Living in a dying time presents as many troubles as recording in a dying genre. Something went wrong with metal in 1995, and since that time we have had big oaf idiot metal from the NWN/FMP types which bores us, versus popular metal music which is vapid and consumerist at its core and so has nothing to offer of substance.
Arpeggiated minor chord melancholy culled from or composed during belligerent improvisational tirades given body by a sluggish left hand approximating power chords to provide the work a lattice to the traditions of metal. Yersinia Pestis abstains from its predecessor’s thematic coherence – an accident of writing what were essentially cover songs of a famous painter – to make marked but mishandled improvements in its individual presentations through tuneful reprisals of established Goatcraft trademarks. The dependence upon staccato and arpeggio retain the artist’s characteristic stiffness in execution which blemishes through its brutishness.
Gothic rock band Fields Of The Nephilim are famous for their ability to mix the industrial-dance edge of underground goth music with the driving guitars of punk and rock. On their newest release, Prophecy, the band go in a new direction — one that will be familiar to metal fans.
A post-black metal project finally does what many of us have encouraged for some time, which is to drop the extraneous black metal and to bridge directly to the type of music they want to play. This is a Gothic/indie hybrid straight out of the early 1980s, complete with open-phrase drumming and soulful vocals. If you liked the darker side of 1980s pop like Sisters of Mercy, Dead Can Dance and Joy Division, you’ll like this detour into outspokenly emotional and catchy music.
Composed of Andreas Pettersson (Armagedda, Lönndom), Frank Allain (Fen) and percussionist Johan Marklund, De Arma (Swedish for “the poor”) previously recorded a well-acclaimed split EP. This album will hit the streets on July 2 of this year, and while it’s being marketed as depressive and dark, a better way to describe it is having the same melancholistic spirit as Burzum’s Filosofem but within the context of 1980s Gothic rock. Since black metal and indie of this nature share a similar open-chord cascading-strum style, the transition was easy, but there’s very little black metal (or dark) in this. It’s just good darkside pop.
As the inaugural release on what is presumably a post-metal indie/Gothic label Trollmusic,Lost, Alien and Forlorn will appeal to a new decade of listeners who will find exactly what made this type of music appealing in the 1980s. As essentially pleasant pop music, but which acknowledges a sense of doubt and decay about the modern world, De Arma offer a gentle transition from the bubble-world of mass consciousness to the underground of semi-realists below.
