Guitarist Jean-Marc Tristani had this to say: “Massacra are proud to present you the official re-issues of the first three albums, Final Holocaust (1990), Enjoy the Violence (1991) and Signs Of The Decline (1992). Century Media worked hard to add extra value to these releases. The packaging is really nice and you can find lots of extra stuff in there: detailed interviews, tons of rare photos, etc! We also wanted to make as much as possible visible of Formosa’s excellent artworks, so we scanned the original LPs and came up with designs that fit to the spirit of last year’s Day Of The Massacra demo compilation. On the CDs you will find some pretty interesting bonus material, like an unreleased live show from 1990 from my personal archive, some bootleg tracks, plus a rehearsal recording that was previously published with very bad sound and disguised as live tracks with no track-listing. That rehearsal also includes a song (‘Cyclone’) that has never been re-recorded afterwards. A lot of the material we used was provided by real diehard collectors out there, so a special thanks to them for supporting this project!”
Remastered by Patrick W. Engel at Temple of Disharmony (Asphyx, Darkthrone) the re-issues of these classic Massacra works come in 180gr vinyl with a 30x30cm 4-page booklet, or on CD with bonus tracks. This allows a new generation to own professional copies of some of the classics of the death metal genre.
Black LP: 200 copies
Transparent blue LP: 400 copies
Clear LP: 400 copies
Enjoy The Violence:
Black LP: 200 copies
Solid white LP: 400 copies
Clear LP: 400 copies
Signs Of The Decline:
Black LP: 200 copies
Red LP: 400 copies
Clear LP: 400 copies
The CDs will feature extensive 24-page booklets and the following track-listings:
Final Holocaust (re-issue+bonus):
1. Apocalyptic Warriors
2. Researchers Of Tortures
3. Sentenced For Life
4. War Of Attrition
5. Nearer To Death
6. Final Holocaust
7. Eternal Hate
8. The Day Of Massacra
9. Trained To Kill
10. Beyond The Prophecy
11. Researchers Of Tortures (Live in France 1990)
12. War Of Attrition (Live in France 1990)
13. Sentenced For Life (Live in France 1990)
14. Final Holocaust (Live in France 1990)
15. Eternal Hate (Live in France 1990)
16. The Day Of Massacra (Live in France 1990)
Total playing time: 78+ min
Enjoy The Violence (re-issue+bonus):
1. Enjoy The Violence
2. Ultimate Antichrist
3. Gods Of Hate
4. Atrocious Crimes
5. Revealing Cruelty
6. Full Of Hatred
7. Seas Of Blood
8. Near Death Experience
9. Sublime Extermination
10. Agonizing World
11. Researchers Of Tortures (Rehearsal 1991)
12. Beyond The Prophecy (Rehearsal 1991)
13. Final Holocaust (Rehearsal 1991)
14. Cyclone (Rehearsal 1991)
15. Trained To Kill (Rehearsal 1991)
Total playing time: 57+ min
Signs Of The Decline (re-issue+bonus):
1. Evidence Of Abominations
2. Defying Man’s Creation
3. Baptized In Decadence
4. Mortify Their Flesh
5. Traumatic Paralyzed Mind
6. Excruciating Commands
7. World Dies Screaming
8. Signs Of The Decline
9. Civilization In Regression
10. Full Frontal Assault
11. Gods Of Hate (Live in Germany 1991)
12. Full Of Hatred (Live in Germany 1991)
Total playing time: 47+ min
Early death metal (Bathory, Slayer, Hellhammer, Sodom, Master) emerged as an aggregate of the past, comprised of speed metal (Metallica, Exodus, Nuclear Assault, Testament, Megadeth), late hardcore (Cro-Mags, Amebix, Discharge, The Exploited, GBH), classic heavy metal (Judas Priest, Iron Maiden, Motorhead) and thrash (DRI, COC, Cryptic Slaughter). As a result, most death metal bands exhibited some tendencies more than others, although the founding early death metal bands tended toward the type of tremolo-powered phrase-based riffing exemplified by Slayer.
For example, Deicide on its second album Legion arguably made the album that …And Justice For All wanted to be, with lots of choppy percussive riffing forming intricate textures from which a melody emerged. Early Master sounded more like a punk band with its simple song structures and emphasis on droning, protest-like vocals. Second-wave death metal like Death and Possessed had a tendency to apply speed metal song structures and riff styles. Even advanced death metal like Pestilence often sounded like a more technical and complex version of early speed metal.
But focusing on death metal requires we look at what was unique to it. Getting past the vocals and the intensity, what distinguishes it musically is its use of that tremolo-strummed phrasal riff. This in turn forced bands to escape from riffs integrated strictly with drums, and to as a result put more riffs into the song to drive changes that previous would have been done by the drums. That in turn forced bands to make those riffs fit together, what Asphyx call “riff-gluing,” so that songs avoided the “riff salad” plague that captured later speed metal.
These bands exploded onto the world from 1983-1985, inspired in part by Discharge’s Hear Nothing See Nothing Say Nothing which hit the ground in 1982. Slayer in particular stitched together classic heavy metal and ambient hardcore like Discharge and GBH and ended up with its particular formulation, taking the tremolo and riffs independent of drums from Discharge and matching them to the complex proggy structures of Judas Priest and Iron Maiden with Motorhead speed and aggression. This was what launched death metal free from the shadow of speed metal, which was the first metal genre to break out of underground status despite being — for the time — fast, aggressive and dark.
If you want to get to the core of death metal, these albums might help. They’re albums I keep returning to year after year because they have enough complexity and that unquantifiable quality of having purpose and being expressive, perhaps even emulating the life around them and converting it into a beast of mythological quality, which makes them interesting each time I pick them up. Without further ado, ladies and gentlemen, the players….
Slayer – Show No Mercy
While Hell Awaits has more expert composition, South of Heaven better control of mood and melody, and Reign in Blood more pure rhythmic intensity, Show No Mercy captures Slayer flush with the fervor of youth and the belief in big concepts. As a result, it is an intensity mystical album, uniting a narrative about war between good and evil with the actions of people on earth. It is not like Hell Awaits more solidly situated in a single mythology, nor like Reign in Blood and after an attempt to explore the dark side of modern existence in a literal sense. Instead, it is a flight of imagination mated to an apocalyptic vision of a society crumbling from within. As a result it is musically the most imaginative of Slayer albums, creating grand constructions of visions of worlds beyond that stimulate the fantasy dwelling within our otherwise obedient minds.
Massacra – Enjoy the Violence
Another early album in very much the style of Slayer but with intensity cranked to the ceiling, Enjoy the Violence shows a band intent on conveying intense energy through their music. To do this, they rely on not only near-constant breakneck speed but also vivid contrasts between the types of riffs that are used in a song, welding a rich narrative from riffs that initially seem simple like the scattered twisted bits of metal left after a battle. The result is closer to epic poem that punk music and blows conventional heavy metal and speed metal out of the water with the sense of unbridled aggression and lust for life that surges through its passages. In addition, it carries on the mythological tradition of Slayer but adds a Nietzschean spin whereby constant war for supremacy and domination is the only path not only to victory, but to personal integrity.
Morbid Angel – Abominations of Desolation
Most prefer the more refined versions of these songs from Altars of Madness and Blessed Are the Sick, but my ear favors these nuanced and unsystematic detail-heavy songs which feature more of a blending of textures into what sounds like a communication from another world heard underwater or through the croaking voice of a medium. Trey Azagthoth’s solos were best when he used his half-whole step leaps to make solos that sounded like the creation of gnarly sculptures, and these songs powered by Mike Browning’s drums and voice have more of an organic jauntiness to them than the later mechanistic tanks-crushing-the-shopping-mall sound of the full albums. In addition, this combination of songs strays from the later more interruption-based riffing this band would attempt and instead brings out their inner desire to rip all ahead go at all times, creating a suspension of reality like war itself.
Incantation – Onward to Golgotha
When the idea comes to mind of death metal at its essence, this album will be mentioned because it creates a sound unlike anything else. Incantation took the Slayer riff and song formula and slowed it down, doubled the complexity, and focused on alternating tempos and riff styles to create a building mood of immersive darkness. The result was not only aggressive, but melancholic and contemplative, like a warrior looking out over an abandoned bullet-pocked city. Detuned riffs collide and deconstruct one another, resulting in a sound like the inexorable flow of black water through underground caverns as civilizations collapse above. This rare group of musicians achieved a triumph here that none have been able to repeat individually, suggesting this album was born of a magic confluence of ideas more than a process (ham sandwiches on a conveyor belt).
Carnage – Dark Recollections
If you want “the Swedish sound” at its most powerful, Dark Recollections offers every component synthesized into a package that has not yet had time to become self-critical and neurotic, and thus is an unfettered expression of the thoughts of precocious adolescents translated into sound. The components of Swedish death metal are the modified d-beat, the use of melody to expand song development, a gritty electric explosion of guitar sound, and a tendency to write songs that are half searing budget riff and half horror movie sound track.
Sepultura – Morbid Visions/Bestial Devastation
The first EP in this two-EP package is the more classic death metal version and packs a solid blast of inventive riffcraft staged with theatrical precision into songs that form narratives of the topics denoted in their titles. But the riffs are instant creations of their own, shaped from raw chromaticism and whipped into fury by two levels of rhythm, both in the change of chords and the texturing of the sounding of them. The result owes quite a bit to Slayer, Bathory and Hellhammer, but also to the punk hardcore underlying those acts and a good knowledge of dark metal of the time, and yet is still its own animal. Nothing sounds like this except it, and by giving itself a unique voice, it conjures a power of revelation that endows these songs with lasting enjoyment for the listener.
The second of May makes many of us uneasy because we remember the death of Jeff Hanneman, composer and architect of the Slayer approach to mythological alienation. The world isn’t the same without him, and many of us felt like we had lost a parent, since when adults refuse to grow up and speak honestly about life, children have to turn to other sources of information. Hanneman made sense of the modern world, no matter how apocalyptic the outlook ultimately turned out to be.
We are fortunate to get a few words in with D.X. Ferris, author of the books Slayer’s Reign in Blood (33 1/3) and Slayer 66 2/3: The Jeff & Dave Years. A Metal Band Biography. Ferris has spent the last several years writing about Slayer and understands the importance of this historic act not just to metal, but to the society around us all. Read on for the inner truths of writing about Slayer on this day we commemorate Hanneman’s life.
You’ve written two books on Slayer. What’s your relationship to Slayer? When did it begin?
My life is very clearly divided into Before Slayer and Since Slayer. I tell the story in my first book: Over the years, I had edged toward metal. I thought Metallica was as hard & heavy as it got. Then I read a review of Hell Awaits, and the review talked it up like a thrash masterpiece. So bought it. The first time I played it, it started with that big three-minute slow intro. I thought I had bought a bad album based on a bad review. But then the track kicked into the thrash part, and it was the universe cracked and a new dimension opened. And almost 30 years later, here I am, talking about Slayer.
Over the ’90s, I wasn’t as into metal as I was and am, but Slayer always stayed with me. My college notebooks are filled with Slayer lyrics and pentagrams. After college, when I’d sit in meetings, I looked like I was taking notes, but half the time, I was sketching Slayer logos — that’s one of the reasons why the new paperback looks like it does.
And the older I get, the more the band means to me. I think it’s curious how people get old and forget about metal. When you’re younger, metal is great music for when you’re pissed off. But when you get older and you have to deal with questionable coworkers and pinhead middle managers, that’s when you really need angry music. Slayer is always here for you!
How did you become a writer?
Writing is my one rare ability. I have tried doing literally everything else I though I could do: being a businessman in a suit, bartending, entering a doctoral program for corporate communication. Writing just keeps dragging me back to it. I wrote for school newspapers. I used the school newspaper as an outlet for record reviews. And gradually parlayed those clips into paying gigs as a writer.
Are you a metal fan “in general,” a Slayer fan or a writer who found this topic intriguing?
I primarily identify as A Metal Guy. I love a lot of other music. In high school, I was deeply into hardcore and punk, too. But I had long hair and the metal outfit: denim and some leather. In the picture I sent, that’s my same Anthrax back-patch from high school. The last three albums I bought were Triptykon, Behemoth, and High School Musical 2. Hey, I have kids. I could have scored free promo copies, but those dudes deserve my money.
What do you think is Slayer’s cultural impact?
Great question. Early in the book, I say “This is Slayer’s world, and we’re just living in it.” Look around is: The Twilight series is a phenomenon. It’s about vampires. There are four vampire shows in primetime TV — well, three now that NBC canceled Dracula. Walking Dead is the most popular TV show with young audiences. Game of Thrones is the most popular HBO show since The Sopranos, and it is metal as hell. In fact, I write weekly Heavy Metal Reviews of it for a website called Diffuser.fm, where I evaluate how metal the episode was. Since the days of Hell Awaits, long hair, violence, the undead, and the supernatural have saturated society. And that’s just the fantasy aspect, not to mention the fact that we’ve been at war over a decade.
Can you trace all that directly to Slayer? Maybe not. But they sure were ahead of the curve.
Your first Slayer-themed book appears to be Slayer’s Reign in Blood (33 1/3). What can you tell us about this book, and how did you end up being the one to write it?
I was a fan of the series. Each book is by a different author, writing about a single classic album, from the Beach Boys to the Beastie Boys. And something about it just called me and made me think “Go write a Slayer book for it.” I would have liked to write the Beastie Boys one, but Dan LeRoy beat me to it. When I looked down the list, I saw there was no metal in the series. So I pitched Reign. I knew it was a stretch. But, one, I thought there should be some metal. Two, if you look at the people who made the record, the album is an intriguing nexus in the history of rock: It was produced by Rick Rubin, who was known strictly as a rap guy at the time. It was his first rock record. And he would go on to work with about 10% of the Rock and Roll Hall of Fame inductee groups. Engineer Andy Wallace mixed everybody, basically, from Nirvana to Guns ‘N Roses. It was released on the rap label Def Jam. So it was the perfect metal choice, because the album reaches beyond metal.
Did writing this book change how you viewed Slayer?
It did. With pretty much any group, when you really dig into the credits and start crunching numbers, you realize that your impressions of the band aren’t necessarily right. Like, there are a lot of Who fans who assume Roger Daltrey wrote the words, because he’s the singer. I thought I knew a lot about the band, but it was really interesting to see how the leadership roles changed over the years, and how the artistic division of labor changed over time. And with the splits between Dave Lombardo and the band… Well, when I started the second book, I was partial to one side of the division. And when I was done, I had switched sides.
Last year, you unveiled Slayer 66 2/3: The Jeff & Dave Years. A Metal Band Biography. This looks to be more of a historical book. How did you come up with material, and what’s in it?
It’s a combination of new research, material that was breaking news at the time, and great stuff that wouldn’t fit in the first book: They wanted 25,000 words, I wrote 67,000, and they took 42,000. The new book is 110,000 words, with 59 chapters, 33 photos, 3 indexes (2 in the paperback), and 400 footnotes. Its full title is Slayer 66 & 2/3: The Jeff & Dave Years, A Metal Band Biography. From Birth to Reborn, Including Slaytanic Profiles, a New History of the Thrash Kings’ Early Days, Reign in Blood Tours, a European Invasion, the Palladium Riot, the Seat Cushion Chaos Concert, the Whole Diabolical Discography, Newly Unearthed Details From Dave Lombardo’s Turbulent History With the Band, Artwork and Some Photos You’ve Probably Never Seen Before, Jeff Hanneman’s Hard Times, the Big Four’s Big Year, Lombardo’s Final Exit, the Top 11 Hanneman Tributes, the Mosh Memorial Service, Untold Stories, Updates, Relevant Digressions, and More Scenes From the Abyss.
What prompted you to write a second book on Slayer?
Lombardo left the band for the third, and finally final, time in February 2013. Well, he didn’t exactly leave. But he was gone. It was a fresh shock in the metal world. And it should have been. But Slayer fans who knew history knew he had left twice before. So I decided I would write a short e-book about his trouble with the band: He was never in step with the rest of them. The first time he quit was during the Reign in Blood tour. And their relationship never recovered.
I figured it would be a 12,000-word e-book. I wanted to have it out by the end of April. All spring long, I kept getting sick. If I wasn’t sick, one of my kids was. I just couldn’t get the book done. April ended, the book wasn’t out, and I was pissed. Furious. May 1, I was fuckin’ pissed. May 2, I was even more furious. Then the evening of May 2, word breaks that Jeff Hanneman died. And there I was, with a Slayer book halfway written. So for the rest of the year, as the story unfolded, it grew from a little project to a full-on rock biography. One thing after another stopped me from getting it done, and every time, the delays helped, until at the very end, famous metal photographer and musician Harald O found some amazing photos that he had totally forgotten about. And that’s where the cover came from.
What’s an interesting Slayer fact most people don’t know?
Man… They just split with Rick Rubin after almost 30 years. And they were his only client from the 1980s. I don’t know how many younger metal fans realize how influential Dave Lombardo was for all metal percussion. He gets respect in the metal world, but rock fans don’t realize he’s one of the all-time great drummers. When Lars Ulrich was sick and Lombardo played two songs with Metallica, Ulrich was actually nervous. He said something like, “You try sitting in a hospital bed while Dave Lombardo is playing with your band.”
Writing the second book, though, the biggest thing I learned was how little Slayer has toured over the years. I mean, they’re a regular presence on the touring world. But the South of Heaven tour was something like, if I remember right, 60 shows. They took a lot of time off.
Do you write on other things besides Slayer? If so, what and where do we find them? If anonymously, can you tell us why?
I transitioned from music writing to news journalism a few years back, and I won some awards for journalism. But lately, I mostly teach college. I write some popular-culture stuff for Diffuser and The AV Club. And I’m working on a couple non-fiction projects I can’t talk about yet; one is a collaboration, so it’s not mine to talk about. I write a terrible webcomic called Suburban Metal Dad that’s not as autobiographical as you’d think, for a website called Popdose.
International Day of Slayer organizers Dag Hansen and Jim Tate are great! Hansen is among the people I interviewed for the book. I just heard on the radio that today is actually the International Day of Prayer, which was the original inspiration for International Day of Slayer. Last year, I thought it was really something when Kerry King took time to acknowledge Slayer Day and talk about Jeff’s absence. As I discuss in the book, I think it’s about as emotional as we’ve ever seen him in public.
What do you think Slayer’s lasting influence on metal has been?
Like I said, Lombardo practically invented modern metal drumming. They’ve been the standard-bearers for thrash. Metallica are huge, but Slayer has been the Big Four band that stayed true to their original sound and style. They never tried to cash in or cross over. They’re the gold standard for a credible long-term metal career.
Foundational death metal band Incantation have released the first single off their upcoming album, Dirges of Elysium. Entitled “Carrion Prophecy,” the single showcases Incantation widening the extent of their genre limit and leaning in the direction of modernity’s post-death metal doom/sludge marketplace.
While half of the song creeps by in this fashion, which is far below the par of structural arrangement Incantation has demonstrated in the past, the track picks up whenever this riff fragment concludes. Here, the band plays more to the level of their ability of merging torrential bursts of arpeggiation alongside their unique rhythmic signature of straightforward American death metal alongside the more dextrous, syncopated “push-pull” structures that easily identify bands from that original era and location, including Immolation alongside Incantation.
Incantation’s throwback to their past discography along with more mainstream song structures lends credence to the notion that Dirges of Elysiumwill be similar to their last album, Vanquish in Vengeance, which surpassed the artistic vision of many contemporary releases but ultimately fell short of the artistic heights of the past. However, we here at DMU headquarters remain hopeful that this track is merely intended for commercial distribution and does not necessarily reflect the tone of the entire album.
Dirges of Elysium will be released, in the US, on June 24th via Listenable Records.
The most recent album from Unleashed, Odalheim, is simultaneously the best and worst of days for this band. On the plus side, Unleashed have improved at editing down their material so it all flows smoothly and doesn’t ramble. On the downside, the band have adopted a style that is equal parts Dissection and The Haunted, which makes for an almost satisfying heavy metal experience ruined by kiddie rock band style antics on the level of nu-metal.
Let us be honest: djent is nu-metal for people who like jazz fusion. It’s slightly more subtle. The djent influence filtered into metal through The Haunted after At the Gates (just down the street from Meshuggah, who are the progenitors of djent). When metalcore came about with The Haunted, it wrapped djent, math rock, and melodic speed metal into one package. The result is a binary rotation between some really excellent heavy metal riffing with melody and the kind of bouncy daycare-sensibility music that made speed metal get dumb and wrecked death metal wherever it appeared.
People who need lots of internal rhythm of a similar sort to keep their interest are dumb. This is why we laugh at bands who overplay their drums in an attempt to conceal basically boring songs. If it sucks, just add lots of internal syncopation and delay your final beats just a sixteenth past audience expectation. It’s like Pavlovian terriers watching the mailman arrive. This part of this album is dumb. There is no other word for it, thus this is the best term: dumb. Repetition disguised as surprise. Only for idiots.
Odalheim is thus the album we wish Unleashed had made years ago. Tight, efficient and beautiful. If Shadows in the Deep had been more balanced, it might rise to this level of clean impact; if Where No Life Dwells had this amount of melody, we might find it mesmerizing. However, the glitch is that this album is barely death metal, but more like a mix between melodic heavy metal and bounce-metal, itself a proxy for nu-metal.
Albums like Odalheim are why black metal railed against trends: no mosh, no core, no fun, no trends. Odalheim obediently chases the late black metal trend, the melodicy heavy metal trend, the metalcore trend and the djent trend. These musicians do a great job of linking them all together, but the end result is like soup made by tossing every ingredient in your fridge into a pot of boiling water: muddled, disgusting.
That means that, while I can admire aspects of this album, I never want to hear it again. The dumb parts drown out the melodic material and the lack of definitive style obliterates its efficiency. There is almost nothing communicated here, only a background mood composed of beauty and bounce. It repeats itself. Nothing changes. Like heat death in a crowded room, Odalheim slowly dominates by repetition. And then? And then there is no will to resist. Nor to enjoy.
After death metal and black metal had made their meaningful contributions, a cry rang out: support the scene!
By that it was meant that you should go to local shows, buy records, and otherwise give monetary subsistence and publicity to local bands.
They left off a key detail: which local bands?
Actually, they don’t want you to ask that question. All local bands, they hope. That way, even if their bands are talentless, they’ll be able to sell merch and music because, y’know be cool man, support the scene!
In fact, what “support the scene” really means is “abolish quality control.” Forget trying to have good metal bands, let’s just have a lot. That way everyone can play at this neat game called being as cool as Euronymous or Azagthoth.
I have a different philosophy: support the good bands, and ignore the bad. This idea is often called “natural selection.” It means that if you want a strong scene, you only support the strong candidates, and let the weak ones die out.
Post-1994 people have no idea how cruel, judgmental and intolerant the older scene was — or how much this worked to its benefit. People shunned bands that weren’t the complete package: music, lyrics, name, imagery, music, production, visual art, and personalities. The scene was more elitist than these faux-elitist hipsters could ever dream of being.
It was downright hostile to people who didn’t “get it,” where “it” was a complex and insular culture so alienated from the mainstream it saw anyone who believed society had a future to be a mental failure. It saw society itself to be insane, and headed for doom. It realized how modern life was constructed of very many ancient lies, fluffed up and re-covered to look shiny and new.
The underground is not a place for joiners. It’s not a place for me-tooers. It’s not a place for the extra people of humanity who, having nothing they really care about, go casting around for an “identity” they can manufacture out of things they buy and activities they attend.
Don’t support the scene. The scene is a parasite. Support the good metal bands, and death to the rest.
As part of its enhanced interrogation of prisoners in the worldwide police action against terrorist guerrillas, the American Central Intelligence Agency (CIA) has been subjecting prisoners to abruptly-changing streams of loud music. The idea behind this interrogation is essentially to obliterate the prisoner’s mind with repetitive and offensive noise and make them pliable; how this is different from people voluntarily watching television and listening to radio remains to be studied.
Helpful journalists compiled a list of songs used by the CIA during torture. In addition to the predictably annoying like the Barney Theme or Meow Mix commercial, and the usual venality from pop divas, there’s Deicide with “Fuck Your God.” While that may seem like a nod to death metal, it’s actually the CIA confirming what we’ve all known for some time, which is that while early Deicide is amazing beyond words, later Deicide sucks and is horrible.
In fact, “Fuck Your God” in every way resembles what you imagine a television preacher from the 1950s would warn against. From the 40-IQ-point title to the pentatonic melodies and chromatic rhythm work without any phrasal significance, this song sounds like an angry rock ‘n’ roll band blaming an absent god for their failings between bouts of AA and parole hearings. Because we don’t want to torture you, dear readers and little profit centers that you are, we’ll leave you with the Deicide discography for thinking people.
Texan death metal band Crucifix released multiple demos during the early 1990s which showcased the band’s development of percussive death metal into an artistic voice instead of participation in a trend. Like many other neglected bands who were ahead their time, the band never released a full album. Those who desire a collection of the band’s original material can now obtain it through the efforts of Dark Blasphemies Records.
Visions of Nihilism displays the blueprint for the sub-genre that came into fruition along with bands such as Suffocation and Baphomet. By relying on bursts of energy that emanated from palm-muted guitars, which alternated with structured rhythmic variations of tempo, Crucifix simultaneously achieved a morbid atmosphere and created forward motion by extending and contracting the components of a song, like a slinky falling down into a dungeon.
Dark Blasphemies released this compilation of demo material as Visions of Nihilism in homage to the name of the the band’s planned but unrecorded album. An enjoyable return to death metal’s spirited and threatening years, the CD can be picked up from Dark Blasphemies Records’ bandcamp page for €6 (around $8).
Obscurity bias arises from our desire to discover hidden essential influences in the past. In metal, it is the search not only for concealed gems but for lost ancestors of our favorite music.
This thinking is a variation on our perpetual quest for more alternatives. We look at what’s there and think we want something better. This ignores the basic rule of life that usually what’s wrong is a lack of quality, not need for another alternative.
When we look back for historical alternatives, we are seeking to avoid the obvious historical truth: there are few ancestors because few necessary steps lie between 1969, when Black Sabbath recorded the first proto-metal record, and today.
Metal, punk and prog evolved in the 1968-1969 period in parallel, and since then have been trying to find a hybrid equilibrium that preserves the heavy worldview of metal, the intensity of punk and the complexity of prog without falling into the bluster, one-dimensionality and incomprehensibility that are the downfall of each respectively. With underground metal, arguably the last genres with any intelligence in metal, we ended up with metal riffing, punk strumming speed, and progressive rock song structures with underground metal, and that worked pretty well.
What happened after the initial invention was a hiccup. The music industry invented proto-glam by trying to make Deep Purple/Led Zeppelin bands “heavy” enough for the new Black Sabbath audience. What happened was that they made rock-metal, and while it was popular, it didn’t satisfy the core audience. After the hiccup metal retaliated with NWOBHM, most importantly Motorhead, Iron Maiden and Judas Priest. The next generation combined those to make speed metal; the generation after that mixed in the punk that arose after Motorhead, hardcore punk, which was far more extreme and less musically related to rock music than anything which had come before.
In 1982, Discharge released Hear Nothing See Nothing Say Nothing. The following year, all hell broke loose. Metallica unleashed their first album, starting speed metal. Slayer took off on a separate tangent. While both these bands were partially inspired by Venom, it was more in an aesthetic sense than a musical one, because if you remove the rough playing and bad production, Venom is basically Motley Crue. Slayer in particular took more from the punk side of things and made chromatic riffs and elaborate internal song structures where Metallica followed more of the rock format harmonically and used fairly standard song structures, except for their prog-influenced instrumentals.
Thus by 1985 we had Slayer, Hellhammer, Sepultura, Bathory and Sodom making proto-underground metal; by 1986, Morbid Angel had formalized the style. If anything, the Death and Deicide assault of the next two years brought death metal back toward the speed metal — Metallica, Exodus, Prong, Nuclear Assault, Overkill, Testament, Megadeth, Anthrax — of the previous five years. Death metal took on a life of its own when it escaped that with releases like the first Incantation, Massacre, Morpheus Descends, Massacra, Carnage and Pestilence releases with the turn of the decade. These brought metal back to its Slayer-Hellhammer-Bathory nexus, with tremolo strumming and labyrinthine song structures, and away from the more speed metal song structures of Death and Deicide. Black metal grew out of the melodic death metal bands who started structuring their songs using melodies, not riffs alone, and thus needed less of a drum-dominated approach. That brought them closer to the original punk sound, but kept the metal method of making riffs.
So what’s with the search for missing ancestors?
Black Sabbath creating proto-metal in 1969 was no accident. The band sought to find a new sound. They also realized the hippie movement was in the process of grossly selling itself out, having gone from a form of protest to a lifestyle of dissolution through mental obesity. It was time to kick over that false figurehead and do something new. Coming from a prog-tinged background, they invented something that sounded a lot like progressive rock, if it weren’t addicted to a dark and foreboding approach.
The message of Black Sabbath more than anything else was that truth is staring us in the face. People make a lot of noise to cover everything in flowers, sex and brotherhood, but really underneath it all a darker reality threatens. Most people are crazy. Most ideas form mass delusion of the herd. And these people have nuclear weapons, and control of economies, and other methods of taking these screwups to an exponential level. Every teen rock ‘n’ roll band sings about how the world is crazy, in part because it is crazy. Punk bands expanded upon this with an outlook of total nihilism at first, and later a kind of comfortable anarchism combined with genteel progressivism. These outlooks helped drive the evolution of genres to express a sound that was more rootless (punk) and more apocalyptic (metal) as time went on. This made it clear to each generation what the next would sound like.
The scary fact is that we can navigate metal based on a few nodal points. First, Black Sabbath, King Crimson and Iggy and the Stooges; next, after the proto-glam years, the NWOBHM triad of Judas Priest, Iron Maiden and Motorhead plus the punk music that simultaneously wracked the UK (Discharge, Amebix, The Exploited) and US (Cro-Mags, Black Flag). Death metal would have arisen from these alone, but Venom accelerated the process aesthetically, although took a step back musically toward the bad old days of proto-glam. It was natural that death metal bands would experiment more with melody, and so black metal was an obvious outgrowth of this.
All of that leads me to today’s topic: Terminal Death, whose 1985 demo and other recordings have been released as Terminal Death by Shadow Kingdom Records. Their press release states:
TERMINAL DEATH: One of the first DEATH METAL bands 1985!!!!!
When you talk about the earliest Death Metal bands, we think of SEPULTURA, DEATH, POSSESSED (all stemming from VENOM) right off the top, but there were a few ripping bands that quickly fell into obscurity and TERMINAL DEATH is one of those bands. This is not just an obscure band; they could have been a HUGE Death Metal band if they were signed to the right label back then. They certainly had all of the talent the aforementioned bands did. Their 1985 Demo tape screams with energy and intensity! This is a re-mastered collection of their complete and very short-lived career. The CD booklet is massive with a very in-depth and lengthy interview done by Laurent from Snakepit Magazine. There aren’t that many Death Metal bands can come close to how amazing these songs were. This collection is another snapshot of that amazing early Slayer-esque Death Metal. Co-founder Shaun Glass, whom also co-found SINDROME later joined the more well known classic Death Metal band BROKEN HOPE in the early 1990’s. Shadow Kingdom Records teamed up with Hells Headbangers Records to release this lost gem as a Double LP. If you’re into vinyl, keep your eyes peeled for it will be a glorified presentation.
Let’s look at this historically. By 1985, the big three of death metal — Slayer, Hellhammer and Bathory — had already recorded. Then we listen to Terminal Death. For the most part, this is simplified speed metal at a punk pace, more in common with early Sacrifice than the death metal to follow. Not only that, but Deathstrike had already beat it to the punk/metal hybrid of that era. OK, so what? I don’t consider that important, other than that it somewhat contradicts the marketing. Let’s look at the music. It’s not terrible, but it’s also not very inspired. Lots of chromatic riffs, drums kind of struggle to keep up, and heavy repetition with standard song form. There’s a reason this band took a back seat to the other influences on the rising death metal movement. It’s not bad, but it’s not great.
The DLP doesn’t look bad, but it’s unnecessary. It’s basically the 1985 demo plus three unreleased songs and several other versions of the demo songs. It might make more sense, since the album is appealing to people who want early proto-death metal, to release the 1985 demo with the three unreleased songs for a CD that presents this band at its best. Hopefully SK will do that in the future. But the question for metalheads now is why to buy this. Its historical significance is not really that great, and the music is not exceptional either. With that in mind, I’d say Terminal Death is something we can bypass.