Death Metal Underground

Sadistic Metal Reviews 10-18-14

by Staff on October 18, 2014

What are Sadistic Metal Reviews? As you lie on your deathbed and look over life, you will divide everything you know into things you will miss and things you have forgotten already. Some metal is worth remembering, but the vast majority is just background noise. We hail the former and smite the latter, salting their wounds with our sardonic laughter…

Internal Bleeding – Imperium

After Suffocation got big in the mid-90s as the next big direction for death metal, lots of bands took the Cannibal Corpse hint and started imitating the easier parts of the Suffocation percussive death metal approach. Unfortunately, doing so creates music that is dumber than malformed concrete, and Internal Bleeding quickly distinguished itself as the death metal version of Pantera: brocore for bros who like to you know drink beer and punch their heads into walls. Checking in with them 19 years later, it seems little has changed. These songs are hook-laden and not fully random, but the hook relies on the most basic of rhythms and their expectation, sort of like watching a chihuahua chase its tail. The band tries to compensate for their basic and unexciting music with really active vocals and occasional melodic touches on guitar, but nothing changes the fact that these songs are based around extremely basic patterns designed to numb and erode the mind. The famous breakdowns are back and serve to break up some of the constant muted-strum chugging and ranting vocals that shadow the rhythm of the guitar riff, but even if they dropped occasional symphonic parts into this Internal Bleeding could not hide the fact that most of this music is designed to destroy brain cells or appeal to those who have already voluntarily obliterated their own minds.

Oppression – Sociopathie & Gloire

This band will be overlooked by many because the production on this album makes it hard to hear anything but bass, vocals and metals (cymbals and high-hat). However, what lies beneath the obscurity is a quality melodic punk album that verges on Oi and shows us what emo could have been in the hands of quality songwriters; you could compare this to the Descendents and the Misfits because this band write quality vocal melodies over melodically hookish riffs and rhythms, producing a sense of familiarity and yet a sense of weight like that of history or topics that pop up in every life no matter what age. Vocals alternate between a black metal-ish rasp and sung punk vocals, with the latter being more convincing. As with Misfits, the composition of these vocal melodies defines the song, combining old world melodic intensity with a casual punk sense that favors the simple and almost childlike. Touches of metal technique accentuate the harmonic space created by these rather open melodies, but generally, what you hear is punk that sounds as much like Blitz or Reagan Youth as something more recent. The result brings together the best of punk in its attempts to combine its energy with depth, and provides for a good listen, if the listener is able to hear past the abysmal production.

Steve Hackett – Genesis Revisited: Live at Royal Albert Hall

Among the 1970s progressive rock bands, Genesis is frequently mentioned but often forgotten. It seems to me that the reason is that its vocalist, not its guitar-keyboard duo, dominated the composition and thus it drifted closer to the regular-rock tinged Pink Floyd style of “light” progressive rock, without getting as populist and compact as Pink Floyd or Rush did. However, it would be a mistake to overlook the first few Genesis albums which were ambitious although steeped in a self-righteousness which seems more pretentious than the usual self-indulgent musically masturbatory egoism of progressive rock. On this live recording, Genesis guitarist Steve Hackett revisits the older Genesis material with the benefit of an extensive solo career and an entirely different band. The result makes Genesis sound more pastoral, with greater emphasis on vocals and mood in the style of later-1970s big radio rock bands, but also brings out some of the more aggressive guitar that got buried under keyboards and vocals on the originals. Vocalist Nad Sylvan manages a more soulful and less starchily self-referential voice than the original, and all accompanying musicians are excellent including a cast of highly talented players who, while not fully noticed by name in the mainstream, have demonstrated their abilities in complement to larger acts in the past. While all of this shines, the fundamental problem with Genesis remains the “oil on water” feel when it switches between something that sounds like Queen and a sort of extended figurative structured jam. While highly musical, Genesis often seems atopical and thus lost between its rock drama and its progressive underpinnings, and in many ways, having Hackett reinforce the role of guitar both reduces this gap and highlights what is left. For Genesis fans who wondered what this band might have been like with a different internal balance of power, these re-envisioned tracks will provide hours of exploration.

Wolf – Devil Seed

This album takes the speed and intensity of a speed metal album, adds in Accept-style power metal vocals, but underneath the skin is something more like a hybrid between the first albums from Motley Crue and Queensryche. The result is… well, there’s no nice way to say this, but: annoying. Highly skilled and highly repetitive, vocally demonstrative and vocally over-dramatic, catchy and infectious and yet cloying, it hammers out the earworm qualities of glam metal at the pace of speed metal with the production and sound of power metal. If this is your first album from this style, it might be interesting to own, but probably difficult to listen to on a regular basis because of the similarity of the tracks and the consistently high levels of sentiment and bounding energy. The 1980s varied moods of glam metal have been replaced with the aesthetics of techno or punk, and it just keeps going and eventually even drowns itself out. Musically, nothing here ventures outside of the camp of what has worked before and become established, although a few adept variations give greater power to the framework. As with most metal/rock hybrids, what brings it down is the need for vocals to lead which crowds out other instruments, in turn squeezing the space available for song development. While the vocals are impressive, when they become too predominant like this they lose some of their power; Halford or Dickinson (or Di’Anno) would have been more selective in the use of their full-bore intensity and emotional depth.

Vardan – Enjoy of Deep Sadness

This band combines “suicidal black metal” with the shoegaze/emo/indie variant that specialized in certain minor key chord progressions turning upward at the end of each phrase to convey a sense of misplaced “hope,” much in the way early 1990s emo-punk bands did. The result is merely a new aesthetic slapped on top of very ancient and pointless music, since the “mixed emotions” sensation has been popular in rock music since the 1960s and produces the type of emotions one might want in the background of a movie about losing your favorite race car, but apply not at all to any life with depth, where the emotions are more than mixed but intertwined in some way more than a balance of sadness/joy that seems like it came off a greeting card. This isn’t bad in execution; it’s soulless in intent. While the former is forgivable, the latter renders this music irrelevant to anyone who is here to live for the purpose of living, because to such a person confused self-pity and weepy “hope” is completely non-applicable. In the same way it is entirely possible to listen to this entire EP, nod once, and then read a book on database administration and be more thoroughly moved by its depth and emotion than anything Vardan will ever record.

Savn – Savn

Anyone else remember The Gathering? They had a female vocalist, a quite good one name Anneke something-impossible-in-Dutch, and she was not only adorable but also could sing. But that’s the distraction. The question of whether a metal band can have a female vocalist is never asked when the female vocalist goes the route of Doro or another high performer. It’s when the presence of a female vocalist changes the sound of the band that people start wanting to talk about that instead of the music. And Savn cleverly starts out with very black metal sounds, then the keyboards kick in, and then very pretty female vocals intrude. Excellent production. There’s even a harmonica, for the sake of Zuul. The whole nine yards. But if you stop hearing the distortion for a moment, you realize you’re hearing standard folk rock that has been 100% consistent from the 1960s through the present day. It fits the female vocal and range but even more, it fits the needs of people in boutique shops that sell crystals to feel vaguely empowered, slightly sad and yet charged with some kind of great Meaning that has lifted up their insignificant lives of watching television and answering phones at work to the focal point of some vast collision between human emotions that form the basis of the cosmos itself. You can imagine Jewel belting out this album, or Linda Rondstadt, or even Taylor Swift. Savn would do better to just run Doris Day vocals over old Burzum albums. I do not contest the assertion that they are talented, good players, imaginative, and that the production here is amazing. I just question what it has to convey. The answer is feeling good while you shop and pretend that the universe is not a cold empty place, and that somehow your emotions derived from pop music are totally relevant and might even determine the future. On an emotional and artistic level, this release is poisonous; on any other level, it is simply a product that doubtless will sell many crystals, possibly cube cars and haircuts too.

Provocator – Antikristus

Joining on the primitive black metal thread which bands like Von thrust to the forefront, Provocator crafts simple sawing black metal based on extremely rudimentary chord progressions that are nonetheless not pure chromatic, giving it a more accessible base of tones to expand upon. Like Acheron or Ungod, these riffs rely on building momentum and then redirecting it with quick rotational motion, but the repetition of this technique wears thin. Extensive demonic vocals crowd over the top but instead of giving this depth, simply distract from both the underlying guitar and the effect of the vocals to the point where it sounds like trying to listen to a portable radio in a busy train station. Nothing on this is terrible or misplaced, but it also provides no particularly compelling content and no reason to revive this style as a result. While it plays, the comfortingly familiar Sarcofago-style drone and chaos at the right BPM will make most black metal fans accept it without a further thought, but the real question with any release is whether you will seek it out again. In this case, nothing is offered that cannot be found elsewhere in a less repetitive form. Although this is no reason to choose an album, the blasphemous song titles and Blasphemy-style prison escape vocals add to some enjoyment but cannot compensate for the fact that this is like listening to a throttle test on a ’78 Camaro.

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Tags: Black Metal, death metal, Heavy Metal, internal bleeding, metal, oppression, provocator, punk, sadistic metal reviews, savn, steve hackett, vardan, wolf

Kraftwerk nominated for Rock and Roll hall of fame

by Brett Stevens on October 17, 2014

Electronic music pioneers Kraftwerk, whose work along with Tangerine Dream and Dead Can Dance influenced all of black metal, have received a nomination from the Rock and Roll Hall of Fame to finally be recognized by the semi-official industry group.

Kraftwerk burst into electronic music in a time before the personal computer or the programmable sound chip; instead, they created their early sounds with analog electronic instruments and by modifying their own synthesizers and sequencers to achieve a wider range of sounds than previously thought possible. Their greatest contribution however came through their transportative melodies and alert arrangements, as well as songs that through subject matter peered into the dark heart at the center of the glittering chrome positivism of modernity.

Black metal bands found the dark atmospheres and moral questioning of melancholic, alienated works such as Computer World (1986) to be highly influential, and bands as diverse as Mayhem, Burzum and Darkthrone inherited influence from Kraftwerk and other German-revival “cosmic” bands. Perhaps the greatest observation from Kraftwerk comes from their 1978 hit “The Robots” in which the ideal worker lauds obedience and tractability as a form of victory. Such cynical takes on modern time, coupled with a positive alternative vision of technology, defined the Kraftwerk approach during its classic years.

Vote here for 2015 Rock and Roll Hall of Fame nominees

http://www.youtube.com/watch?v=VXa9tXcMhXQ

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Tags: Black Metal, electronic, kraftwerk

Summoning at work on new material

by Brett Stevens on October 13, 2014

Flowing black metal band Summoning have issued the following update:

After having turned our attention on different things during the first half of this year, we are back to concentrate on summoning again. There are already some new riff composed and rearrangements have been done of songs from the O.M.D session. Protector also started to recreate our homepage, with a total new design and updated content.

So the hammers are pounding loudly again in carven deep and far on the horizons the first ray of light are bearing witness of the return of the old ways …

This announcement cheers many who have come to appreciate the Summoning brand of black metal: longer melodies more tightly integrated with keyboard counterparts, slower pace with more atmosphere, and a medieval/Tolkien-esque escape from the nominalist insanity of modernity.

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Tags: Black Metal, Summoning

Sadistic Metal Reviews 10-13-14

by Staff on October 13, 2014

What are Sadistic Metal Reviews? The first metal album that you really connect with should be a magic experience, one that transforms your life. But a large group of people want you to apply that same feeling to their album so they can take your money, but their music is mediocre. SMR is the dividing line between the greatness and the forgettable, and we exult in the tears of the latter, for they are the sweetest of wines…

Solace of Requiem – Casting Ruin

A new epidemic trend grips metal, following war metal, which is the tendency to Angelcorpse — yes, that’s being used as a verb — a mixture of metal influences and tie the mess together with loud vocals. Fast guitars and overactive drums work for Angelcorpse, who clearly came along in the Fallen Christ vein of blasting streamlined death metal, but metal bands now are using that style like a tortilla to dump everything else into, wrap up the ends and make a metal burrito. While some bands that make burrito metal are able to keep interest, the problem with this style and the carnival music high contrast (read: randomness) aesthetic of bands like Behemoth that rose in parallel is that by turning the volume up to 11 for everything, it creates a constant flow of essentially invariant sound that possesses no dynamic and no real progression. It is thus easier to write; songs require no real internal contrast, and songwriters can stack bits of whatever they have on hand and stitch it up with some technicality. I find Solace of Requiem to be unlistenable for this reason. It is a barrage of noise that, if someone were to take any part of it and break it out into parts divided by its internal tension and then make a song of it, might work. But the whole burrito does not. The Solace of Requiem burrito includes more lead guitar and melody and some NYDM style technicality and sweeps borrowed from metalcore, but that does not differentiate its essential approach from all the other Behemoth/Angelcorpse hybrids. Like Taco Bell, it goes down quickly, is easily forgotten and leaves an unpleasant odor lingering in its wake.

Wombbath – Internal Caustic Torments

This is one of those bands that makes plodding rhythms catchy to the point that a listener will fall into the groove and not mind, but also will not seek it out repeatedly because of the sheer repetition without much of a direction. These riffs came straight out of hard rock, got detuned and had some quick fills added, but remain as predictable as listening to AC/DC covers at the local karaoke bar. The result is that Wombbath batters your brain until it gives up, then pours a layer of relatively obvious material over it, including songs that complete an arc but without any real doubt or tension in the middle, such that like the riffs, the structure of the songs themselves is duplicative and numbing. Nothing is done poorly and this band clearly shows mastery of the old school style, but what it lacks is a reason for a listener who is aware of the best of old school death metal to embrace this. Internal Caustic Torments expresses in many ways the worst of old school death metal and the tendency that caused the genre to collapse on itself, which was nailing the style and then using it to hammer out repetition like propaganda. This album could be improved overnight by introducing actual tension between the first and second riffs, then seeing where that leads and using it to reorganize these songs, because many of the raw elements are there.

Pilgrim – II: Void Worship

Stoner doom metal happened when 1970s jam music swallowed up doom metal and remains basically stuck in the 1970s, Slacker, That 70s Show, etc. mentality. In other words, it aims to dig out wonder in the smallest of things, much as stoners can find a universe in their toenails. In this case, it is not the “doom” aspect that is problematic, but the fact that this music seems designed to find the fascinating and earth-shattering in simple chord progressions that remind us of Foreigner and Journey releases but without the strong sense of harmony. Instead, it’s every stoner’s dream: just start plodding along, then jam over that until some sort of magic emerges. When you think about it, that is what the Grateful Dead did for decades, blarting out never-ending tuneless solos that incorporated every technique in the book but to no end, because there was no point, only a desire to keep the jam going for as long as possible so the audience and band could take more drugs, be more groovy, pose more in front of the flower-painted school bus and other activities for people who have voids in their souls and no purpose to their lives. Pilgrim are more musically adept than most bands which cross this desk, but they take it nowhere. Songs jam, build up, trail off. Solos and fills drop in competently but express nothing. The album has a big concept somewhere if you read the theory about it that they include with all releases nowadays — I never do — but it is not expressed in the music. Much like a recent failed indie-metal album about whales, the putative topic is not the subject matter, but a cover story for playing the same crap. Really, just go get the first Def Leppard album because it does everything that happens here but with a purpose. A vapid purpose, but no purpose is more vapid than no purpose itself. Flee.

Midnight – No Mercy for Mayhem

Warmed over NWOBHM with American glam metal glitz under a glaze of alt-death bands like Nifelheim or Gehennah. Remember when that stuff came out? It was 1998 and black metal had officially shot its wad, following death metal the dubious status of having a fully developed form but having expressed all of its relevant content three years or more prior. Thus bands thought, “Well, we have this new technology in the death metal and black metal styles, why not mix them and use them to encode the same old crap that bands were talking about in the 1970s?” You know, the safe stuff: alcohol, sex, partying and pissing off your parents. No one in a modern liberal democracy will argue with you for such an assertion of individualism and defiance of The Establishment. Thus it’s about as challenging and volatile as tap water, as controversial as feeding pigeons in a park, and the perfect product because it takes almost zero effort to make a few catchy hard rock songs with heavier vocals and more intense drums. Anyone can do it! Those were the words they used in the dying years of punk, also, which meant that anyone and everyone did do it, which ensured that the music became boring because it wasn’t about anything. Midnight isn’t about anything either. Its members are fixated only on being in a band and making some tunes that people like. That’s sort of like a chef deciding that he wants to make Big Macs instead of Filet Mignon because “people like it.” Like a Big Mac, No Mercy For Mayhem is soft and uniform in consistency and slightly sweet with a tangy sauce of rebellious high school rock. But it resembles an average of every burger ever made with the never-fail treatment of adding fat, salt and sugar, thus there is no growth, learning or evolution in it. It is simply an object, a product. And like all soulless things, it can only occupy your time, not enhance it, which means you stagnate, and you know what they say about stagnation.

Cemetery Lust – Orgies of Abomination

I suppose this is intended to sound like Autopsy, but it more sounds like the bad SOD and DRI clones of the late 1980s: really simple sing-song two-point riffs driven by the vocals to keep the rhythmic hook alive because that is basically all the song does. Rhythms are very similar to old DRI, COC and SOD as well. Lots of downpicking. Nothing is poorly done and yet this style, like all rap music, is just too simple to express much of anything especially with these entirely standard song structures. Each song consists of two related riffs, a vocal hook, and support from other instruments. The result is not exciting unless people playing stuff faster than normal excites you. Lots of tropes from middle-1980s speed metal and early death metal, but the songs never really get any momentum going and sound about thirty years old, out of date and without personality. Some things belong in the past and should be buried next to all the bands who didn’t make it because they sounded like watered-down versions of their influences. This band can join them.

Rippikoulu – Ulvaja

Funeral doom metal with death metal touches in the vein of Skepticism, Rippikoulu on this release create a convincing atmosphere that relies too much on texture of vocals and instrumentation but nonetheless is convincing. These songs begin with simple riffs and expand both depth and tonality, moving from minor-key intervals to more open intervals much like Ancient used to on its longer tracks, creating a sense of a moving target on a lengthy journey. Use of piano, strings and female vocals both soften the abrasive distortion and force more spacious dynamics, allowing other themes more room to move. While these songs clearly focus on atmosphere, the more important idea here is the change of moods like seasons, which gives them a grace and makes the distorted guitar seem actually jarring by way of contrast. Although this release is an EP and thus short, the mood created by this musical approach could be, like Summoning Nightshade Forests, the basis for a short escape from reality that reveals more about existence than direct confrontation ever could.

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Tags: Black Metal, cemetery lust, death metal, midnight, pilgrim, punk, rippikoulu, sadistic metal reviews, solace of requiem, wombbath

Sadistic Metal Reviews 10-08-14

by Staff on October 8, 2014

What are Sadistic Metal Reviews? When fans, writers, radio presenters and musicians get fed up with the exhausting flood of imitators and demand that music have a purpose, because only music that has content can express something of beauty or horror about reality and thus be relevant to our lives, because unlike the herd that seeks escape, we seek a means of understanding and glorifying life. Death to the imitators, drowning in a sea of angsty tears.

Edge of Paradise – Immortal Waltz

This jaunty take on a cross between burlesque music and hard rock with symphonic overtones seems designed to showcase the talents of vocalist Margarita, who layers her vocals in waves that create, along with the carnival horror show keyboards, a sense of being in some oddity of a dream. But this band really invites comparison to bands like Genitorturers and Marilyn Manson more than heavy metal; these songs are vehicles for the vocals and are designed to create a sensation of spectatorship more than have the music itself inundate the mind. Aesthetically, this will strike underground fans as cheesy; while not terrible musically, it also derives much of its compositional direction from riffing off known archetypes of the type of music it cites. That and the way songs are entirely driven by vocals places this outside the range of most expecting riff-based music, and the simplicity of its delivery ensures that it will sound like children’s music to most death metal fans. If this is symphonic metal, it is clearly not for me, but if you like the Marilyn Manson style spectacle and ironic deconstruction of cultural tokens, it might appeal.

Krieg – Transient

Krieg started as purely chaotic improvisational black metal, then organized itself into a ripping war metal variety, and finally detoured into indie/shoegaze. With Transient, the band returns to roots with a primitive type of death metal fused with a heavy amount of punk and garnished with varieties of its previous influences. The shoegaze influence is still here as are some classic black metal riffs but they are suspended in a gelatinous mass of punkish simple death metal riffs which keep an energetic uptempo charge. While it sculpts atmosphere with agreeable verve, most of modern Krieg consists of transitions into moods and then riding of those moods, which interrupts the frenetic energy this band once conveyed while simultaneously not building up to its transitions with enough groundwork to give them power beyond their own attributes. Black metal works its atmospheric magic by manipulating context and showing a progression between events like a battle scene, but this new style is more like visiting different rooms in a spooky hotel. That being said, Krieg is stronger in riff-writing and understanding of the dimensions of harmony and how to navigate them with a riff than other American black metal bands, and also beats the hell out of Sonic Youth.

English Dogs – The Thing With Two Heads

This punk band uses a lot of metal riffs and rhythms in that it likes to interrupt continuity with abrupt internal collisions in its music, and uses the muted strum in a style spanning the spectrum from speed metal to Meshuggah. Unfortunately, it also mates this with a rock style of offbeat leading phrases that make this music bounce just like rock or hip-hop, which kills any gravitas or building of intensity. There are some great speed metal riffs on here and some moments of pure punk energy but the whole is torn apart by musical discontinuities which result in what sounds like a train crash between the 1980s and early 2000s that never resolves itself into a voice that can express anything. If this band dropped half the riffs and focused on making songs that generate momentum and then channel it somewhere, it would hit like a ton of bricks but as it is now, it sounds like something that should be on in the background during an LMN late-night movie about kids hanging with the wrong crowd and ending up in an organ harvesting gang.

Horrified – Descent Into Putridity

This album shows a great deal of initial promise in its attempt to resurrect the old underground. It gets beyond the two-point riffs that hammer a rhythm and then answer it and go nowhere, preferring longer riffs that lead on to different points and at times in the Deathspell Omega way extend themselves into wandering melodies. Its combination of Swedish death metal and Autopsy power death metal worship works on the surface. But the nu-underground has never understood the purpose of death metal riffing which is to create subterranean structures that mirror what goes on in our subconsious minds; death metal is about looking beneath the surface to reveal structure and a subtext of motivation. Horrified in contrast has one layer, which is some riffy music on the surface that fits together nicely, but lacks a core of something which cuts between the mental state and the music. Thus over time this wears thin and repetitive at about the same time the listener starts noticing how many riffs are anchored with doubled downpicking and how few of these riffs, despite growing in their own right, amplify the subject matter of the song. Horrified come closer to the original than any others attempting this style recently but still miss the root of what makes the underground what it is, and so verge closer to the much more “face value” work of speed metal bands, at which point the repetition creates bad flashbacks of late 1980s metal and the repetition PTSD kicks in.

Xerath – III

The horror, the horror. Symphonic metal must be done gracefully but with aggression and force; Xerath approach it like hard rock and use it as a vehicle for over-dramatic vocals. This hurts to listen to because the keyboards drift, the riffs sound like a heavier version of Def Leppard, and the metal gets forgotten. Synthesizing two disparate things only works when a common ground and thus basis for a common voice is found, and otherwise what emerges is the oil-on-water effect that produces carnival music where random patterns contrast one another as if they were designed to accompany a cartoon and its wacky action. Xerath goes down all of these rabbit trails and comes out at a comical level. Distraction, deflection, recursion, confusion. Like Behemoth and other bands in this newer style, Xerath does great work at the level of detail, but when you add it up the only picture that emerges is confusion and haste resulting in an entirely random platter of stuff that is recognizable as metal but by depriving itself of continuity and context, entirely lacks the punch. It compensates for that lack by hammering extra hard on pounding rhythms and blasting passages which do nothing but highlight the sense of On Through the Night colliding with a roadside minstrel show on its way to play the outer reaches of Alaska and hope its luck changes there.

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Tags: Black Metal, death metal, edge of paradise, english dogs, horrified, krieg, punk, sadistic metal reviews, symphonic metal, xerath

My Bloody Roots: From Sepultura to Soulfly and Beyond by Max Cavalera with Joel McIver

by Brett Stevens on October 5, 2014

With all of the unanswered questions behind Sepultura lurking in the minds of metal fans, it makes sense that Max Cavalera would launch a guided autobiography like My Bloody Roots: From Sepultura to Soulfly and Beyond. Together with metal writer Joel McIver, Cavalera pens a work that fits within the genre of rock ‘n’ roll confessional-biographies but underneath the surface, a careful hand edited this narrative into a smoothly-flowing storyline that hits the points of interest to Sepultura fans.

Since the fragmentation of Sepultura, fan rumors and lore have obscured the complex dynamic of interacting personalities that made up the Sepultura camp and led to the consequent splintering off of Soulfly and other related projects. McIver shows his prowess in debunking lore by tracing it back to its origins and exploring the context of the time, which tends to show the lore as anomalous, and then making suggestions as to what was more likely to have happened. Cavalera seems amenable to this process.

My Bloody Roots: From Sepultura to Soulfly and Beyond reads like McIver accompanied Cavalera for months asking him questions about the past and then stitched together the chaotic responses into a single line of thought. The result is both genial and informative, since with multiple choices for any data point, McIver picked the one that was most thoughtful. As a result the text tends to frequently read as a pleasant narrative that suddenly gets serious in tone and detailed when an important point arises but does not, like most rock bios, leave fundamental questions unanswered by glossing over them with a trivial acknowledgment or anecdote.

The result knits together many complex threads in a narrative that has been both shrouded in mystery and inundated in propaganda from multiple warring points of view during the later years of Cavalera’s career. McIver makes the text flow so that the whole book resembles a campfire conversation. He brings out the texture in Cavalera’s voice by allowing as much as possible of his original statements to persist but seems to have re-ordered them and edited them to make them more efficient and thus intense than your average rock interview.

I started using only four strings on my guitar right after Bestial Devastation. My B-string broke at a practice, and we had a roadie, Silvio, who ended up singing for a band called Mutilator. He said, ‘We have a bit of money left, so we can buy a new string or booze,’ and I was like, ‘Fuck the strings, I never use that one anyway, so let’s get drunk.’ He said, ‘Why don’t you take the top E-string off as well and make it four?’ and I was like, ‘Why not?’

I got used to it, and it became my trademark. I never learned to play lead guitar, and I still can’t, to this day.I could learn if I worked really hard on it, and if I just did a simple, slow solo, but I always wanted to be rhythm only. I wanted to take riff-making to a new level. (61)

From this approach comes a wealth of information about the early days of Sepultura, but it is best read in its full form without an attempt at summary here which would miss the richness of detail and character it reveals. Over half of the book focuses on the post-Sepultura years, which for those of us whose interest in this band died with Arise seems like it would be extraneous, but surprisingly was not. I started reading this like any other story and found Max Cavalera a compelling subject as presented by McIver, and was curious to see how the story fully developed. As the story of a musician trying to find his path, it was ultimately satisfying to see Cavalera achieve the commercial success he has desired for years.

While many metalheads shudder at the mention of Soulfly or Cavalera’s extensive projects after that time, My Bloody Roots: From Sepultura to Soulfly and Beyond correctly identifies the origin of this tendency in Chaos A.D. and also shows how this was the fulfillment of Cavalera’s original intent. For him, death metal was a transition toward what he liked, which was the simple roots rock and early punk in which a catchy riff and chorus made the song. Through careful storytelling, this fact emerges fully-documented by the backstory of Cavalera’s early life and musical inspirations, and changes what seems like a sinister sell-out to a quiet disagreement. Similarly, seeing the narrative leading up to the Cavalera brothers Igor and Max feuding in the post-Sepultura landscape explains many of the mysteries and lore that surround them to this day.

Although rock biography is not known for its depth and is generally assumed to be more of a public relations exercise than historical fact-based mission, My Bloody Roots: From Sepultura to Soulfly and Beyond does its best to balance the two and let Max tell the stories as he sees them, while uncovering a factual framework that puts his words in context. Thanks to some inspired interviewing and editing, it is now easy to delve into the fascinating history of the Sepultura experience and how it shaped metal.

My Bloody Roots: From Sepultura to Soulfly and Beyond by Max Cavalera with Joel McIver

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Tags: Black Metal, death metal, joel mciver, max cavalera, sarcofago, sepultura

Death metal playlist for Ebola ravaging the world

by Brett Stevens on October 2, 2014

As the Ebola virus continues to ravage Africa and spreads into America and Europe, it may be time to get over our squeamishness and explore the wealth of death metal that can be played as we all get headaches, have flu-like symptoms, and finally pass out in pools of blood expelled from our various orifices.

With the help of our readers, we’ve assembled an all-star death metal, grindcore and black metal playlist for Ebola fanatics:

Baphomet – “Infection of Death” (The Dead Shall Inherit)
Carcass – “Vomited Anal Tract” (Reek of Putrefaction)
Pestilence – “Chronic Infection” (Consuming Impulse)
Autopsy – “Ridden With Disease” (Severed Survival)
Blood – “Ebola” (Gas Flames Bones)
Banished – “Diseased Chaos” (Deliver Me Unto Pain)
Suffocation – “Mass Obliteration” (Effigy of the Forgotten)
Morbid Angel – “Angel of Disease” (Abominations of Desolation)
Beherit – “Suck My Blood” (Engram)
Immolation – “Fall in Disease” (Dawn of Possession)
Repulsion – “Pestilent Decay” (Horrified)
Dead Infection – “Start Human Slaughter” (Surgical Disembowelment)
Blasphemy – “Weltering In Blood” (Fallen Angel of Doom)
Mortuary – “Sickish Disease” (Blackened Images)
Obituary – “Infected” (Cause of Death)
Von – “Satanic Blood” (Satanic Blood)

And to kick it off, a rip of Blood’s on-topic 1998 hit, “Ebola”:

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Tags: Black Metal, death metal, ebola, Grindcore

Zloslut to unleash U Transu Sa Nepoznatim Siluetama in spring 2015

by Brett Stevens on September 28, 2014

Serbian black metal band Zloslut will unleash its second album U Transu Sa Nepoznatim Siluetama in spring 2015 on Dark Chants Productions. To prepare audiences for the new work, Zloslut have released a sample track “Ukleta” (below).

We first reviewed Zloslut Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti, which combines black and death metal styles into a unique voice expressing an idea and atmosphere specific to this band, back in February. Since that time, the band has composed and recorded the new full album which will be released on CD and LP early next year.

Zloslut composer Utvara answered our questions for a brief profile as follows describing the new direction this band is taking and how it affects their distinctive sound.

How is the second album different from the first?

It is a completely new album, unlike the first album which was still quite linked to the older material.

First of all, we have made a step forward when it comes to production. It is not crystal clear, but it is not raw either, so expect something in between. The album is around 40 minutes in duration and comprised of 8 all-new tracks, with less instrumental composition than we had on Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti. This time you can expect something new in our music in the form of sampled chants and clean vocals here and there. But it is still Zloslut, primitive, ominous, dark in my own way.

Where did you record it, with whom as engineer and who on mixing deck, and how long did it take?

The album writing started a little bit before the recording of the first (well, this precisely concerns only one track), but the recording phase was a question of only a few days. But all in all, it took me two months for getting everything ready from music to design.

It was produced, engineered, mastered and mixed by Nemanja Krneta (a.k.a. Zlorog), I worked with him already back in 2012 for the EP Pustoš i prevare izgubljenih duša. This guy knows what I want, so that’s why I contacted him. And I’m very happy about how everything turned out, from the recording to the final phases of the whole album.

The recording itself occured in Belgrade, Serbia, at various studios.

What are the topics of these song-titles? I don’t think “Google translate” will work on these.

“U transu sa nepoznatim siluetama” means “In trance with the unkown silhouettes”.

The tracklist is (with translations in parentheses):

Odjeci Ezoteričnih Misli (Echoes of Esoteric Thoughts)
Kletva Ožalošćenog (Curse of the Grieved)
Crni Um (Black Mind)
Transcendentalni Ples Ludila (Transcendental Dance of Madness)
Ukleta (The Haunted One)
Budućnost Smrću Blista (The Future Shines of Death)
Istinska Odanost (True Devotion)
Poslednji San (Last Dream)

The lyrics are quit poetic, if I can say that despite not considering myself a poet. All lyrics deal with occultism, death, delusion of life and mankind.

https://www.youtube.com/watch?v=p4-DpGnuv2g

Zloslut web site

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Tags: Black Metal, dark chants productions, zloslut

Varathron to unleash Untrodden Corridors of Hades

by Brett Stevens on September 23, 2014

Greek black metal founders Varathron return with a new album that takes the band in a modernized melodic metal direction but does so without losing the unique balance of heavy metal hooks and dark atmosphere that defined the debut, His Majesty at the Swamp.

Untrodden Corridors of Hades, which will see release via Agonia Records on November 21 in Europe and December 9 for the rest of the world, veers away from the old school doom metal sound of the debut but picks up with a version of the melodic metal of Walpurgisnacht but in a modernized style. This new style adopts the frenetic pace and compressed song structure of contemporary metal, but within that style, the ear for melodic composition and atmosphere of the original band makes itself audible.

With a cover by famed metal artist Mark Riddick, Untrodden Corridors of Hades was recorded, mixed and engineered by Kostas Kalampokas at Infinite Loop Music Studio in Greece and mastered by Tom Kvålsvoll at Strype Audio in Norway. The new album resembles 2009 release Stygian Forces of Scorn but with new energy and louder sound, as the embedded sample below reveals.

Tracklist:

Kabalistic Invocation of Solomon
Realm of Obscure
Arcane Conjuring
Leprocious Lord
The Bright Trapezium
Death Chant
Delve Into the Past

Line-up:
Stefan Necroabyssious – vocals
Achilleas C – guitars
Sotiris – guitars
Stratos – bass
Haris – drums

2 Comments

Tags: agonia records, Black Metal, melodic metal, varathron

Why Thurston Moore is right about black metal

by Brett Stevens on September 18, 2014

Most people believe that “trolling” happens on the internet and that trolls are a group like organized crime. Instead trolling is a method and trolls are any who troll, such as when Sonic Youth guitarist Thurston Moore trolled black metal fans recently.

Having been around media and rock fans alike — two groups heavily invested in the pretense of self-styled self-image — Moore spotted a good mark for a brutal troll when he saw one. Thus with an offhanded comment, he lit the rage-fires of ten thousand fedora-blessed basements.

Black Metal is music made by pussies of the lowest order, and we felt it was necessary to investigate this aberrant anti-music behavior. We feel like the sound and attitude of black metal is a loss of self, life, light and desire in a way where it becomes so negative that a whole new bliss arrives where we become super pussy.

The guitarist elaborated later:

Black metal, it doesn’t even consider itself music. In fact, it doesn’t want to be confused with any kind of music because it’s something else entirely. It’s a voided concept from its start [laughs]. It’s all about complete disintegration of existence. It’s a music that uses the elements of rock instrumentation but it’s so anti-everything that, for me, it doesn’t matter what you say about it because it doesn’t exist. I figured I would just write something ridiculous about it. And boy, did black-metal devotees get really upset by it. You’re not supposed to be alive, so why are you getting upset?

We know that his first statement is a troll because it was the only statement included in the press release, and more importantly, it makes us of a dual meaning in the term “pussy” to wind up the angry denizens of vans down by the river. Moore has been around the alternative rock scene too long to be anything but scrupulously politically correct, so it is dubious he would ever use the term “pussy” in a sexist manner, but that does not prohibit him from playing off the common usage of the term in the metal community to mean (roughly) wimp or weenie.

It seems to me that Moore is having a bit of fun with the term and is distilling it back to its more Victorian usage where it refers to housecats as distinctive from street cats. Meaning that black metal fans are sleek, well-fed, pampered and most likely neutered. Domesticated. Not a threat to anything, probably not even mice, despite the face paint.

Black metal deserves this attack in 2014. From 1989-1994, the genre thrived amidst murder, politically incorrect statements and church arsons, but also some really excellent music. Since that time, much like modern Western civilization, black metal has been cruising on the wealth of the past. With a few exceptions like Demoncy, Beherit and Sammath black metal has fallen so far short of its historical peak that it resembles a collapsed civilization. Among the ruins of an ancient past of greatness, the remnants of a broken social experiment play and achieve nothing of any importance, but when challenged in a pub, they are quick to remind us all that they were Romans, once.

The usual crowd of poseur wannabes at the FMP and NWN forums have been cruising on the reputation of black metal for two decades now. They act like the worst street toughs ever and remind us that not only were they Romans, but once they burned churches and murdered people. However, they are most likely to come home from their jobs as Facebook consultants and hang around their loft apartments drinking craft beer and arguing over the minutiae of which indistinguishably bland “black metal” band has more “atmosphere” than the others, when in fact all post-1994 black metal sounds the same because none of it is written about anything. It is all variants on an aesthetic, and nothing more. The guts of it are gone; it has abolished itself.

Black metal was born as a reaction — both to and against death metal, which was experiencing a rare period of commercial success in the early ’90s — and thus, it had a rigid definition before it even had a body….Euronymous’s Helvete was to Norwegian black metal what MacDougal Street was to the ’60s Greenwich Village folk scene, and his views were considered gospel. Death metal was “trendy” and “fun,” said Euronymous; well, black metal rejected trends and fun…For Euronymous, the primary essential element for music to be defined as “black metal” was Satanism. “If a band cultivates and worships Satan, it’s black metal,” he said. “What’s important is that it’s Satanic; that’s what makes it black metal.”

Moore keyed into this pointlessness. When a genre can easily merge with indie rock and heroin and form a “supergroup” like Twilight, and when droning nobodies like Deafheaven and Wolves in the Throne Room are accepted as normal parts of the genre, it is dead and buried. It has lost its sense of “genre,” or having artistic purpose, and now is just another shade of wallpaper in which we can drape the usual thoughtless rock music so that it can be sold to a new generation of domesticated rebels.

Black metal had relevance when it was a movement of artists who felt Western civilization had gone down a bad path and had a suggestion of how to reform it: remove its morality of protecting the individual, which translated into protecting the vast herd of anonymous people who fear that someone might wake up and discover that all of society built on morality is a shame. It rejected all that was “good,” and embraced all that was functional yet “bad,” building on 300 years of Romanticism which encouraged the same. As an artistic movement, it had purpose, which meant that not everyone could participate. As soon as they could, the Hot Topic generation seized hold of this music and turned it into a neutered, tame and compliant version of itself so that it would not offend their personal pretense or make them actually controversial, although they gladly accepted the appearance of the same.

As guitarist for Sonic Youth, Moore knows this well. He made his career by dressing up the dissonant protest rock of the 1960s in the veil of distortion inspired by the Ramones, and essentially carries on every trait of the most-played out decade of music ever in a new form. Like a salesman, he finds a way to make you buy the same ugly vacuum cleaner in a new color because now it has a gizmo that winds up the cord faster. But he also knows music, and he is right to bash black metal. It is a pussycat, fat and perched on a luxuriant sofa, which hisses and holds out a trembling claw as we approach, reminding us that it was a tiger, once.

h/t I.O. Kirkwood / Metal Descent

70 Comments

Tags: Black Metal, poseurs, thurston moore, trolls

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