Old school death metal band Remains returns with its fourth release Evoking Darkness which shows inspiration from the Swedish and American greats of mid-90s death metal merged with the type of bluesy and infectious integration of classic heavy metal that made Clandestine a powerful album, albeit placed in a style that is closer to a cross between older Dismember and Unleashed. The band does not attempt to innovate in aesthetics but creates a sonic charge with the energy and unsettling corruption of mainstream archetypes which defined death metal during its heyday.
The band produced an impressive body of work with its 2012 demo “The True Essence,” the …Of Death EP the following year and Angels Burned in 2014, and follows up on those with simpler, tighter songs that eschew pure grinding in favor of a well-blended integration of metal styles designed to be both audially compelling and unnerving in the method of classic death metal. Songs rotate around a central break from the verse/chorus pairings, repeating themselves in both introduction and egress from that core confrontation. Lead guitars drop in with a variety of styles integrated into organic but energetic explosions of clusters of notes and lengthy fret runs. Vocals take on the gruff exhortations of older Dismember and give it the percussive rhythm of American death metal like Malevolent Creation, crafting a narrative of violence with a lining of excited morbidity. Remains shy away from the melancholic and dark side of death metal and instead converge on its region of pure energy, with music that delights in the finely-picked textures of Swedish death metal alongside the percussive power of Florida death metal. Herein lies where Remains can improve this work, which is that the hard rock/heavy metal integration into the death metal does not always emerge triumphant and often consumes the death metal portion, and extremely basic chord progressions which do not give songs much room to expand in structure or melody. The aesthetic, energy and atmosphere remain perfect and can expand over time as this band matures.
Most people will be floored by how Evoking Darkness not only stays true to the old school sound but gives it life through a voice of its own which is not expressed in style but in these songs themselves and their unique takes on the riff forms from the past forty years of metal. Where Remains shows its power is in the fitting together of these meticulously crafted rhythms so that riffs both flow and contrast one another; while greater harmonic or melodic death would enhance this, it alone makes Evoking Darkness more listenable than all but a few of the retro-death albums which fit together blockily or unevenly. These riffs balance each other in dissymmetry and create a sense of an evolving lacuna which propels the listener forward to see what comes next. Not only do riffs counterpart each other well, but their internal rhythms show a study of the power of the riff itself, and the album flows past without lapses or discontinuities. It shows vast improvement over the previous album from this band and signals a path to their future, since Remains has built a framework upon which more complexity, both in complexity of structure and use of tone, can be built.
The late 1990s belonged to bands of the Suffocation style of percussive death metal which derived its essential technique, the muted-strum power chord, from speed metal, but worked riffs into mazes with high dynamic variation but consistent narrative in the death metal style. This balance proves difficult to maintain as choppy riffing lends itself too easily to simply circular riff patterns and the resulting patchwork song structures. Starting with Sinister Hate in 1996, the subgenre experienced a revitalization through the injection of melody and the more theatrical song structures of mid-paced death metal. With the rise of Unique Leader bands in the early 2000s, the percussive brutal death metal sub-sub-genre exploded, and into that environment Infernal Dominion dropped its only album. (more…)
Back in the hazy 1990s, many of us encountered a band from Poland who in the wake of Vader had been signed to Nuclear Blast and distributed in the United States. This band was Betrayer and the album Calamity, a work of high-speed metal in the Slayer-influenced style of Vader but also going in its own direction including a prescient use of melody, anticipating where death metal would go in the next decade. After two decades, Betrayer has returned with a split 7″ that is turning some heads for its aggressive integration of old school speed metal and death metal styles. We were fortunate to be able to sit down with mastermind Berial over a cup of hot blood and discuss Betrayer and the exciting possibility of new material…
When was Betrayer formed? How many demos did you put out? How did you get signed to Nuclear Blast?
Betrayer was formed in 1989 as a thrash metal quartet and as such, in 1990, recorded its first demo “Forbidden Personality.”
The same year there was a change in the line-up. I joined the band as a new bass guitar player shortly after splitting with my previous band Slaughter. I also took over the space behind a microphone. Since then Betrayer started drifting towards stronger and more extreme sounds. That was a turning-point and the beginning of a new era for the band.
Consequently in 1991 Betrayer released their second demo “Necronomical Exmortis”. It happened to be the real killer those days. One of the biggest metal magazines of that time in Poland, Thrash’em All,ranked it second in the category “Album of the Year.” Betrayer hit #4 in “Band of the Year” category. To this day the release is regarded as one of the milestones for Polish death metal music. This is how, I guess, we got signed to Nuclear Blast… Hard work, great gigs, loads of enthusiasm and energy with remarkable music art on top…
Where was “Calamity” recorded, and were these new songs or songs from the demos? What were your musical influences at the time?
Our debut full album Calamity was recorded at Modern Sound Studio in Gdynia, Poland. It was the best option at that time. Really modern and open for new trends in music so most of the reputable bands in Poland cooperated with them. “Necronomical Exmortis” was made in CCS Studio in Warsaw, which was the choice of many Polish stars, not only those in the metal stream. That was the first experience of working with a professional studio and the first official release for Betrayer. “Forbidden Personality” was different, more of amateur and self-made production.
Influences? Everyone had their own and not all were strictly death metal ones. All of them put together, however, made us what we happened to be…
Was it difficult to record and release at that time, just a few years after the political changes in Poland?
I don’t know if that was more difficult than today. I do not even know if political changes had anything to do with those difficulties. Those were different times, times of rebellion and discovering new options and possibilities. Metal underground, and actually all music underground in general, was strong and buoyant in Poland at that time. With Calamity which turned to be a milestone in Polish death metal history, were lucky to be on the top of the ladder, arm in arm with another polish legend, Vader, when the changes turned to be in favor of the musical revolution which opened new horizons and roads of going worldwide.
Finally we were able to spread the power of Polish extreme music all over the world. This also gave us the opportunity to share stages with bands like Morbid Angel, Deicide, Cannibal Corpse, Carcass, Death and too many others to count… Fantastic times!!!
Has Betrayer been on hold since that time, and are there are any other recordings people outside of Poland have missed out on?
We split up in 1994 shortly after releasing our debut album. It was nothing but a huge disappointment for us and the crowd of metalheads devoted to Betrayer. Only years later we learned that Betrayer had been well noticed in so many corners of the world. Instead of going on tour promoting such a great album as Calamity really was and pushing forward, we fucked it up. What a waste… Personal shit, you know… but it’s too late to moan now, isn’t it? I was so pissed off and consequently totally dispirited that I decided to stay away from the stage. In 2012, after nearly eighteen years of non-existence, demons of my inner self decided to remind me who I am and what I live for. There was no other option… Betrayer had to come back to life… and no, you didn’t miss any new recordings, except the split you know of.
You recently released a split with Neolith. What was it like recording this? Why release now?
From the very beginning we didn’t want to built our resurrection on the old stuff so instead of brushing up the songs from the past we decided to concentrate on making completely new material and release a new album. We didn’t want to, however, wait too long to announce to the world that we are back on the road. That’s why we decided to release one of the new tracks on the split. Same was with live appeariances. Initially we planned to do so after releasing the new album but for aforementioned reasons as well as unstoppable craving for going onstage we had to change the assumptions. In summer 2013, Betrayer appeared at Ragnarock Open Air Festival in Germany followed by a series of gigs around Poland. Obviously next to the new songs we performed some of the old ones too. The feedback was so great that in 2014 we were invited to play as a main support for a death metal legend Obituary in the only concert in Poland. Really good feeling and immense motivation, you know.
The Betrayer track on the Neolith split, “Beware,” shows more of an aggressive style and speed metal influence, with less death metal of the fast strumming variety. What motivated this change? Does this show a new direction in your music?
I wouldn’t say that there is a distinct change in Betrayer’s music in general. “Beware” is a song I would put somewhere between Calamity and the earlier “Necronomical Exmortis” demo, and I agree it’s kinda melodic at moments. The split features “Beware” just because this was the only song that we had ready to go at time the opportunity to release came. You might notice that it was not even finally mastered. Be forewarned that this song does not give justice to the whole new stuff …so do not be misled! Betrayer definitely stayed faithful to the death metal genre! You will see it yourself soon!
The question everyone is dying to know… (a) Will there be another Betrayer album? (b) are there any negotiations to re-release Calamity so a new generation can discover it?
Sure it will! I’m proud to announce that our new album Infernum In Terra will be released on March 18th, 2015! The music was mastered in Hertz Studio which cooperated with such bands as Vader, Behemoth, Decapitated or Hate in the past… and I tell you, this is a real good piece of death metal, no doubt about it! We are exteremely satisfied and hope you will be too… and yes, Calamity will also be re-released, just a little bit later! Sounds good, doesn’t it? It looks like it’s gonna be a good year for Betrayer.
How do you describe the music of Betrayer? When you write music, what ideas do you aim for?
Well, it’s the same old Betrayer I reckon. Maybe a bit heavier but still drifting on the old school death metal wave. This is deeply rooted in our mentality and our hearts and truly defines the way we live, think, feel and create at the moment.
Ideas? Hmm, pretty same as before. Music, you know, is the way to express yourself with some kind of ecstasy which you try to give away and infect others with it. When it comes to lyrics and the message, it’s kind of my personal thoughts and feelings about the systems that our existence is implicated in. Especially the religious one, full of contradictions and hypocrisy… you might say “nothing new” but in that context Polish society is deeply premised on that. All this blind glorification of the institution of the Catholic Church as well as other creeds makes me sick and contemptuous. This is what I mainly speak out against.
It seems that everyone knows Poland these days with Vader, Graveland and Behemoth having become popular. What else are we missing out on? You can include both musical and non-musical items!
Oh,yes… Vader… indisputable pillar of the Polish death metal scene! I happened to be the part of the crew for a short period of time back in the 90s. Behemoth… yes, no doubt about it… true gods on the firmament of black metal music world! I’m not too familiar with Graveland, but talking about the extreme music stuff you missed out at least astonishing Decapitated to start with or Hate…
How should people learn more about Betrayer and your own personal (Berial) musical projects? Where do they go to hear the music and keep track of news from the band?
Definitely by reaching our albums and staying tuned to all oncoming news on our web page or facebook profile. There are no other projects in my life at the moment. Betrayer is the only and one that gives me strength and makes me survive in this world of misery.
I’m pleased to hear that in the past we were noticed and are still remembered in the United States with the real hope that we will keep it this way and be honoured to visit your vast lands in future!
Dhwesha create death metal with a large influence from classic heavy metal, sounding like a cross between the first Torchure album and a melodic Swedish band like first-album Sentenced or Desultory. Their bread and butter is the crossover between recursive downpicked rhythms like a speed metal band would use underneath melodic rhythm leads, and death metal riffs which re-direct these songs to more vicious ends.
Aesthetically a good comparison might be Monstrosity: drums, bass and guitar work together to create a powerful unison which hammers out a clear theme which corresponds to song title and vocal concept. But like early Therion, Dhwesha incorporates older heavy metal patterns and pulsing rhythms as opposed to the darker and more abstract death metal themes, which creates an organic heart of energy to this band which allows them to incorporate speed metal technique without it taking over songwriting. Songs generally cycle between verse- and chorus-like sections with a couple riffs each and a transitional section or two per song, focusing in the death metal way on the presentation of each. Frequently a lead-picked tremolo will outline a melody over a grinding but bouncy rhythm riff which creates a sense of a landscape shift.
Vocals take on the best attributes of Blasphemy, which is an incoherent shout so hoarse it sounds like the wind or a wild bison charging on an inattentive traveler, giving the music a feral air. All musicians show great proficiency but avoid showing off, which makes Sthoopa move like a single entity. Unlike many of the recent death metal attempts, Dhwesha show no desire to incorporate modern methods but homebrew their own instead, but also unlike death metal, this band seems content to exist in the late 1980s ambiguity between death metal and heavy metal. The result has the sentiment of Desultory with the earth-moving power of a more explosive act, but by balancing the two creates more of an atmosphere than one might expect from a band on their first album.
Blabbermouth reports that Cannibal Corpse have sold more than two million albums, which makes death metal one of the more successful niche genres out there, since album sales of that nature plus tours equal a tidy sum of money. With founding bands like Morbid Angel and Slayer still gracing the charts, the spectrum of death metal related music sells more of its older albums today than it did back in the 1980s.
This puts an end to the assumption that bands cannot sell out by choosing underground metal. Once that might have been true, but now a band can launch into a genre with millions of fans, sell some albums and then detour into an indie rock project which then carries the cachet of edgy cool from having been involved with that rebel badboy metal music. There’s a lot of money in this genre for those willing to dig, and this means more entryists pounding at the door with careful camouflage for their insipid rock music.
Early death metal barely made it out of the shadow of speed metal before. We call it speed metal, not thrash, because it was a direct extension of NWOBHM using some punk technique, not an outright punk hybrid like thrash. Speed metal represents one of the most varied sub-genres in metal, running the gamut from percussive (Exodus) through traditional (Metallica) and all the way to adventurous stuff like Voivod, Anacrusis, Coroner and Sacrifice. It is in that latter category that The Science of Horror begins.
This demo re-issue will be — for now — limited to 100 copies pressed to vinyl that incorporate two demos, The Science of Horror (1988) and Nocturnus (1987). These show both a band looking for a balance between the early death/speed hybrids and its future as a technical death metal band, and the personal vision that Mike Browning has been refining since this time through the present day with his current band, After Death. This vision unites the progressive with morbid rock and extremity, aiming for a theatrical presentation as much as musical obscurity, and never afraid — unlike too many prog bands — to use a primitive riff where it is effective. Like many progressive-inspired bands, there is a high degree of internal variation in these demos, Nocturnus and After Death, used like an ancient storyteller might use an extensive vocabulary. The theatrical nature of this approach means that the songs on these demos, which are mostly duplicative, take an atmospheric approach to a genre in transition that was otherwise more inclined toward all-ahead aggression. But like Anacrusis, Voivod and Coroner, Nocturnus adapted its songs to use both death metal technique and speed metal but creating a sense of rhythm of its own that emphasized frequent transitions and complex patterns without drifting into other known genres.
Several of the song segments used here show similarity to what appeared on Morbid Angel’s early work, notably its 1986 Abominations of Desolation, and feature the same flexible rhythm that nonetheless approximates the chorus rhythm without doing so in trope, leaving plenty of space for instruments to work independently. Like speed metal, much of this material aims for discrete chords in repetitive patterns, but especially on the second demo, use of tremolo to create smooth transitions gives this material a new aura of mystery and suspension of belief. As a document of early death metal, The Science of Horror both emphasizes the creative possibilities of metal at the time and reminds us how weirdness was once more front and center and how it did the genre well. On another level, this music provides pleasurable listening at the nexus not only of two genres but also several compositional styles, and the change from the first to later demo shows the incorporation of keys in the way that would later define Nocturnus and be expanded to become a fundamental part of the technique as a way of creating spacious, atmospheric death metal. With any luck, this pressing of the demos will see CD release later this year, as despite being the same tracks twice this recording serves well for casual listening as well as historical examination of death metal.
Tracklist The Science of Horror Demo 2 (1988)
1. Before Christ – After Death
2. Standing in Blood
4. Undead Journey Nocturnus Demo 1 (1987)
6. B.C. – A.D.
7. The Entity
8. Unholy Fury
Mike Browning: Drums, Vocals
Mike Davis: Guitars
Louis Panzer: Keyboards
Jeff Estes: Bass
Gino Marino: Guitars
Mike Browning: Drums, Vocals
Richard Bateman: Bass
Vincent Crowley: Guitars
Gino Marino: Guitars
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.
Death metal band turned prog-core act Gorguts has re-issued the latter two albums from its classic period, Gorguts and From Wisdom to Hate, on industry powerhouse Century Media Records. The re-issues — on jewelcase CD, 2LP and limited edition 2LP — will be available in pre-order starting March 9, 2015.
Says guitarist/composer Luc Lemay: “I’m proud to announce that our 1998 record Obscura and 2001’s From Wisdom To Hate will finally be re-released! …For this re-issue, I decided to include liner notes that tell the story behind each record. How we got together as musicians, what was the composition process that made this sound possible and that made us grow as artists…I decided to change the logo because, with a step back, I realized that I never really like the original one on Obscura and I wanted to give the record a fresh look. I kept the same logo for From Wisdom To Hate, because it was created for this record…Thanks again to all our fans for their unconditional support through all those years.”
The re-issues see official release on April 6, 2015 in Europe and April 7, 2015 in North America. Both are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002). While Gorguts has deviated into progressive-themed *core territory with their latest, Colored Sands, this band helped forge the sound of technical death metal back when that term simply referred to death metal which required technical ability to play. While Obscura has often been imitated in style, those who have tried to imitate it have generally done so on the basis of style alone and missed the sublime composition within which made this album a classic independent of style.
Ripping death metal band Vader, who gained stature in the field of Morbid Angel/Slayer-influenced fast tremolo death metal, plan to re-issue three early demos on CD, cassette and LP via Witching Hour Records starting on April 3, 2015.
The three demos — “Live in Decay” (1986), “Necrolust” (1989), adn “Morbid Reich” (1990) — will see separate releases unlike the last collection of Vader demo material, 1996’s Reborn in Chaos which remains a sought-after release for its Pavement Records version which contains better sound than other variants. These capture the transition of Vader from aspiring speed metal/death metal hybrid to catching on to the new death metal style and picking a fast but explosive style that graced their first album, The Ultimate Incantation and subsequent albums De Profundis and Sothis EP.
As Vader continue to release material in a fast although simplified and more hookish style, these retrospectives may provide insight into the origins of this band back in the days of the Soviet bloc. It will be interesting to see what bonus tracks, if any, Witching Hour Records adds to pad these releases up to full-length duration.
Unlike many bands, Desecresy — the product of experienced musicians a decade after their first entry into the scene — formed with a full concept that manifests on the first album as a slow form of death metal. Peeling back the layers, influences can be seen at many levels here, but the most prominent are Bolt Thrower for the sense of rhythm, Carnage for riff transitions, Therion for use of synchronized strumming to adjust rhythm, and Paradise Lost for the use of lead-picked melodies evoking harmony in the riff below for a resonant, haunting sound. The result more approximates the moods and sensations to the listener of a funeral doom metal band, but at varieties of middle pace instead of extremes, creating the feeling of a descent into a subterranean world populated by non-verbal creatures.
The important distinction between death metal and doom metal that appears in this work is the tendency of death metal toward wonder, and a Lovecraftian obsession with the workings of the universe, where doom metal focuses on a despairing, passive and self-focused mood that makes no such commentary and in fact symbolizes fatalism. Desecresy keeps that outlook, and shears from it any sense of real-world issues such as the crusade against Christianity or need for social justice, replacing those with a mythological view of existence in which darkness is not self-pity but an outlook reflecting the red in tooth and claw essence of nature, itself a logical response to the need to avoid stagnation and mediocrity. Like Bolt Thrower, Desecresy envisions a world of constant warfare, but in this case the warfare emerges from the clashes of biological and mystical entities rather than modern political forces. All of this emerges from the music itself — the lyrics could as well be ingredients written on soup cans — which uses its riffs in a constant grinding which slowly grows into articulation of dual principles, ending without resolution into a singularity but a fragmentation followed by evolution which more reflects the state of nature in which conflict creates speciation instead of singularity. Riffs start as two chords colliding, then through the slowly equalizing rhythms of downstroked chords reach equilibrium, at which point they mutate into something else. The intense similarity of many of these riffs, built of the same few chords, puts emphasis on their form and its mutation and development from a microbial state to that of full of organism.
Over this flow the type of chanted vocals that adorned the first Therion album, using the death shout not as a rhythm to impart urgency to the guitars, but in a timekeeping role that counterbalances that of the drums which serve more as a texture of rhythm to allow internal motion to have reference points. In the midst of this sonic landscape the reverb heavy lead picking of melody creates a sheet of sound against which the power chorded rhythm guitars can develop, allowing songs to slide forward under this cover and develop what are essentially background riffs into rhythms that pick up additional internal variation and thus command more complex riffs. Desecresy generally keep it simple and grinding in the style of middle-period Bolt Thrower, but at crucial moments intervene with complex riffs and elegant transitions. This completes the cycle of this album, moving from serene but conflicted stability to complex and ambiguous change, a repeating pattern which creates the impression of lawless growth and beauty appearing from nothingness that lingers in the mind of a listener like a nearly-forgotten hope.