic and commercial possibilities. As Sam Huntington observed in his epic American Politics: The Promise of Disharmony, the lack of unity in American thinking arising from its democratization causes periodic mass movements with the ecstatic character of a tent revival — like witch hunts, civil wars, moral panics — called “creedal passions” in which Americans buzz like a hive to clarify their own values. The 1960s were one such time, a generation removed from the Second World War when it became apparent that not only did society lack direction, but it seemed to be sinking further into the 1950s commercial morass at the same time its social and cultural aspects deteriorated.
As part of a youth movement that re-interpreted the American vision to be far more universal through lowering standards for entry, rock music created a democratic mass hysteria in addition to making many people very rich. Into this fertile environment that The Doors dropped their first musical salvos, adapting the fantasy, hobo, dropout, hippie and beatnik themes of early 1960s rock into music with a darker edge. This was three years before Black Sabbath and other bands dropped the common viewpoint of “peace, love, (drugs) and acceptance” to issue forth Nietzschean warnings of doom.
In the Doors, Oliver Stone approaches a figure who remains influential in rock music and through it, the counterculture and American politics, which are now still in the hands of the Baby Boomers and will soon pass to millennials (Generation X having all but dropped out). Rock music idealizes its heroes with the kind of reverence that only a circus covered in rhinestones and dreamcatchers can create, and Jim Morrison represents one of this millionaire trailer park’s attempt at legitimacy. He was a poet. He read, you know, Nietzsche and stuff. He went to college and could have graduated. He was deep, therefore we are deep, because we are part of the same activity that he was in. And in that thought we see the essence of mass movements: people want to believe that participation conveys upon them the attributes they desire, when really they are just cosplaying as people of significance. It is a revolt of the nobodies. Naturally this has its dark side for performers, and the Doors is the story of that negative side to the feedback loop.
Stone captured the transition from 1980s to 1990s cinema with fast cuts, lots of background detail, and longer shots which move through complex sets. A good deal of attention to detail went into the Doors and it shows not through the kind of detail a viewer might revisit to notice new aspects, but a kind of gestalt of each scene where it appears both perfectly realistic and as cartoonishly articulate as writers need their subjects to be. The movie follows a linear path after introducing the so-called pivotal event in Morrison’s life, which although disputed by his family he found meaningful, in which he saw a group of Navajo laborers dying after experiencing a brutal automobile accident. At first, the movie follows a biographical path. We see Jim going to UCLA film school only to drop out, meeting up with Pamela Courson in a method that in our current society would be identified as “stalkery” and “rapey,” then singing his songs to the one person who believed in his films and forming a band with him. From that point on, the movie becomes a rockumentary showing events of significance from a brief biography of the doors, including controversial performances in New Haven and Miami Beach that later led to arrests and prosecutions. During this process, it works in the American Indian theme — Baby Boomers love nothing more than new groups to universalize, and Indians (Free Leonard Peltier!) were high on their list — to show Morrison gradually colliding with his inevitable fate, just to show that this rock god was made of legend and mysticism not drug and alcohol addiction.
While Stone takes a gentle view of his subject, he also keeps a fair and balanced outlook which requires removing the pink-tinted sunglasses and seeing the 1960s for what it was: a hairy, sweaty, flabby and filthy mob united only on wanting to be part of something really big, man, behaving with the decorum of those at a carnival not a cultural revival. The concert shots and interactions between Morrison and those “closest” to him increasingly show the selfishness and self-importance of the people attracted to this scene, which remains consistent to this day as anyone in the funderground can demonstrate. On the surface, we see the tragedy of Morrison the misunderstood poet; beneath the surface, we see how the whole thing was a farce from the beginning and the audience came not for enlightenment, and cared not a whit about his Dionysiac rantings, but was there for the spectacle and the hopes that it might convey the strength of the ritual onto its individual members, like some primitive superstitious mystic rite conducted by people wearing grass skirts and holding spears. Morrison was an egotist confined to what he allowed himself to notice, and aided by drugs/alcohol in that regard, and his audience were narcissists locked into him through a BDSM reaction where they wanted to see him self-destruct and feel important for having “been there.”
Like many before and after him, Morrison became trapped by the paradox of mass culture: in order for something to be popular, it must confirm what the crowd already wants so they can project themselves onto it, and by that process it becomes unrecognizably adulterated. The public then approves of this neutered version, turns it into a herd trope, and then wonders why its magic is gone. Like carnival-goers, they then shrug and rush on to the next “new” delight, finding no importance there either because through the process of popularity, anything important in it got filtered out beforehand. This leaves guys like Morrison and Kurt Cobain in a bad light. They lack the greatness of their influences, whether the brew of William Blake, Aldous Huxley and Friedrich Nietzsche that Morrison cooked up or the cloning of hardore greats in a grunge setting that put Cobain on the map, and that leaves them as merely cheerleaders for an audience that exercises its ultimate power in not wanting to hear or understand the cheer. This drives the anti-hero leader to self-destruction as they he has become irrelevant, but delights the audience, who have a sadomasochistic relationship to celebrities where they both want to be them and want to see them fall for being the chosen ones. When Morrison ultimately self-destructs, it is as anticlimax and late arrival to the party, like a misdirected package arriving sufficiently after the holiday that no one remembers at first what it is for.
Stone wisely does not explore the various mysteries of Doors lore, such as whether Morrison died of a heroin overdose in a nearby nightclub during a flirtation with the drug in retaliation for Courson’s extensive use of it, or the various mythologies that contribute to the idyllic picture of the band’s founding and culture. He covers all the bases needed to make a big-budget high-grossing profile of Morrison, but introduces a hearty amount of artistic skepticism as well. He portrays rock as “entertainment” in the oldest sense, or people using other people to amuse themselves with no concern for the end result. He shows self-destruction and the cult of the anti-hero as a kind of egomania, where the anti-hero cannot conceive of anything beyond himself and so concocts the ultimate narcissistic act of shutting out the world permanently. Finally, he reveals the loneliness of someone who — having made his way to the top of the rock crowd — realizes that no one understands or cares who he is, or what he thinks, because their only concern is their own participation in the mass phenomenon. Probably a movie best watched twice in life, once as a teenager to pick up on the mythos, and once as an adult to see how cheap, tawdry and pointless all of it was.
What is life? Either you are working toward something or trying to find a way to pass the time. The real losers are not the people who lack the fancy objects that are the trend at the moment, but those without purpose to life, as they will always be unhappy in the deepest parts of themselves. Unhappy people demand music that is as hollow, vacuous and purposeless as they are, but such music makes bad listening for people who are here to make the most of life. We separate the tryhards and imitators from the real music amidst a shower of hipster poseur tears with the Sadistic Metal Reviews…
Reaction – Kill the Parasite
In the land of Pudouaccian, there are hairless creatures with smooth features and no teeth who call themselves Pudouaccians, and they spend their days attempting to “ouacc” (pronounced: whack) — a term for stimulate in lieu of reproduction — their “puds,” which is how they refer to their androgynous oversize genitals through which they see. Pudouaccians exclusively listen to music that combines the most rock ‘n roll aspects of heavy metal into a speed metal format, and tie it all together with a compelling rhythmic vocal that aims for choruses you can repeat like political slogans and verses with the energy of dishwasher detergent commercials on television. Although the title that gives a message we should all take to heart every day, because parasites are the most common creatures in nature and serve no purpose to their host except to exhaust them and lure them into continued bad decisions — like buying this album — so they become easier prey for the siphoning of their energy to support the parasite. Much of this release follows the power metal model of vocal-led melodic riffing with extended solos that comment on the song like a concordance, but a good deal of the groove plus heavy cadence riffing of later Pantera occupies the field as well. What really kills it is the vocals because when you make the vocals lead the music, songs cease to become compositions and instead become life support systems for a single instrument (vocals) which has overstepped its bounds, and thus they resemble a Hollywood actor and entourage more than a military time operating in smooth coordination to do something interesting. Many of the riff forms on this album come to us from the classic hard rock through NWOBHM lexicon, and while that should not disqualify anyone, nothing here is applied in a way specific to this band, leading us to wonder why it should exist at all.
Deflected – Deflected EP
From an armchair metalosopherTM, Deflected presents an interesting challenge. It applies the Pantera brocore method of stop/start riffing with pregnant pauses creating a primitive groove, but does so in the context of South American style speed/death metal with riot shouted choruses and fast energetic riffs, then slowly works in melodic death metal influences. The primary instrument remains the voice which often more resembles what would go on in a hardcore band or the shouts of Phil Anselmo than anything from recent metal, but it runs into subtly musical accompaniment from guitars, bass and drums who try to background themselves to these metalcore-styled vocals. Unfortunately, the result by being skewed toward the vocals cannot maintain the continuity essential for atmosphere and so is forced to rely on an increasing number of stunts and riff changes which borrow freely from forty years of metal but never coalesce into a voice. As a result, these sound like songs with stuff added on, rather than entities of their own possession developing out of influences. While many of the melodic riffs enter at about the right time to provide an emotional component, it is obliterated by the randomness of the rest of the song and the ranting vocals, and comprises the generic “mixed emotions” major-minor transition common in all rock music. Even the Iron Maiden styled harmonized guitars produce nothing more than an entry point for the head-nodding rhythm in the hands of the vocals. If this band wants to get anywhere, they need to stop trying to hide their metalcore and go fully into that style, or stop fence-sitting and pick a metal style or invent a new one.
Blackwingedsheep – Red Sheep Red
When direction is too hard, mix ‘n match bits of the past and maybe you have something “new” like those horrible 1970s casseroles that mixed leftover chicken with random ingredients from cans and put cheese on top. I lived in terror of those things because any time I spent the night at a friend’s place, his Mom was sure to haul out one of those for dinner and then I would end up crouching in the dark eating small animals after feeding my portion of the glop to the dog. The worst part was that since word gets out slowly through humanity, Moms — and sometimes their misguided offspring — were cooking up these disasters well into the late 1990s at which point everyone threw in the towel and started just buying pre-prepared food in anticipation of civilization collapse. Blackwinged Sheep is a lot like those casseroles: 1980s downstroke-crazy speed metal mixed with chromatic grindcore fills, on a death metal rhythm, with choruses that emphasize high contrast melodies with broad interval leaps much like early progressive metal experiments like Pestilence Testimony of the Ancients. The result is music that spends most of its time in very concrete rhythm work and then launches into melodies that go nowhere, creating a sense of constant disruption and destabilization with no shape to it, which in turn grants the music a wallpaper effect. No matter how much they vary technique within this formula, the musicians behing Blackwinged Sheep cannot escape the formula, and so they apply it with even more extreme technique which just results in more pounding. Most of the verse riffs on this album could have come from Coroner, and the chorus space-outs from any number of newer acts. Ultimately, while this band has a good grasp of rhythm and a few impressive riffs, it fails to knit this together as anything other than a kind of vocal theater where the lyrics and voice are supposed to give form to otherwise an indistinguishable flood of very similar elements that are not particularly evocative or distinctive from each other. With the perspective of metal as a melting pot of its own styles, this band has found a way to update the 1980s content and make it easy to keep churning out the same even in the midst of self-proclaimed iconoclasm.
Gouge – Beyond Death
Gouge makes energetic but harmonically basic grindcore that tends to use a death metal approach to framing rhythm, but reverts to speed metal and punk riffs frequently. The result uses established riff forms and, while it presents an aptitude for transitions and keeping a compelling rhythm going, ultimately becomes nearly stupefactive because it has zero development of tone. The verse and chorus riffs are variations on the same few notes and capture no particularly compelling melodic or harmonic tension, which results in the entire composition having the effect of a chromatic rhythm work with periodic random insertions of whole and melodic intervals. For influences, clearly these guys spent a lot of time studying Repulsion Horrified whose layering of vocals and guitar shred prevails throughout this release. However, where Repulsion worked carefully to have distinctive riffs, Gouge falls too quickly into hardcore punk tropes, making it a lot more like later Napalm Death without the pretensions of progressive styling. The high-speed approach imparts a good deal of energy, but without some more to hang it on, this becomes another panic indicator like the weekly news, angry questions from the boss, or car horns all night long from the city. Others might compare this to Terrorizer for its tendency to drop back to open riffs of fast tremolo to contrast single-picked slamming patterns, a technique which keeps a constant texture pulsing faster than the drums, conveying a sense of urgency in contrast to the pace of life. However, where Terrorizer stripped down to a focal point, Gouge focuses on rhythm and tucks everything else into place, sometimes dropping in bluesy solos to hope to unite the disparate. By halfway through the album, the band has run out of steam and is revisiting old hardcore punk tropes to try to inject new life where none remains. There is a lot to like about this release — good energy, some creative riffs, good transitions, old school sensibilities — but when taken as a whole, there is no reason to listen to it again unless you like disorganization and the urgent sounds of social decay.
Why did most writers leave metal to the people who eagerly type in praise for anything that they feel, being new, will bring them personal renown for bandwagon-hopping? The reason is simple: almost all metal reviews these days must mention how the elements of each song are good, but that they do not create something larger than their arithmetic whole, with that process being the essence of art itself. If you pile together a group of good riffs randomly, or put together a song that focuses so much on form that it forgets content, the result is a listening experience that is pleasant enough when distracted but unsatisfying if you set aside whatever else you are doing and listen alone to the work. Haethen combines flowing Graveland riffs with high-energy Drudkh-styled sweeping melodic passages but does so in a way that inevitably tends toward both randomness and too much fixed structure, which means that nothing is communicated. Moments of beauty occur and it is crushing to watch them wasted, but the riff technique here is so similar between songs that it is difficult to claim more than one riff of each archetype in favor of this album. The real problem is that the songs are boring, whether from predictable patterns or a lack of relationship in linear progression from the elements of them, and as a result while this album would sound great in the background of a record store or while distracted by paperwork, it does not retain strength as a listening experience alone. This is unfortunate as many respected sources have endorsed this release, and it clearly shows aspiration toward an older and purer style of black metal, but “I must speak as I find,” and Shaped by Aeolian Winds goes nowhere.
An Autumn for Crippled Children – The Long Goodbye
This album falls within the “post-metal” camp although labels like to play the carnival sideshow game and claim that whatever pap they’re pumping “just cannot be classified” and then are careful to mention that it has “elements of” followed by the keywords of their target markets, all while not mentioning what it actually is. Simple formula: 1990s indie rock for verses, 1980s post-punk for choruses. Add a detour bridge or turnaround for that proggy feel. Then put crustcore vocals over the top of it, making them really dramatic and energetic to imply some kind of torment or passion, and claim that this is related to black metal so that you can get the edgy fedora kids to buy it. The Long Goodbye is a musical and artistic sham, but mostly just false advertising: this is 20-year-old music re-shaped for a new generation because disguised imitation is the business model of the music industry. While none of it is strikingly incompetent or poorly produced, in the way that underground metal can both be, none of it is compelling either. Once you see through the first level of artifice, nothing beneath remains. Essentially the same intervals — derived from emo and progressive punk and the rest of the indie spectrum — are used throughout, as well as the same devices, with only vocals to differentiate them, and the vocals are totally non-compelling. This album is mental entropy in a convenient package, with a trendy name, trendy production and faddish packaging because it is designed as a product for morons who are in denial that they are morons and thus are, like Opeth fans, compelled to buy the most pretentious, intolerant (because anything else is just musically less advanced, which is how hipsters say “inferior” indirectly by implication and yet say it all the same) and yet innocuous music possible. Your Mom could nap to this because it is completely non-controversial. No strong emotion, just self-pity and the usual bittersweet minor-key noodling to make you feel as if the problem is that you are misunderstood and not that the world needs us to creep out of our little shells and actually, you know, do something sane and realistic instead of narcissistic and delusional like everyone else. This album attempts the artistic equivalent of changing every dictionary so that the entry for “retarded” says “genius” and vice-versa, such that soon we would elect an Emperor with trisomy 21 and throw out our Beethoven and Darkthrone to favor two-note droning crap like An Autumn For Crippled Children. In summary: A Product For Crippled Minds.
Lago – Tyranny
The forefront of the metal industry — and industry means a group of rent-seekers supporting each other in quasi-collusion to do roughly the same stuff so the profit can keep flowing and costs can continue to be externalized through enforcement of mutual interest — consists these days of bands like Ara and Lago who are trying to hybridize deathgrind in the Unique Leader style with the metalcore/progressive metal that has been floating around for several years after rising from its archetype in the late years of punk, when “progressive” pop punk bands wrote longer songs based on high contrast between riffs to the point of incoherence, as if trying to emulate Black Flag The Process of Weeding Out without the heavy thematic load that album carried. This made sense for punk since when a genre has expressed its core ideas, no more can be done with them but to convert them to technique and to add complexity to hide the basic archetypes that would be revealed by simplicity (bands, after all, have to make product or they fail, both economically and in the economics of social prestige, where the members want to be known as the guys from that hip avantgarde whatever from wherever for the rest of their lives as industry insiders or hipsters working at local bookstores). The consequence of the deathgrind/metalcore hybrid is that bands incorporate the jazz/progressive/shredder stylings (equal parts Kenny G, Dream Theater and Joe Satriani) into more pummeling material that tries to unite itself in the way older death metal did, or at least to the level that Gorguts Obscura aspired to. This tames the most random and hopeless aspects of progressive punk and metalcore but can end up emphasizing the trivial aspects of death metal instead of its ability to knit together riffs and song structures to create journeys of discovery that were equal parts psychedelia and H.P. Lovecraft styled exploration of the morbid, realist subconscious. Lago demonstrates an ability to make competent Unique Leader styled deathgrind, complete with pig squeal vocals and constant high-intensity double bass, but to work into it both the more harmonically advanced riffs and instrumental interludes that the newer progressive variants feature. The result alternates between riffs so simple in conception that they make bricks bash their heads against walls, and instrumentals much more like progressive rock than metal. While Lago is among the best of the breed, the fusion isn’t there yet, because the parts separate instead of working toward a common intent. Still, these songs come together better than just about anything else in the sub-genre, and make Lago a band worth watching for the future.
Mistweaver – “The Greatest Threat”
Core is the new glam. This song combines flowing MTV choruses with uplifting melodies and the nu-metal form of degraded speed metal chugging riffing into a black metal song format with gentle keys interacting with tremolo riffs. This many spare parts can only be glued together by the most basic central element, which genericizes the song; in fact, the more out there music tries to be, the less its parts become compatible and the more generic it becomes at its core. This could be the latest Steel Panther video if the glam band decided to be slightly darker in theme and adopt techniques from Metallica, Emperor and Morbid Angel, who are (roughly) the most defining acts of the past 30 years. Combinging them makes everything weaker.
Stages of Molestation – “Cadaveric Molestation”
This band made itself many fans by varying its chortling guttural death metal with really basic old school death metal informed by the Swedish and Northern California scenes. The problem here is that, while these songs are catchy, they are so harmonically, melodically and riff-structurally basic that they do not merit a second listen. The band is on to something with the style itself however.
We all seek a claim that our lives are worth living. For some, this comes from money; for others, being right or at least being cool. In order to achieve either or both, one must emit product, and far too often this product tries to flatter and pander to its audience rather than grow some balls and make a point. You could write an album about cooking an omelette with more passion than most bands approach topics like war, death, genocide, evil and emptiness. When the surface takes over from the core, the cart has come before the horse and all is lost, which is why we savor the sobbing tears of poseurs, tryhards and scenesters with Sadistic Metal Reviews…
Like a Storm – Awaken the Fire
In a flashback to the bad parts of the 90s, this album opens with a digeridoo before breaking into predictable hard rock riffs with heavier production and more basic rhythms. Then some guy starts singing in his best lounge lizard voice, building up to a pop chorus that could be straight off an Eagles album if they sped it up and did not worry about how truly incongruous the whole package would be. If you like speed metal trudge riffs paired with AOR favorite techniques and Coldplay-style vocals, this album might be for you. But the question remains: why even bother to release this as a metal album? Clearly it would be happier as country, pop, rock or even blues if they truncated the scenery-chewing vocals. It seems the music industry has found an update for nu-metal which is to channel it into this rock/metal hybrid which takes the angry parts of Pantera and pairs them with the smarmiest parts of overproduced, excessively pandering fraternity rock. These guys have a Titty Bingo sticker on their van. The scary thing is that the “inspirational” rock stylings here are a kissing cousin to much of what has infested power metal. But this takes it a step further to the point where what comes out of the speakers resembles the worst of corporate rock from the 90s and 00s to the point that heavier guitars cannot disguise the essential frat party rock tendency of this flaming turd. This goes well with a pukka shell necklace and lots of hair gel, with a NO FEAR sticker on the overly polished ‘stang next to the keg of Natty Light.
Abominator – Evil Proclaimed
Angelcorpse invoked a revelation in death metal, but not entirely a good one. The basic idea was to accelerate the rhythmic fill to the level of riff, such that the composer could use one or two chords in a charging rhythm much like war metal or hardcore punk, but then work in elaborate brachiated chord phrases to avoid the riff concluding in the stunningly obvious chord progression that otherwise must result. Add a bunch of these together in constant rhythm and the essence of that style shines forth. Abominator attempts to break up the constant charging and give songs more shape, as well as use actual fills which complement the riffs, but despite this effort and some inventive songwriting, the blockhead forward charging — like Cannibal Corpse working on the longer Bathory riff outtake that opened the first Angelcorpse album — continues and ruins any atmosphere except a constant tension that starts to resemble an eyestrain headache after a few songs. Speaking of songs, these are nearly indistinguishable, written at similar tempos with similar riff forms and while not random pairing of riffs, reliance on phrasal similarity to the point that songs sound like one giant charging riff with some textural flickering within. To Abominator’s credit, Evil Proclaims is a lot better than the other Angelcorpse tributes out there. Unfortunately, that’s about all that this album remains as and a few moments of power notwithstanding, remains mired in a sea of formless raging metal which never reaches a point.
Venom – “Long Haired Punks” (from From the Very Depths)
Venom are NWOBHM, not black metal; this fact flies in the face of what you will be told in 99% of the metal propaganda out there. The band themselves have never denied it. On this track however, Venom throws us a twist by sounding exactly like Motorhead except with more sudden stops at the end of each phrase where Motorhead would have kept a methamphetamine groove going. “Long Haired Punks” features punkish riffing combined with Venom’s archetypal primitive, broad leaps of tone and nearly chromatic fills. A bluesy solo that seems designed to be slightly abusive to key and chaotic accompanies this as do the purely Lemmy-styled vocals in what is essentially a verse-chorus two riff song with a bridge. The sudden pauses grow tedious within the passage of the song to newer listeners but then again, those grew up after metal assimilated Discharge, Amebix and The Exploited. For someone from 1979, this would seem like a slicker version of Venom with more emphasis on carefully picked chords and less onrushing punk energy, which makes the title ironic. It is well-composed within the limited style that Venom has preferred all these years, but attempts to update the NWOBHM stylings plus Motorhead of Venom have failed and should either be rolled back or the original style entirely discarded. This band is halfway between trying to be what it was, but in a post-1983 sound, and what it could be, which probably would resemble nothing like the original except for the raw “gut instinct” energy which unfortunately, attempts to modernize have limited. While I am not the world’s biggest Venom fan, it is hard to deny (1) their catchy punk/Motorhead/NWOBHM pop power and (2) their aesthetic influence on much but not all of underground metal, and it would be great to see this band develop into all it can be. From “Long Haired Punks,” it seems in doubt that From the Very Depths will be that evolution.
Unrest – Grindcore
The title proclaims this release as grindcore but a better description might be later punk styled as grindcore with a nod toward pop punk. These songs fit together nicely, but rely on two unfortunate things that doom them: repetition of classic punk and grindcore tropes as if they established something in themselves, and use of very much pop rhythmic hooks and song transitions. The vocals are great, the instrumentation fantastic for this genre, the melodies adequate and the rhythms good, but the meaning is not there. The recent Nausea album achieved a great deal more with less by focusing on having each song present an idea and then developing a basic, albeit circular looping context. Grindcore attempts instead the infamous “outward-in” composition of tribute bands everywhere where the need to include the tropes on the surface pushes out the need for internal structure based around a coherent thought, so songs end up being technique only, which is somewhat ironic in such a theoretically anti-technique genre. Most of these result in that “feel” of classic punk and hardcore but add to it the heavy technique of grindcore, which only serves to reveal how disorganized these tracks are. By the time they fall into imitating classic punk open chord picking and stop/start conventions halfway through the album, it has already been long clear that this is a highly competent tribute band but nothing more. To the credit of the label, production is flawless and clear without sounding too slick and the vocals are perfectly mixed. That cannot save Grindcore, nor can its periodically great guitar work, from being reliant on the crutch of imitating the past in lieu of writing songs. Maybe all the great hardcore and grindcore that could be written was long ago.
Archgoat – The Apocalyptic Triumphator
Much like the late days of hardcore, underground metal is standardizing into a war metal/death metal hybrid that emphasizes fast slamming rhythm without the obvious rock, jazz and blues breakdowns that make it clear that music belongs to the peace, love and happiness side of metal. Archgoat, by applying the structure of Scandinavian metal to the raw onslaught of Blasphemy/Sarcofago styled proto-black metal, stands as an innovator to this sub-genre which tends to combine Onward to Golgotha, Fallen Angel of Doom and Tol Cormpt Norz Norz Norz into a single style that like the bands which combined The Exploited, Black Flag and the Cro-Mags into a single voice, standardizes itself and becomes just about interchangeable. The sad fact of The Apocalyptic Triumphator is that a lot of good songwriting went into this album and some quality riff-writing, but this band remains literally imprisoned by the style in which they choose to create. About half of this album, preying on all of us who wish there were somewhere undiscovered in a vault another four hours of Drawing Down the Moon, borrows rhythms and arrangement patterns from that highly-esteemed work, as well as developing known riff types from the above influences. None of this is bad; however, it does not add up to enough to be compelling, like previous Archgoat works. This album represents the most professional work from this band so far and clearly exceeds any previous efforts, but the genericism of its riffs make songs indistinguishable both from one another and in terms of structure, creating the musical equivalent of listening to a flood sewer. For every good riff, four “standard” ones borrowed from the war metal/Blasphemy-tribute/Incantoclone group crowd them out. Periodic moments of greatness are balanced by a double frequency of moments of staggering obviousness which make it hard to get behind hearing this one on a regular basis. What I want to know is: what do these musicians actually idealize in music, outside of this style? Their work in such an artistically liberated medium might unleash the creativity that this narrow style suppresses.
Heaving Earth – Denouncing the Holy Throne
Disruption metal. In business, the idea of disruption is that some new entrant into the market disturbs it to the point of throwing everything else out. This should simply be thrown out. Trudging riffs, squeals, chortled vocals, mind-numbing rhythms and melodic fills that sound more like video game noises than metal. An album of this would be excruciating, doubly so if you listened to it.
Ancient Wind – The Chosen Slain
Style over substance defines this release: built on a base of melodeath, Ancient Wind regurgitates several different influences but predominantly Sodom and Wintersun. The result is a sampler plate of styles that never comes together but, because it has no topic other than the need to record something for a half hour or so, the lack of style damages nothing nor salvages anything. You are left with the typical experience of hearing something disorganized, then seeing a fat woman eat ice cream, and suddenly being unable to recall if the music had been on earlier. In one ear and out the other, if you’re lucky.
Sacrilegium – Wicher
1996, out of Poland. Like Graveland? A more conventional version of Graveland: less scary, more uptempo, more musically predictable. Sounds a lot like there was a Dimmu Borgir influence. While it’s tempting to like the style, the lack of substance suggests this album should have stayed in 1996 with the other proto-tryhards.
Battle Beast – Unholy Savior
An album’s worth of that one song your junkie ex-girlfriend is really into. For Lady Gaga listeners who like the sound of electric guitars. Halestorm meets fantasy. Daddy-issues metal. I’m out of jokes, just don’t listen to this.
