For those who have not yet listened to the local hipster whisper gossip train, Plague of Tyranny is a megaband composed of Paul Speckmann (Master), Alex Bouks (Goreaphobia), Jim Roe (Incantation), and Chuck Sherwood (Incantation).1 Comment
We all know the metal cycle: something gets press, people rush out to buy it, and then years later we see it in the sale bin as companies reduce stock in something which, since it is no longer in the metal media, is not selling. Right now the re-issue of the Abomination demos is getting this treatment.4 Comments
From roughly 1984 to 1992, Paul Speckmann recruited different lineups to express the same idea through different band names such as Master, Deathstrike, Abomination, Funeral Bitch, and Speckmann Project. With similar basic sounds and shared songs, these bands differed mostly in personnel.1 Comment
Master on their seminal record On the Seventh Day God Created… Master operated on the principle of taking one idea and pounding it into the listener’s brain as much as possible without droning on and maintaining some form of forward movement. Paul Speckmann’s riffs are simple and straightforward but there was always something there that pushed them above the hordes of bands making minimalistic Hardcore influenced Death metal. The first actual riff of the first song “What Kind of God” is a perfect example of what made Master deceptively unique at the riff level.
Hammerheart Records is reissuing Master‘s second album, On the Seventh Day God Created… Master, on both CD and LP. Get the CD digipak as it contains the Speckmann Project as a bonus disc. Leave the vinyl with the same sound for the hipsters.3 Comments
Master are embarking upon an American tour to promote their recent Epiphany of Hate album. Hopefully the Portland show will have a bigger turnout as the last major metal show there, Profanatica, had a very poor turnout due to social justice warrior fanaticism.5 Comments
Master, Autopsy, Motörhead – what do they all have in common? They’re all long running bands that settled on a workable style relatively early and generally stuck with it for decades, gradually refining their craft while managing not to lose control of the forces that initially motivated them. Master is arguably the grandfather of this tradition within the realms of death metal, as they’re the approximate beginning of the constellation of Paul Speckmann projects (since War Cry is allegedly a far cry from most of his work). Given that Master sticks with tradition on An Epiphany of Hate, anyone who’s familiar with Master should know exactly what they’re going to get.
This album belongs to the more elaborate school of Mastercraft that’s come into being in the last few years; while Master has never written especially long or complicated songs, the level of musicianship and organization on display here is a definite improvement from the early days of the band. The production and mixing is also higher fidelity, but improving such is not nearly as difficult as becoming a better songwriter. I’d argue that Paul Masidval’s (protip: Cynic) contributions to Master during his brief mercenary period in the early 1990s must’ve resonated with Speckmann on some level and encouraged this elaboration. An Epiphany of Hate is still relatively sparse in its overall construction; the songs here are built out of comparatively few riffs; if not necessarily the three per song figure that comes up in older discussions. Monophony is still the band’s weapon of choice, but like many of the bands that have… mastered this sort of metal, Master’s musicians know when to keep it up and enjoy their freedom of melody and tonality and when they should instead use some sort of harmonic reinforcement. This expansion without overextension is something a lot of bands aren’t able to successfully pull off, so it does reflect pretty well on them.
I don’t know how much of an advance An Epiphany of Hate represents over 2013’s The Witchhunt, if any, but it’s still a good addition to Master’s legacy and a worthy addition to your 2016 collections.2 Comments
The varied Paul Speckmann projects — Master, Abomination, Funeral Bitch, Death Strike and Speckmann Project — reveal attempts to forge a new genre out of the ashes of speed metal. Roughly combined of metal, punk and 60s rock, the Speckmann approach took several forms which reflected his vision of what was occurring in music at the time.
Funeral Bitch comes to us straight from the 1986-1987 era and reflects the influence of thrash on Speckmann. Not thrash as the teeny-bopper magazines us it to describe Metallica-style speed metal bands, but thrash in the sense of Dirty Rotten Imbeciles, Corrosion of Conformity and Cryptic Slaughter. Funeral Bitch sounds like the first COC album hybridized with the early Sodom demos under the advice of The Mentors.
Short songs weighing in at around two and a half minutes or less use the infectious vocals Speckmann borrowed from 60s rock, the buoyant energy from punk, and the shaped phrasal riffs of metal but deliver the punch quickly. Versions of “The Truth” and “Funeral Bitch” from other Speckmann projects reveal how these songs were sped up and the vocals simplified to a single cyclic hook for this rendition. The result is in many ways more compelling, because the extreme speed and thrashing drum aggression of Funeral Bitch requires simplification and removes many of the excesses inherited from rock that made Master and Abomination releases confused at times. Like commando raids in the night, these short songs leap in to the fray, speak their piece, bash down the opposition and then disappear into the jungle.
These two demos provide different views of the same idea. The earlier one shows more of a punk influence, while the later shows the marks of actual thrash and perhaps influences from the rising grindcore scene. On this re-issue they are at radically different volume levels which makes regular listening difficult, but these historical recordings fit another piece in the puzzle of the evolution of underground metal and provide a punchier, more effective version of the Speckmann vision.2 Comments
When the new genre of death metal emerged, no one knew what to call it at first. It grew out of a time when metal was just managing to break out of its last assimilation by rock, the late 1970s and early 1980s glam, through speed metal bands like Metallica. As soon as those broke through, others followed with an even more alienated and disturbing sound with what came to be called “death metal.”
Since that time, advertisers and marketers have descended on the phrase. Outsiderness means authenticity and authenticity sells products. Every product that wants to tag itself with rebellious, “fun” and nonconformist would benefit from using the term. But before it became another media tag-line, death metal constituted the most vital genre that existed outside that form of social control.
Its origins remain in murky obscurity, but can be tracked through the bands that innovated the sound. Read on for the five albums that invented this sound.
1. Sepultura – Morbid Visions/Bestial Devastation
Way back in 1985, Sepultura released Bestial Devastation as a fully mature death metal album including unorthodox song form that fit to content and Slayer-style introductions with related motifs to new riffs. Fast and furious in the style that Morbid Angel, Massacra and Vader later developed, this tremolo-picked fury joined Morbid Visions on a release to commemorate these early and massively influential works. Notably this band also spun off guitarist Wagner Antichrist to Sarcofago who later kept black metal alive in the intermediate years between Hellhammer/Bathory/Sodom and Mayhem. Although this early release was recorded with borrowed instruments in what sounds like a dungeon with DC power, many of the elements that became central to death metal presented themselves here: complex riff changes fit together by theme, abrupt breaks, layering by repeating at double speed, use of chaotic guitar highlights, and vocal drops over transitional riffs. For its primitive origins, Morbid Visions/Bestial Devastation demonstrates death metal entering its maturation process after early years of using loan-techniques from related metal and punk genres.
2. Possessed – Seven Churches
Like many early albums attempting to forge a death metal path, Seven Churches borrows much of its technique from earlier styles of metal. In particular, much of speed metal persists here in song structure and rhythmic sensibility, but Possessed nailed the infernal voice that would become an easily noticed characteristic of the genre and gave it its name. This album slashes through songs that mostly follow riff-chorus song format but interrupt it with discursive passages such as the famous melodic riff on “The Exorcist.” Riff shifts generally occur at significant points in the song rather than as extensions of the standard format, which gives this release a chaotic and uneven feel fitting its subject matter. Its song titles embraced outright positive feelings about Satan, which in the 1980s was enough to cause a listener social problems. The lyrics no longer warned of the possibility of evil, but the certainty of it and the necessity of embracing it to avoid the rotted and calcified lies of the “good.” Its pacing and riff forms often resemble those of speed metal as well as its tendency toward bouncing rhythms which favor the offbeat, where later death metal bands might have adopted a more downbeat approach. Despite spanning these genres, Seven Churches lent so much to the new death metal genre that it forever seems appropriate to associate it with death metal.
3. Death Strike – Fuckin’ Death
Paul Speckmann contributed much to the rising death metal movement under a bevy of different names: Master, Death Strike, Funeral Bitch, Abomination and Speckmann Project. His basic approach took 1960s protest rock, violent punk, and early dark heavy metal and mixed them into what basically sounded like rudimentary metal with punk rhythms. Death Strike emerged in 1985 with death vocals and grinding riffs but Speckmann’s demos had exemplified these attributes for at least two years at that point. While the result sounds spacious for modern death metal ears and uses variants on standard song format almost exclusively, this early embrace of the aesthetics of violent chaos and radically simplified riffing set many on their path down to the fiery depths of death metal.
4. Morbid Angel – Abominations of Desolation
The first Morbid Angel album made it to a limited release only on a small label in Tampa, Florida, and so was lost to time until Earache re-issued it in 1991 as a full release. Featuring the drum and vocal talents of Mike Browning (Nocturnus, After Death) this early powerhouse showed the unique and progressive rock influenced songwriting that would appear on later Morbid Angel but without the similarity of aesthetic. Abundant lead guitar spills out all over, songs vary tempo widely, and riffs span many more forms than the solidified final Altars of Madness — which shares most of its songs with this album after three years of refinement while band members worked at a car wash — would demonstrate. Some of lead guitarist Trey Azagthoth’s most creative and psychedelic playing adorns this release, as well as songs that stray into doom metal and progressive metal territory. While this album followed a battered and twisted path to release, it made itself known to the tape-traders who were the backbone of non-mainstream metal in the 1980s, and from there influenced the entire genre.
5. Necrovore – “Divus de Mortuus” demo
Speaking of demos, some of death metal’s most profound work never made it to vinyl or polycarbonate. Traders passed around demos and most band members were traders or had zines and got copies of demos in for review. “Divus de Mortuus” appeared in 1987 after some years of rehearsal and live tapes circulated among the demo circuit and immediately galvanized many. In particular, its influence can be felt on Morbid Angel, whose David Vincent adopted the more aggressive vocals and warlike posturing of vocalist Jon DePlachett. While the riffs on this demo focus more on abrasiveness and less on phrase, many of the elements inherited through Hellhammer and Slayer shine through here on what might be described as the first atmospheric death metal release. While this demo may never make it into stores, its influence spread outward from Texas to Florida and Europe beyond and it lives on in the death metal that followed it.16 Comments