Featuring a list of bands including Deceased, Thanatos, Crypt Sermon, Dawn of Demise, Wastlander, Undergang, Blood Incantation, Magic Circle and Drug Honkey, the zine promises to be a continuation of the past concept of this hand-produced stapled and Xeroxed zine, which is focus on the music from a fan perspective without the nonsense and trappings of the music industry.No Comments
French progressive rock/death metal hybrid Supuration have released the cover for their upcoming album, Reveries…. Created by famed underground metal artist Dan Seagrave, the cover image displays classic death metal symbology in its gnarled and organic textures in a mythological setting.
Reveries… will see release via Listenable Records on May 29, 2015. Mastered by Dawn Swano (Edge of Sanity), the album “is a re_recording of old songs written during the 90s” according to the band. Perhaps the combination of their newer more aggressive technique, classic death metal imagery and their inventive songwriting will forge a new classic.1 Comment
“If you live under a rock…” the old cliché begins, but the truth is that you can live in a glass house in the center of the world’s biggest city and still miss the obvious. Denial is the most universal of human traits, and without the application of discipline and honesty we are nothing more than “talking monkeys with car keys.”
Unless you live in denial, it is obvious to you that death metal is in a bit of a recession. That is to say: there are too many bands coupled with a lack of quality in all but a very few, which makes for the inflationary but bearish (negative) purchasing that marks a recession. As warned, rock ‘n roll assimilated death metal, the imitators came in, and now you have death metal flavored rock music with lite jazz mixed in to make it seem progressive and “deep.”
Very few people understand this because very few people stop to consider anything beyond their immediate wants. They want to be listening to good music, so they pretend what they have is good, and by doing so blind themselves to what is good and bad. This is a great way to walk right back down that evolutionary ladder, have your legs turn to nubs and then jump in the sea to become a fish. You have literally undone any higher thinking ability you have.
For those who want their music to be of actual quality, these times are grim. A few bands stand out — Blaspherian, War Master, Imprecation, Sammath, and Demoncy — while the rest fade into the background like hipsters, with each one trying so hard to be unique that it loses sight of the ability to express something deeper than aesthetic re-arranging of known ideas. Death metal bands today are like the guy with the beard, glasses, skinny jeans and snarky t-shirt who has ironically decided to wear an Iron Maiden jacket. He thinks he’s being different and unique and showing what a precious snowflake is, but when the camera zooms out he is in a group of special people who from a distance look like chaos. And that is what they are: they have no purpose, because they have replaced the idea of having purpose with the idea of looking like you have purpose.
By now, I have filtered out most of the human species. Very few care about the topic, being much more interested in their desires, judgments and feelings right now, a state which flatters their sense of self-worth, and very few more can handle the flow of words which would have been zero challenge to an eighth grader in 1950 but are complete bafflement and a threat to the ego to your average citizen in the 2010s. I have also pushed away those who want to be hipsters or other self-aggrandizing people, and been cruel to enough hopes and dreams of delusional people to shock and drive away the love-bunnies, kumbayas and other zombies of the postmodern intellectual landscape. This writing will also disturb those who depend on a system of rigid rules and strict obedience to dogma and money for their self-esteem; it requires humans who are willing to go beyond humanity and look toward reality itself, a.k.a. the results of actions by ourselves and others, for their meaning.
For those who remain: it is worth acting to put death metal back on top. It is surprisingly easy to do so. But you will have to get out of your comfort zones. What you must do will be revealed in the second part of this article, coming soon.66 Comments
Doom/death metal band Pale Existence has posted its complete 1995 demo for posterity. This band arose in the second wave of death metal and was part of the wave of bands experimenting with slower and more atmospheric metal after other branches had gone for speed or riff-labyrinth composition.
Over the years several members of Pale Existence migrated to other bands from the area surrounding their San Jose origin, including Exhumed. wound up in that band. Guitarist Lorin Ashton became the popular DJ/electronic artist Bassnectar.
Brian Glover – Drums, obnoxious vocals
Bud Burke- Guitar , vocals
Mark Smith- Brutal low vocals
Lorin Ashton – Guitar and mid range vocals
Steve Cefala- Fretless Bass
Recorded by Bart Thurber on top of Mount Um in 1995.
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.36 Comments
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.
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!7 Comments
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.5 Comments
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.6 Comments
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.
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