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Underground Never Dies! LP details released

by Brett Stevens on October 14, 2013

The forthcoming release of Underground Never Dies! on Doomentia Records will be accompanied in its first pressing by a unique LP which features classic tracks from back in the early days of the death metal underground.

Thanks to author Andrés Padilla, editor of Grinder Magazine (CL), the world can now see what’s on the LP. But first, information about the LP itself. There will be several batches, as follows:

Box set
- Limited to 150 copies
- Massive box with custom padding for:
- Underground Never Dies! book
- LP on colored vinyl
- MC
- CD
- A1 poster
500 x vinyl

150 on black/white HALF/HALF effect
350 on black

500 x CD
200 x MC
500 x Underground Never Dies! book

This means that 500 LPs will go out with the book, and another 500 LPs, 500 CDs and 200 MCs will be available for underground maniacs. There’s going to be a run on these at your local distros, especially the padded box set which is “massive” in form and content if early reports are right.

Next, what’s on it? Here’s a complete tracklist:


SIDE A
INCUBUS	Engulfed in Unspeakable Horrors	5:19
SLAUGHTER LORD	Taste Of Blood	3:13
MUTILATED	Hysterical Corpse Dislocation	3:05
DR. SHRINKER	Cerebral Seizure	3:06
AFTERMATH	When You Will Die	3:52
EXMORTIS	Beyond The Realm Of Madness	3:24
Total Running Time Aprox. 21:30

SIDE B
NECROVORE	Mutilated Death	4:25
INVOCATOR	The Persistence from Memorial Chasm	4:14
SADISM	Psychomental Storm	2:57
ARMOROS	Euphoria	3:23
POISON	Black Death	3:14
MENTAL DECAY	The Final Scar	3:27
Total Running Time Aprox. 21:98

Bonus Tracks for CD/MC:
PHANTASM (US)	A Souls Nightmare	8:12
FATAL (US)	Malevolence	2:44
FUNERAL NATION (US)	Sign Of Baphomet	4:03
VIBRION (ARG)	Massive Frustration	2:56
INSANITY (US)	Fire Death Fate	2:51
DEATH YELL (CHI)	Untited Track – Unreleased	3:17
CORPSE GRINDER (CHI)	Concentrator Camps	3:53
NECRO BUTCHER (BRA)	Christ Psychic Butchery	1:53
INNER SANCTUM (URG)	Deathless Prophet	3:37
MACERATION (DK)	The Forgotten	2:40
BLOODSOAKED (MX)	Emptiness	3:01

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Tags: andres padilla, book, death metal, extreme metal, grinder magazine, underground metal, underground never dies, zine

Ildjarn – Seven Harmonies of Unknown Truths re-issue

by Brett Stevens on October 14, 2013

Like thrash bands of the 1980s or the first two Napalm Death EPs, Ildjarn is often first mistaken for a novelty for its short and seemingly irrational songs. What exists under the skin is a complex outlook toward the world distilled into a simple naturalism.

Much like the techno, oi and black metal that these songs derive inspiration from, Ildjarn is a visceral emotion: its songs are not so much concepts, as emotional concepts created from the application of intellect to real-world problems. This is not theory; it’s application. However, it exists in small fragments that appear irrational to us because they are beyond the human perspective, as if spoken by the voices of nature themselves.

Seven Harmonies of Unknown Truths is an early Ildjarn demo that has appeared in fragmentary form on several other recordings, but never in full. Eisenwald Records has re-released the demo on CD and LP with new artwork.

Released on September 23, 2013, the new edition is properly balanced but not remastered or cleaned up for the authentic “period” sound. Pre-orders come with a free poster of the cover art and an ILDJARN sticker. It is gratifying to see interest in this band resuming again after a short periodic absence, as has occurred wavelike since the founding of the band.

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Tags: ambient metal, Black Metal, ildjarn

Oblivion – Called to Rise

by Brett Stevens on October 13, 2013

Technical metalcore band Oblivion unleash Called to Rise which offers technicality with more mood among all of the speed thrills that experienced musicians playing at top speed in a wide range of colors, textures and tempi can express.

Following in the steps of high-intensity blasters like Kataklysm and Cryptopsy, Called to Rise uses fast tempi with rapid-fingered riffs which either bat out a complex rhythmic texture of power chords or rip through a scale in a certain order, often alternating between hitting the beat on the nose and being encapsulated by it. The result is like a shifting plateau of sands and waters through which melody flickers like lightning.

In the modern technical metalcore method, Oblivion focus on great variety between riffs. A simple chug follows a silvery sweep like the dance of glare on the tips of small waves, then a bluesy lead dances over a trudging sludge progression; then, an augmented chord riff straight out of jazz-influenced AOR or funk graces a transition to fast picked single-string melodies. The result is like being driven through a museum of rock on a bumper boat, watching the sights and sounds change as you howl through different rooms.

While the essential composition is of this modern style, Oblivion includes several generations of metal. Heavy metal, speed metal, hard rock, and progressive metal feature prominently, as does classical music. First in the cover of Rachmaninoff’s “Canon in E Minor,” which is sensibly executed with strumming at top speed while note change sticks closer to the proportions of the original. Next, in a series of ambitious compositions including three pieces with string orchestra, some featuring musically unquantifiable sounds.

Where Called to Rise stays within the metal world, Oblivion is of the newer range of technical death metal which, in contrast to death metal, is composed in the late hardcore style that emphasizes contrast and exceptionalism, where death metal emphasizes contrast being part of a larger pattern in which logical parity is achieved leading to a larger context. That means the goal is for these riffs to clash, and then for another riff to take over, so that a cycling between different things is preserved.

Oblivion make this album interesting through its vast variety, and once it becomes clear to the audience that the point is a variety show instead of a penetrating observation of a limited set of musical tropes, Called to Rise can be enjoyed for the fusion of genres that it is. Its musicality and textural diversity should appeal to shredders and fans of modern technical and progressive metal alike, while its adrenaline pace of changing images carve out a place in contemporary music for a new extreme.

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World metal maps reflect density of metalheads

by Brett Stevens on October 13, 2013

Above you can see a world metal map that shows number of metal heads per capita in the nation-states of the world, originally found on public whiteboard space here. However, one researcher noticed a fatal flaw to this map.

That is, the original map measures by nation-state, but not by populations within those states, such as the independent Quebecers who brought us Voivod, Gorguts, Obliveon and other “Canadian” bands that don’t have much in common with the English-speaking parts of the country. Thus, Dominic Arsenault made his own map, which you can see below, or see on his own his web site.

This brings to mind a fascinating question: does metal reflect national culture, national circumstance, or is it a “nation-state” issue like political system (for example, rebellion in the Reagan 1980s) or political instability? Our own international metal map shows metal bands by nation-state and reveals that some small countries definitely outperform larger ones on the metal scale.

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Tags: international, metal, metal map

Organic (formerly Organic Infest) releases catalog on internet

by Brett Stevens on October 12, 2013

On the anniversary of the release of its first recording, Puerto Rican death metal band Organic (formerly Organic Infest) is releasing its four recordings — two albums, an EP and a single — for free download on its ReverbNation page.

These songs are available for free listening. If you like them, you can purchase them in digital form, with 50% of the proceeds going to Fender Music Foundation, which provides musical instruments to students who cannot otherwise afford them.

Organic got its start with 1993’s Penitence which despite abysmal production showcased a new take on the guttural blasting style of percussive death metal favored by bands like Malevolent Creation and Cannibal Corpse. From there, the band explored a melodic avenue with its more recent works.

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Tags: death metal, organic, organic infest

Empyrium – Into the Pantheon

by Brett Stevens on October 12, 2013

Empyrium have cross-bred funeral doom, folk/power metal and 1980s Gothic synthpop but have removed the electronic sounds, producing an organic take on the nascent Romanticism in the modern spirit. This is music for return to the forest, but in a less aggressive form than Ildjarn or Burzum; it’s on the level that power metal fans and even Nine Inch Nails listeners can appreciate.

Into the Pantheon is a live concert in which this reclusive and only sporadically active band picks its most forest-friendly tracks and plays them in a single unified format. With production thus level between them, Into the Pantheon serves as both greatest hits and a modernization of their classic sound.

What is great about Empyrium is how well it meshes. Vocals are dramatic and funereal in the way that Sisters of Mercy and Fad Gadget made famous, but are accompanied by light orchestration and minimal percussion, with acoustic guitars taking the lead. At crucial points however, the full power of the fulminant distorted guitars take over and create a surge of energy but unlike rage, this is directed at a dark and melancholy place like a contemplative forest walk in twilight.

Empyrium win fans over through their musicality and a vision of doom metal that is tasteful and elegant. Unlike Candlemass, vocals do not dominate the music but appear as a complementary effect; unlike more modern doom bands, guitars are not over-active or musically flashy. Instead, here there is the art of classic songwriting, on a subdued pace that emphasizes beauty emerging from within in the clash of darkness and light.

Where a funeral doom band like Skepticism overwhelms with a poignant morbidity, Empyrium is more like the music which has traditionally emerged from popular off-mainstream European artists. It’s heartily personal and heavily emotional, but could easily transition from this genre to an acoustic performance in a pub near a lost mountain path, or in the court of a king. It has an eternal character to it underneath the modern genrification.

Empyrium has not given many public concerts, and we are told that this 2011 recording represents the return of the band to active life. Hearing how emotional and yet violently lusting for life these anthems are, it makes sense to want this band to continue with its renovation of metal. Not all will take this path, but its outlook can be infectious, and improves on the three-notes-to-rage formula that mainstream forces wish it would take.

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Tags: dark metal, Doom Metal, empyrium, funeral doom

Death metal horror film Deathgasm solicits funding

by Brett Stevens on October 12, 2013

A New Zealand director is campaigning to get his death metal themed horror film funded through a crowdsourced campaign. The film, named Deathgasm, will concern the adventures of social outcasts who discover music that can summon evil.

Written and to be directed by Jason Lei Howden, Deathgasm is designed as a throwback to the early 1980s budget splatter films and the Heavy Metal horror genre. The director promises that Deathgasm will have a soundtrack that “will be the bane of noise control officers the world over.”

The plot revolves around evil, antisocial behavior, Slayer lyrics and black magic, but ultimately turns on a plot point related to music itself. Deathgasm will thus be a themed film with death metal as an integral part of that outlook.

We got a few questions back from director Jason Lei Howden to give our readers more of a feel of where the film is going.

What’s your history with horror movies, and heavy metal?

I’ve been obsessed with horror since I was a kid, and was naturally attracted to the imagery and dark storytelling of Heavy Metal.

When I was really young, I remember seeing Motley Crue and Iron Maiden cassettes and thinking the contents must be the most insanely satanic shit. Which in hindsight seems absurd.

I quickly progressed towards Thrash and Death, those amazing years in the early 90’s, Slayer, Cannibal Corpse, Obituary, Deicide. Such a great time for Metal.

What are the connections between Deathgasm and heavy metal? What about death metal specifically?

The characters are teenage outcasts. Death Metal is their only form of release. They won’t be wearing Disturbed t-shirts or anything like that; these kids are pure death fans. They are social rejects but find strength in the music. I want to stress that we aren’t out to parody or make fun of Metal, it’s more of a salute to the genre.

I want heaps of references to the classic bands in there, but if we could get some up and coming Death Metal bands on the soundtrack it would be awesome.

There are some amazing Heavy Metal horror films, and Trick Or Treat is a big influence. But it’s a dormant genre and it’s about time to combine brutal sounds and gore again. Death Metal in particular has imagery with is extremely horror when you think of the album covers and lyrics.

There are also occult and satanic themes, they start to dabble in black music and get in over their heads.

In saying that, I want to clarify that you won’t need to be a Metal fan to enjoy Deathgasm, just like Metalocalypse appeals to a huge audience. Anyone who has felt like an outsider will relate to our characters, and fans of Evil Dead, Bad Taste or the Troma films will love the Deathgasm.

Do you think there’s a horror movie culture? What about a heavy metal, or death metal, culture?

New Zealand is so small it’s hard for me to gauge, but Metal culture seems to be far smaller than it used to be. Because there are so many sub-sub genres now, it’s more fragmented. Maybe Metal is better off being underground, whenever it gets too mainstream it de-fangs it a bit.

Horror seems to be still huge, seeing shows like “The Walking Dead” and “American Horror Story” on mainstream TV and getting Emmys is surreal.

Can you tell us about your history with film and horror film?

I went to film school and since then have finished a couple of fantasy/post-apocalyptic short films. It’s really hard to get horror funded here, our industry is based around small coming-of-age dramas.

But even if I don’t get funding, I’m adamant I’ll do a horror next. I work as a visual effects (VFX) artist, working up to 80 hours a week. I need to get outside and throw blood and guts around. We are really lucky to have the Make My Horror Movie Competition; it’s a great opportunity.

You’re launching a funding drive for Deathgasm right now. How close are you to what you need? When you get there, what happens?

The winners get $200,000. The project with the most Facebook “likes” gets into the top five. Right now we don’t have many votes compared to some other projects, but we only submitted recently. We would need a couple of thousand more Facebook “likes” to crack in to that threshold.

There is no sign up or spam, if people go to the page and just click the Facebook “like”, then maybe share it with friends it gets the project visibility and lets the judges know there is a market for a brutal Heavy Metal Horror film.

If we don’t win we may develop the idea more and do a Kickstarter campaign. I want it to be a community thing, with an awesome soundtrack and heaps of Death Metal in-jokes and references.

And gory as hell! The Evil Dead remake was shot in NZ and was pretty gory, but we can take it up a notch or two from that. We have some talented friends and contacts in the practical effects industry here, I don’t want to give too much away but we have some awesome death set-pieces planned. We want to keep it practical; VFX gore just doesn’t look right.

If all goes well-ish, meaning according to plan and accounting for life’s little glitches, when will we be able to see this movie? And where (theatres, Netflix)?

Dark Sky films is a partner, they distribute some great horror, recently Frankenstein’s Army and Hatchet 3. So a lot of people are going to see it. I’m unsure about a theatrical release, netflix would be pretty probable. Would be looking at a late 2014/early 2015 release I would say.

For more information, and to support Jason Howden in his quest to make Deathgasm a reality, please visit the funding page and show support for this project.

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Tags: death metal, deathgasm (film), horror movies

Sorcery – Unholy Creations

by Cory Van der Pol on October 11, 2013

Hells Headbangers began shipping the Sorcery Unholy Creations 2CD compilation of this band’s works a few hours ago, which makes it time to delve into this band’s history.

Since so many of the revivals of late are either disappointing new albums murdering promising careers, or revivals of disappointing past material in an attempt to launch a better career, it is worth approaching any new material especially any new Swedish death metal material with skepticism.

In this case, the skepticism is well-deserved. There is a reason that demos like “Maculated Life” and “Unholy Crusade” stayed mostly in the past. While the band has kept releasing, unleashing full-lengths in 1991 and 2013, the foundation of their career is this early work which gets them inside the window in which Entombed, Carnage, Nihilist, Dismember, Therion and Unleashed thrived.

However, a more apt comparison for this band’s older material might be to a cross between Desultory and Grotesque, except with more of a grounding in the speed metal of the previous era. Big, bold and somewhat boring chord progressions underlie riffs which reveal a heavy metal lineage and the recursive, percussive rhythms of speed metal.

Unholy Creations faithfully compiles most of the band’s past ouvre, missing the Rivers of Dead EP from 1990, but at the end of the day, the verdict on this band is that they’re not what we’re all hoping for: the undiscovered successor to Entombed. With that being said, it’s also worth noting that this band is stuck in the past of death metal, namely too much speed metal, and also isn’t very exciting or even as melodic and elegant as Desultory.

http://www.youtube.com/watch?v=__KB_g03Fvk

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Tags: death metal, sorcery

Black Altar – Suicidal Salvation

by Jon Wild on October 11, 2013

If you’re tired of having fruity alt-rock interrupting your metal experience, you’re not alone. Polish black metal band Black Altar is set to release their EP Suicidal Salvation via Darker than Black Records; and thankfully, the release avoids many of the flaws of contemporary bands.

Playing black metal in a modern style, Black Altar builds songs based around winding guitar riffs and arpeggios. Vocals are of the shouted lower-pitched variety: strong, though rather derivative of the melodies established by the guitars. Drums are present in a minimal role which matches the needs of the guitar-voiced music. What deserves special mention is the layering present within riffs: the band is able to construct overlapping riffs that simultaneously merge and deviate.

This provides a more complex listening experience than there would be otherwise, amplified by synthesized instruments, somewhat reminiscent of Burzum or Beherit. Production (for this genre) is clear, allowing each element room to be heard. This allows each to have more individual impact but decreases atmosphere for the whole.

The release is not covering any new ground; what it does has been done before. There may not be any moments of discovery, crying “Eureka!” as original black metal inspires. However, what the band has in its favor is that it does its style well and provides an intriguing listening experience amid a field of bands increasingly bland and indistinguishable. Thus, it lends itself well to being a soundtrack to an afternoon at work — or desecrating a burning church.

https://www.youtube.com/watch?v=q-ksvDEWfjs

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Tags: black altar, Black Metal

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