Dead Congregation Repress Purifying Consecrated Ground

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Dead Congregation have repressed their debut EP, Purifying Consecrated Ground, on frontman Anastasis Valtsanis’s own Martyrdoom Productions label in digipak CD format. The new fans the band picked up with their last album, Promulgation of the Fall, will finally have a chance to own a physical copy of the band’s most concise work.

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Free Dark Descent and Unspeakable Axe Records Sampler CD

Dark Descent New Release Sampler #4

Dark Descent and Unspeakable Axe Records have released a new free sampler CD of their recent upcoming releases. It is freely available with a purchase from the Dark Descent online store and for free download on their Bandcamp page with four additional tracks that couldn’t fit on the CD.

The new Dark Descent Records/Unspeakable Axe 2016 CD sampler is now available. This is a FREE sampler and available with purchase through our web store and at Unspeakable Axe. Included on the disc is 16 tracks (8 from each label) with premieres from Blood Incantation, Excommunion, Lantern and Ruinous. The sampler also includes an discount code good for our web stores. Get yours now before it’s too late!

Trenchrot – Hell Pilot’s Call
Blood Incantation – Chaoplasm
Ripper – Anthropophagic Life
Ghoulgotha – The Sulphur Age
Hemotoxin – Transparent Eyes
Sheidim – Without Reins
Nucleus – Cube
Excommunion – Nemesis
Mortal Scepter – Violent Revenge
Nox Formulae – Hidden Clan NXN
Scorched – Lust for Strangulation
Lantern – Cleansing of the Air
Manic Scum – Strapped to the Gurney
Ellorsith – Jerome I
Obscure Evil – Enchants of Bitterness
Ruinous – Dragmarks

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Traversing the Underground: The Beginning of a Journey

tolkein moria gate

Article by David Rosales.

We often use the term underground following the multiple discussions of underground extreme metal started on Death Metal Underground by Brett Stevens himself. Conceptualizing it here would be redundant and confusing. Instead, we might benefit more from brainstorming that allows for the reveling of authenticity that so characterizes underground music. What we are interested in here is not metal only, or metal as a whole, but rather metal as conducive to realization, breaking of false boundaries, destruction of a false mainstream, doing away with a useless society, and a contempt for a decadent civilization that through negation is blind to its own fatality.

The answer is not in this or that genre, in formal philosophy, or in the bare findings of the scientific establishment, but in their use in service of individual discernment. Music itself, if taken as more than mere sensual distraction, is the intuitive way leading to the shattering of illusions perceived through the senses, instigated by the mundane. This is not mere sophistry,; its most practical result is that in the abstract realizations thereof the mind is free to challenge what before appeared as commandments written in stone. Reality does not belong to anyone; truth is a quest.

baphomet pan shub-niggaurath
Unaussprechlichen KultenBaphomet Pan Shub-Niggurath (2014)
The tumultuous death metal of Unaussprechlichen Kulten captures the rawness of exploring black magic in darkness upon the listeners mind. What is significant about the interest of metal at large in what is hidden, what is occult, is not the morbidity alone, although that is the explanation that even luminaries may conjure and the only one that the rabble may consciously understand. The open door to asocial darkness, to inhumanity, to disintegration, is the contrast between ephemeral and the immanent. However, facing this burning darkness is also a voluntary act: it lies beyond good and evil, where the primal breath of the whole that puts our non-divinity into perspective. Here, the old school death metal expressions within free structures that never overextend and are perhaps inconclusive, nevertheless represent a perfect introduction to an energetic flow of destruction and consumption.

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Sorcier des GlacesSnowland MMXII (2012)
A well-deserved update of Snowland, Sorcier des Glaces’ Snowland MMXII shines with self-attenuated glow, hiding vibrant vitality. This is the course of nobility after or through darkness. Sorcier des Glaces takes us to the essence of black metal as post-nihilism. What some would confuse with empiricism or mere scepticism, but is in reality free transcendentalism following death, complete nihilistic destruction. The dark light emanating from image and action, from reality and unreality, the delight beyond sensuality in the universe as it is as perceived imperfectly as we see it in the thousand ways in which we tune in to it.

Departure at Sunset
Isa – Отход на закате [Departure at Sunset] (2015)
Risking death by lynching, I’ll introduce this rather inconspicuous and only vaguely metal album as the culmination of this discussion. This lies more in the realm of ambient and is liable to be confused with post-rock when seen from a certain angle. Departure at Sunset captures the naturalist side of metal in a stronger way than do most these days. This is done in perhaps an extreme way that does not befit the always-hidden, the underground spirit of metal. That is, there might be too much sunshine in this for the traditional underground, so that it might seem counter-intuitive for some to see this as more authentically revealing than what sounds traditional. But the trademark old school sound has been hijacked for a long time now, it has been commercialized in what is almost a counter-spell to its original black conjuration. The truth seems to emerge, then, in the opposite, sunlit, ice-clear sounds of this ambient metal that transports us to Siberia as the antithesis to the modern world.

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Profanatica’s The Curling Flame of Blasphemy Out Now on Cassette

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Profanatica‘s new album, The Curling Flame of Blasphemy, has been released early on tape by Hells Headbanger Records for jaded eighties headbangers with old cars and cassette decks. Profanatica being one of the few bands still releasing quality material in this age of rehashed mainstream pandering makes this worth checking out. A higher quality CD version for the audiophiles is coming out in late May and the LP for the hipsters in early August.

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Kaeck – Stormkult Tape Release

kaeck stormkult cassette

Kaeck‘s Stormkult is about to be pressed to cassette by Heathen Tribes for all the heshers who still drive their parents’ 1990 Volvo station wagons. Death Metal Underground’s 2015 Album of the Year is perfect for blasting from your steel battle wagon or Dodge Neon to herald the coming of the god of this world to your fellow commuters.

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Denner / Shermann Ready Masters of Evil

denner shermann

Michael Denner and Hank Shermann (the dueling guitar virtuosos behind Mercyful Fate) have announced that the mixing and mastering is done on the upcoming album from their technical power/speed metal project, Denner / Shermann. Hopefully Masters of Evil (to be released by Metal Blade Records on June 24th ) is better than their previous EP but don’t get your hopes up. Check out the preview track below:

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Question – Doomed Passages (2014)

question-doomed_passages

This review was contributed to Death Metal Underground by Neil Sigmundsson.

The best albums are greater than the sum of their parts and provide the capability for listener immersion due to their length and integration but the song is still generally the most important and most fundamental compositional unit in death metal. Paying too much attention to atmosphere, musicianship, individual riffs, or other aesthetical and shallow (though important) qualities of an album can lead to overlooking compositional shortcomings, especially after the mind starts to fatigue or when listening to dense material. This is the case with Doomed Passages, which feels convincing – and in some aspects it is – but suffers from a number of flaws that might be missed during casual listening. That being said, even though the music of Question is imperfect, it is modest and sincere and at its best moments overflows with contagious vigor and energy that leaps fearlessly towards the abyss, a mark of the upper echelons of death metal artists.

First, praise is due to some of the mechanical and aesthetical elements of this album. The roaring, expressive vocals, replete with various single-syllable exclamations and grunts, are highly enjoyable and benefit from a cavernous quality due to studio-induced reverb. The drums are commendable in their creativity and in demonstrating a subtle understanding of the level of activity that best complements any given situation. Rumbling double bass creates a “rolling” sensation of high momentum at certain tempi. The production is deep and clear, and has a bit of cushion, but more separation between the instruments might have been beneficial.

There are two truly excellent songs on Doomed Passages: the second and fifth tracks. “Nefarious Conclusion” is the most structurally rigorous composition on the album, being basically linear but still having a clear exposition, rising action, climax, and falling action. This results in a rewarding experience. 0:00-0:50 is an example of creating variation, exploration, and motion out of a single phrase. The drum build-up to the invigorating climactic riff is genius; it sounds like transitioning from walking to running. The transitions at 1:15 and 4:34 are somewhat rough, but not enough to harm the composition. “Universal Path of Disgrace” has one of the most memorable riffs on the album, a sprawling eight bar tremolo-picked cycle. After the second occurrence of this riff and its accomplice, the song heads logically into a strange middle section that sounds like being in an unstable, slightly psychedelic limbo. A climax and resolution emerge from there. This song offers an interesting journey but it is slightly less satisfying than “Nefarious Conclusion.”

Aside from these two tracks, the remainder of the material on Doomed Passages shows promise and has shining moments but suffers from various problems. Some of these issues are abrupt transitions (“Mournful Stench” at 3:35), weak conclusions (“Devoured from Within”), and segments that overstay their welcome (the introduction of “…Bitter Gleam of Inexistence”). However, the major recurring problem and the biggest downfall of Question, though it is not immediately apparent due to the large number of riffs (many of which sound similar), is the purposeless, wandering song structures. In their template, Question take a single riff or a small group of riffs that act as an “anchor,” and they dance a bunch of ideas around that anchor before departing in an uncertain, random direction. This resembles a very relaxed version of what Slayer pioneered on tracks like “At Dawn They Sleep,” which completes two verse-chorus cycles and then departs radically from pop structure. The difference – and it’s a significant difference – is that Slayer maintained a strong narrative and a sense of purpose and tension throughout the entirety of their songs, whereas Question is usually content with wandering aimlessly. That Question can string a huge number of riffs together without the result sounding like patchwork is impressive (see “Grey Sorrow”), but cohesion alone does not make death metal of lasting quality, and as a result an appreciable amount of this material feels pointless and is frustrating to endure.

As hinted at above, there are simply too many riffs on Doomed Passages, a large proportion of which are interchangeable and forgettable, appear only once, and serve no vital function. Question demonstrate that they know how to overcome this problem in multiple ways (developing phrases, relating riffs through common or similar phrases, writing highly memorable riffs, returning to previous ideas in different contexts, etc.), but they need to apply these habits more diligently. There are focused passages, and there are highly memorable riffs, but ideally all of the passages should be focused and all of the riffs memorable and necessary. Thus, whereas many death metal bands have simplified their song structures to the detriment of the music, Question can actually benefit from being somewhat more repetitive in order to remove the forgettable and less evocative riffs and develop only their best and darkest ideas. This can be done while retaining the narrative, exploratory song structures. It will occurs more  naturally and easily when the music is written and played with specific purpose and direction. More dynamics might also help in stressing important sections, as the sound sometimes blends into a monotonous stream. The digital, compressed production is of no help.

Another lesser issue with Doomed Passages is that consonance sometimes feels out of place when it appears in the midst of the generally dissonant and chromatic music. The interlude “Through the Vacuous River” is the most blatant offender, though the riff at 5:28 of “Universal Path of Disgrace” is questionable as well. While consonance is not vital for this music to express something meaningful, there is potential in its skillful application, as demonstrated by 3:00-3:35 of “Mournful Stench,” a section that arises at an appropriate time but is unfortunately not fully developed. The acoustic final track also works fairly well in context. If Question would hone their skills at incorporating consonance into their musical language, the wider range of expression will provide them with more tools for communication.

The standout songs on this album prove that Question is capable of writing intense and adventurous narrative death metal of the highest caliber. All of the tracks have redeemable and enjoyable qualities and marks of skilled craftsmanship, but most are hampered by the flaws discussed above. To further improve their already above average music, Question need to at least  scrap the forgettable riffs and instead develop more extensively their best ideas while taking  the reins and writing more directed and focused compositions. The second change can be realized either by forcing the songs to move toward clear climaxes and satisfying conclusions or by finding some wisdom and inspiration that can be represented in and communicated through the music. These young musicians are certainly technically proficient but need to write more coherent compositions if they want to inspirit their music instead of joining the ranks of so many other failed techdeath endeavors.

Readers may listen to Doomed Passages on Chaos Record’s Bandcamp page.

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Rotting Christ and Marduk Fall North American Tour

rotting christ marduk 2016 tour

Greek black metal gods Rotting Christ have announced an extensive North American tour for this fall supporting generic war metal veterans Marduk. They’re coming out here to do some gigs! Shit will be wild man, wild! Here are the dates from Marduk’s Facebook page:

Frontschwein 2016:
NORTH AMERICA
09/02/16 Ft. Lauderdale, FL Culture Room
09/03/16 Tampa, FL The Orpheum
09/04/16 Atlanta, GA The Masquerade
09/05/16 Baltimore, MD Soundstage
09/06/16 New York, NY Gramercy Theatre
09/07/16 Boston, MA Brighton Music Hall
09/08/16 Montreal, QC L’Astral
09/09/16 Toronto, ON The Opera House
09/10/16 Columbus, OH Al Rosa Villa
09/11/16 Chicago, IL Reggie’s
09/12/16 Minneapolis, MN Triple Rock
09/13/16 Kansas City, MO The Riot Room
09/14/16 Denver, CO Marquis Theatre
09/16/16 Vancouver, BC Rickshaw Theatre
09/17/16 Seattle, WA Studio Seven
09/18/16 Portland, OR Bossanova Ballroom
09/19/16 Oakland, CA Metro Opera House
09/20/16 Las Vegas, NV LVCS
09/21/16 Los Angeles, CA Regent Theater
09/22/16 Phoenix, AZ Joe’s Grotto
09/23/16 El Paso, TX Mesa Music Hall
09/24/16 Dallas, TX Gas Monkey Bar & Grill
09/25/16 Austin, TX Dirty Dog Bar

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Occult Burial – Hideous Obscure (2016)

occult burial - cover

Article by Corey M.

Overall satisfying (but not quite inspiring) straightforward songs with equal parts thrash and proto-death metal present. I don’t quite hear the “occult” sound these guys are evidently going for; their music sounds too immediate and, weirdly, fun. The band members clearly enjoy creating this music and therefore their work is free of pretense; no revivalist coat-tail riding here. Expect to hear fairly similar-sounding riffs throughout, without much in the way of dynamics. Compared to their contemporaries in bands like Nifelheim and Aura Noir, Occult Burial are competent and maybe even a step ahead of the more popular bands that mix thrash with modern metal because they aren’t impeded by gimmickry. Their lack of theatrics may work against them because they will probably continue to be overlooked until they learn to cut loose and let their imaginations run a little more wild with their songs. Compared to the more aggressive speed metal classics from Coroner and Razor, parts of Hideous Obscure are downright boring. Even playing a bit faster and cleaning up the recording could do wonders for the effectiveness of these songs. Some parts sound truly terrible. For instance, the snare drum sounds  in the words of my favorite robot puppet “like a bag of sardines thrown up against the side of a pole barn.” Nevertheless there is promise here and I would reserve more judgment until Occult Burial release a proper-sounding album or I can catch them live.

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Ihsahn: New Emperor Album Would Be Pointless Disappointment

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Ihsahn has stated that if Emperor reunited, there would be “Absolutly no point” in recording a new album as “It would be a disappointment.” He claims any new Emperor work would be similar to his masturbatory solo material. Perhaps Ihsahn should have come to this conclusion over two decades ago; Emperor’s post In the Nightside Eclipse material after Faust and Samoth went to prison consisted of merely interesting black metal riffs arranged into one-note verse chorus verse songs propelled forward mainly by soft versus hard contrasts. Ihsahn is right that creatively bankrupt guitar magazine pandering is not worth Hessians’ precious time. Listen to the original master of In the Nightside Eclipse again instead:

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