No God Only Pain release Roads to Serfdom

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Nocturnal doom/black metal band No God Only Pain are finalizing details on their upcoming EP Roads to Serfdom which demonstrates a transition in styles of this band toward apocalyptic roadhouse dark metal. This new style features all of the Motorhead-inspired choruses, Darkthrone-infused verses and oddball, doomy structures and atmospheres of the earlier work, but with more of a nod to early Danzig in an exploration of classic heavy metal.

An exclusive stream of one track, “Who Forgives God?,” is below:

We were fortunate to catch a few minutes with the band, who dictated the following release:

This recording is a dissonant experiment under the Barkeresque transmutational concept that “anything can be created.” There’s five songs total, hinging on the theme of how (despite its appearances) modern society is still feudal in nature. Riff wise the songs still attempt to flow as a single voice yet are purposely more diverse than on Joy of Suffering.

This recording demonstrates a singular musical concept: simple Burzumy punk tunes to some epic song progressions. The album challenges itself like a madman and aims to polarize opinion like a bad Zogby poll.

Half the recording is purposely super lo-fi with a very minimal number of microphones. Purposely using so few mics (and nothing direct ) seems ridiculous, but previous attempts at for lo-fi but discernible sound sucked for me. We acquired many pieces of gear at flea markets and pawn shops to try to capture the sound we required, and most failed, but we perservered.

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Our goal was to get a dark and grungy sound, like Transylvanian Hunger, but with bass and vocals done way more professionally (Scott Burns Obituary style) which creates irony since our bassist plays groovy and fuzzy like Blue Cheer. A large part of the point of doing the recording this way is to allow more time for the bass and vocals to experiment and color the songs more, while the guitars and drums maintain more basic driving tones. The bass is not on this recording yet.

The title track is an experiment in itself as it questions how much variety in riffs and song structure a song can have and still make sense. It attempts capture in one song the variety of genres of music in metal and juxtaposes them as a metaphor for the cornucopia of ways that society trys to exert control over the individual. There are many diverse experiences, but all roads lead to serfdom.

    Track list (not finalized)

  1. Cannon Fodder
  2. Lick the Claw
  3. Roads to Serfdom
  4. Servitudo Completum
  5. Who Forgives God?
  6. no_god_only_pain_-_logo_-_white

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Desecresy – Stoic Death (2015)

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In the world of old school death metal, few manage to revive the past and carry it forward in a unique voice. Desecresy resurrects the greatness and gives it a unique spin with atmospheric lead melodic guitar droning over death metal and doom-death riffs, and on Stoic Death they increase the variety of death metal riffs and the dynamic impact of songs in a style more like that of their first album, Arches of Entropy.

Stoic Death begins at full speed and continues to vary pace throughout in order to build intensity, applying the resonant melodies selectively like layers, enwrapping the surging power chord riffs in sheets of harmonic background that intensifies at crucial moments in each song. The doom-death influence shows its strength most in the careful pacing of each song and introduction of elements like seasons, cycling to a conclusion.

The increased variety of riff types shows a familiarity with death metal of the oldest school, but now they take on a new language, with Asphyx-style percussive riffs sliding into rolling Bolt Thrower style dirges, and then emerging with the powerful Finnish-style death metal riffs anchored in melody that specialize in crucifying beauty with cruelty. The mid-paced approach might seem to kill aggression, but it has replaced that sentiment with a deepening sense of melancholy, dread and suspension of all normalcy as the bizarre becomes sensible.

This album feels like a descent into a tunnel shrouded in darkness, where as the voyager goes deeper both in the ground and behind the layers of twists and turns, the daylight world seems more remote and unreal. The songwriting technique Desecresy has made into their trademark presents challenges in that the overall sound is similar between tracks, but here the band differentiates them with elegance and creates a complexity of texture in which the listener can gratefully lose themselves.

More Godflesh influences permeate this album as do nods to recent changes in metal toward the more atmospheric, but Desecrey channel these into its own voice, translating the insipid into the ambiguous and the comforting into a threatening lack of center. What emerges from that fertile combination is a voice perfect for this time, a great sea of doubt in which glimpses of beauty are hidden behind primal uncertainty. Like the best of metal, it makes greatness from conflict and then shows the wisdom of that atavistic outlook through precisely-architected composition.

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Obscure Oracle – In Death We Trust

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Sometimes, the 1980s seeks you out. Sounding like a cross between old Nuclear Assault and Forbidden, with hints of Iron Maiden, Obscure Oracle bash out In Death We Trust by using death metal tremolo riffing in a mid-paced speed metal band with melodic accents to its riffs and noisy guitar fireworks. Borrowing from the riff forms that picked up speed coming out of the NWOBHM years, Obscure Oracle fall into the comfortable pacing of later speed metal, and crown it with high-pitched but tense vocals that could come from Bruce Dickenson on a Monday morning. Songs fit together well, keeping a dominant rhythmic figure that can induce nodding and foot-tapping in even the most hardened audience. While the result could send the Tardis back to 1987 at a distance of fifty paces, this band keeps their own sound and lets their enthusiasm for the material carry this future-to-past melange to new heights.

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Misanthropical – Conjuring Thy Infernal Lord

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Coming from that early intersection of death metal and black metal that produced bands such as Havohej, Misanthropical aim for awkward riffs like the sinews of a polymeliac beast, combining them with crudely cut black metal rhythms and surging melodic drones. The result shows a band starting out, but with a good concept that is enough removed into the bizarre, like bands such as Resuscitator or Legion of Doom, to leave us wondering what thought process could create it. The band is strongest when they abandon genre conventions and let the weirdness out, mixing riding riffs that compel energy with connective tissue that bends it into odd contortions, putting the listener on edge. They are weakest when trying too hard to be raw black metal or when filling spaces in songs with cymbal crashes and repetitive drones. Of interest is the unsteady fusion of doom metal moods with the more martial modes, creating a soundscape that sounds like battle by those with vast inner doubt and torment. Conjuring Thy Infernal Lord demonstrates the basics of a powerful voice that with growth and maturation could take this band in interesting and intriguing ear-torturing directions.

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Codex Obscurum – Issue Eight

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Codex Obscurum has distinguished itself over the course of seven issues by putting the underground first and focusing on quality of music, in addition to a range of topics about what we might call metal culture, or other areas of life in which metalheads find an interest. Over time, the editors have become more adventurous and now include a wide diversity of genres, artists and the ever-popular gaming features and editorials.

Issue Eight takes up the mantle with eleven band interviews, two live reviews, thirty-nine album reviews and an artist interview. These span genres from traditional underground bands to rough roadhouse hard rock, touching on grindcore and punk and even juggalo rock, giving the kind of panoramic view of the genre that big glossy magazines pretend they have. Speaking of, apparently Decibel referred to Codex Obscurum as “elitist,” which is a media code word for not regurgitating the spew from promotional mailers, and that gratifying tendency means that a refreshing honesty about the limits of many of these bands cuts back the hype and focuses on the actual.

Interviews abound. This latest edition begins with a relaxed interview with The 3rd Attempt that gives some context to the last two generations of black metal, then launches into an energetic discussion with PanzerBastard that reveals some of the Motorhead plus apocalypse thinking behind that act. It follows with an honest and ambitious interview with Skelethal, whose thoughtful responses make me want to listen past the name, and a somewhat guarded interview with Castrator where the band’s attempt to repeat its talking points fades under wily questioning. Then comes an interview with songwriter Ninkaszi about his latest project, Impenitent Thief, which covers a decade of New England metal in a few pages. Noisem follows with an interview of probing questions and somewhat surface-level answers, revealing more about this band than the band intended. After that, Jake Holmes of Plutonian Shore, Under the Sign of the Lone Star zine, and about ten other bands talks Morgengrau and gives some context to what this band has released. Then arrives a rough-hewn interview with hard rock band Rawhide, a contemplative discussion with Zemial, and a detailed look into Blood Red Throne. After the centerpiece of pen and ink art, Teutonic speed metal lords Blizzard weigh in with an irreverent but topical interview.

CO: You’ve started your own paper zine called Under the Sign of the Lone Star. Can you tell us a little about it, and how we can order a copy?

JH – Under the Sign… started as a reaction against click-baiting, witch-hunting, hypersensitive-PC and overall-clueless “metal” blogs/mags that are unfortunately ubiquitous these days. The PMRC may have been the enemy of the 80s, but at least they never passed themselves off as “one of us” like these rags do! The premise of Ut-SotLS was to write about Texan bands that I really like without stirring controversy or spreading gossip for increased ad revenue: passion, not profit. (16)

The centerpiece takes the form of a deliciously gory mythological-apocalyptic-dystopian scene hanging in blackness, which adds to the mood of the zine, and divides an interview with artist Sebastian Mazuera, who reveals quite a bit about the craft of metal art and the thought process behind it. Then the zine takes a Burzum/Bolt Thrower turn with an article about Warhammer: Age of Sigmar, showing the development and pitfalls of this very metal pastime. Most interesting here is the analysis of how fan interaction shaped, and possibly limited, the game. From the gonzo journalism department, two honest reviews of metal festivals — Blastfest and Messes de Morts — revealing the alcohol abuse and manic social aspects as well as the performances by bands both well-known and nearly unknown. These gave more of a feeling of “being there” than the usual paint-by-numbers reviews, plus hilarity in an honest and uncensored look at how well these bands actually performed.

Incorporating elements of crust, doom, even death metal at times this band can take a left turn in their composition at a moment’s notice. From open palm droning and melodic riff structures moving into driving thrash renditions and crusty d beats, these types of elements give the band a really varied and aggressive sound…With tasty build ups making use of both dynamics and tempo, their song structure is quite complex and makes for an entertaining replay value without seeming repetitive after multiple listens. (47)

From there, it is on to the reviews. These establish both how a band composes and records, and reviewer reaction to the utility of listening to the material in question. Although the review of juggalo band The Convalescence is a high point for sadistic mockery in the best offhand zine style, the bread and butter here is nailing a realistic buy/avoid assessment of bands from Empyrium to Tau Cross, Dysentery to Malthusian, and W.A.S.P. to Paradise Lost. These read well, are witty and biting, but are unstinting with praise where it is deserved. Choice of albums here shows more of a strong hand with the reviewers choosing both movers ‘n’ shakers of the underground as well as undernoticed contributions of interest. It would be hard to find a more straightforward and observant review section in print.

Many have claimed the death of the zine, but with more people cutting the cord to the internet because of the sheer amount of spam disguised as reporting, having a volume like this — that you can pick up and then feel you have a good basic grasp of the scene after an hour of reading — reduces the chaos and puts many metalheads with otherwise full lives back into the game. On its eighth issue, Codex Obscurum has expanded its reach without losing touch with its direction, which is a feat of focus that most metal writers should aspire to.

You can still get copies of Issue Eight through the CO online store.

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Graveland forms live lineup to play shows in 2016, reissues Dawn of Iron Blades

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Second wave black metal band Graveland, long a collaborative project between Rob “Darken” Fudali and session musicians, has formed a lineup to play two live gigs in 2016 at Ragnard Festival in Simandre-sur-Suran, France from July 15-17 and Hot Shower Olympia in North Italy on April 2 (tickets available for pre-sale here).

The musicians in the live lineup will be:

  • Bor – Bass
  • Mścisław – Guitar
  • Rob Darken – Vocals
  • Zbych – Guitar
  • Miro – Drums

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In addition, Graveland is re-issuing its 2004 album Dawn of Iron Blades with a new recording and cover to be released by Warheart Records in Poland and Hammer of Damnation Records in Brazil for world issue. The band published the following statement about the new reissue:

New drum lines are already recorded by Miro. In December I will finish all of the newly arranged keyboard and chorus parts. These will be recorded by Olya Lantseva in December. January will bring the recording of Polish vocals and new English ones for both versions. Polish version will be released by Warheart Rec, the English one by Hammer of Damnation Rec (Brazil). I hope the album will be ready to be released in February! I must also add that a new cover atrwork is ready and waiting (painted by Gilgamesh Lornezhad!).

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Hail Of Bullets part ways with singer Martin van Drunen

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Dutch modern death metal act Hail of Bullets has parted ways with vocalist Martin van Drunen (Pestilence, Asphyx). The band issued the following statement:

We are sorry to announce that Martin van Drunen is no longer part of Hail Of Bullets. On a personal level it’s no longer possible for us to continue the cooperation with Martin.
Unfortunately this means we have to cancel all upcoming shows until further notice.
This does not mean the end of Hail Of Bullets. The main reason for starting this band 8 years ago was our mutual love for real Death Metal and to have fun playing our favourite kind of music and we did not want to lose this ‘fun part’. We acknowledge the fact that Martin’s a good singer with a distinctive voice but he’s not the only great singer on this planet. For the record, there’s no hate or anger here, but this simply wasn’t working out anymore.
We wish him all the best in his future career. To be continued…
Stephan, Paul, Ed, Theo

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Codex Obscurum Issue Nine pre-order opens

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Underground revival zine Codex Obscurum Issue Nine is ready for pre-order at the CO online store. The editors say:

The zine is still only $3 +s/h. The zine should be shipped in 2-3 weeks. Preordering helps us offset the cost of printing the zine. Thanks for the support.

Issue #9 contains:

  • The art of Daniel Shaw
  • Akurion
  • Cemetery Filth
  • Deathhammer
  • Ectovoid
  • Hideous Divinity
  • Horrendous
  • Immolation
  • Mitochondrion
  • Savage Master
  • Beithioch
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Primer: a deeper understanding of conservative thought

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Primer: A deeper understanding of conservative thought

Amongst the young and, particularly in the metal community, Conservatives and Conservative thought are seen as retrograde, fascistic and wholly in thrall to religious fanatics. There are numerous reasons why they have this perception — and even more reasons why this line of thinking is wrong.

Modern American Conservatism was formed in a caldron of four events: two horrible world wars, a concerted effort by those in power to import European socialism to America and a long march through American institutions of Marxists, progressives and secular humanists. These events created the nascent conservative movement, which was reactionary at first — but soon developed into a coherent philosophy by thinkers such as William F. Buckley, Russell Kirk, Whittaker Chambers, Phyllis Schlafly and many others. Though theyoften disagreed with each other on various issues, conservatism nonetheless coalesced around certain principles and beliefs:

The wisdom of the American founders: The founders limited the power of government to keep it from becoming an ideological tyranny, and set up a system of gradual change instead of sudden, impulsive and emotional crusades which they witnessed in the revolutions of Europe.

Belief in the individual: Conservatives believe that human individuals are each unique and cannot be lumped together like clay, treated like masses and molded by elites in government “for their best interests.” Individuals are capable of great things when allowed to define their own destinies.

Peace through strength: Conservatives believe that weakness (both real and perceived) invites aggression. Conservatives such as Winston Churchill understood that Europe’s weakness and indecision during the interwar period from 1919-1938 is a primary reason for the ascendancy of Hitler and the war that followed.

Market capitalism: Conservatives believe that the greatest engine for creating wealth, driving innovation and lifting people out of poverty is market capitalism. No other system developed has created a thriving middle class like market capitalism has, and it should be promoted instead of demonized. This does not mean unfettered, unregulated capitalism, but a lightly regulated system that insures a fair playing field for all participants.

Low taxes: Government raises taxes to pursue ideological goals, which signals its intent to become a tyranny. High taxes support this. Further, high taxes represent oppression and the limiting of individual potential.

Absolute truth, morality and rule of law: Centuries of human experience show us what works and what does not, and from this we derive an understanding of morality. It is not given to humanity by God, but by practicality. The rule of law is designed to help bolster those absolute truths, and more importantly it is meant to protect the individual through having his or her constitutional rights protected at all times. Deviation from the consistency of law allows people to impose their will on one another by abusing positions of authority. Hence the statement “we are a government of laws, not men” is of utmost importance to the Conservative.

Human nature: To the Conservative, mankind is imperfect and will always be, and knowing this, the Conservative understands that no perfect social order or utopian society could ever be created. Attempts to create utopian societies, or to engineer man for perfection will end in civil unrest, chaos and ultimately totalitarianism. The best we can reasonably hope for is to try and improve mankind’s plight with prudent reform and gradual social change. Conservatives accept that there will always be some suffering, inequality and destitution amongst mankind and the challenge is to ease it without disrupting or constraining the rest of society.

Problems and tensions within Conservatism:

As with many movements, there is strife, disagreement and infighting. This is especially true within the Conservative movement, because Conservatives are individuals first, and members of a party or movement second. Even more, conservatism is an amorphous theory rather than an ideology, so it does not have simple universal principles and instead must be interpreted on a situational basis.

The political vessel through which a Conservative works is the Republican Party — which contrary to what many in the media will have you believe, is a coalition of diverse groups of individuals ranging from isolationists, religious fundamentalists, anarcho-capitalists and libertarians. These groups are in constant tension with each other, and holding a Republican coalition together is difficult at best. Some examples of tensions within the party will follow below.

One of the most divisive issues within the movement is the role of God and religion. Belief in certain principles such as absolute truth, the individual and rule of law can coexist with belief in a Supreme Being, but many Conservatives have no religious affiliation and treat God as a symbol of the sovereignty of the individual over their government. This line of thinking flows from the second paragraph of the Declaration of Independence: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness…”

Another tension within conservatism occurs within the realm of foreign policy. There are three differing viewpoints constantly battling each other for the movement’s heart and soul: Isolationists believe we should not interfere in foreign affairs; Neoconservatives (hawks) believe in a robust foreign policy to transform the world; and Traditionalists believe in interfering in foreign affairs only if it is vital to our economic or national interest.

The abortion debate poses many problems for conservatives as well, and falls along a few interesting fault lines. There is of course, the religious view of abortion, which is seen as a simple issue: abhorrent and sinful. However, more thoughtful Conservatives wrestle with the abortion issue from the standpoint of individual rights, and the tension between the rights of the mother and the rights of the unborn child – both of whom are considered individuals worthy of protection. Furthermore, many Conservatives fear that abortion will lead to eugenics, eventually destroying the variety and unique qualities found in each human being.

Finally there are numerous economic theories that divide conservatives. These range from unlimited free-marketers, protectionists and more moderate free marketers. Libertarians for example believe that free market capitalism alone will produce the best society; more protectionist-oriented Neoconservatives see the importance of high tariffs to keep our products low cost and imports expensive, where in the middle most conservatives like free markets to a point, but believe in varying degrees of regulation or other influence by our leaders on the markets.

In conclusion, the media portrays conservatives as a bloc of religious fanatics, racists and warmongers. As a result, most young people will never know of what conservatism is, nor the ideas that drive it or the diversity within it. Conservatism is a philosophy rich in tradition, rigorous thought and internal debate, and with a little exploration, most will find something in that history that appeals to them.

Groundbreaking Conservative writing, speeches and articles:

  • God and Man at Yale by William F. Buckley.
  • Witness by Whittaker Chambers
  • The Conservative Mind by Russell Kirk
  • Dictatorships and Double Standards (Essay) by Jeanne Kirkpatrick
  • The Road to Serfdom by FA Hayek
  • A Time for Choosing (Speech) by Ronald Reagan
  • Anarchy State & Utopia by Robert Nozick
  • Capitalism and Freedom by Milton Friedman
  • The Conscience of a Conservative by Barry Goldwater
  • On Liberty by John Stuart Mill
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