Svoid – To Never Return

Svoid are a Hungarian duo hailing from Budapest whose ten year existence has seen the band shift slowly from Black metal towards integrating more and more Rock influences until fully crossing over. While such an evolution is commonplace and the source for various dismal trends, Svoid on the other hand make their intentions clear that they are heavily informed from both genres since their inception and thus provide a combination that is honest and that unlike their peers seeks to integrate the Black metal elements into the heart of the composition rather using them for purely aesthetic reasons.

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Did Rock & Metal Engineer Societal Destruction?

What do Jonathan Davis, Corey Taylor, and Scott Weiland have in common?  Answering the question “90 Hard Rock singers” would not be incorrect, but there’s something darker beneath the surface – all three men are rape victims.  Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Taylors lyrics are riddled with sexual abuse.

Why were the executives of the murder industry so keen on pushing rape victims as the new face of rock n’ roll?  Furthermore, why were the most popular genres of rock and metal so lyrically obsessed with self destruction?  From Grunge “morality is useless and life is hopeless” to Nu Metal “I’m a freak and everyone hates me” to Emo and Screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been” the message of mainstream rock and metal music has constantly be one of self destruction.  This trend is mirrored by a 25% increase in American suicides in American suicides since the 1990s:

Suicide rates increased by 25% across the United States over nearly two decades ending in 2016, according to research published Thursday by the US Centers for Disease Control and Prevention. Twenty-five states experienced a rise in suicides by more than 30%, the government report finds.

More than half of those who died by suicide had not been diagnosed with a mental health condition, said Dr. Anne Schuchat, principal deputy director of the CDC.

“These findings are disturbing. Suicide is one of the top 10 causes of death in the US right now, and it’s one of three causes that is actually increasing recently, so we do consider it a public health problem — and something that is all around us,” Schuchat said. The other two top 10 causes of death that are on the rise are Alzheimer’s disease and drug overdoses, she noted.

With statistics like this, it’s absolutely time to panic: our society is being marred by growing influences- intentional or not – to destroy ourselves.  Let’s examine music’s relationship to this now obvious horror and see if we can determine why this is happening.

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Metal Is Not Rock

There remains a massive confusion in mainstream media, society, and culture regarding metal as a truly separate genre of music.  The mainstream media and leftist-controlled academia regard metal merely as a subgenre of rock music, rather than its own distinct genre. This is of course absurd. If metal isn’t its own entirely separate genre of music then jazz, folk, country, and blues are all rock ‘n’ roll too as they can all be played with the same basic set of modern instruments. Since this topic is well-documented in Death Metal Underground’s extensive Heavy Metal FAQ, in this article I will merely layout some basic musical differences between the genres and provide a few appropriate examples to hammer it down into the brains of the ignorant.

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This Ends Here / The Conqueror Worm – This Ends Here / The Conqueror Worm (2017)


Review contributed to Death Metal Underground by Jon Browning.

This Ends Here / The Conqueror Worm is a not totally godawful, self-titled punk split from the bands of the same names. You won’t want to shoot half of them after listening to it if you’re that bored you know. This Ends Hear’s a-side consists of atmospheric d-beating crossover similar to Discharge crossed with Celtic Frost to create punk with the same tempo as 1990s post-hardcore and atmospheric sludge with none of the outright guitar wank and junkie idiocy. While listeners have probably heard the standard d-beat rhythms, the influence from the stranger, melodic side of speed metal (Sabbat and the Brazilians) and later post-hardcore gives them strength beyond the robotic machine punk guitar wank of bands like Martyrdod. This Ends Here would do well to get rid of most of their bluesier attempts at atmosphere in future material or better integrated it into flowing compositions similar to the better Celtic Frost influenced death metal like Autopsy and Obituary – Cause of Death you know.

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Space Rock Special: Hawkwind (1971-1973)

Hawkwind

Article by Johan P.

The stylistically inclusive nature of progressive rock allows quite a lot of stretching of the genre’s musical boundaries. This part of Death Metal Underground’s 1970s Progressive Rock for Hessians series looks into the early, classic period of the English group Hawkwind – a group of sonic shaman-warriors who transgressed more than one genre border right from their inception. Well, almost. Their unconvincing 1970 self-titled debut album can rightfully be dismissed as a failed attempt at improvisational psychedelic folk rock, with songs that sound too much like flawed byproducts of the flower power era. Luckily, the following years saw the band re-forge their sound on In Search of Space (1971), articulate it on Doremi Fasol Latido (1972) and finally push their newfound style to its limits on Space Ritual (1973).

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Yes – Fragile (1971)

yes fragile

By Johan P, with the amiable assistance of David Rosales. This review continues Death Metal Underground’s 1970s Progressive Rock for Hessians series.

In this part of the article series “1970s Progressive Rock for Hessians”, I have chosen to take on the English group Yes‘ fourth album Fragile from 1971. While their fifth effort, Close to the Edge, is generally regarded as their creative peak and definite statement, Fragile was more important for the development of the nascent progressive rock genre, and perhaps a more suitable entry point for someone who is getting into prog rock from a metal background. There is definitely a sense of power in the works of Yes even if it takes on a different form than what we are used to in metal music. Where early metal bands like Black Sabbath expressed a gritty, doom-laden heaviness through guitar-centered power chord riffing, Yes opted to build momentum through a more instrumentally integrated approach. That is not to say that there are no heavy guitar parts on ‘Fragile’, but here the guitars assume a somewhat different role than in metal.

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Genesis – The Lamb Lies Down on Broadway (1974)

genesis-the-lamb-album-cover

Article by David Rosales and Johan P. This article is the second in our 1970s Progressive Rock for Hessians series initiated by Johan.

Released in 1974 and signaling the departure of Peter Gabriel from Genesis, The Lamb Lies Down on Broadway brings the classic era of the band and the genre to an end. It does so rather inconspicuously with a profound accomplishment that is not easy to summarize in such few words. The album materializes the several tacit goals of progressive rock: the incorporation of classical music methodologies into the making of pop rock music, stylistic expansion within coherent boundaries, to the neo-romantic mystical allusions boiling up from vague lyrics into aural explosions in sound.

Musically, it makes use of straightforward pop rock expression expanded with a nod to classical-era structures, while ambients range from avant-garde noise to ambient instrumentals. We may even see the precursor to the post-rock aesthetic but Genesis takes the music somewhere rather than moronically dancing around in the same place. The use of themes throughout songs and the album itself is prominent; it holds the album together and is a direct consequence of that proper classical influence. The lyrical theme of the album is based on Judaic mysticism, with references to the Kabbalah in song titles, concepts, and even the number of total tracks of the release.

The influence of Genesis as per their style at their pinnacle in The Lamb Lies Down on Broadway virtually defines a whole generation of the pseudo-prog we see today in the likes of charlatans to which Steven Wilson belongs, or supreme posers Dream Theater and their numerous unoriginal underlings. Opeth cannot be counted among the superficial fools living off the greatness of Genesis as they are a more eclectic collection of disparaged sources poorly sewn together and because the very little prog rock influence they displayed comes from Gentle Giant. With all certainty, almost any decent-sounding, so-called progressive outfit today that leans towards a pop rock sound with unconventional sound structures is probably directly or indirectly defined by (not merely “influenced” by) classic Genesis.

Particularly outstanding is the elite drumming that underscores the thematic progressions of the rest of the music. At each point it answers to needs in the music, while not shying away from dramatic or even amusing additions to the mix. Jazz percusion technique here is used with taste, forwarding the music, rather than becoming an instrument for divergence into hedonist egotism. Despite this, in The Lamb Lies Down on Broadway, none of the elements actually jumps out at the listener: the technical merits are so perfectly fused with the living flow of the music they may be overlooked. In this we may find great contrasts with Yes, whose brilliance was always a close-neighbor to instrumentalist prowess, threatening to and eventually taking over precedence of deeper motivations that move true art (as we see in Relayer).

To finish our brief discussion on this definitive album for progressive rock, we would be remiss in failing to attend to the reasons it achieves such excellence. Considering Nietzschean Apollonian versus Dionysian interplay, a reasonable speculation might start by pointing out that the most superficial and recognizable sounds in this album are distinctively ground in their seventies era. Even the use of avant-gardisms remains within the framework of the experimentation of its time and exemplifies what Pink Floyd were never able to properly approximate. The Lamb Lies Down on Broadway does not reject its contemporary influences, but through them accepts the band’s chronological appearance in history and maximizes their channeling of ulterior and less ephemeral reasons.

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