Malediction to release Chronology of Distortion compilation

malediction_-_chronology_of_distortion

English death metal band Malediction, previously only released on small run vinyl and one live CD on Wild Rags Records, has engineered the issue of a 16-track, 72-minute compilation of material entitled Chronology of Distortion slated for release on Dark Blasphemies records in December 2015.

Covering the period 1990-1994, the material shows this innovative band at the height of its personality. Artwork by Sean Fitzgerald and remastering by Matt Richardson at Full Stack Studios, Lancashire, England promises to deliver these recordings in a better format than their original issue.

Tracklisting for the CD is:

1. Infestation (1990 demo version),
2. Murdered From Within (EP Version),
3. Waste (Remix) [Previously unreleased],
4. The Abyss Gazes Also [Previously Unreleased],
5. Longterm Result (1990) [Previously Unreleased],
6. System Fear (EP Version),
7. Insect in the Infrastructure (EP Version),
8. Dark Effluvium/Weeping Tears of Covetousness,
9. Doctrines Eternal Circles,
10. Framework of Contortion,
11. Longterm Result (“Pantalgia” compilation),
12. System Fear (1993 session) [Previously Unreleased},
13. Mould of an Industrial Horizon (1993 session) [Previously Unreleased],
14. Insect in the Infrastructure (1993 session) [Previously Unreleased],
15. Ruinous Opiate,
16. Waste (Live audience recording) [Bonus Track].

4 Comments

Tags: , ,

Manilla Road – The Blessed Curse (2015)

Manilla Road - The Blessed Curse (2015)

Article written by Daniel McCormick

In James Howell’s 1660 Lexicon Tetraglotton one finds the proverb, “When thou hast made a turd leave it.” – advice not heeded by Manilla Road on The Blessed Curse. The biggest issues are twofold: length, and creativity. Yet, had brevity been a predilection, there’s little saving grace, even considering the august bloodline. I must admit that within the first minute thirty I was well prepared to hit stop and attempt to return my album. This is not to say that the music is performed sloppily, or that it’s lacking in merits altogether, but the substance of the music rarely rises above the common or generic, and it comes across more as embryonic than as a well crafted communicative device. It is as if this double album were a construct built from a month of jamming in a rehearsal room.
(more…)

4 Comments

Tags: , , , ,

Interview: Brutal Art Records (2015)

brutal_art_records_-_logo_tank

A small death metal label zoomed into focus this year when it signed a classic death metal act for a split album. That label, Brutal Art Records is run by a reclusive person who literally lives in a van down by the river, if you do not neglect to mention that the van is armored and its radar and cameras constantly scan the surrounding area. This person was kind enough to put down the H&K MP5 for a moment and answer a few questions about Brutal Art Records…

When did you start Brutal Art Records, and why did you decide to start a label? Had you previously run a distro?

I started this little underground label in the middle of 2013 because I’m a huge vinyl collector and I don’t like the stupid black releases. We all know them: you can buy the black edition of an release everytime everywhere. The industry destroys the dream of every collector, which is to have a limited record in different versions and there will be no repress. That’s why I started this label, only limited stuff and there will be no repress in future. Sold out is sold out ;)

You have released a number of underground death metal records. Why did you decide on this style? Do you think it has a large number of fans?

The reason is the same as in the first question: I’m a vinyl collector haha. Vinyl is more more old school so it fits perfectly with the first bands I released, Obscure Infinity – old school death metal from Germany and Humiliation – old school death from Malaysia. Both are great underground bands and it was a real great project for me.

Every label can release a CD version, it’s cheap and you can sell it to everybody, but only the old school music maniacs also have a vinyl record player.

With your most recent release, you have signed one of the most respected names in the underground for over twenty years: Fleshcrawl. Did you know the band? How did this release come about?

I know the music they did in the past and yes, I like them. It was not my idea to start this project; the founder was Ferli the Men behind Skinned Alive (also member of Demonbreed and Milking the Goatmachine). He is a real freak, a really crazy one, and he told me “let’s start a tape project because I want to release this old school shit.” I agreed and we started to search for a perfect split band. Ferli knows Sven, the front beast of Fleshcrawl, so he asked him and Sven agreed. The work with Fleshcrawl started. The band is really friendly and they’re no superstars. That’s why I love this shit.

There seem to be a lot of death metal releases these days, but almost none have made it to “classic” quality. Do we have too much death metal? Is there still life in the style?

The scene is alive, but there are a lot of stupid bands. We have some really great young bands for the job like Deserted Fear, Obscure Infinity, Demonbreed, Skinned Alive, and many more but also some real old tanks like Fleshcrawl, Postmortem from Berlin and much more.

What is the German death metal scene like? Are there many fans and bands? Do you think it is changing, or will it stay within the classic death metal styles?

There are a lot of both bands and fans. I think the scene splits into the old school and the more brutal one. A lot of bands play the typical old school style like Entombed, Grave or Obituary. The other ones play much faster or more like the doom style so the scene is bigger than in the past. A lot of sub styles were created. For me it’s very interesting.

How has Brutal Art Records grown over the past few years? Do you have a goal for where you want to be next? Will this become a full-time job for you and your staff?

The label was born in the underground and it will die in the underground! It will not be a huge label because it’s only for great underground bands not for the big ones. I don’t have a real goal; I only want to have fun with every band and every release. Thanks a lot for the bands I worked in the past like Humiliation (Malaysia), Paganizer (Sweden), Down Among the Dead Men (UK), Obscure Infinity (Germany), Graveyard after Graveyard (Sweden), Fleshcrawl (Germany), Miseo (Germany), Revel in Flesh (Germany), Skinned Alive (Germany), Mass Burial (Spain) and Savage Deity (Thailand).

Normally its work for a full time job but its only a hobby for me.

In your view, what are the classic bands and releases from German death metal? Are there any that people outside of Germany should know about, but do not?

That’s a bad question because there are too many great releases. Check the German bands like Fleshcrawl, Lay Down Rotten, Sarx, Revel in Flesh, Blood and so much more. I don’t like it to say this is good or this one not.

If people want to learn about you and your bands, where should they go? Are you soliciting demos from bands, and how do they contact you?

We publish as much as we can on Facebook. Every band can write us on Facebook (facebook.com/brutalartrecords) or by email (brutalartrecords@web.de). We are interested in good underground bands but we can’t release everything. Feel free to send us your sickest work.

21 Comments

Tags: , ,

Ares Kingdom – The Unburiable Dead (2015)

Ares Kingdom - The Unburiable Dead (2015)
Article written by Daniel McCormick

Over four bitter cold days in February of 1934, there was an uprising in Austria. Tyranny was the victor then, and in the executions which followed, but the killing left its mark on history in the numerous “Unburiable Dead”. Stephen Vincent Benét wrote on the lingering ghost of this conflict, those “Unburiable Dead” in his ‘Ode to the Austrian Socialists’, which carries with it a central theme that I believe a quote from Chuck Keller, Ares Kingdom’s sole song writer, describes well:
“History tells: the veneer of civilization is very thin, and the world remains governed by the aggressive use of force… despite appeals to logic and reason, you get our world—the kingdom of Ares.”

 For while the gilding of modernity instills an inability to fully appreciate to the horrors of history, and we find ennui at the heart of much that is claimed to be injustice in our first world padded cells, the voice, these specters, still speak to us.

Now, turn back the hands of time twenty years prior to the Austrian Civil war and we find ourselves staring down the thick steel of a Vickers machine gun, at the onset of WWI. This is the stage for Ares Kingdom’s third full length album, a concept album of sorts, and a memorial in its own right to the “Unburiable Dead” and the vicissitudes which enveloped nations. From an unprecedented influx in engineering and patents that took place over the forty years prior to the onset of war came the engines of death capable of destruction beyond the understanding of the milieu which bore them. Such misery and violence underlies the imagery of the first four tracks, and, like Zarathustra come down from the peaks, the final three pieces are as songs of experience and wisdom, or is it despondency and spleen? Nonetheless, the album bears a easily followed framework, and one befitting the subject matter.

The music carries a continuity through out the album, and is very much in step with what one has come to expect from Ares Kingdom. Melodic and death stylings seem tied to a steel spine of traditional thrash, and at times verging on an extreme form of heavy metal. Alex Blume performs the vocals with great consistency, and while his range may be minimal the execution is imbued with virile aggression. Alex’s bass work seems solid, and to expectation but doesn’t offer me much on which to build commentary- may be it’s a different story in a live environment? Mike Miller’s percussion does well to accentuate and amplify the dynamics, though I did find myself with the nagging feeling that I was wishing it to go places at times which it never did. With a stand out performance in “Nom De Guerre”, “Demoralize” didn’t seem to indulge my attention in the same way, and overall the drums are greater than sufficient but well beneath virtuoso. A tight backing, as it were, for the main interest.

Chuck Keller’s guitar work, as I’ve come to expect, is the specific reason to seek this album out. If you’ve ever caught one of Ares Kingdom’s live sets, you’d know what I was talking about. Highly creative with technical prowess and gear capable of capturing a dense, traditional, metal tonality, the sound achieved on this album is a paramount effort. The high production values only further the experience. Chuck expressed in interviews that this album was a long time in the making, having begun writing some five years prior to release, and I believe there is much evidence of that. The music communicates – having been well developed, with a harmonious rhythmic body that consistently builds in intuitive and accessible manners, and which drives, with excess, the emoting of phrasing. Essentially, this is a brilliantly written and executed album by a true underground veteran.

This is an epic work, and I give full recommendation. It is astonishing that this comes from such a region of the US so destitute in quality metal music, though all the more reason for lending of support to a lone voice in a sea of banal creations by insipid hipsters and wannabe trash.
10 Comments

Tags: , , , ,

Varathron – The Confessional of the Black Penitents (2015)

Varathron - The Confessional of the Black Penitents (2015)
As half original work (a short EP) and half live document, The Confessional of the Black Penitents seems more compilation than unified album at first glance. I wouldn’t be surprised if the live tracks were added in an attempt to increase the supposed ‘value’ of this EP, but this is one of those cases where the commercial intent of a tracklisting decision seems less important than its overall effect on how I engage with the tracks themselves.

Varathron does admittedly stick to the stereotypical “Greek” aesthetic on the original half of this EP – in this case, a combination of contemporary black metal technique and production with elements of older metal and rock. After an extended intro, the two lengthy tracks that form the core of this half tend to explore this by alternating more overtly extreme sections with slower sections similar to older works and frequently interspersed with melodic guitar leads. These tracks showcase a strength of organization and a tasteful, limited incorporation of modern metal elements in a fashion similar to that of the band’s previous album. Based on this, and compared to other bands in the Greek scene, Varathron has aged gracefully, avoiding the contrasting pitfalls of endless repetition, excess streamlining, or overextension in the name of artistic progress or even just diversity.

The live half of this recording could serve as a general survey of Varathron as reinterpreted through the band’s modern lineup, although it is lacking in the band’s 2000s output. With three of its four tracks sourced from the band’s earliest days, it showcases the often slower and sparser approach of the band’s earliest days. Even the faster, blasting components showcased on the original tracks here make some appearance, so the main difference appears to be that in their ‘classic’ era, Varathron focused more on the rhythmic and percussive elements of their music. The other live track comes from 2014’s Untrodden Corridors of Hades; this rendition does much to render it closer to the older material in sound, which helps highlight the similarity of their songwriting. The production also helps to unify these tracks – while rougher than a proper studio environment, it’s still intelligible and in some ways more polished than that of the original material.

The new studio tracks, at the very least, make The Confessional of the Black Penitents a fine purchase. Fewer will go out of their way to acquire this EP for its live component (although it is apparently Varathron’s first official live release), but it too has value, as it provides an introduction of sorts to the band’s older material.

1 Comment

Tags: , , , ,

Diesel – Unlimited Maduro 6×60 (2015)

diesel_-_unlimited_maduro_6x60

The Diesel Unlimited Maduro is an extension of the very popular Diesel cigar line by master blender AJ Fernandez. Mr. Fernandez has quite a dedicated following with full-bodied cigar lovers, as he is known for using potent tobaccos in his blends. Popular cigars such as the Man O’ War Ruination and the Diesel Unholy Cocktail are extremely strong, meaty and flavorful. The Diesel Unlimited Maduro follows in this tradition and is a welcome addition to his ever-growing portfolio.

The Blend:

Wrapper: Connecticut seed broadleaf maduro1
Binder: Mexican San Andreas
Filler: Nicaraguan and Honduran ligero2

Appearance and Construction:

A mottled, chocolate brown wrapper covers the cigar. It has a rustic appearance, with a slight tooth and a dull sheen of natural oils. It is firmly rolled and feels well constructed, with no lumps, hard spots or other imperfections. I’ve had many boxes of these cigars and they always seem to be a bit on the dry side. That doesn’t mean they are “dried out”, I just think that they aren’t as oily or moist as many other cigars. With that said, care must be taken when handling as the wrapper can flake or crack if you’re not too careful or apply too much heat all at once when lighting.

Pre-light Impressions:

The cigar has a fairly strong tobacco aroma along with an undertone of what can best be described as barnyard — a mixture of straw, grass, dirt and manure. This is in no way a negative — as a matter of fact the barnyard aroma harmonizes quite well with the tobacco.

Smoking Experience:

Because the cigar contains a good dose of ligero tobacco, The Diesel Unlimited Maduro benefits from a long toasting of the foot to warm up the head of the cigar. Once lit, the cigar burns even and true, with a grey flaky ash that can, at times, create a mess in your lap or on your clothes. The draw is quite good, producing a nice mouthful of smoke with each draw.

The smoke has a pleasant mouth feel to it — light and very flavorful with no off-putting qualities. What’s impressive is that although the smoke is very light in your mouth, it has a strong character to it that really makes you take notice.

Initial mouth flavors are wood, leather and straight tobacco and through the nose it’s mostly spice with a touch of bitter cocoa and black coffee. The finish is clean and very dry with lingering sweet chocolate and burnt wood notes.

This is by no means a complex cigar, as the flavors remain the same throughout — from initial light to the last inch. It never smokes too hot or too cool and provides a good hour and a half of smoking enjoyment. Its bold flavor profile and ramped-up nicotine content is not for the beginner, but veteran smokers will certainly appreciate the consistent blast of flavor and kick in the pants this smoke provides.

The Diesel Unlimited Maduro fits well into the Diesel cigar line, rounding out an already impressive grouping of smokes.

Terms:

  1. Maduro: This is a fermentation process that uses intense pressure and heat to extract more sugar from the tobacco leaf than standard tobacco aging.
  2. Ligero: The top-most part of a tobacco plant. This is the strongest type of tobacco, because it receives the most sunlight and has a higher nicotine content than other parts of the plant.
3 Comments

Tags: , , , , ,

Summoning’s Minas Morgul turns 20 this week

Summoning - Minas Morgul (2015)
On October 16th, 1995, Napalm Records released Summoning’s second album, Minas Morgul; it is arguably the first release by the band to showcase their signature sound. Minas Morgul is heavy on repetition, ambiance, and cheap keyboards, but in spite of its minimalist elements (or perhaps because of them), it’s a surprisingly sophisticated work. On full display here is Summoning’s ability to convey an overarching mood or idea without resorting to extreme aesthetic shifts or overstuffing their tracks. In the process, Summoning often leaves behind conventional black metal technique but never abandons the themes at the core of their music – war, wandering, fantasy, triumph, and so forth. The band’s next album (Dol Guldur) refines much of the technique and production surrounding this approach, but Minas Morgul is still an excellent album 20 years after its debut.

2 Comments

Tags: , , , , ,

Announcing the Opeth erotic short story contest

Promotional picture of Opeth from 2014
A while back, DMU ran an erotic fanfiction contest in response to a small incident involving Pantera and the community around them, much to our fans’ joy and pleasure. As part of our initiative to grow the site (and because of the potential for controversy), we’re going to try our hands at another.

Opeth has long been one of our prominent targets for their inept aping of progressive rock forms in a paper-thin guise of death metal. Their popularity seems to have waned in recent years as they lapsed more overtly into ’70s prog worship, but that doesn’t mean we can’t give them the occasional dose of mockery to lighten up their mood and possibly incite them to heights of passion that might lead to better songwriting if we’re enormously fortunate. Thusly, Death Metal Underground’s second erotic fanfiction contest is going to be about Opeth and its members.

The rules are similar to those of the previous contest.

  1. Your story must be between 500-5,000 words and involve the members of Opeth in intensely sexual and/or erotic situations. It’s up to you to determine which perversions and fetishes you want to involve, but the more depraved, the better.
  2. References to bandmembers’ side projects (like Steel and Bloodbath) are permitted, as well as references to other bands appealing to a similar demographic. However, your work must primarily be about Opeth.
  3. Your story must be your own work. You are allowed to quote Opeth lyrics for effect, but don’t crutch yourself too badly by overusing them, lest your work be rendered underwhelming.

Submit your entries as comments on this post. You have until 11:59 PM EST on November 30th, 2015 (we extended it) to write a story for this content, so let your imagination and libido run wild.

2 Comments

Tags: , , , , ,

Megiddo returns with The Holocaust Messiah

megiddo-thm-flyer

Canadian one-man band Megiddo, who back in the late 1990s ushered in the transition of black metal to a war, black, death and speed metal hybrid, have returned with a new album The Holocaust Messiah to be released on Iron Pegasus Records for Halloween, October 31, 2015.

Sounding much like old Sodom, Blasphemy and Profanatica in a blender but built around the rhythms of punk and simpler song structures of older speed metal, Megiddo burst forth in the middle to late 1990s with two demos, “Hymns to the Apocalypse” and “The Heretic,” which have now been re-issued by Iron Pegasus as Hymns to the Apocalypse / The Heretic.

megiddo-flyer-kl

In addition, you can read the writings of composer and lyricist Chorazaim in our archive of Larm: The Fourth Reich of Reviews, a review site which popped up a few years after the DLA and covered black metal releases that were current at the time with an inimitable style.

https//www.youtube.com/watch?v=dwjUVkccKdM

2 Comments

Tags: , ,

In praise of plugs

Images courtesy of StLuisRey.

Images courtesy of StLuisRey.

Modern society is addicted to convenience. Let me expand on that: over time, as anything succeeds, its challenges decrease and it focuses on absolute convenience so it can bore itself to death. Old companies, stale friend groups, even churches and heavy metal bands fall prey to this. At some point, everything becomes easy and everyone becomes bored, and quality plummets. Life is an existential process after all that benefits from the search for pleasure, adventure and intensity (“a repo man is always intense”) more than stability, convenience and the other stuff that goes into Excel spreadsheets when users answer surveys.

For pure convenience, nothing beats the cigarette. Buy a pack and a lighter, then throw them out when consumed. The more intrepid seek a greater intensity of flavor from cigars and pipes which burn cooler and are absorbed through the cheeks instead of the lungs, so require a bit of a slower pace. Even with those fields a variety of conveniences exist. Some cigars are designed to burn evenly over any other factor, and many pipe tobaccos are meant to target the holy trinity of easy lighting, mild flavor and cool burning. For those who seek to push past all barriers, and to exceed past sensations, the more difficult realm of flakes, twists and plugs awaits. These were traditionally tobaccos for those who smoked pipes as away of avoiding expensive cigarettes, and who were busy with their hands and bodies and so were not sitting comfortably in an easy chair sipping on a pipe. They smoked all day, and they liked tobacco like their lives: rough, durable and strong. Coincidentally they usually had at least one pocketknife on their persons and were accustomed to using manual dexterity at a moment’s notice. For such a person, dragging an aged twist from an inner pocket, brushing off the lint and slicing it into shreds was a matter of course.

In our current time, convenience (and entropy) has just about won out, as has the belief that jobs which involve sitting inside cubicles in the glow of multiple screens are the desired lifestyle. When we can smoke, it is in our homes away from the prying eyes of society and the databases of law enforcement and health insurance (many of us smoke with our rifles and tricorner hats close at hand for this reason). Tobacco blends have kept up with this and now come mostly in tins with elegant labels and fine cuts. While those have their place as well, and are very enjoyable, many of us are turning toward the older forms of twists and plugs for the power of that form. Not only are they stronger, reminding us that smoking like life is a struggle against the forces of nature, but they bring back the ritual of an older time. The focus, dexterity and precision are as much a part of this as any other aspect. Slicing layers of pressed tobacco, then rubbing it into strips, and packing a pipe not for an armchair smoke but for walking around in the world, interacting with it and moving with purpose, this provides a different sort of enjoyment.

Take for instance the Peterson Peterson’s Perfect Plug. Easily available across North America and Europe, it is relatively low-cost owing to the predominance of the Peterson brand, which is currently manufactured by Mac Baren. This makes it a great plug to start with since it is neither exotic nor unduly expensive and in its abundance, allows enough material to experiment with. The plug comes in a tin, beneath a layer of cardboard surrounded by a ruff of tissue paper, and is then sealed inside a plastic bag. Slicing apart the bag and tossing the cardboard, one finds a brick of pressed tobacco leaf which resembles a very dense brownie. Since the tobacco is layered, the plug is sliced in thin flakes from the end, much as flake tobacco is made with much larger plugs at the factory. You control the width of this flake and that is where some of the magic of plugs originates:

  • Slice it thin for a lighter and shorter smoke with more sweetness. If you cut to the width of a postcard or narrower, the soft feathers of tobacco rub out into something closer to a shag which burns quickly, delivering predominantly the notes of sweeter tobaccos with more natural sugar like Virginias.
  • Cut it thicker for a dense-burning long smoke that emphasizes the savory flavors. This lets it smoulder and melds the nuttier flavors of the Burley with the denser flavors of Virginias that come out with aging and slow burning.
  • If you want to experience the toppings alongside the slower flavors, since this plug is lightly flavored with a fruit and anise mixture, cut thick flakes and then cut them the opposite direction into 1/4 inch cubes. Rub those slightly, let them dry and pile them in the pipe for a long-burning melange of flavors.

It is my feeling that the original smokers of plugs used them in each one of these different ways. They sliced thin for the first smoke of the day to wake themselves up, and cut rough during the day for hourlong pipes while they worked on whatever they did, and may have done a variation on the two or a cube-cut on weekends and after work to wind down. The versatility of the plug enabled it to be many tobaccos at once by emphasizing different flavors, speeds and volume of smoke. Being familiar with mechanics and some chemistry, the original smokers of the plug naturally adapted to this usage, in addition to enjoying a hardy piece of tobacco that could be tucked in a pocket alongside a knife for a no-frills but slightly inconvenient use.

Thanks to the resurrection of pipe smoking by the internet and its ability to join scattered people into groups, pipe smoking has experienced a revival and with it many old blends have returned as new ones have sprouted like the flowers of spring. This audience rewards intensity as it is united not by the convenience of the local tobacco store and friends to smoke with, but interest in something that is more than a hobby and less than an addiction. It is both a fascination and a lifestyle choice, a relaxation and intensification of life at the same time it is a way of dispensing with modern habits to gain appreciation for the timeless. One way to spin it faster is to go back to the revered and cherished form of pipe tobacco, the plug. Naturally, that adventure goes best with the music of open frontiers and wars in the heavens, Celtic Frost.

5 Comments

Tags: , , , ,

Classic reviews:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z