These random, gimped releases are held in high regard by high-pitched “metal” critics and core pogo stickers. The Death Metal Underground staff takes it upon themselves to scorn and defile them in the name of all that is good in the metal genre.28 Comments
Article by Daniel Maarat
Gorguts have previewed (https://www.youtube.com/watch?v=RDyn5lkVNlo) their upcoming EP to be released on Season of Mist. “Wandering Times” is the first track of Pleiades’ Dust sole, thirty three minute long composition. Listeners can expect Luc Lemay’s LP length EP to continue in the technical life muzak style of Coloured Sands: Random dissonant verses clashing with jazz fusion interspersed with ambient interludes incongruent as a whole to all but music theory majors. The commissioned cover and lyrical theme of the Islamic Golden Age suggests this release will persist in trying to irrumate headbangers with vaguely oriental spiritualism. Lemay seems to be appealing more to coffee shop guitarists wanting salvation from their poor life choices.
Werner Herzog made a documentary (Wheel of Time) about fifteen years ago on the same sand mandalas as Coloured Sands. Here are his views on yoga to spare you from Lemay’s orientalism:11 Comments
Article by David Rosales
This very entertaining cover of Iron Maiden’s song ‘Hallowed be Thy Name’ as performed by a bass clarinet quartet was posted on Youtube a few years ago. The instruments take on the melodic lines of the song, which was aptly selected as it is rich in them. This experiment is not only fun to listen to but interesting in how a different instrumentation highlights one aspect of the music while utterly losing a whole dimension exploited by the original composition.
The clarity of melody and harmony is quite enhanced here and so their study and appreciation by the guitar student seeking to learn and emulate this aspect of the song will greatly benefit from this adaptation. However, the loss of the power chord, and particularly the power chord played on the distorted electric guitar means the loss of an ocean of artificial artifacts that form the bulk of the richness of sound of the instrument and which lend metal and hard rock music one of its distinctive aural characteristics.
The necessary absence of the drum set is seen by the more classically-oriented music fan or musician as, perhaps, negligible, but this is only because of the widespread ignorance (either through pop culture or academic music indoctrination) about the relevance of percussion in metal. Contrary to the now-traditional view of percussion as a less important aspect of music (which, in fact, flies in the face of many traditional folk musics around the world, where it is recognized and studied by academicians yet still seen with derision as “primitive”), this reliance that metal has exhibited in increasing amounts is not a measure of scarcity of content or artistic deficiency, but rather the appearance of an unknown variable.
Metal percussion in its most advanced states, that is, in its use in the more artistically (as opposed to technically) developed subgenres of death and black metal shows a usage and expansion that just does not exist in traditional or experimental classical music. As such, academicians have no precedent by which to measure or qualify this. They should perform field research, they should listen, but they are too comfortable and busy feeling self-important. This is the sad state of the intellectually self-gratifying (and ‘morally’ bankrupt) art that results from two centuries of overarching materialism, corruption and decay.
Many would point to the obvious origin of metal percussion in traditional rock, and that is factually right, yet its use and direction has gone far beyond it and in some cases taken cues even from electronic music (especially in the case of some black metal)and jazz music (in the case of some death metal). Metal percussion incorporates aspects of these and has built a whole new art out of it that could be considered the more spiritual child of the pleasure-oriented and technically-nuanced jazz (Editor’s note: DMU has written about this very hypothesis in the deep past).
The future and refinement of metal this metal percussion should not to reside in the empty groove explorations of fusion as seen in djent nor in the facetious exercises of tekdeth which may even borrow directly from genres such as samba in their search for “entertaining and interesting” bits to play, regardless of how this may affect the character of the music. Also defunct inside are the dead-end and superficial attempts at applications of abstract concepts in nu-black metal and war metal. As in all other aspects of the already-cemented, fully-formed language of metal, the role of its percussion and its abstract concepts have been made known implicitly in the music of the classics. Go, listen, study, learn, apply.
Despite no paucity of topics to possibly review, I took a commentator’s advice (which, for agitprop, I’m going to suggest was inspired by our call to arms) and decided to take a look at the new Sadist album that came out last week and was teased some months ago. Supposedly, Sadist inspired by earlier death metal/jazz fusion bands like Atheist and Pestilence, and I can hear where influences poke through like bones of a half-eaten carcass, but Hyaena also owes some of its genetics to the newer breeds of ‘progressive’ metalcore and djent acts, and therefore walks a fine line between the two.
Hyaena is so thoroughly permeated by its jazz influence that it often sounds like a group of jazz musicians approaching metal, as opposed to the more familiar opposite. There’s certainly a great deal of surface complexity throughout this album. First, it often favors the sort of off-beat syncopation and polyrhythm over 4/4 beat type of percussion popularized by Meshuggah and sons. Secondly, Sadist crams in a great deal of synthesizer and sample presence, including plenty of “tribal” percussion that probably synergizes with the lyrical/visual aspects of this album. What begins to tip me off that this might not just be a mess of pseudo-progressive tropes is Sadist’s adept understanding of modulation and tonality – unlike many bands that play around with it, they actually manage to use this to write more flexible riffs and build some of the changes into their song structures. That is definitely not a mere surface strength.
With further listening, it becomes apparent that Hyaena‘s main strength as an album is its ability to integrate its musical aspects into a coherent whole; as a result, I am willing to forgive some of its weaknesses… which primarily revolve around the fact that this integration sometimes means questionable elements make their way into the album’s sound. For instance, I’m not too fond of some of the sounds used by the keyboardist, but the actual content of the keyboard lines here fits in nicely with the rest of the band, as they end up alternating between providing textural reinforcement and actual counterpoint. This does wonders for the songwriting, as Sadist goes beyond merely using instrumentation to distinguish song sections. It helps that they have two strong sources of musical language that they can pull on for basic elements, but such a potent tool would do little in the hands of a band that failed to integrate those halves.
Needless to say, this puts Sadist at least on a higher level than some of the other metal themed jazz bands. Those with a serious fusion/metalcore/djent allergy will want to stay away, as the ‘heavy’ side of this album seems to lean more core in its aesthetics than not. Still, there is some real depth to this music, even if some of the surface elements seem to chase contemporary trends.6 Comments
Everyone has at least one person in their network who is obsessed with “smart” music; your local government will provide you with a complimentary one if you have any doubts. You can tell music is “smart” by the fact it’s either instrumentally complex, aesthetically gimmicky, or even merely composed of band members who agree with some of your socialpolitical opinions. V is not the first to the best of my knowledge, but its ties to the djent and “progressive metal” scenes give Scale the Summit a built in audience full of such people. The relatively clean guitar tones and otherwise frequent moments of gentle strumming make me question the metal label, but I’m not yet the type to judge music solely by its genre. It does mean, however, that I’ve mentally shelved this on the progressive rock shelves along with acts like Camel and Yes, which admittedly are radically different in overall approach, but at least give this album some stern competition which it desperately needs.
V is actually a collection of jazz fusion instrumentals that presumably took some time to practice and learn even for the band’s technically skilled musicians. Much has been written on the idea of jazz-metal fusions, but Scale the Summit seems quite archetypal in that regard, relying on thorough-composed songwriting with distinct sections over improvisation, but favoring lighter, cleaner tones and sounds even at their most intense. One thing that divides me is how rigidly and academically the band approaches song structure – tracks here are full of obvious “We’re going to vary the song by modulating to another key or changing the drum pattern” type moments that probably look well-planned if you consult the corresponding tablature, but don’t work out in practice for being too jarring or too frequently followed by an obvious pause. This might be something to expect from such a rhythm-heavy style, but it still strikes me as a notable weakness, and one that makes some of these songs so self-conscious that it interferes with their overall memorability and impact.
Ultimately, I find Scale the Summit to be aesthetically pleasing, and I can derive some intellectual satisfaction from piecing together the theoretical level of their music, which is more than I can say for a lot of so-called progressive metal. I can’t guarantee that I won’t plunder V for some of these technical ideas. Employing this prowess towards more interesting and less obvious (less formulaic) songwriting is going to be quite a challenge, though. I can’t guarantee you that Scale the Summit will do the same, since they seem pretty content with their current technically proficient but otherwise ephemeral style.10 Comments
Rock and metal bands have a terrible habit of destroying themselves in dramatic conflicts. On Thursday, Cynic’s official Facebook page announced a breakup in the middle of a touring cycle. Perhaps not the best way to go about such a split. Recently, though, guitarist and vocalist Paul Masvidal claims (again, through Facebook) that neither he or the band’s bassist (Sean Malone) were involved in the decision to split. Whether or not each side is able to work out their differences is unclear at the moment, but this seems like a poor way to go about the business of ending a musical project, or otherwise changing its status.
Controversial reformation career aside, I personally owe Cynic a great deal for Focus, as its diverse aesthetic palette and jazz inflections gave me a gateway into extreme metal that I otherwise never may have found. Their later recordings, though, have done little to pique my interest and are unlikely to gain many fans around here. Perhaps this breakup is merely recognition that taking jazz, metal and metalcore and mixing them together produces a slurry that no one wants to drink.7 Comments