Innovators of California thrash Cryptic Slaughter return with a cover of their classic song “Nation of Hate” featuring its newest lineup, a twin-guitar attack featuring longtime guitarist Les Evans teamed up with Repulsion shredder Matt Olivo.7 Comments
The blast beat has had a very unlikely journey through its relatively young lifespan in music. Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion. This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity. Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music. Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.
For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit. And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.
A trio of hasbeen sellouts (Carcass, At the Gates, Mayhem) are headlining the annual beer and metal festival put on by shill metalcore SJW magazine Decibel.24 Comments
Article by David Rosales
The eighties, as any other decade, had its own particular flavor, and popular culture had turned to fantasy and horror as a sort of addictive drug. The most grueling slasher films with fake yet more tangible appearances than the digitized reproductions directed at desensitized audiences that we have today. It may be guessed that a lot of this was an outlet for repressed feelings of hopelessness towards the end of the Cold War, in the midst of death squad strikes and political assassinations throughout the world by the very pseudo protectors of liberty.
The menace of a nuclear holocaust made the idea of a post-apocalyptic scenario not so much the stuff of dreams but a possible (and plausible) future not more than a few decades ahead. There was terror in the air, as desperation and fear had already become the habit of a whole generation raised in the shadow of the fairy tales of the great wars and disarmed through the enhancing of shadows on the wall as their very protectors backstabbed them.
The kids born of this former failed generation of proper workmen and citizens grew to distrust all the bullshit thrown at them. Growing up in this era of tension and constant threats outside a bubble of hypocrisy and bigotry made young men of a more realist mentality long for the collapse of the system of lies built by the ‘mature and responsible’. This is the world that gave us death metal as Slayer’s lessons were ran through hardcore punk and then grindcore.
1. Cro-Mags – Age of Quarrel (1986)
Expressing the most bare-bones discontent with society with a sincerity that only the punk spirit can deliver, Cro-Mags adopt metal riff phrasing techniques to give further elaboration to paint pictures of collapse and humanity’s demise that are more grim and nihilistic than the lyrics themselves.
2. Repulsion – Horrified (1989)
While Age of Quarrel is the image of a decadent civilization malfunctioning its way to its own zombification, Repulsion shows us the explosion and its aftermath. The first is fear of impending doom, this latter is terror, desperation and psychotic breakdown in the face of monstrous reality.
3. Carnage – Dark Recollections (1990)
Beneath the blatant visions of disaster and discomfort, the reveling in what is seen as an unavoidable outcome, or perhaps an already present state, is laughed at with the humor of a cancerous patient that knows no clean escape from his own impossible situation. It takes death metal to come out as the triumphant anti-hero, shotgun in hand, ready to do away with the weakness of modern man.14 Comments
Sporting the grindcore label, Maruta try very hard and not altogether without failure to insert technical deathcore riffcraft into a grindcore overall approach. While the technical abilities of the band is not in question as the musicianship in this album is superb and clinically precise, and neither is their creativity challenged, as they remain in focus in terms of style and approach through and through as they bring distinct ideas into the album, the premise of it all is not entirely convincing. The reason for this is that the carnival approach that the technical deathcore, although not completely incompatible with grindcore, is deficient by nature, bringing down the music against the effort of a talented band like Maruta.
Grindcore is known for short songs with abrupt beginnings and endings. The genre is characterized by spasmodic outbursts of madness with ventures into heavy and slightly groovy mid-paced sections whose focus remains on the brutality and aura of the music. All this is achieved by Maruta on Remain Dystopian, however, this is only the superficial description of the genre, the first impression it gives to an audience, and this is where most bands, including this one, get trapped. The grindcore of early Napalm Death, Blood or Repulsion can be described in that way, each with different percentages and variations of said description, but there is something that sets them apart from the crowd and it is that at the construction level, the relation between riffs is still carefully maintained. In Impulse to Destroy, Blood remains fluid through riff transitions even when the they switch between speeds or intensity levels, the smoothness within the song is maintained. At the risk of sounding contradictory, I would venture to say that even relatively abrupt transitions remained smoothed out through execution of small fills or very brief affectations that are characteristic of Blood. Maruta, on the other hand, obfuscate the music with the carnival approach of modern metal bands, creating interest through surprise instead of coherence and build up.
All in all Remain Dystopian is a far more accomplished effort than the vast majority of its contemporaries and fans of the genre should keep one eye on them. While fans of modern metal call this incoherence of the music “experimentation” and “nonconformity”, it all boils down to a lazy gimmick. Maruta has the technical chops, and they definitely have the vision as their focused compositions show us, but the chosen direction is perhaps not the best. Were Maruta to correct this direction and it is possible we would have a modern giant of grindcore in the making.
Arising from modern popular music, underground metal has retained many vestigial traits that several artists have consciously tried to erase and that some observers have started to question as detrimental to the effective expression of the genre. As the title of this article reveals, the case in point is the matter of albums as song collections. A good example of this becoming a hindrance to the message of the music is Gorguts’ Obscura.
Clocking in at one hour, Obscura consists of twelve songs, a little over the typical ten tracks of metal albums since the mid 1970s. The number ten has traditionally been associated with wholeness or completeness. In the most mainstream heavy metal circles it is considered only right to fill that exact number. No more, no less. A lot of death and black metal albums have veered slightly away from this rule and tend close their albums with eight or twelve tracks. Grindcore degenerates have never let numbers stand in their way and have completely given the finger to this rule as Repulsion, Napalm Death and Blood have shown us with their two-digit track lists.
The reason why more original and progressive-minded artists pay no attention to these unofficial guidelines is because whatever the artist has to say in an album should not be restricted by too many tracks. Even worse than being limited by the number of tracks is having to fill up tracks in order to reach the required number. This is precisely how we get the albums with “filler” tracks. Tracks nobody cares for but which make the album more “meaty” for those who care about such things.
More important than the adherence to a particular number of songs or tracks in an album is the fact that most bands produce precisely that: individual tracks bundled up in collections. This is Gorguts’ worse enemy even on their classic of classics. Every one of the songs up to the sixth track, Clouded, expresses a very distinct message in its method. After that, we basically get more of the same. The songs aren’t bad at all, but they do not add anything more to the album except extra minutes and more good songs whose essence is not any different from the ones before them. It’s basically thesaurus recitation.
Some propose that metal needs to look beyond the number, both as a rule and as a kind of indulgence. Just because that you have more songs does not mean you have to put them in the album. Just because you have more riffs does not mean they need a song to contain them. It is suggested that the album format in underground metal be exchanged for the classical opus format, where we have movements belonging to a coherent whole work, in which saying the same thing again and again is unnecessary and highly discouraged but in which consistency in style and voice is required to a healthy but not over-restrictive degree. Metal is not young anymore, the time to consciously take the step to the next level has come.23 Comments
Tags: 2015, albums, Black Metal, blood, Classical, Clouded, death metal, gorguts, Grindcore, movement, napalm death, Obscura, opus, progressive, repulsion, song collection, underground, underground metal
Very few people have any idea what grindcore means at this point because of the high degree of crossover between grindcore and death metal. Not just one way, but both: grind bands becoming deathy in the Napalm Death style, and death metal bands becoming grindy as happened from Suffocation onward.
But what wasgrindcore? History might show us that punk and metal were birthed in the early 1970s and spend the next three decades crossing over. This resembles a quarter-century negotiation as to what aspects of each to keep in the hybrid with the other. Early hybrids included speed metal, which used uptempo punk rhythms, and thrash, which combined metal riffs with punk songs. Grindcore was a logical extension of thrash.
Thrash — exemplified by Dirty Rotten Imbeciles, Cryptic Slaughter and Corrosion of Conformity — grew out of the “thrasher” community which was composed of skateboarders. These were a 1980s movement that existed in the abandoned areas of modern cities where skating was undetected if not permissible. Anarchistic, but also pragmatist, they were like the ultimate hybrid between the individualistic and hierarchical impulses behind human politics. Thrash bands as a result tended to direct their criticism toward society itself and were less likely to hover on one side of the political spectrum or the other, despite having a huge background influence by the almost-universally anarchist punk movement. We can only assume the additional influences on thrash came from metal, which was more likely to take a historical and impersonal view of life, where punk was much more personal and present-tense.
Where the bands that prompted the early speed metal and thrash hybrids were punk hardcore (The Exploited, Cro-Mags, Black Flag, Minor Threat, GBH) and early crustcore (Discharge, Amebix) bands, thrash in turn spurred hardcore on to become faster and more extreme, resulting in shorter songs with more metal-like (more chord changes, more internal texture) riffs. The later punk hardcore bands like Void, Faith and Siege prompted a gnarlier sound, picking up on the distorted vocals which has become a staple of the previous punk generation, perhaps prompted by Motorhead and Lemmy Kilmister’s incomprehensible gargled-glass screaming.
From this inspiration, a movement caught on in the late mid-1980s. Fronted by bands like Repulsion and Napalm Death, it quickly diversified and spread worldwide. However, like punk before it, grindcore did not have much staying power. The more one streamlines and simplifies, the fewer variations exist, until most things can be described as a modification to an archetype. At that point, bands lose the ability to distinguish themselves and thus realize their talents are better applied elsewhere if they wish to distinguish themselves. Nevertheless, between 1986 and 1990 the foundational masters of grindcore emerged in the form of Repulsion (1984), Napalm Death (1985), Terrorizer (1989), Blood (1989) and Carbonized (1990).
You probably remember Al Leong even if you never knew his name. He has acted in dozens of films as a bad guy supporting other bad guys. Hence the name of the documentary Henchman: The Al Leong Story directed by Repulsion guitarist Matt Olivo, which will see release in 2014.
Olivo has continued his musical career in parallel to his cinematic one. Interviewing dozens of media moguls and high-profile talent such as John Carpenter, Olivo assembled the documentary out of reminiscences and interviews. These enabled him to portray the career and life of legendary Hollywood stunt performer, actor and martial artist Al Leong, famous for his work in Die Hard and dozens of other violent entertaining films.
To help Olivo continue his overtime career (once you’ve been in Repulsion, you’ve wona t life) go to the Henchman: The Al Leong Story Facebook page and make sure to “like” the page, and then spread the word of the film to friends, family, bystanders and any movie industry executives you happen to know.No Comments
Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces
edited by Albert Mudrian
365 pages, Da Capo Press, $14
|The 25 Masterpieces|
Black Sabbath – Heaven and Hell
Diamond Head – Lightning to the Nations
Celtic Frost – Morbid Tales
Slayer – Reign in Blood
Napalm Death – Scum
Repulsion – Horrified
Morbid Angel – Altars of Madness
Obituary – Cause of Death
Entombed – Left Hand Path
Paradise Lost – Gothic
Carcass – Necroticism — Descanting the Insalubrious
Cannibal Corpse – Tomb of the Mutilated
Darkthrone – Transilvanian Hunger
Kyuss – Welcome to Sky Valley
Meshuggah – Destroy Erase Improve
Monster Magnet – Dopes to Infinity
At the Gates – Slaughter of the Soul
Opeth – Orchid
Down – NOLA
Emperor – In the Nightside Eclipse
Sleep – Jerusalem
The Dillinger Escape Plan – Calculating Infinity
Botch – We Are the Romans
Converge – Jane Doe
|Eyehategod – Take as Needed for Pain|
Rock journalism challenges even the bravest writer. Musicians are not known for being articulate, nor is it easy to pin them down, and lore snowballs in that vacuum. For this reason it’s great to see the series of in-depth explorations that have come about recently regarding many classic events of metal. As musicians age, given that musicians have a shorter life-span than average, this is also a race against time in many cases.
Albert Mudrian’s Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces presents a welcome addition to the genre of historical metal journalism. Combing through archives, the writers of each piece compiled band statements about the album and put them together in linear form, like a conversation. The result is a whole lot of information delivered in a very digestible form, with the extraneous confusion of live interviews edited right out of the picture. It’s a good starting point for anyone looking into these historical nodal points in the evolution of metal.
Mudrian seems aware how easily a book like this could become repetitive. Not just in the answers, where musicians might make roughly similar statements about touring, band formation, the troubles of collaboration and so forth, but in the similarity of bands. If for example he added another three Swedish death metal bands, it might start to get a little bit stuffy in the virtual room he’s created. Instead, he gives us space between acts and a wide variety of acts, but avoids the really awful nu-metal and tek-deth. However, the price of that spaciousness is that he includes bands like Monster Magnet and Kyuss which really aren’t metal at all.
There are some shockers in content, too. Some of these bands, despite their professions of various depraved behaviors, are insanely business-like in how they go about getting recorded and published. Sleep, Cannibal Corpse, Dillinger Escape Plan, Botch and Converge really had their act together. For a few moments, it was more like reading Forbes than Decibel, but it’s really gratifying to see this side of the business portrayed honestly. If you want your music heard, there’s a certain amount of business activity that must precede that event.
On the whole, these chapters are extremely well edited including the choice of material. They are in question-answer form, where the questions are usually prompts about historical events or general questions applied to specific moments or activities. When an incidental or minor character is cited, he or she speaks up for a few questions and then fades out. The bulk of the material favors the most articulate band members and major actors, but the writers shoehorn in as many diverse perspectives as they can. This makes reading Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces feel like being in a comfortable pub with these bands, on a rainy day, with a tape recorder next to the ashtray.
Each chapter corresponds to a classic album and comes with an intro paragraph. If anything, here’s where the book could benefit from some uniformity and toning down the “rock journalism” aspects. Perhaps not a just-the-facts-ma’am approach, but more of an assessment of where the band fits into history and why people like them, and leave it at that. Some of these were over the top for the actual function they serve. However, among the bombast is a lot of good information.
At that point the interview(s) compiled into a single form take over. Most of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces is the bands speaking, and that is the power of Mudrian’s editing and the work of his colleagues. They’ve trimmed out the transient stuff, the window dressing and repetition, and left us with clear statements from the bands that show them in their own voices and approaching the situation at their own angle. This also helps create an epic feel to the epic interviews because it’s a compilation of the best moments of the band commenting on this album, put into one form that flows naturally.
Was the intro, “Human,” something you had conceived of before you went into the studio?
Ain: Yes, we had the idea before we went into the studio — we wanted to loop a scream and make it perpetual. We also wanted to use it as an intro for the live shows. A regular human scream would never last that long, so we wanted to loop it and make it sound like a scream from hell, like how you would scream if the pain was everlasting.
Warrior: We had talked about it, but we were basically still laymen, so we had no idea how we could put it together. So we told Horst what we wanted to do, and he proposed how to do it. But as I said, we only had six days to do everything. If one thing failed, we would’ve gone over budget or had to go home. So, in hindsight, it’s a miracle that tracks like “Human” or “Danse Macabre” came out the way we wanted them to. We couldn’t rehearse some of those parts, you know? I have no idea how we did that in just a few days, especially given our lack of experience. But therein lies one of the strengths of Celtic Frost to this day: Martin and I usually visualize certain pieces of music down to the last detail without even touching an instrument.
This excerpt reveals the power of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. In the midst of the mundane description of studio struggles, Tom Warrior articulates part of the essence of his band. Many such moments of insight, casually and offhandedly mentioned in describing some rather ordinary thing, flesh out this book and make it more than a fan’s quest but a resource for musicians and anyone else curious about the origins and process of creating extreme metal.
Not everyone will agree on certain aspects of this book and naturally any choices made along these lines are divisive. However, the book has enough to offer just about anyone who loves metal so that the purchase will not be regretted, even if there are chapters you skipped. In fact, I recommend skipping those chapters and approaching this book as a buffet. No matter what sub-genres you adore, you’re going to have at least five you’re dying to read, another five you’re very excited to read, and another five you’re curious about, and the rest will be uncertain but you might find some interesting information there, as I did.
It is impossible to find just 25 to represent metal. Some of these choices are nods to the music industry and mainstream fanbase, like Dillinger Escape Plan, or to history, like Botch, who were the vanguard of the metalcore movement. Some are near-misses like the apologetic At the Gates treatment of their best-seller, but this interview also confirms a lot that reviewers said about this album, namely that it was retro to the past generation of metal and somewhat hasty. Some others, like Converge and Eyehategod, seem marginal in that these bands spent a lot of time disclaiming metal back in the day.
On the whole however Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces offers a good pan-and-scan perspective of what was going on in metal at the time, and by showing us the fly-over accumulation of variety, Mudrian and Decibel show us not only what these bands were doing, but the forces against which they were struggling to define themselves. The result is a treasure hunt of a book, bristling with secrets and previously undiscovered pathways, for those who enjoy extreme heavy metal.7 Comments
Tags: albert mudrian, At the Gates, black sabbath, books, cannibal corpse, carcass, celtic frost, darkthrone, decibel, diamond head, emperor, entombed, extreme metal, eyehategod, morbid angel, napalm death, obituary, paradise lost, repulsion, slayer