Norwegian death metal band Obliteration and Swedish speed metal band Antichrist are headlining the 2017 iteration of the Heavy Nights festival in Norway on September 28th through 30th.1 Comment
Two weeks away from the release of their next full-length album, Obliteration, Entrails are giving the public a small taste of what is to come. Captured by guitarist Jimmy Lundqvist at his own Bloodshed Studios and mixed and mastered by the famous musician and producer Dan Swanö (Edge Of Sanity, Bloodbath, Aeon, Hail Of Bullets etc.) at Unisound, Obliteration is a nine-track old-school Swedish death metal album.
Producer Dan Swanö commented:
I guess Entrails have sold their souls to the Devil because there is no other way to explain how a band that’s been doing the same style of SweDeath for more than twenty years, can keep making better and better records! In fact, some of the tracks on this album are among the best death metal songs I have ever heard. Such a great album…it pisses me off!
You can listen to Obliterate on Soundcloud.4 Comments
Underground metal zine Codex Obscurum gained an audience for its focus on music of an underground nature without the associated fetishism of image and product obsession that blights most zines no matter how underground. In that sense, it was a regression to the healthier times of the 1990s, when fanzines were fan-oriented instead of label-oriented, and both old and new audiences have delighted in it for five issues.
Contemplating Issue Six of this magazine shows how far it has come and how it has not lost any of the delight in the music that marks a good fanzine. Over the past several issues the focus of the magazine has shifted to interviews and reviews, and this shows in the much wider coverage that Codex Obscurum achieves with Issue Six. More bands see print in this issue and, through greater experience of interviewers, questions cover a wider range. The issue starts with an interview with War Master, whose albums regularly feature in our best-of lists around here. While this interview is short, it provides the vital news that this band is working on a second album and an EP, and talks about touring and general attitude of the band after switching vocalists. After this follows a thoughtful and probing interview with (the New) Mayhem guitarist Teloch, which contains mostly striking revelations about the black metal scene and its relationship to political correctness. For those of us more inclined to avoid newer versions of once-classic bands, this shows insight into the thought process behind the current “scene.” Further interviews with Anatomia, Lantern, Obliteration, Rottrevore, Symptom, Acid Witch, Castle Freak, Impaled Nazarene, Fister, Hecate Enthroned and Ritual Decay. The interviewers in all of these approach the subject with knowledge and tailor their questions to the subject’s personality, which brings out more of the people behind the bands.
One of the bigger changes since the last issue appears in the abundance of reviews that Issue Six has to offer. These take two forms: mid-length descriptive and personalitied reviews, and semi-dismissive Haiku form reviews that often tell more than a few pages of labored, assiduous writing. The descriptive reviews offer a practical assessment of how a metal listener might approach an album in a compact package. Witness the review of Cruxiter Cruxiter:
Cruxiter – S/T (2013 – PrismaticO Records)
Wow, what a surprise this album was. Cruxiter are not a well-known band, as this is their first full-length and they’ve only been around for a couple of years. But it sounds like they’ve been around since the ’80s. In fact, this whole album sounds like it’s from the ’80s. Cruxiter are traditional heavy metal from the wastelands of Texas and will not disappoint one bit. It’s as if early Mercyful Fate had a ménage à trois with Manilla Road and early Iron Maiden, all while listening to ’70s guitar-driven rock. The musicianship on this album is fantastic; each song is a classic metal anthem with soaring vocals and impressive guitar riffs. Miggy Ramirez’s vocals are high-pitched and remain steady throughout — he certainly pulls off the style perfectly. The highlight of the album is “The Devils of Heavy Metal” and is one of the best songs of this style I’ve heard in quite some time. The one thing that may dissuade some listeners (and it’s a shame, at that) is the production of the album. There are no crystal-clear sounds on this album, everything is produced in a way that makes sounds like it was recorded in 1984. It adds to the retro-feel of this album, and is part of what makes this album a great listen. The album is streaming on their bandcamp page, I’d highly recommend you check it out if traditional heavy metal is your thing. Keep an eye out for this band. — James Doyle
Ten pages of reviews of this type help inform the listener on the cutting edge of underground metal, skipping the numu/indie/post gibberish, and then detour into two pages of Haiku form reviews which cut to the core of each album from a listener’s standpoint. While these are more dismissive, oftentimes they utterly nail why an album is irrelevant or why we the audience should look past style and appreciate what makes it great. These offer a counterpoint to the desire for articulation that motivates the descriptive reviews, and give a quick synopsis where that is all that is needed. They are more motivational than merely reporting the facts; this style might be useful in dismissing some of the recent material that labels pump out which requires no more than a few minutes to recognize as an archetype of fail and dismiss.
As has been the trend with the last few issues of Codex Obscurum, the editors struggle to balance a gory old-school art-driven layout with a postmodern format that is easy to read in the age of computers, tablets and whatever “et cetera” will soon encompass. An abundance of great artwork appears throughout Issue Six, with more use of graphics inserted in the text stream or offset to one side. The Acid Witch, Fister and Ritual Decay interviews could fit in either a glossy pro-printed magazine or a contraband underground zine and show an optimization of this layout style. One thing that could improve is the differentiation between interviewer and interviewee, which is currently done with the industry standard of the speaker’s initials at the start of the line. An ideal layout of this format has proved elusive, with some zines bolding the comments by the interviewee, but this like most other solutions burns more page real estate. On this site, we put the interviewer’s comments in bold because that makes them easy to skip, but also requires more paragraph space which is at a premium in a zine that has to render itself to paper instead of the limitless scrolling of modern society’s replacement for daytime television, the internet. An ideal answer may conceal itself on this issue but it is the only area where this zine proved difficult to read at a glance, which is otherwise facilitated by its clean layout with clearly separated art and well-signaled interviews with band logo at the top of each.
Issue Six continues what seems to be becoming a section in Codex Obscurum, which is an unboxing and review of Dungeons & Dragons gaming sets and lines of books. While many in the metal community seek to isolate themselves from the inner nerd inherent to all metal, a more realistic assessment shows that many metalheads are in fact nerds “in the closet” who enjoy many activities which stimulate the imagination and analytical thought process simultaneously much as D&D does. This feature goes beyond the knowledge of the casual attendee at D&D games and could stand on its own in any lifestyle or technical magazine. Among the thoughtful interviews and carefully articulated reviews, the role-playing game material fits hand in glove, and adds to the feeling of this zine as well-rounded in the underground sense, covering music and lifestyle without drifting into the product fetishism that shears mainstream magazines off from the flow of what fulfills people both as metal fans and individuals. Looking forward to seeing this zine continue to grow and develop.
- Codex Obscurum Issue 6 $3 + shipping
Tags: acid witch, anatomia, Black Metal, castle freak, codex obscurum, death metal, fister, hecate enthroned, impaled nazarene, journalism, lantern, mayhem, obliteration, ritual decay, rottrevore, symptom, war master, zines
This world is composed of snares that waste your time. Their job is to reach out, grab you, and destroy your chances of doing anything more impressive with those moments. One snare is nostalgia. It’s Pavlovian. A scent, a sound or a shape reaches out to your senses and before you know it, a chain has formed in your mind. You’ve linked this new thing to a happy older memory and by sheer impulse, since memory is more idealized and thus sweeter than present tense, you just leap into enjoying it. It’s only later that you realize it’s empty.
Obliteration – Nekropsalms
Borrowing the aesthetic of nocturnal death and grind from Carbonized through Cadaver, Obliteration make a type of doom-death with heavy metal underpinnings that is very easy to listen to. Indeed, hours can pass while you listen. It may in fact be like being dead. There’s nothing wrong with this sort of pleasant withdrawal from active participation in life. However, although it doesn’t have any negatives, it also doesn’t add any positives. This is basically riff practice shaped by tempo into songs, sort of like those “modern art” sculptures made from whatever the artist had at hand. “So then I welded the dildo the engine block, wrapped the condoms around it, dumped paint on it and put a doll’s head on top.” Songs catchy and you’ll have a few favorite parts. Over time you will start hearing the lifts from Slayer, Deicide, Mayhem and others. Eventually this will leave you feeling empty. You will realize that these are riffs and nostalgia and nothing more. Total time elapsed: two weeks.
Sarcofagus – Cycle of Life
As I go through life, it amazes me how many people know so much and yet can do nothing with it. They are able to memorize the outward details and even excel at that, but their understanding of the structure beneath is lacking so what they produce sounds like an imitation. This band, who are painfully awful and remind me of everything that makes metal loathsome, are an Angel Witch clone who through in more of the moddish blues and rock influences of the late 1960s and early 1970s to try to differentiate themselves. I don’t mean to be cruel; this is just painfully bad. It is not cliches, but rather slight modifications of known riff archetypes jazzed up with a little bit of well-studied technique, thrown together randomly. These aren’t songs; they sound like songs. They are imitation from the outward in, a student emulating the masters without grasping what motivated them. Turn it off… this is cringeworthy.
Chtheilist – Amechthntaasmrriachth
Gosh, we all remember the day we first heard Demilich like we remember the day we first “got it” with many iconic metal bands. That day is gone and will never be back. If you try to bring that day back, it’s like believing that a gold-plated aluminum idol is a god. You can’t restore that day by imitating it. Just like it wasn’t the beer, the temperature, the cycle of the moon, etc. that defined the day you remember as “the best day of my life,” it isn’t the outward characteristics that make Demilich. It was a vision in the minds and souls of its creator that was became the freaky music you know because that ecclectic combination was the only means to express what needed to be said. Imagine “It’s Raining Men” sung by heterosexuals; it just doesn’t deliver. Demilich isn’t its own style. Demilich is whatever motivated those artists to see the world a certain way and then express it. That being said, this Ctheilist album is an attempt to imitate Demilich and Timeghoul but because it’s outward-in emulation, it ends up being all technique. Underneath this is a very basic death metal album that uses relatively normal chromatic and minor key progressions, riffs and stylings. It resembles a collision between Nocturnus and Broken Hope. It’s quite good for that zone, but it’s not Demilich and while the tribute is touching, it doesn’t make this relatively ordinary music any more interesting.
Ofermod – Tiamtu
It’s hard to dislike this band aesthetically because it imitates the best era of Mayhem, the De Mysteriis Dom Sathanas year(s). Makes you want to kick back, open a beer and a light up a church, right? However, all things that are aesthetic without soul are pointless. Soul means a principle of organization that the artists want to express and communicate. It may be a feeling, a shape or a memory. But it is being expressed, or rather described, as the song takes you from a place of ignorance to a place of doubt to knowledge of the whole thing. When bands have no soul, it is because they are imitating the aesthetic of something. They are like OJ Simpson’s defense lawyers. However, there is no highest principle of organization because it is a checklist of things that imitate the past with no core, no center, no idea behind them. This album sounds like Mayhem’s Wolves Lair Abyss done in the style of De Mysteriis Dom Sathanas, since it cycles like circus music and goes nowhere. Beware nostalgia, it is a death grip on your soul.
Entrails – Tails from the Morgue
Swedish death metal is the sleeper hit of the last 21 summers. Even babies and dolphins love Swedish death metal. Combine the crunchiest distortion possible with simple melodies and aggressive tempo changes, not to mention the characteristic use of textured strumming to give each piece an internal rhythm, and you have pure win as far as metal style goes. It’s like the phrase “do it for the children” in a political speech. But what made the greats great as opposed to footnotes like everyone to follow is more nuanced. At the end of the day, it’s two things: songwriting, and having something to write about. The best Swedish bands had about three good albums in them while they unleashed their perceptions as shaped charges of emotion mated to careful realism. The result was a shuddering cascade of layered sensations of total alienation that conveyed how intelligent people saw the yawning abyss of post-1980s modern society. And then there are those who imitate this, and like a costume ball or a carnival, it must be “fun” because it has no content. The immaculate production on this record is like a doctor’s rubber mallet tapping the knee, because the reflex jerks… and that’s about it. The lack of any further depth and the insistence on using the antiquated hard rock cliches of the 1980s makes this dubious, but the real absence is anything to tie these songs together and make them anything but jam-room projects. Might as well write “NOT Left Hand Path” on the cover to warn people.
Sargeist – Let the Devil In
Post-1996 black metal is out of ideas. For example, how many times can you imitate “Bergtrollets Hevn” and “Måneskyggens Slave” (Gorgoroth) before you truly admit you’re using Silly Putty to life an image from a newspaper, then pretending it’s the real thing? The vocals on this album surge so consistently that it sounds like someone riding a merry-go-round while screaming at the top of his lungs. Despite an obviously intensive and thorough study of older black metal (probably with note cards and those little colored tab things in a binder) Sargeist has none of what makes the songs good. Like Ancient, it tends to like to use melodic minor scale patterns and then drift into more cheerful whole intervals, creating a sense of lifting out of darkness. Unlike Ancient, this band has no idea how to structure songs; these don’t go anywhere, but cycle around until you’ve heard all the good parts, and then evaporate. It’s tempting to want to like this because it’s catchy, sounds like old black metal from a distance, and isn’t all wimpified like more recent black metal. But it’s missing that core, the substance and the unique beauty that black metal found in darkness.
Remember, nostalgia is a way of thinking that says your best days are behind you. You might as well write VICTIM on your forehead (remember to do it backwards if you use a mirror). The best days are ahead. They may not look like the old days, but that’s what life is all about: structure, not appearances. Celebrate the best of the past, and redouble your efforts toward a better future. There’s no reason you can’t do it at any age; Milton wrote Paradise Lost in his 80s, Raymond Chandler got published in his 50s for the first time, and Brahms was in his mid-40s before his first symphonies saw a performance. Take heart! Charge forward! Take no prisoners (and if you do, sodomize them)! Kill! Fight! Win!18 Comments