Article by Lance Viggiano.
Hostile Terraforming is the result of a lot of instrumental practice and absolutely no artistic or even musical ambition. Every moment is technically precise in the pursuit of puritanically banal phrases which fake variation by playing the same motif in a higher octave. Cyclical song structures allow the players to shred freely while never needing to establish an emotive core. The EP lasts only as long as it takes for the musicians to run through every show-off-in-a-public-space rite of passage stylistic flair which is recited in the most obsessively canned manner – essentially a musical diet of Doritos and Pepsi. Like all such outfits, the drums are produced to resemble a typewriter thus ensuring maximum clarity so the listener can hear every soulless tap and click as the performer slavishly follows the guitar around like a gimp-clad submissive. Yes, there are musical pauses to give the bass guitar its obligatory solo which has no purpose within a greater melodic arc of the song; not that the drunk dive bar crowd notices or cares.7 Comments
It’s not the Chris Reifert enhanced Scream Bloody Gore, or the technically proficient (if structurally and aesthetically hollow) Human, but Relapse Records has remastered Leprosy and made it available on YouTube. Whether or not this digital remaster does the album any justice, it’s still a boost in visibility for what’s arguably the strongest era of Death’s career. Leprosy doesn’t bring the structural improvements that would’ve kept “Chuck Schuldiner was a Christian who died of AIDS” from becoming a favorite slogan on the old DLA, but its good production and apparent lack of pretensions towards being high art (compare to Death post-1991) make it difficult to hate. I feel the same way about Spiritual Healing, which is mostly cut from the same cloth and also receives a similar instrumental skill boost from James Murphy.25 Comments
From its very inception with Black Sabbath metal has always placed a special emphasis on a realism that looks beyond human “nature” and its caprices. We can safely ignore the hedonist tendencies of certain styles of metal imitators and detractors who musically, ultimately took more from the rock and hippie attitudes than from metal. It is also important to clarify that most modern bands, especially past the 1994 mark, are followers and imitators who were not born into the music out of a deeper mindset. In a rather tongue-in-cheek manner, they enjoy the music’s aesthetics while they jest about the lyrics and apparent driving motives of extreme underground innovators, naming them conspiracy theorists or deluded savants, because what the greats say goes against their own culture-dictated values. They ignore that Beethoven, the original creator, is born not when he starts to write great music (which happened at a relatively young age) but when he finds ulterior motivations(circa the sketching of his 3rd Symphony); transcendental visions of a greater humanity born out of fraternity and the individual struggle for self-improvement through suffering push his music towards new landscapes until the day he dies.
Black Sabbath is metal incarnate because not only is it from them that the genre evolves musically, but the very essence of everything that makes metal what it is is reflected in their lyrics. A curiosity for occult knowledge or mystic experience through various means, the so-called worship of power and an apolitical realism that attacked the establishment and that in its time was confused (and probably marketed) as hippie flower-power are all manifest in the band’s first few albums. The three elements ultimately boil down to the search for a truth that lies beyond human construction. Of course, because we are humans, all we have is our human brains and our human motivations — this is something we cannot escape. So what is there left to take a hint from? Nature. The same nature that gave birth to us as a species. The nature that produced an environment which gave rise to our own human “nature” (two different uses of the word nature, for those not paying enough attention).
Nature worship is misconstrued by cynics as either an extreme and retrograde cultural suicide that proposes we abandon the cities to go back to living in caves as wild animals, or simply a kind of replacement for any religion as a different set of beliefs that at the end lead you roughly towards the same goal. What a proper nature worship really entails is not a blind respect for other living creatures at the expense of human well-being, but rather an enhancement of the latter through a mindful and knowledgeable understanding of our relationship to the rest of nature as an ecosystem. In other words, beyond this bubble of social constructions that leave us oblivious or simply make us insensitive to the full extent of the consequences of our careless actions three or four generations into the future (think of uncontrolled population growth and greedy depredation of resources in order to get more money, yet another human illusion to maintain greater mirages).
Realism is here referred to not as the selfish conception driving a Machiavellian politics, but rather the philosophy of forming opinions and taking decisions based on a nihilist but profound understanding of the relative situation of ourselves as humans. The profound understanding is a necessary appendage to the nihilist mentality because otherwise it can very easily degrade into hedonism or other kinds of short-sighted foolishness. An understanding of the inherent necessities we have as humans, both physical and psychological, can lead us in a very few particular directions. As I see it, we either embrace the rest of the ecosystem as something to worship and live in as vital to us in our everyday lives and long-term decisions as a species, or we develop the technology to live independently from it. So far, we are at a crossroads where we are at the brink of destroying the balance of this planet’s system beyond repair, and we do not possess the technological means to live without Earth: precisely because our motivations have been too short-sighted, driven by immediate or selfish profit.
Rocket’s engines burning fuel so fast
Up into the night sky they blast
Through the universe the engines whine
Could it be the end of man and time
Back on Earth the flame of life burns low
Everywhere is misery and woe
Pollution kills the air, the land, and sea
Man prepares to meet his destiny
Rocket’s engines burning fuel so fast
Up into the black sky so vast
Burning metal through the atmosphere
Earth remains in worry, hate and fear
With the hateful battles raging on
Rockets flying to the glowing sun
Through the empires of eternal void
Freedom from the final suicide
Freedom fighters sent out to the sun
Escape from brainwashed minds and pollution
Leave the earth to all its sin and hate
Find another world where freedom waits
Past the stars in fields of ancient void
Through the shields of darkness where they find
Love upon a land a world unknown
Where the sons of freedom make their home
Leave the earth to Satan and his slaves
Leave them to their future in their graves
Make a home where love is there to stay
Peace and happiness in every day.
The direction from or mentality with which we approach problems is a non-trivial factor in the resulting answer. If we approach the matter of how we should conduct ourselves from the top-down viewpoint that what matters is this or that political scheme as a result of our “rights”(more human constructions) or needs only, and without acknowledging that our needs depend on and arise from our the rest of nature on Earth, then we will always lose sight of the whole picture. This human-only vision traps us in a political/theological game which gradually becomes more and more alienated from the real struggle for survival played against and within our place in the universe.
Metal was given birth by those who despise petty human society and is continued to be upheld as the greatest art there ever was by those who have come to this ultra-human vision. To us, every vacuous formality is a burden, every accepted social deception that is taken for granted by the herd can be confusing because we are expected to follow it despite the fact that even the sheep know it’s complete bullshit. Most sheep know it, but they know it is in place for everyone to be happy and shielded away from each other, but most importantly, from reality. True metal stands against all of that. Not as a statement of individuality like most modern bands who care about being politically-correct and are given free reign to pose as some sort of social-cause rebels, but as an acceptance of the harsher truths of reality and how they make the upsides even more intense and worth living for.
“This beginning then reaches out to future historical outreach, especially by teaching what humankind does not wish to comprehend, in spite all the immense hardness of history, does not want to understand, something that perhaps only latter days will learn after reaching the nadir of destruction and devastation — that life need be understood not from the viewpoint of the DAY, of life merely accepted, but also from the view of strife, of the night, of POLEMOS. The point of history is not what can be uprooted or shaken, but rather the openness to the shaking.”
–Jan Patočka, The Beginning of History
Only Death is Real
Blind lies rise
Eternal sweet fire
One with soul
Licking throne of gold
Soul of bricks
Plague of deaths
Hate rise/fill my eyes
Those with no eyes
Blind to see (him)
Those with no eyes
Come feel inside
Souls of fate
Those with no eyes
Blind to see
Breath now, worship (him)
Warm caress of fire
Breaks the pulse
Close your eyes
Canadian death metal band Adversarial are ready to release Death, Endless Nothing and the Black Knife of Nihilism. The band’s first full-length since 2010’s All Idols Fall Before the Hammer is made up nine tracks of blasphemous metal.
Dark Descent Records has announced an August 21 release date for Death, Endless Nothing and the Black Knife of Nihilism on CD, vinyl and digital formats.
M.M. – Bass
E.K. – Drums
C.S. – Guitars/Vocals
Getting into underground metal styles has never been a straightforward thing for anyone. The exception might be the Cannibal Corpse crowd that approach this music as fix for a certain mood, but see little beyond the most sensual appeal of the music. For those actually trying to appreciate the music anywhere beyond the surface either in a technical manner, it’s significance or the experience it provides beyond simple monochromatic sensual indulgence, the path consists of several steps in not one path but a multitude of paths that conform to the singular state and journey of each listener.
The present list does not attempt to give a template that will fit all as that is impossible. It is simplistic in its attempt to generalize and exemplify. The most important starting assumption is that the listener is at least fond of traditional heavy metal or hard rock in the worse case. I tried to avoid using of overtly offensive gateway bands like Craddle of Filth, Dimmu Borgir or Arch Enemy but these should not be completely discarded as possibilities to enable a smooth and pleasant transition into death and black metal.
For this example of a road map towards understanding and appreciation of death metal I have distinguished five different steps with suitable albums as follows:
I. Easy-going quasi death metal
- Carcass – Heartwork
- Entombed – Left Hand Path
II. Welcoming and easy-to-understand simple death metal that is only complex on a local level and so can inspire a sense of technical wonder in the listener while maintaining mood.
- Death – Spiritual Healing
- Adramelech – Psychostasia
- Demigod – Slumber of Sullen Eyes
III. Excellent, but mostly on a technical level, with raw power and refinement in style, solid and well-produced albums that do not transcend their technical aspects
- Morbid Angel – Covenant
- Cryptopsy – None so Vile
- Vader – Litany
IV. Authentic, representative of the core of the death metal spirit while being original
- Demilich – Nespithe https://www.youtube.com/watch?v=RjutXYAwc_0
- Deicide – Legion
- Suffocation – Effigy of the Forgotten
V. Completely past appearances and technical infatuation, almost on the spiritual level of true and good black metal
- At the Gates – The Red in the Sky is Ours
- Immolation – Unholy Cult
- Gorguts – Obscura
The cast of Gruesome, the Schuldiner-hailing collective featuring members of Exhumed, Possessed, Malevolent Creation and Derketa, today untethers a very special cover of Slayer’s “Black Magic.” The band’s latest reconfiguration of the old-school appears on the deluxe digital edition of the band’s Savage Land full-length.
We chose our cover tunes the same way we tried to write the album,” relays guitarist/vocalist Matt Harvey. “We just did what Chuck [Schuldiner] would have done. Death was never a band particularly known for their cover song repertoire, but they did occasionally close their set with a rendition of ‘Black Magic’ and it’s a cover that dates as far back as an old 1984 Death/Mantas rehearsal, so we felt it would be appropriate. We were considering ‘The Exorcist’ by Possessed, since Death started recording a cover of it during Individual Thought Patterns, but since [Gruesome guitarist] Dan [Gonzalez] is in Possessed, it was a bit weird. Again, we tried to approach the song as Death doing a Slayer cover, so… hopefully we came close to the mark.
Gruesome pays homage to the mainstream’s and non-death metal listeners’ most celebrated American acts, Death. As such, their debut full-length, Savage Land, released last month Relapse Records, is an addictively punishing exhibition of late-’80s/early-’90s Florida-styled death metal that keeps the true sound and spirit of Chuck Schuldiner and Death alive and well.
Gruesome was borne out of guitarist/vocalist Matt Harvey (Exhumed) and drummer Gus Rios’ (Malevolent Creation) mutual involvement with the Death To All tours. After discarding the idea of putting together another incarnation of DTA to focus exclusively on Death’s first two albums, Harvey half-jokingly suggested writing their own songs in that vein. The idea gained traction, and the band had five songs written. Rios later recruited Possessed guitarist Daniel Gonzalez and Derketa bassist Robin Mazen to record the material in Florida. Savage Land was tracked by Rios and Gonzalez at Riversound Studios in Fort Lauderdale, Florida, mixed by Jarrett Pritchard at Mana Studios in St. Petersburg, Florida, and features a guest guitar solo on “Closed Casket” by James Murphy as well as cover art by legendary illustrator Ed Repka (Death, Megadeth, Massacre, Athiest et el).
“This couldn’t come more highly recommended. Buy this and take a trip back to the ’80s when death metal wasn’t all about blast beats and gutturals.” – Stereokiller
“This isn’t your crusty, nasty, run-of-the-mill retro death metal. Hell no. This the advanced, dripping-rot-from-the-corners-
of-a-coffin, putrid, vile death metal throwback that you’ve been waiting for. Observe.” – Metal Injection
“The enthusiasm alone on Savage Land is awe-inspiring… this is a fun romp through the rehearsal space of a bunch of longhairs who love a band so much it hurts. 8/10” – Exclaim
“…just so goddamned fun.” — MetalSucks
“Metal needs more albums like Savage Land… The legacy and sound of Death lives on ever so faithfully through bands like Gruesome, and wherever he is, Chuck Schuldiner is undoubtedly windmilling ferociously and smirking ear to ear at the deathly sounds of Savage Land. 4/5” – HeavyBlogIsHeavy
Those of us who survive in the concrete jungle or the suburban desert live as we must, which often means foraging within the realms of junk food. This in turn means, because too much of junkfood is merely a conduit to “the beetus” or other early death, to have strong preferences for some junk food over other types. Many of us remain enthusiastic fans of Taco Bell because, despite the high salt content and imminent violent defecation, it remains relatively simple, unsullied and realistically-priced compared to the over-sugared varieties of junk food found at the burger joints. It also eschews the pomposity of “down home goodness” and “hippie health food wisdom” which mark, even in small doses, places like Chipotle and In-N-Out.
As part of its ill-advised campaign to be “more competitive,” which is scurrilous nonsense since it has already captured its self-selected target audience of drunks, college students, scat fetishists and budget-conscious consumers, Taco Bell has made tentative stepts toward expanding its menu to include more varied tastes. As a long time observer, I believe this contradicts business wisdom which would be to instead serve its existing constituency such that it expands, instead of trying to capture audiences from other businesses who are more adapted to what those groups expect. However, it has in addition to some hilarious missteps — the soggy Doritos-in-a-burrito was more than gastronomically dismal — this has brought a number of useful experiments, including the new Diablo sauce. From the beginning, this product faces a steady climb because those who really like hot sauce enough for it to be essential with a fast food meal probably have their preferred poison on hand, but it also may gain an audience of those heading past the sauce counter for some slightly new experiences. Much like the market for spicy sauces sold separately, it navigates a fine line between over-processed and sweetened sauces, and perennial favorites like Tabasco which balance spice with flavor such that one tastes more than spice or the sugar, aromatic spices and fruit extracts added to soften the blow or at least give it an ironic, contrarian or contradictory identity (“it’s a hot sauce, but unlike the others, it has fruits and flowers”).
The first taste of Diablo Sauce, as warned by our local Taco Bell proprietor, is of intense spice. A glance at the ingredients shows that it picks up from where Fire Sauce left off but uses a more intense pepper base, feeling like simultaneously more black pepper and a habanero or more concentrated jalapeno-serrano mix. The result, while warming and very useful to pick up the intensity, falls short on the spice-flavor balance: unlike Tabasco, it is more hot than flavorful and, while it avoids the odious boutique spice flavors that insist mixing mango and cloves with Scottish bonnet peppers somehow makes a “new” taste, it also fails to bring with it the optimized mix of flavors that fire sauce does. Perhaps this means that Taco Bell caved to the extremists — who might be conveniently visualized as drunk bearded men with bandoliers full of specially-bred spicy peppers — and forsook its commonplace wisdom as to what its audience desires, which can be summarized as “spicy Southwestern” since Taco Bell borrows more from Tex-Mex than Mex and more from California Tex-Mex than Tex-Tex-Mex.
The question always presented itself as to whether Taco Bell would make a more spicy Fire Sauce, or a spicy sauce, and the sense I get is that they aimed for the latter while guarding their flank with some inclusion of the former, which runs a risk of pleasing neither group. I suggest they defer to interface: mild, medium and fire are variants on the same flavor, and Diablo should be too on that basis, with the possibility of simply adding a “habanero sauce” (or equivalent, since a concentrated jalapeno-serrano or jalapeno-japones mix will achieve the same result) as an addition to the Diablo sauce. Perhaps this was the intent, since of the eight of us eating the three who appreciate spicy food the most ended up using a 2:1 mix of Fire:Diablo sauces to great effect. In any case, it was a joy to experiment with this new flavor and, while it may not be the end-all for spice fetishists, for those who have the time to mix it in with other sauces it makes for a powerful addition to the Taco Bell palette.21 Comments
A riff-salad is often deemed to be intrinsically affiliated to music with no order and random ideas. But the best use of this song-writing approach make use of different kinds relationships between one riff and the next, and between all riffs in the song. Given the superficial independence of motifs and patterns of different riffs, stylistic consistency is, above all, indispensable.
Advertised as Thrash, UnKured make schyzophrenic music materializing the worse riff-salad nightmares. Not only does each new riff that comes do away with whatever the previous riff was saying, but influences from the most undefined and messy prog-speed albums like The Sound of Perseverance to almost deathcore-like breakdown rhythms and back to late 1980s barking death metal make an appearance.
Fans looking for the fun provided by Chuck Schuldiner’s naivete will enjoy this release even though this is less organized and more confusing for anyone trying to get an integral view of the music.4 Comments