War metal like old intensely rhythmic death metal lives within the chromatic scale and only offsets that with bookends of broad leaps in riff, often whole tone scale with a melodic leap in the middle, to interrupt the codex of texture it unleashes to maintain a mood of energy and penetrating beneath surface appearance.6 Comments
Gene Palubicki from Angelcorpse notoriety returns with a new album that continues within the tradition of Black metal informed Floridian Death metal. Perdition Temple bring a level of technical acumen that has been denigrated by fans and practitioners of this style in recent years without falling into the pitfalls of Modern metal.3 Comments
Ripping extreme metal band Perdition Temple (ex-Angelcorpse, Immolation, and Ares Kingdom) has released its latest blast of high-speed terror with “Desolation Usurper” from the upcoming third album of the band, Sacraments of Descension, due out sometime this year.14 Comments
Hells Headbangers has released a free compilation featuring every band that will be playing at their upcoming Hells Headbash Part 3 festival in Cleveland, Ohio on September 2nd-4th. Mailed paper tickets may be purchased from the label’s webstore, online tickets may be purchased on Yapsody, and more information may be found on the festival’s Funbook event page.2 Comments
Tags: acid witch, angelcorpse, bandcamp, compilation, demoncy, Embalmer, festivals, Grand Belial's Key, hells headbangers, Hells Headbash, hobbs' angel of death, incantation, necrophagia, perdition temple, profanatica, revenge
The Behistun Inscription of King Darius was carved approximately 2,500 years ago in what is present day Iran. It includes a multilingual narration (the veritable Rosetta Stone of cuneiform) and a relief which depicts the Great King before nine men whose hands are tied and necks roped. These nine doomed men symbolize the leaders who dared challenge Darius I’s power and the inscription narrates how the Great King and his army “utterly smote” all opposition time and again. It is a monument to masculine preeminence, violence, and revenge; elitist and cruel it is typifying of what is great in life: victory. These are timeless aesthetic values which parallel a modern metal ethos and embody its philosophy of power – as Nietzsche once wrote, “The excess of power only is the proof of power.”
Slavoj Žižek writes in his 2008 book ‘Violence’ that most of us are “caught in a kind of ethical illusion”, which is ingrained in our instinctual reactions and that “This is why shooting someone point-blank is for most of us much more repulsive than pressing a button that will kill a thousand people we can not see.” (e.g. Milgram experiment) This is the same evolved psychology as William Blake inquires questioningly about in ‘The Human Abstract’, as Baudelaire’s “unmoved hero” lends counterpoint to in his “Don Juan in Hades”, as Byron attempts to exploit in “The Prisoner of Chillon”. The general innate effect induced reflexively by cognition of some negative state from which either sympathy, empathy, or indifferentism commands our attention. Through this, the deduction or normalization of altruism and pacifism as the commonality can then be contrasted to the induced (or conditioned) opposing hierarchy of predation, hegemony, and misanthropy. Herein we see where a great form of power lies, where the aesthetic values of works like the Behistun Inscription draw their wealth; here we define the base sum from whence the antithetical, or negative, values arise and thus saturate a work of art through mechanisms of visceral response. There is a physical relationship stemming from reality to the values and ideas I am speaking of that is inseparable: our minds.
From an inseparable form in understanding come values, or categorical variables, which define much what draws me to a piece, or genre. These categories tend to revolve around my intuitive response to, or interpretation thereof, distinct drama/ representations characteristic of the grander ideals which germinate visceral responses. From this negative inclination much has been cultivated in the form of artistic tributes, both modern and old, to the glory of death, ruin, victory, and the mental states which are the highest peaks of emotional experience; an impact to psychology like arousal to a sex organ. Because for all the waxing upon the beautiful as an ideal one can happen upon it becomes self evident that that which is ugly, deformed, sickly, unclean, or of choleric temperament, can bring about a much more physical reaction. Watching executions, hearing cries of agony, observing the emaciated, the diseased, the exploited, the broken, the deformed, in even the briefest of glimpses the effect can be very real and intimately innate, as a substance that holds unending possibility for suffering which the light of creative ambition shines upon.
The one I have before me now is Perdition Temple – The Tempter’s Victorious. It is an eight track onslaught of blackened death metal for the modern day exterminationist. There are general themes of mass death, satanism, and morbidity, the sort of abstracted fantastical storytelling common the genre, and though there may be some weakness in the textual substance the incorporation of the ideas is well executed. The sound carries an approach to structure that focuses on an unceasing attack of technical riffing at a tempo evocative of full auto fire backed by vocal and percussive dynamics arranged with the structural integrity of a M1 Abrams. There is a detectable formula to the album as a whole, e.g. a crushing and sometimes chaotic guitar sound matched to blasting drums and Impurath preaching hate, but such is the style and the elitists expectation towards consistency. The musicianship displays high caliber and the black, thrashy, satanic death format feels natural and engaging, as opposed to coming off as contrived.
This album falls far more into the Florida death metal stereotype than one typical of USBM. The music predominantly builds on precise, aggressive, density and a sort of rapid oscillation between heightened tension and resolution that is ever running at full tilt. Considerably inaccessible, or lacking in the common musical expectancies of harmony, contour, etc. The Tempter’s Victorious plays a familiar style that reminds me in many ways of bands such as Angelcorpse, Blasphemic Cruelty, Diabolic, etc., and others whom have shaped their music to be the antithesis of traditional demands from the listener. However, as an educated devotee, this material is appreciated all the more for the respite it provides from the hell of popularist modernity and the industrial scale by which accessibility is mass replicated. Perhaps that is also a commentary on the infuriating nature of refinement, and while it may be true to conclude that Perdition Temple present little in the way of new frontiers and that this may not be the most memorable of albums it is nonetheless a solid product of extreme metal.
Released by Hell’s Headbangers and available for limited free streaming, I’d suggest checking out the title track, “Doomsday Chosen”, “Scythes of the Antichrist”, and “Devil’s Blessed” which should give you a working idea of what you can expect from this band, e.g. heavy usage of palm muting, tremolo picked arpeggios, varied meters, dissonance, endless blast beats, shredding solos etc. Should you be of a similar mindset to myself, you’ll no doubt conclude this is a worthy black/ death release created by established musicians. The strongest aspect of this band is the quality of death metal put forward, e.g. the most important part. I believe what is really lacking is a stronger or more developed voice, vision, or intentionality behind the imagery and topicality of their expressions. The use of black metal themes and attributes does well to fill this void, but when you draw contrast to the strength of the music the actual thematic purpose of the album becomes exceedingly generic. One needs only a cursory reflection on the lyrical content to realize this has an identical failing of many black metal albums inasmuch as the lyrics center around bizarre satanic fantasies, using odd/nonsensical word combinations, and words seemingly chosen merely for dramatic effect. By looking less superficially, one overcomes this short coming, as analyzing the value system producing the content affords one endless range by which to indulge the emotions of hate, violence, and victory.4 Comments
At long last, Blasphemic Cruelty return from the dead with a new mini album, Crucible of the Infernum, set for international release on July 20th on both CD and vinyl formats. Seven long years after their debut album for Osmose, Devil’s Mayhem. Led by six-string assassin Gene Palubicki (Perdition Temple, ex-Angelcorpse), this power-trio remain committed to deathrash rooted in the 1980s but loaded up with modern arsenal.
Check out the first promo track on their facebook upload.1 Comment
Underground survivalist label Hells Headbangers has released a free digital music compilation entitled Compilation Volume 8. Featuring cover art by maniac visualizer Antichrist Kramer in clear homage to Blasphemy Fallen Angel of Doom, the compilation provides free listening to introductory tracks to a number of bands from new and old undergrounds alike.
Hells Headbangers described it thus: “30 TRACKS TOTAL featuring brand new songs from upcoming albums by DEATHHAMMER, PROFANATICA, DEIPHAGO, DESTRUKTOR, NYOGTHAEBLISZ, CIANIDE, SCYTHIAN, BARBATOS, NOCTURNAL BLOOD, DIAVOLOS, BONEHUNTER, PERVERSOR, ABYSMAL LORD, and NEXUL, songs from newer EP releases by FORCE OF DARKNESS, DEMONA, The HAUNTING PRESENCE, DWELL, SHED THE SKIN, as well as material from earlier releases in 2015 and mid-late 2014 by SATANIC WARMASTER, GOAT SEMEN, ATOMIC AGGRESSOR, ABOMINATOR, DESTROYER 666, OCTOBER 31, AEVANGELIST, PERDITION TEMPLE, EXECRATION, GOUGE and The LURKING CORPSES.”No Comments
Tags: abominator, abysmal lord, aevangelist, antichrist kramer, atomic aggressor, barbatos, bonehunter, cianide, death metal, deathhammer, deiphago, demon, destroyer 666, destruktor, diavolos, dwell, execration, force of darkness, goat semen, gouge, hells headbangers, nexul, nocturnal blood, nyogthaeblisz, october 31, perdition temple, perversor, profanatica, satanic warmaster, scythian, shed the skin, the haunting presence, the lurking corpses
Perdition Temple’s sophomore album is one of riffs written and dispersed as discrete packages. These are sewn together into short, explosive bundles extremely dense in content but not always boasting the smoothest of transitions.
Often the tonal shift between adjoining bars is far too drastic to convey any sense of uniform texture, giving the impression of an album constructed from a granular, low-level perspective rather than a more holistic, top-down approach. Meaning that the band came up with a whole bunch of riffs first, before cobbling them together into songs. Performed at near-always breakneck speed, songs pass by in a whirlwind of intense activity that isn’t always easy to discern. This is blistering and warring death metal displaying none of the stalling tactics practiced by modern death metal bands, and for that much it deserves credit.
There is interesting micro-play within individual parts but the whole doesn’t foster or even attempt to put much store in memorability. The addition of Bill Taylor as guitar foil has given Gene Palubicki free rein to indulge himself as he never had chance to on past efforts in Angelcorpse or even the Perdition Temple debut. The role of rhythm is sometimes completely dispensed with, the two guitars intertwining like Hermes’ serpents about a support of hyperactive drumming, sniping and spitting out angular phrases that, in surface aspect, wouldn’t be unseemly on a tech-death album. But this act’s pedigree being firmly rooted in death metal, the constant barrage of information never loses its essence of violence. A return to themes familiar from older works, primarily through the use of groove as introductory and relaxation device, is in greater evidence during the second half of the album.
As always, incendiary solos faithfully modeled after Trey Azagthoth find space on a Palubicki album. Azagthoth’s best work was unparalleled, however, because it was the original extension of its creator’s will and personality, much like the eternal consciousness standing outside of time and space, before the birth of time and space, that Eastern monism proposes, willing all creation into existence from within itself. Palubicki’s solos are the finest replicas of Trey Azagthoth that death metal has seen but ultimately they fall on, and should be judged by, the sword of rote inspiration that created them in the first place.7 Comments
Perdition Temple, a band composed of Angelcorpse and Immolation members, will release its second album The Tempter’s Victorious on Hells Headbangers Records on March 24, 2015. The album shows the band refining their militant high speed slamming phrasal riffing in a style of death metal similar to Vader and Fallen Christ.
In many ways the underground’s response to the technical metalcore currently in vogue in the above-ground “underground,” Perdition Temple crafts songs from high speed strumming and extensive fills. On the new album, the band intensifies this approach and adds chaotic lead guitars which give it an oddly occult flair.
Simultaneously Perdition Temple announced that the band is slated to play Hells Headbangers’ forthcoming Hells Headbash 2 label anniversary festival on September 4-6 in Cleveland, Ohio (USA). The band will join other such Hells Headbangers-affiliated bands as Profanatica, Archgoat, Deceased, and Cianide.
- The Tempter’s Victorious
- Extinction Synagogue
- Scythes of Antichrist
- Goddess in Death
- The Doomsday Chosen
- Chambers of Predation
- Diluvium Ignus
- Devil’s Blessed
- Gene Palubicki – guitars (Apocalypse Command, Blasphemic Cruelty, ex-Angelcorpse)
- Bill Taylor – guitars (Immolation, ex-Angelcorpse, ex-Feldgrau, ex-Xenomorph)
- Impurath – vocals (Black Witchery, ex-Irreverent)
- Ronnie Parmer – drums (Catalysis)
- Gabriel Gozainy – bass
Former Angelcorpse guitarist Gene Palubicki and his band Blasphemic Cruelty have announced the cover for their upcoming mini-album Crucible of the Infernum to be released on Hells Headbangers in early 2015.
The EP will feature three new tracks and a cover of Sodom “The Crippler,” in addition to cover art by Juanjo Castellano Rosado. Palubicki says: “It has taken a bit of time, since 2008, to get back here with some new Blasphemic Cruelty material, but time has come for our death engines to rattle, and it is in the form of Crucible of the Infernum. It will feature three new full-force death/thrash insanities as the band is known for from the previous output and a merciless cover version of Sodom’s ‘The Crippler.’ Final mixing sessions are in mid-January, and we’re aiming for an early 2015 release.”No Comments