Thirteen years ago, gore-grind band Impaled released their first album, The Dead Shall Dead Remain. Since that initial pressing, the album has been unavailable to fans because of legal disputes over ownership. The only chance to hear it was to buy an original copy.
To work around that problem, Impaled have re-recorded their debut album as The Dead Still Dead Remain. This does away with legal hurdles and allows the band to improve on the performance and production of the original. Recorded and mixed by Vinnie Wojno (Testament), the new recording “simply sounds better” according to guitarist Jason Kocol.
The Dead Still Dead Remain stays musically faithful to the original and also features the return of vocalist Leon del Muerte, who says, “it was like the last thirteen years of backstabbing and spitefulness never happened!” With updated cover artwork in the spirit of the original, The Dead Still Dead Remain resurrects a long lost work of the gore-grind genre.
Impaled’s The Dead Still Dead Remain can be pre-ordered at WillowTip Records.
Nocturno Culto, who forms one-half of the nefarious duo known as Darkthrone, has a long history of side projects. Among other contributions, he worked out the intricate riffcraft behind Satyricon’s Nemesis Divina, making it a favorite in that band’s catalog.
Now he has embarked on a new side project which is a pure traditional heavy metal band called Gift of Gods. Gift of Gods will release its debut mini-album Receive on Peaceville Records on November 5, 2013.
Commented Nocturno Culto, “Finally, the mini-album is done. Gift Of Gods has been a great ride for me. I don’t want this to end now, so I will most likely work on new material. Thanks to my partner in crime, K.A. Hubred, we got to rehearse during the last two years. What to expect? I have no idea how to describe this, but it’s metal for sure.”
Receive was performed and recorded by Culto and Hubred at Culto’s home studio, and mixed and mastered by Jack Control at Enormous Door, who recently worked with Nocturno on Darkthrone’s The Underground Resistance.
So far the only reports tell us this will be traditional heavy metal with a wide range of influences and that it will lead toward the melodic side of things. This EP/mini-album will be a half-hour of material including a cover of “Looking For an Answer” originally by obscure Swedish 80s band Universe.
Boston death metal band Scalpel release their debut full-length, Sorrow and Skin, tomorrow (September 3rd) via Sevared Records. To mark the occasion, SCALPEL teamed up with DeathMetal.org for the premiere of album track “The Black Juices.” Stream the tune at this location.
Creating brutal percussive death metal in the style pioneered by Suffocation, Scalpel integrate West Coast influences (Deeds of Flesh) with their traditional East Coast approach and mix in dissonant melody and more frenetic song structures. To hear more of their music, watch videos on the Scalpel official YouTube channel at www.youtube.com/scalpelofficial.
To celebrate the release of Sorrow and Skin, Scalpel will perform with the mighty GORGUTS on September 8th at The Palladium in Worcester, Mass.. The band will follow that gig with another blockbuster opening for MORBID ANGEL on November 10th at The Middle East in Cambridge, Mass. To order your copy of Sorrow and Skin, visit the band’s store at www.scalpel.bigcartel.com.
Abominant make midwestern death metal which showcases its extensive and varied influences within the metal genre. Astute observers will note charging death metal like Afterlife, but simpler and more direct, mixed with heavily Iron Maiden influenced heavy metal.
Onward to Annihilation exhibits Abominant at the height of their powers, having been making metal for over two decades. The tempo changes are crisper, the riffs faster, and the vocals put the sore abraded throat sound of death metal singing to a powerful use. The lengthy fast and emotional bluesy solos are still rippling through the bridge riffs.
Songs are fundamentally riff salad wrapped around a verse-chorus construction like a DUI driver wraps her SUV around a light pole. Structures veer off the beaten path, but do so as a way of returning, and tend to go through a series of riffs from heavy metal and speed metal before returning to the death metal norm.
Abominant have improved on previous efforts by evening out the balance of melodic material to the rest, and keeping the intensity up by tossing out less intense riffs. This shows the band at their leanest and meanest, smashing their heavy metal-death metal fusion into the faces of an oblivious world.
Onward to Annihilation, Abominant’s 10th studio album, is out now on Deathgasm Records.
Black metal doesn’t hybridize with much because black metal is by itself a distinctive genre. This distinctiveness comes not from its technique, which is borrowed from atmospheric heavy metal and crustcore, but its attitude and outlook.
Unlike almost every other genre on earth, black metal is not about people in the singular. It’s about life itself. It has no pretense of stooping to your perspective, or making itself appealing and interesting like a crooner. It is like the cold winds of winter nights: untouchable, aloof, lawless and immune to human guilt, morality and fear.
Aborym blend black metal of the blasting type — think Mythos, Zyklon-B or Impaled Nazarene — with both extremely clubby techno and 1980s Gothic power pop. The result is compelling but more on the side of those other genres, because the black metal technique is absorbed. To counter this, Aborym create clever song structures out of variations in texture and on top of those drop in additional layers of melody or rhythm.
Like more mass consumption musics, Aborym uses static riffing here, where a chord is used to sketch out a rhythm. This is different from the normal phrasal riffs of black metal and death metal, where chords are used as notes in melodic phrases that resemble the objects of their symbolic role in the song.
The mixture of sheer keyboards and heavily reverbed guitar chording creates an immersion of sound that must be an unholy terror live. It creates total disconnect in the listener and puts emphasis on the voice and excessively front-ended percussion, which causes the overall song to more resemble 1980s rock than 1990s black metal.
On Dirty, the band work hard to keep each song interesting. The initial thrust of the style is overwhelming, but would becalm itself without the quirky variations that the band throw in for later tracks. As a result, it is listenable without being abrasive, but I’m not sure I’d reach for this a second time as a black metal listener. As a Gothic pop or techno fan, most definitely.
Aborym find themselves in a difficult time frame where black metal has burnt its initial thrust and waits for more clarity. Many of us think it is not stylistic, but a lack of ongoing growth in attitude and outlook. By returning to deconstructed roots and hybridizing, Aborym inject the black metal spirit into something else. However, it is a mistake to approach Dirty as a black metal album.
This is a 2-disc release, with the first disc being extensively techno-industrial new material from this band, and the second reworking of older songs and covers.
An interested reader wrote in, and so we continue our discussion of whether modern metal is important at all, and whither the future of metal.
So, metal music is over? Or do you that have a big journey to happen?
No, it’s not over. It needs to find new content. Its form is a refinement of its original form, and it can be refined further, but not by hybridizing it with other genres. Jazz-metal is dead, math-metal is dead, blues-metal is dead, indie-metal is dead, alt-metal is dead because these were always old and tired ideas. Alternative rock is punk mixed with 1980s indie rock. It’s self-pity music. Indie metal is emo and Fugazi mixed with d-beat and black metal. Post-metal is just slowed down indie metal. All of this music sounds more like Nirvana, Jawbreaker, Fugazi, Rites of Spring, etc. than metal. All of that stuff was born dead. What’s alive is the metal spirit. From Black Sabbath through Judas Priest through Slayer through Incantation through Immortal, it’s a continuum. Metal has just finally left rock behind with death/black metal and it needs to continue that transformation. It needs to finally become its own musical language entirely separate from everything else.
What is your opinion about mathcore (Botch, Converge)?
It’s an extension of late hardcore. Black Flag “The Process of Weeding Out” is the grandfather, and they ran it through the Fugazi filter. Neurosis was a better direction but the people who’ve cloned that don’t understand what Neurosis was on about. They can imitate the music, not understand the soul.
And what will happen with the black metal genre?
It died in 1996. Since then, with maybe five exceptions, the new bands have been imitators. Their goal is to make music that’s like black metal on the surface, but like regular indie rock underneath, so they can sell it to the kids for weekend rebellion but not so much that it sets them off-course and they can’t return to school, jobs, watching TV and voting for idiots during the week.
What will happen with metal? It’s over? There new things to create?
See the first question. “Big journey” is more true than “over.”
Rippikoulu are a relatively unknown Finnish band whose potential was cut short because the band never developed past the demo phase after the death of the main songwriter. The first death metal band to “sing” entirely in Finnish, Rippikoulu saw a significant rise in popularity in the internet age, releasing their second and final 1993 demo on CD and vinyl through Svart Records in 2010.
One of many bands from Finland to realize the potency in doom elements in death metal, Rippikoulu quickly switched gears from the Bolt Thrower Realm of Chaos meets Autopsy style of their first demo into a morbid, down tuned style more along the lines of Lost Paradise stylistically updated by Incantation’s cavernous style similar to many other early 90s experiments like Mythic or Disembowelment, with similarly mixed results.
The music here eschews the ambient gestures of Disembowelment and Thergothon entirely, opting for a more bludgeoning, rhythmic approach. Like Winter, slow doom passages move forth at a glacial pace and are highlighted by macabre lead melodies in a manner similar to early Amorphis or Paradise Lost.
Unfortunately, these parts are the highlights of the songs, as they are sandwiched between often disconnected Incantation-esque blasting sections or Bolt Thrower heavy rhythm riffs. Too often, the excessive down tuned rhythms gets repetitive to the point of going nowhere (tracks one and four) or seeming like an in-between for the “money riff” effect of ponderous doom riffs (track two). Here we hear the weakness of the band in their inability to marry these opposing elements through developed riff sequences like Bolt Thrower on War Master. The other tracks feel more like complete statements but the speedier rhythm riffs are often sparse compared to their sluggish counterparts.
While the band successfully conveys the aura of mystique that made the Finnish death metal scene revered by many, this release was perhaps a bridge to them moving on to doomier terrain as evidenced best by the most focused track, “Pimeys Yllä Jumalan Maan,” sounding more like Skepticism covering Incantation at their slowest.
The good news is that this release functions well as divisions of a singular idea, much like how Belial’s Wisdom of Darkness used repetitive songs with shared themes to their advantage, giving the listening experience a ritualistic quality. It’s a great alternative to what the modern OSDM scene is currently churning out, but much like God Macabre’s The Winterlong, it is more a collection of slight variations on a theme than an album.
Back in the early 1990s, it was hard to be a death metal fan without encountering Grave’s Into the Grave. Primitive, music reduced to almost rhythm alone, it filled the niche between truly primitive grinding like early Napalm Death and the more musically intensive Swedish death metal like Seance.
Fast-forward twenty years. Everyone in death metal, recognizing that their society was going to collapse of its own inertia amidst the confusion and denial of their fellow citizens, have gone on to have families, careers and lives. But in them burns that desire to be known for their place in an important time and activity in their lives, which is the production of death metal.
Morbid Ascent is a new five-track EP with a cover of Satyricon’s “Possessed,” a remix of a past song “Epos,” and a re-recorded version of “Reality of Life,” a track from their 1989 Sexual Mutilation demo. The EP will be released both digitally and on vinyl and is available for pre-order at Century Media or on the band website.
When snide ironism takes over music, authentic spirit and power are forgotten and ignored. That is, if you read the music media and listen to the music hipsters. However, back in everyday life people love it because it does what music does best: affirm life and urge us on to greater heights. It inspires. (more…)
From the opening dual guitar harmonies straight out of 1985 that bring to mind the live intro to a Europe or Stryper set, it’s obvious that this album will be more in line with the guitar hero pop-metal of Arch Enemy than anything from Symphonies of Sickness or Reek of Putrefaction.
To some degree, that’s to be expected. Carcass threw in the towel on forward momentum long ago (1991) and have resorted to playing up their namesake for the purpose of phoning in stadium metal for the aesthetically overblown Wacken age, and Surgical Steel is perhaps their most commercially flexible attempt at filtering late model radio format speed metal through a death metal aesthetic filter, where actual death metal technique is limited to tremolo picking, blast beats, and Jeff Walkers vocals.
Carcass joining an elite cadre of financially successful bands by doing so, starting with At the Gates’s Slaughter of the Soul and even Pantera’s Far Beyond Driven. Let me state it again for those who wish to be millionaires: the appearance of being an outsider to a society nearly universally loathed by its inhabitants, with an underhanded delivery of comfortingly familiar derivative works that by their obedience affirm the social order, will always be a financial success. It allows the appearance of rebellion with none of the actual costs. It’s like artistic insurgency tourism.
Surgical Steel ends up being a mix of Swansong‘s Thin Lizzy-isms applied to the framework of songs like “This Mortal Coil” and “Doctrinal Expletives.” These songs have more to do with Mike Amott’s recent Wacken pandering than anything on Heartwork. “A Congealed Clot of Blood” resembles a “revisited”, more uptempo version of Swansong‘s “Don’t Believe a Word” and the last song, brings to mind the best years of Sanctuary with its sentimental melodic guitar intro, or evokes the Overkill ballads “The Years of Decay” and “Soulitude” with its emotional framing and pacing.
Some tracks like “Cadaver Pouch Conveyor System” attempt aggression by utilizing the same speed metal meets extreme music technique as “Carnal Forge” from Heartwork, but with the obvious “money riff” effect of the dual harmony guitar part that is the focus of these songs. The reversion to old lyrical themes (based off the song titles and album artwork) seems like misdirected fan service as these songs would probably win over more people from the Century Media crowd if the lyrics had the same simple “emotional” topics that songs such as “No Love Lost” had.
While this album may appease the simple appetites of those who merrily purchase Arch Enemy and Children of Bodom albums, many songs try to deviate from the verse-chorus stylings with an overloaded, ill-fitting bridge that detract from their simple nature. This divided nature may keep Surgical Steel from being as successful as recent Hypocrisy or Slaughter of the Soul in the arena of stadium faux-death AOR metal for drunken Wacken attendees.
Again, we say: if your heart is no longer in death metal, don’t bother. Start up a project band and transition into progressive rock, classic rock, or whatever it is that actually appeals to you. Explore your new musical pathways. It’s just as much a sell-out to try to “stay true!” when you no longer care as it is to make Justin Bieber-styled pop because you know ten million teeny boppers from the ‘burbs will buy it. Musicians, chase your dreams. We get the best of your talent that way, even if we have to transition genres to appreciate it.
Thirteen years ago, gore-grind band Impaled released their first album, The Dead Shall Dead Remain. Since that initial pressing, the album has been unavailable to fans because of legal disputes over ownership. The only chance to hear it was to buy an original copy.
