Notorious multi-national underground metal revival radio show podcast Origin of Feces has launched a new episode featuring a retrospective of the career of Texan occult death metallers Imprecation.
Combining classic death metal and black metal with slapstick humor and mockery of the metal world and the world at large beyond it, Origin of Feces is an attempt to return metal to its more vital days gone by.
DJs Alligator and Tesla run through several classics, including the origins of death metal itself, before battering their way into a block of Imprecation tracks from the past and present works of the band. Expect random commentary and true death metal dedication on this show.
On September 3rd, Sevared Records will release Sorrow and Skin from Boston Death Metal Force Scalpel. Unlike most metal music of this time, Scalpel preserves the old school compositional framework and incorporates some modern metal touches.
In style, Sorrow and Skin represents a mix between West Coast dynamism and East Coast rhythmic intensity in the style of metal pioneered by Suffocation and Deeds of Flesh. Working melody into their blasting intensity, the band craft small adventures in power chords.
DeathMetal.org is pleased and honored to be able to live stream a track, “The Black Juices,” from Scalpel’s Sorrow and Skin. As this release works its way through the underground we are convinced it will win over the dark hearts of many a metal fan.
Scalpel – “The Black Juices” – Sorrow and Skin [mp3]
Scalpel – “The Black Juices” – Sorrow and Skin [ogg]
Dark Funeral, the Swedish black metal band started by Necrophobic guitarist David Parland (whose untimely demise this year shocked the metal world), has a long and storied career. The band is now re-releasing its earlier works with the usual remaster and rare tracks treatment.
The important album to look forward, however, is In the Sign…. This one, which features the guitar work and composition of Parland, shows melodic Swedish black metal at its raging best. With the energy of Belial, and the general aesthetic of a simplified Dissection, early Dark Funeral is a more heavy metal take on black metal that often resembles tremolo-picked version of Ride the Lightning.
In the Sign… as re-issued will be almost twice as long, with the original self-titled MCD/EP combined with four Bathory covers to produce an approximation of an eight-song album. These titles will be released in Europe on September 9 and in North America on November 12 via Century Media Records.
In The Sign… (re-issue+bonus) track-listing **available as CD, LP (plus poster), digital download**
1. Open The Gates (4:36)
2. Shadows Over Transylvania (4:22)
3. My Dark Desires (3:52)
4. In The Sign Of The Horns (3:43)
5. Equimanthorn (BATHORY cover) (3:21)
6. Call From The Grave (BATHORY cover) (4:34)
7. Open The Gates (live 2003) (3:54)
8. Shadows Over Transylvania (live 2003) (3:16)
9. My Dark Desires (live 2003) (3:48)
NOTE: tracks 1-4 are taken from the self-titled MCD (1994), tracks 6-7 are taken from ‘In Conspiracy With Satan’ BATHORY-tribute sampler
The Secrets Of The Black Arts (re-issue+bonus) track-listing **available as 2CD, Gatefold 2LP (plus poster), digital download**
CD1:
1. The Dark Age Has Arrived (00:18)
2. The Secrets Of The Black Arts (03:40)
3. My Dark Desires (03:46)
4. The Dawn No More Rises (03:58)
5. When Angels Forever Die (04:06)
6. The Fire Eternal (03:54)
7. Satan’s Mayhem (04:52)
8. Shadows Over Transylvania (03:41)
9. Bloodfrozen (04:20)
10. Satanic Blood (VON cover) (02:12)
11. Dark Are The Paths To Eternity (A Summoning Nocturnal) (05:56)
CD2:
1. Shadows Over Transylvania (Unisound version (03:39)
2. The Dawn No More Rises (Unisound version) (03:40)
3. The Secrets Of The Black Arts (Unisound version) (03:26)
4. Satan’s Mayhem (Unisound Version) (04:48)
5. Bloodfrozen (Unisound Version) (03:36)
6. My Dark Desires (Unisound Version) (03:21)
7. Dark Are The Paths To Eternity (A Summoning Nocturnal) (Unisound Version) (05:39)
8. The Fire Eternal (Unisound Version) (03:38)
Vobiscum Satanas (re-issue+bonus) track-listing **available as CD, LP, digital download**
1. Ravenna Strigoi Mortii (04:26)
2. Enriched By Evil (04:40)
3. Thy Legions Come (04:11)
4. Evil Prevail (04:28)
5. Slava Satan (03:56)
6. The Black Winged Horde (04:37)
7. Vobiscum Satanas (05:00)
8. Ineffable King Of Darkness (03:38)
9. Enriched By Evil (live 1998) (04:43)
10. Thy Legions Come (live 1998) (04:14)
11. Vobiscum Satanas (live 1998) (05:00)
12. Ineffable King Of Darkness (live 1998) (03:28)
Black metal doesn’t hybridize with much because black metal is by itself a distinctive genre. This distinctiveness comes not from its technique, which is borrowed from atmospheric heavy metal and crustcore, but its attitude and outlook.
Unlike almost every other genre on earth, black metal is not about people in the singular. It’s about life itself. It has no pretense of stooping to your perspective, or making itself appealing and interesting like a crooner. It is like the cold winds of winter nights: untouchable, aloof, lawless and immune to human guilt, morality and fear.
Aborym blend black metal of the blasting type — think Mythos, Zyklon-B or Impaled Nazarene — with both extremely clubby techno and 1980s Gothic power pop. The result is compelling but more on the side of those other genres, because the black metal technique is absorbed. To counter this, Aborym create clever song structures out of variations in texture and on top of those drop in additional layers of melody or rhythm.
Like more mass consumption musics, Aborym uses static riffing here, where a chord is used to sketch out a rhythm. This is different from the normal phrasal riffs of black metal and death metal, where chords are used as notes in melodic phrases that resemble the objects of their symbolic role in the song.
The mixture of sheer keyboards and heavily reverbed guitar chording creates an immersion of sound that must be an unholy terror live. It creates total disconnect in the listener and puts emphasis on the voice and excessively front-ended percussion, which causes the overall song to more resemble 1980s rock than 1990s black metal.
On Dirty, the band work hard to keep each song interesting. The initial thrust of the style is overwhelming, but would becalm itself without the quirky variations that the band throw in for later tracks. As a result, it is listenable without being abrasive, but I’m not sure I’d reach for this a second time as a black metal listener. As a Gothic pop or techno fan, most definitely.
Aborym find themselves in a difficult time frame where black metal has burnt its initial thrust and waits for more clarity. Many of us think it is not stylistic, but a lack of ongoing growth in attitude and outlook. By returning to deconstructed roots and hybridizing, Aborym inject the black metal spirit into something else. However, it is a mistake to approach Dirty as a black metal album.
This is a 2-disc release, with the first disc being extensively techno-industrial new material from this band, and the second reworking of older songs and covers.
One effect of the recent uptick in nostalgia bands and reunions is that newer bands have seen the light. This illumination is that if a band simply continues where the past left off, it can both have a unique perspective and uphold the traditions that have made metal great. This escapes the dual ills of false novelty and being a tribute band.
Scalpel combines the West Coast style of blasting percussive death metal, commonly called the Unique Leader sound after the label that signed the innovators of this style, with the East Coast post-Suffocation form of grinding pneumatic explosive technical death. The result is high-intensity percussion mated with simple riffs that proliferate into layered textures that expand in complexity as the song develops.
Sorrow and Skin will immediately call to mind recent Deeds of Flesh and Northeasterners Dehumanized, who made similar percussion-intensive death metal with similar pacing: frenetic, but with lots of pauses and interludes, drawing together high intensity moments like scenes in an atmospheric horror film. Scalpel pair up riffs and let them develop, but keep it simple so that no element rises above the others.
The result is high-intensity music that also has enough internal musical meat to keep the brain occupied and searching for meaning in its patterns, which creates a vertiginous effect of discovery when the unpredictable occurs. Use of melody allows songs to embed moods within previous sensations crafted only by the pattern of riffs.
While Scalpel uses little of metal’s classic phrasal riffing, preferring the more speed metal percussive and choppy styles, these riffs branch out to include different textures and rhythms. The result is a sense of each song like a mini-golf course, where each riff has a mechanism and after you play through, a surprise that reveals its purpose in the whole.
In keeping with the West Coast school of percussive death metal, Scalpel uses the “dog barking into the wind” style of vocals that are both guttural but not exclusively bass-heavy, giving them greater range to match instruments. The result packages a good deal of musical activity within songs that, while made from simple parts, end up being tiny visions of inward journeys that take us to more interesting places than the sum of their pieces.
An interested reader wrote in, and so we continue our discussion of whether modern metal is important at all, and whither the future of metal.
So, metal music is over? Or do you that have a big journey to happen?
No, it’s not over. It needs to find new content. Its form is a refinement of its original form, and it can be refined further, but not by hybridizing it with other genres. Jazz-metal is dead, math-metal is dead, blues-metal is dead, indie-metal is dead, alt-metal is dead because these were always old and tired ideas. Alternative rock is punk mixed with 1980s indie rock. It’s self-pity music. Indie metal is emo and Fugazi mixed with d-beat and black metal. Post-metal is just slowed down indie metal. All of this music sounds more like Nirvana, Jawbreaker, Fugazi, Rites of Spring, etc. than metal. All of that stuff was born dead. What’s alive is the metal spirit. From Black Sabbath through Judas Priest through Slayer through Incantation through Immortal, it’s a continuum. Metal has just finally left rock behind with death/black metal and it needs to continue that transformation. It needs to finally become its own musical language entirely separate from everything else.
What is your opinion about mathcore (Botch, Converge)?
It’s an extension of late hardcore. Black Flag “The Process of Weeding Out” is the grandfather, and they ran it through the Fugazi filter. Neurosis was a better direction but the people who’ve cloned that don’t understand what Neurosis was on about. They can imitate the music, not understand the soul.
And what will happen with the black metal genre?
It died in 1996. Since then, with maybe five exceptions, the new bands have been imitators. Their goal is to make music that’s like black metal on the surface, but like regular indie rock underneath, so they can sell it to the kids for weekend rebellion but not so much that it sets them off-course and they can’t return to school, jobs, watching TV and voting for idiots during the week.
What will happen with metal? It’s over? There new things to create?
See the first question. “Big journey” is more true than “over.”
Do you think the new underground waves bands like Cryptopsy are good like the old school bands. Or do you think that death metal is the only good option?
The new school metal has not, so far, come close to what the older death metal was able to do.
I don’t think this is stylistic, so much that people are thinking about different things. When you think about things like death metal, the big topics in life like death and justice and war, you are able to make death metal (complex thoughts). When you think about yourself, who are you gonna party with and what your parents are doing that you don’t like, you end up with nu-metal, metalcore, indie metal and other new-wave underground metal band types.
Strangelight, a new nu/alt-metal/indiemetal/metalcore/drone band comprised of members of Made Out Of Babies, Thursday, Red Sparowes, Pigs, United Nations, Goes Cube, Mussels and Kiss It Goodbye, will release its debut EP 9 Days on October 1, 2013 on Brooklyn hipster label Sacrament Music.
Written and recorded at vocalist Brendan Tobin’s own Ice Cream Audio in Brooklyn, New York in just nine days (hence the title), 9 Days aims to be a low-pretense version of the music presently in vogue in the hybrid metal/indie scene.
While their past and current bands share little in common, Strangelight — comprised of Tobin, Cooper, Kenneth Appel, John Niccoli and Geoff Rickly — focuses on the modern indie/metal hybrid ideal of jarring music that is also melancholic and self-indulgent.
But here’s where it gets interesting. The press release reveals the roots of indie/metal:
Drawing heavily upon DC visionaries, Amphetamine Reptile destroyers and Touch & Go noisemakers and named in honor of a track off Fugazi’s last record, The Argument, STRANGELIGHT offers up all the signature makings of an early ’90s Dischord band
DeathMetal.org has consistently offered up the idea that post-Minor Threat band Fugazi, along with Rites of Spring and Jawbreaker, provided the post-punk basis to all modern metalcore, drone, nu-metal, alt-metal, indie metal and tek-deth.
It’s good to see that a band such as Strangelight, which contains influences from foundations of the nu-indie-metal scene such as Red Sparowes, Pigs, United Nations, Goes Cube, Mussels and Kiss It Goodbye, in addition to more recent offerings Out Of Babies and Thursday, acknowledges this fundamental influence.
Demonic occultist black metal band Profanatica, also known sometimes as Havohej, continues its quest to demolish holiness with impure sexual abuse of the incarnate divine.
This legendary band have been active in many forms since the late 1980s, with founding member Paul Ledney contributing to Revenant, Incantation, Havohej and Profanatica as well as being an anchor of the true black metal movement in North America.
Thy Kingdom Cum will see release on Hell’s Headbangers label in both CD and LP formats on November 26, 2013. This follows up to a series of releases following Profanatica’s Profanatitas de Domonatia, which in 2007 marked the rebirth of this vital blasphemous cult.
The album can be pre-ordered and advance tracks heard on the label website.
In conjunction with At War With False Noise (UK), Jerkoff Records (USA) and Blackseed Records (USA), Unholy Anarchy Records will release a split 7″ by Belgian grind/mincecore gods AGATHOCLES and Pittsburgh power electronics outfit HOGRA.
AGATHOCLES have for over two decades created abrasive but creative grind. During that time, the band has appeared on well over 100 split 7″ releases, as well as numerous comps, EPs, demos and full-length albums. The Agathocles/Hogra split sees the legendary trio take an unexpected departure from their traditional and patented mincecore style of grind and unleash two tracks that were written to complement the power electronics of Pittsburgh’s HOGRA, who have built a solid catalog of splits, tapes and EPs over the past year.
Those who were around in the 1990s may remember Agathocles’ Theatric Symbolisation of Life, an artistic yet not reality-removed album of inventive grindcore. The band have since then continued to tour, release and antagonize, providing us with enjoyable music in the meantime.
Notorious multi-national underground metal revival radio show podcast Origin of Feces has launched a new episode featuring a retrospective of the career of Texan occult death metallers Imprecation.
