Resistance fuels hatred and must be crushed beneath an iron fist.
The Oath – The Oath (2014)
“Whoa!” – Keanu Reeves. These women are actually fairly attractive! Usually metal girls are fat, under 5’4, and have saggy tits. Or they love Slipknot. I can see why Lee Dorian is dicking the hot one. This at least has riffs even if most of the songs wear out their welcome fairly quickly. There are Cathedral albums more boring than this but most of these songs feel like Motorhead if they smoked dope instead of cranked speed. Motorhead if Motorhead were boring and the songs went on two minutes too long and had random riff salad bridges. If these two would actually get naked on the cover like the real Coven and separated or refined their compositions, maybe this would be more listenable. Hold it is that riff from Bad Company? Who steals riffs from Bad Company? What kind of degenerate does that? If this is among the more listenable grrrl metal…
Agoraphobic Nosebleed – Arc (2016)
As ridiculous as their band name, Agoraphobic Nosebleed’s 2016 effort is a lazy mixture of stoner rock and deathcore. It consists of interleaved Black Sabbath-core grooves and pointless breakdowns accentuated by a menstruating screamo vocalist. By the very definition of those two genres, the reader should know this is but a string of feel-good moments with absolutely no point whatsoever.
One has to wonder if the band even knows what “agoraphobic” means, given their blatantly idiotic use in their band name. From there, we can easily tell how they would also try to use “fancy vocabs” from the metal terrain without even knowing what they are for, hence the constant groove with no beginning or ending. The meaningless breakdowns that do not necessarily make the stoner rock more bearable, but just emphasize what white trash trailer park music this is. It is an updated distorted-guitar redneck music.
Baroness – Purple (2015)
The most generic heavy metal rhythm guitar riffing possible clipped with too much compression and mixed with queer hipster rock for those who question their sexuality. I’m pretty sure the hairy girls in this band are in a polygamous relationship with the dude singing and blow roadies on the side. Kind of like how Carrie Fischer let the crew members of the original Star Wars rip the tape off her tits only with more Hepatitis C positive semen from people who tried intravenous drugs. This album sounds like my local modern rock radio station who plays Bush twice a day. Baroness is the most generic 2003 rock possible only maybe one of these girls’ brothers had Led Zeppelin and Metallica posters in her bedroom. Baroness should go back to VH1. Wait VH1 doesn’t air this crap anymore as even VH1 realized how terrible it is. VH1 is Rock of Love now.
Wolvserpent – Aporia:Kāla:Ananta (2016)
Who knows why we ever receive these sort of promos that are not remotely metal, though perhaps some suppose there is a connection because the sound and procedure may remind one of the pointlessness of post metal/rock. At the center of Wolvserpent’s music is a violin playing repetitive music while the fringes are filled with synthesizers, bass and some kind of distorted noise to fill the space. I imagine this purports to be ambient, and it evidently takes cues not only from what we know today as classic ambient but from the old, more noise-inclusive and experimental one. At some point during the 40 minutes of this release, towards the approach of its middle section, a growl-screech appears and we become the audience of a post-doom-black nothingness that lasts for about 5 minutes. After this, the music tries to pick up by adding some synths to beef up the emptiness of the lame doom metal writing that approximates what Esoteric do most of the time (waste your time with largely content-less sections while pretending to have an ambient edge). This amounts to little more than piled up noise with some consonance. This melting away proceeds for about 8 more minutes, after which we are introduced to a 4-minute hum. This hum gives then serves as background for some 3 classical string instruments playing repetitive disonant arpeggios for 3 or 4 more minutes until only they remain and the music fades out to the sound of soothing, rolling, waves. Empty and boring. Throw this away
Cult of Luna & Julie Christmas – Mariner (2016)
Enya songs with randomly inserted post-metalcore sludge bridges. Are those bongos? Is this Arise? Who thought of this? Whoever thought of this should be shot in the back of the head by their local troika, have their children post-nataly aborted, and their women deported to the camps for wives of traitors to the motherland.
Snake Tongue – Raptor’s Breath (2016)
Random stolen eighties metal riffs made into Entombedcore with gang vocals by Kurt Ballou. I think that’s a woman in the promo picture. Maybe it’s a man who is just confused that his baby dick is a big clitoris. Yeah they can get that big. Haven’t you seen Backdoor to Chyna?
Necrosic – Putrid Decimation (2016)
These girls imagine what would have happened if in 1990 Autopsy had written songs entirely out of mosh riffs broken up by hardcore and shameless lifts from Slayer’s catalog. The answer is a metal band that would have only have been fit to play pizza parlors filled with 17 year olds too busy playing arcade games to pay attention. Anthrax if Anthrax decided to cash-in on sludge instead of nu-metal in the early 90s.
Sacrilege – Behind the Realms of Madness (1985)
This is the sort of release that exemplifies that some releases were never meant to be heard, not to mention be re-released. To pretend this is some sort of hidden gem is to pander to the clueless audience’s sense of nostalgia in the most dishonest way. Sacrilege never amounted to much as their music was never much. What we hear in hear in Behind the Realms of Madness is the sort of simpleton’s generic metal any angry teenager could be writing and playing in his garage with his friends after huffing glue. Each of these songs is based entirely upon a single riff played ad nauseam while an angry woman shouts about how much she hates her father. There are random supplementary riffs here and there but they are just meant to provide some sense of dynamism to the propulsion of the main riff. The main riffs in every song are generic and almost indistinguishable, the vocals are identical (some angry British woman screaming about how she got fucked over by her dad who wouldn’t pay for her BA in Womyn’s and Sexual Identity Studies), and every single song has the same kind of poser-trudging-accross-the-mall-food-court from Hot Topic vibe about it.
Sacred Few – Beyond the Walls (1985)
Another mediocre eighties heavy metal album with an annoying vocalist that deserved to be forgotten. Manilla Road this is not; the songwriting is generic, the riffs unoriginal, and the guitar tone too thin. This was only pressed to CD to cash in on idiot hipsters dumb enough to be deluded by Vice into believing that metal needs more dumpy women. I would rather listen to every Motorhead album I don’t remember even exists than this lame woman who drinks too much Budweiser again. This is retro-metal for cuckolded submissive males who think Steve Harris is Pogrom and jerked off to the blonde women in catsuits from The Oath instead of real porn. I’m going to crack open another Coors Banquet and use this CD as a coaster. Wait is the Puerto Rican guy in the collar her slave?
Lizzies – Good Luck (2016) Judas Priest covered by Spanish pre-op transsexuals. Listening to this album makes me want to chop my leg off so my femoral artery will bleed out in three minutes. Two tracks in and I just put on Unleashed in the East instead. Let’s all listen to that classic instead of this crap:
Most metal journalism has a knack for identifying two particular things as “progressive”, none of which really are that. The first is incredibly messy music that obfuscates itself so much as to become an illegible carnival-fest of styles. The second is bands with tracks any longer than 3 minutes that deviates from pop format. My Hollow’s On Borrowed Time is a deathcore album that is experiencing the second of these two, using a strict rhythmic concordance as a restrictive chain that allows the rest of the musical dimensions to wander with a carefree liberty.
In deathcore, a heavily rhythm-based genre, the break-down-like passages lose their original meaning completely in a context that uses them for a completely different purpose than their original context intended them for. In the best moments in On Borrowed Time, My Hollow oddly attains a coherence through maintaining this rhythmic emphasis between different sections that can be either riff-oriented, melody oriented or pure-rhythm-oriented sections, successfully tying together otherwise disparate textures. This strict rhythmic concordance that becomes unbearable in most deathcore is used as an anchoring device that allows My Hollow to lash out with dangerously varied expression variety in the rest of the parameters that borders on the inconsistent.
When this strict rhythmic link is broken, the album degrades into a completely obscure incoherence all-too-common in this genre for pleasure-seekers with no attention span to speak of. When kept in check, the limitation it forces upon itself in its rhythmic component condemns the song to be a series of themes in wildly different landscapes akin to a collage of scenes with corresponding elements but no chronology or elaboration beyond the juxtaposition. Coherent tracks and spans of sections are unfortunately in the minority of On Borrowed Time, most of it descending into chaotic tough-guy feel-good nonsense.
Sporting the grindcore label, Maruta try very hard and not altogether without failure to insert technical deathcore riffcraft into a grindcore overall approach. While the technical abilities of the band is not in question as the musicianship in this album is superb and clinically precise, and neither is their creativity challenged, as they remain in focus in terms of style and approach through and through as they bring distinct ideas into the album, the premise of it all is not entirely convincing. The reason for this is that the carnival approach that the technical deathcore, although not completely incompatible with grindcore, is deficient by nature, bringing down the music against the effort of a talented band like Maruta.
Grindcore is known for short songs with abrupt beginnings and endings. The genre is characterized by spasmodic outbursts of madness with ventures into heavy and slightly groovy mid-paced sections whose focus remains on the brutality and aura of the music. All this is achieved by Maruta on Remain Dystopian, however, this is only the superficial description of the genre, the first impression it gives to an audience, and this is where most bands, including this one, get trapped. The grindcore of early Napalm Death, Blood or Repulsion can be described in that way, each with different percentages and variations of said description, but there is something that sets them apart from the crowd and it is that at the construction level, the relation between riffs is still carefully maintained. In Impulse to Destroy, Blood remains fluid through riff transitions even when the they switch between speeds or intensity levels, the smoothness within the song is maintained. At the risk of sounding contradictory, I would venture to say that even relatively abrupt transitions remained smoothed out through execution of small fills or very brief affectations that are characteristic of Blood. Maruta, on the other hand, obfuscate the music with the carnival approach of modern metal bands, creating interest through surprise instead of coherence and build up.
All in all Remain Dystopian is a far more accomplished effort than the vast majority of its contemporaries and fans of the genre should keep one eye on them. While fans of modern metal call this incoherence of the music “experimentation” and “nonconformity”, it all boils down to a lazy gimmick. Maruta has the technical chops, and they definitely have the vision as their focused compositions show us, but the chosen direction is perhaps not the best. Were Maruta to correct this direction and it is possible we would have a modern giant of grindcore in the making.
Protest deathcore band Xibalba have released a new video for their song “Guerrilla”. Playing an easy-to-understand style of heavy music for the masses, Xibalba find a strong audience among the disenfranchised members of the lower echelons of society looking for validation and a call to revolution by catering to their mental needs in their gang-themed revolution lyrics.
Approaching deathcore like a doom metal band, Castrator mix invariant riff-chorus pairs with extended solos over slower riffing and hybridize the chromatic riffing of their influences with Judas Priest style hard rock riffs. The strength is the melodic soloing which, while very much cut from a conventional metal/rock mold, guides the slowly looping slow-paced riffs to make an interesting atmospheric piece. Their death metal riffs however both conform strictly to archetypes and achieve no variance, so that a wall of extremely similar sound gives way to a solo, then repeats briefly and fades away. Many of these riffs stick to fixed patterns at a single note, which produces the kind of droning that made post-Suffocation clones excruciating. Melodic hooks drape over power chords in a backdoor way of creating a groove, but these become repetitive quickly as well and have the kind of pop tendencies that trivialize death metal. The vocals perhaps provide the strongest point of focus for this band, but that in turn becomes a weakness, because vocals alone cannot unite a loop of similar verse/chorus riffs with breakdowns into a song. The gruff monotone vocals keep a bass-heavy pulse going that drives songs forward with aggression and anger. While the band write catchy songs, the low internal complexity and archetypal riffing detract from the desire to hear this again.
Joy Division remain important for the world of music because most of 1980s indie aggregated Joy Division post-punk guitar technique into bouncy pop-punk and formed of it the post-rock which also influenced the chaotic post-hardcore that is the basis for metalcore and modern metal. Where the newer bands were totally circular, Joy Division created more of an unsettling atmosphere of unsystematic and dissymetric music.
The film pitches the idea that Curtis suicided because his diagnosis with epilepsy condemned him to the side-effects of the drugs he took for the condition, and the tendency of seizures to hit at moments of high emotion made him fear the things that ultimately fulfilled him, like band, family and friends. As a result he became increasingly isolated at the same time his symptoms increased, with the exception of his remora of a Euro-girlfriend, Annik Honore.
It’s an interesting thesis, but suicides are too often blamed on medical conditions instead of an honest perception of the utter misery of life. Control shows us the more innocent and purposeful world in which Joy Division arose, the strong bond between the men in the band, and the left field attack of fame and seductive power. Without being a Joy Division historian, it is hard to say how accurate its perspective is, and it may be 100% true, but Deborah Curtis gets shown in a kind light. To its credit, the film does not extensively vilify others, except perhaps the extramarital affair (I’m told these are now called “side bitches”) which is portrayed as parasitic in this and other sources.
What makes Control worth watching is that it portrays artistic force as the utterly incoherent thing that it is; musicians have no idea how to articulate what they are doing, and yet they do it and often incorporate a good deal of thinking into the end result despite being unable to explain it. If anything, the movie could have done with more band scenes — the actors practiced together and became a Joy Division cover band for the purpose of the movie, with actor Sam Riley’s interpretation of the songs as a more Morrisonian Joy Division sometimes giving them new power — and less of the family drama behind it, but it is good to see that included, as it is to see the environment in which this band arose. Joy Division remains provocative and adored to this day, joining a long line of controversial rock vocalists who self-destructed upon seeing the ruin that is modernity. Perhaps this movie would have been stronger if it, like The Doors, incorporated more of that vision, but as it is it makes for an interesting introduction to Joy Division and post-punk.
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.
Ara drop into a difficult niche of the metal market, trying to be a fusion between modern metal or “technical death metal” like later Gorguts and contemporary Unique Leader bands who incorporate a mix of old death metal and new deathcore styles. The result causes a necessary re-examination of the difference between death metal and modern metal.
In music, composition can take roughly three approaches which can result in nearly infinite forms. In the first approach, the main urge gratified is the need for repetition and so verse-chorus patterns provide the basis with a possible “ironic” or “bittersweet” contrasting turn-around, transition or bridge. This is the most common song format, which like common tempi and common keys is chosen for the convenience of cognition both by composer and audience. The second approach takes a different view which places form in the control of the song instead of the other way around. In structure dominant songwriting of this type, melody or phrases fit together into a narrative, and this narrative — representative of content — dictates form. The problem with this form is that it is difficult, because each piece must relate to all others, instead of a reduced external standard like merely being in the same key. The third form avoids the problems of the first two by being novelty-based and requiring very little commonality between parts of a song arrangement, and generally arose from the fusion of punk rock and progressive rock, which produced more complex punk rock that often had little relation to its parts beyond rhythm. This brings us to the present time, where the structure-based and novelty-based approaches war it out in metal.
During the 1960s, rock fragmented into multiple forms. One of these, starting with experiments by The Beatles and other big pop acts, was the progressive form in which song arrangement was dictated by the needs of a narrative to the music itself; not surprisingly, many of these works were built around literature, mythology or an intricate story arc of their own. This in turn spawned the most ambitious experiments with structure which came from the space ambient bands like Tangerine Dream who did away with drums and any of the fixed aspects of progressive rock that made their songs at least initially represent standard song form. The parents who bought this material were Baby Boomers, whose music buying years of 18-28 occurred mostly between 1964-1984, and their children — who generally hit maturity from 1984-1994 — were the Generation X musicians who created death metal and black metal, and many of them inherited their parents’ albums, which since underground metal seemed to attract a fairly intelligent crop, represented the more interesting music from the previous generation. Much of the influence of progressive rock and space ambient or cosmic music came through in this generation of metal, much like the influence of aggro-prog bands like King Crimson and Jethro Tull emerged in Black Sabbath the generation before. In addition, the instrumentals from Metallica such as “Anaesthesia (Pulling Teeth)” and “Orion” as well as the lengthy “epic” compositions of some late-1970s progressive-tinged heavy metal and guitar rock influenced the new generation. For this reason, when proto-underground metal combined heavy metal with hardcore punk, it also added the type of composition used in progressive rock, from which came the process by which Asphyx calls “riff-glueing” where riffs are mated to each other on the basis of a dialogue between the phrases used in them, discarding harmony as the sole basis of compatibility along with the late-1980s “progressive punk” idea of novelty-based composition. This gave death metal its most unique aspect: prismatic composition, or the ability for riffs to be repeated in successively different contexts, such that each new iteration reveals a new interpretation based on what came before, much as in a poem that uses the same technique with repeated lines like a villanelle. While this is often a relatively minor influence, as with Morbid Angel, it remains an influence on all death metal and the dividing line between it and the imitators.
The most significant influences on Ara look to be the post-Suffocation thread of percussive death metal culminating in Unique Leader bands like Deeds of Flesh through a more complex interpretation of late-90s bands like Internal Bleeding and Dying Fetus, the 2010s interpretation of that as hybrid indie-rock known as “technical death metal” or modern metal, and old school progressive death metal like Gorguts Obscura and Demilich Nespithe. These influence style, not necessarily content, although when bands lose direction they reverse the compositional process and have style determine content, as opposed to the better method of having content select style. Ara show an insight into both riffcraft, or the act of writing riffs themselves, and the type of transitions in song that give meaning to previous riffs by shifting context. Unfortunately, they attempt to make music within the novelty-based style which interrupts itself to provide contrast instead of relying on the inherent contrast produced by such transitional moments. Bassy vocals ride herd on a stream of relatively unrelated riffs, sometimes culminating in a moment of parallax transferrence where a new riff makes the past seem to mean something entirely different, over precision technical drums. Riff forms borrow from “technical death metal,” itself a fusion of post-hardcore and lite jazz with the degraded simplified forms of late-90s death metal, and so a great variety of technique serves as the basis of these riffs, but unfortunately often this makes the riff a function of the technique and not vice-versa. If someone were to give this band good advice, it would be to look to those transitional moments and the riffs that really define each song and make all of the other riffs lead up to and support that moment even through opposing themes, which is a better method of contrast than attempting to shock the ear with radically difference or irony to the previous riff through technique alone. They have clearly mastered technique, as flourishes and fills which show influence from Gorguts and Demilich as well as a host of other metal and non-metal influences reveal, but it is the underlying structure of a song in such a way that evokes meaning which eludes them.
Devourer of Worlds contains a good album waiting to get out, but as it stands now, it forms painful listening because of its internal disorganization and reliance on technique alone. That makes it so much like two aspects of modern society, marketing and ideology, which serve as denial of reality using the mechanism of language and image to convince people that there is a way around the obvious realities of life. One can either focus on reality and deal with its limitations and implications, or look to symbols as a form of reality and manipulate those and then claim the result is the same as one innate to reality itself. All marketing, including advertising and propaganda, and all ideology, which combines prescriptive reasoning with propaganda to make the recipient feel pleasure at the rightness of a decision instead of its likely positive results, fit within this range of form dictating content and not the other way around. If reality is content, the form we should admire is that which fits to reality; when form is content, reality becomes secondary and we retreat into a ghetto of the human mind and forget about implication for what will result. As with all art, in music when the surface becomes predominant over content, it requires the core of each song to simplify itself or become near-random, at which point the work loses any sense of being memorable or meaningful and must content itself with novelty. These songs tend toward circularity, or cycling between two or three ideas which serve as a backdrop for the main action which is expressed through technique. This quandary calls to mind the break between the third and fourth Pestilence albums: Testimony of the Ancients increased the technicality of each song, but this put more emphasis into technique of each riff and less into the riff itself, which caused the band to rely on anchored harmonic positions much as in rock and embellish those with fills, which created relatively static phrases and as a result, simplified songs. On the album that followed, Spheres, Pestilence attempted to correct this with more guitar/synth leads and riffier songs, both returning to their earliest work but still remaining stranded within the simple-core complex-surface approach that the outward-in method of using technique to compose creates.
What makes music great as opposed to passable or adequate for a few weeks’ listening is this ability to both reflect reality and give it meaning by showing a response to it that sings of its strengths and reveals purpose to its weaknesses. All songs are in actuality songs of praise for the existence which we lead, avoiding the reaction of the human being — a type of surface-level form instead of content — and looking toward the effects on our lives as they are. These can take the form of harsh criticism of that which is unrealistic, including methods of control like ideology and advertising, and can even indulge fantasy which is different from reality but reveals it through metaphor, but they rarely include the “Vote for me and all will be perfect forever!” and “This product will make you smart, sexy and successful!” that surface-level thinking promotes. Ara are caught forever between the two and are facing the mortal certainty of choice by which the individual goes down one path to the exclusion of all others, and thus defines their life as surely as death itself, and this buries their strengths among their least auspicious tendencies. While Devourer of Worlds shows vast improvement over 2013’s The Blessed Sleep, its tendencies toward what is called metalcore — which is either a hybrid of death metal and late hardcore, as I argue, or simply incompetent death metal as others have asserted — prevent it from reaching the heights possible for these songwriters.
Adam Bujny – Vocals
Jerry Hauppa – Guitars
James Becker – Bass/Vocals
Erik Stenglein – Drums