Former extreme shoegaze/indie band Wolves in the Throne Room released a lengthy track from their upcoming album Celestite Mirror. This time they follow the path of cosmic synth bands like Tangerine Dream, Neptune Tower and Jääportit. The new Wolves in the Throne Room uses of the flexible and grand sound of synthesizers to write sci-fi symphony that invokes a celestial world above our head.
Unlike Tangerine Dream and Neptune Tower, Wolves in the Throne Room demonstrate a clearer melodic pattern. Through the method of successive repetition and progress like a serial of logical thoughts, the music maintains the organizational strength of metal music while adding melodic development and an expansion of mood beyond the intense surging power of guitars. As a result, Celestite Mirror advances the heritage established by Tangerine Dream and Neptune Tower.
Whether Celestite Mirror emerges as a strong fusion of metal and cosmic ambient or not, it merits our anticipation. Metal possesses a will to catch up with classical music and always has, which is what the core fans of this genre expect and hope for too. The new Wolves in the Throne Room might fulfill the vision we dreamed of all these years.
Dutch death metallers Sinister return in 2014 with The Post-Apocalyptic Servant. Sinister is a band most notable for the classic death metal offering Cross the Styx which wielded basic yet effective death metal. The quality of their releases waned since that time and after their ’98 effort Aggressive Measures, the flame became an ember (as is the common fate of early death metal bands).
Twenty one years after their debut, Sinister progresses their decline with this album. The riffs — while intense and biting — lack context, making the songs bland and disingenuous. This is an album of “moments”: no song on this album is good in its entirety, but certain details stand out. This isn’t the musical journey that death metal is supposed to convey; this is an exhibit of a handful of decent riffs spread out over the course of an underwhelming ten track album. Even their cover of “Fall From Grace” is lackluster and forced. It’s also an album that gets progressively worse as it plays through, like a runner sinking in quicksand.
The production is just as unsatisfying as the album itself. Completely synthetic and somewhat reminiscent of modern tech-death bands with the only trace of atmosphere emanating from the leitmotif at the beginning and end of the album. Everything else sounds like it was put together in a factory with some spare parts laying around. The result is an album that does not hold up. Memorable riffs without structures that could give them the life they need create a vicious, but not captivating, attempt at a comeback.
Defining metal has never been easy in part because as time has gone on, all techniques have migrated to just about all genres. For this reason, describing it by loud guitars, screaming vocals and pounding drums reveals very little. Instead, we have to inspect what holds metal together and makes these elements so powerful: its spirit.
Unlike the various popular music genres, metal is not focused on the experience of the individual, but the negation of it. This is metal’s nihilism: it destroys the idea of any thing having absolute authority or inherent meaning. Instead, meaning is where it is found, but it must fit within the whole vision of the world, which boots out most of the self-focused material.
As Black Sabbath created the rudiments of the genre, they referred to the dark soundtracks to horror films. In these, there is a fascination with final states. They look toward death, destruction and a mythological-historical view to determine how any human activity fares. This flew in the face of the flower power music of the late 1960s, and brought a dose of dark realism to the debate. But it also brought a sense of epic adventure, swords ‘n’ sorcery type material, inherited from its pursuit of meaning that cannot be negated.
What emerges from that proto-metal and all (honest) metal since is a focus on triumph and dark love. There is a world of nothingness, swirling horror and eternal emptiness, and then there are those who make something of this. They find triumph in overcoming their limitations to connect to the viewpoint of the mythological-historical, like metal’s two largest influences, H.P. Lovecraft and J.R.R. Tolkien. There is a search for that which overcomes our individual situations in life and unites us, a quest for survival itself.
As part of this, metal embraces a dark love. When a pilot flies a military jet high above his homeland, he feels this dark love. At any minute, a single twitch of the stick could bring about unthinkable disaster, death and destruction. And yet those forces must be corralled and used toward positive ends, much as how metal makes beauty out of the loud distorted sounds of guitars and tortured screams of its vocalists. The love is dark because it is not universal nor is it certain; instead, it rests in the ability to do something great in times of degradation.
Dark love is what a hunter feels as he cuts down some prey and not others. It is what a farmer feels as he prunes his trees, or what a king experiences as he leads his forces into battle. It is what great thinkers know, as they look at history and attempt to steer a path between the disasters of the past toward a future force of promise. It is a love that reaches beyond method to goals, and shows individuals how to rise above fear and reach toward something ineffable, with the promise of triumph.
Where metal fails is when it becomes focused on the individual. Songs of protest, or songs of individual karmic drama, do not reflect dark love but a desire for certainty and absolutes. Metal negates these. Instead, it shows us a world of uncertainty and ambiguity where nothing can last, except that which is eternal and larger than the individual. It is this “largeness” that we often fear as humans because it makes us insignificant.
Although most live in fear of these truths, metal harnesses them. It casts aside the devices we have invented to help obscure our fears, and looks into the abyss, hoping to sculpt with nothingness a great work that instead reveals an inner light. This light is not absolute, but derived from the interplay of nothingness and eternity. It is cosmic, mythological, epic and mystical. It is the adventure of life itself.
In the mid-late 80s death metal was still a vital force in which the standards of the genre were established. The new genre differentiated itself from speed metal several years before, but techniques common to both genres still overlapped without seeming artificial as they would when re-introduced later to make death metal more audience-friendly. This period gave rise to many bands which command universal respect today, but there were also a number of smaller projects which nevertheless imparted the same artistic drive and skill.
Recently reissued Incubus self-titled EP Incubus takes a short three-track voyage through the hinterlands of death metal’s darker yet constructive twisting of prior genre forms. Taking the work of Slayer, Hellhammer/Celtic Frost, and other proto-death metal bands, and moving it into more extreme directions, this is the same trajectory from which Morbid Angel spawned an entire lineage within the genre.
Adept at tempo shifts, in addition to a layering of guitar tones ranging from the subterranean to the celestial, in only three tracks Incubus wrangles a distinctive creation with the trademark frenetic energy of death metal and the more hookish speed metal. Artistically coherent in a way that is rarely if ever seen today, this reminder of genuine purpose married to cultivated skill is very much worth hearing again, or particularly for the first time. Incubus will be released on June 16th via Vic Records.
The movement that some are calling “neoambient” — a fusion of dark ambient, Conan soundtracks, and neofolk — generally arose out of the metal community. The classics of the genre converge on Lord Wind (Graveland), Burzum and Black Aria (Glenn Danzig). In addition, metal bands contributed to related forms of epic ambient, like Beherit (Electric Doom Synthesis) and Neptune Towers (Darkthrone). Newer entrants like Winglord and Hammemit explore different paths along similar directions.
But how do we trace the influences and evolution of this genre? Glenn Danzig (Misfits, Samhain, Danzig) launched a partial revolution in 1992 with his Conan-inspired Black Aria. Several years later, Burzum followed this with Daudi Baldrs and Hlidskjalf, both of which used Dead Can Dance-themed ancient world music to frame the epic nature of its compositions, giving it a feel not just of Conan-styled epic conflict, but of a cultural basis.
There’s another influence lurking just a few years before Danzig — affirmed by Rob Darken as an influence on his music in Lord Wind — which was the music of Clannad as used in the BBC series Robin of Sherwood:
Much of what attracts newcomers to the heavy metal world is the ferocity of mythology in metal. The unsafe world of endless possibilities that this music projects can be especially attractive to the daring and inquisitive soul. That it further bonds itself to a mysticism of heroes and giants fighting for existential domination of reality itself gives it a gravitas and yet engaging playfulness. And like the dark thrill of a glory ride into Armageddon the sole ’87 demo from Quebecois speed metallers Yog Sothots is a feral litany of war.
Much like the Canadian war metal that would come later, (and to a lesser extent, the hammering simplicity of Von) Yog Sothots deliver a crushing blast of speed metal that is more aligned with the extreme metal that was at the time developing, rather than the tamer likes of earlier bands which had found mainstream acceptance just that year. These songs explode in a fury of whirling carnage that builds intensity like a town tormented by a mighty and growing thunderstorm. The primal nature of this demo combined with the organic and low-fi production makes this a savage though somewhat predictable journey.
The only drawback here is that many of these songs seem to struggle with developing an identity of their own, and tend to grow stale upon repeated listens (the same curse that struck Sodom’s debut). Caught between the developing speed metal tendencies of non-mainstream metal contemporary to its origins and the more focused yet rule-less rage of black and death metal, this Canadian band opted for a compromise. Yog Sothots was swallowed by time, and honestly, better acts. Still, this is a worthy effort and deserving of praise. Though this demo is far from perfect, it captures the true spirit of metal: a headlong dive into the abyss, spawned by the curiosity of what might be found.
The anthemic, direct energy form of death metal is one of the most recognizable strains of the many sub-groupings within the genre. Possibly the most popular type of death metal, it bridges the gap from heavy and speed metal to more developed and darker forms of metal. For most listeners, this zone stretches from Judas Priest Painkiller to Morbid Angel Covenant with many stops in between.
On Sacrilegious Fornication, Italian death metal band Horrid go back to this method of composition (along with ubiquitous Sunlight Studious production) in an attempt to root their latest album in traditional, tried & true death metal creation. Taking inspiration from bands such as (early) Death, Massacra, and Entombed, the well-crafted balance between melody and ferocity that each band embodied is preserved.
By keeping relatively straightforward time, rhythms are simple enough to understand at first listen, freeing the mind to appreciate the whole of the composition without being thrown off by faux-complexity. While simple, riffs are not low-minded, as the phrasal nature of them trancends verse-chorus limitations and provides the framework for vocals and drums to fit in on either side of the melee, merging into technological barrages that wind their way through a journey of war and death.
Some critics may wish to dismiss bands such as Horrid for being just another “Entombed clone” among dozens. While it’s true that there isn’t much to laud here as being “unique,” what instead can be appreciated is the quality of the music, its careful arrangement, and the enjoyment of listening to an album that respects the higher forms of death metal and wishes to preserve them into the present generation.
Sacrilegious Fornication was released on May 1st and is available from Dunkelheit Produktionen.
The albums have been skillfully remastered by Patrick W. Engel / Temple Of Disharmony (Asphyx, Desaster, Darkthrone etc), were specially mastered for vinyl and feature heavy 180gr vinyl, a 30x30cm 4-page LP booklet whereas the CD and digital format come along with additional bonus tracks and will be offered at mid-price.
“Final Holocaust” offers tracks from a previously unreleased 1990 live show, “Enjoy The Violence” also contains a rehearsal from 1991 and “Signs Of The Decline” extra live tracks, so look forward to some rare rawness as bonus treats.
The LP booklet and 24 pages CD booklet include all lyrics, detailed interviews with guitarist Jean-Marc Tristani, photos, fanzine snippets, flyers and more.
“Researchers Of Tortures” from Final Holocaust
“Enjoy The Violence” from Enjoy the Violence
“Full Frontal Assault” from Signs of the Decline
Here is an overview on the different vinyl editions and limitations:
Final Holocaust:
200 copies – black vinyl
400 copies – transparent blue vinyl
400 copies – clear vinyl
Enjoy The Violence:
200 copies – black vinyl
400 copies – solid white vinyl
400 copies – clear vinyl
Signs Of The Decline:
200 copies – black vinyl
400 copies – red vinyl
400 copies – clear vinyl
Wormreich is a black metal band dwelling within the heart of the bible belt. The best way to describe their style would be Casus Luciferi-era Watain with some symphonic elements and an almost Swans-like sense of horror and uneasiness. The vocalist/guitarist, Vulk, agreed to answer a few questions.
Wormreich is an interesting band name. What does Wormreich signify?
Wormreich is a name that I’ve wanted to use for many years. Not only does it sound powerful and twisted, but there is also a deeper meaning behind it. The worm is a creature perceived by many as ugly, vile, and disgusting. It feeds on decay, and as such it is often associated with death. The worm to me is also a representation of Satan, or at least certain aspects of Satan, because the worm is seen as a resilient, omnipresent force that cannot be destroyed or eradicated. There are also the obvious parallels between the worm and the serpent, which is, of course, another representation of Satan. The German word ‘Reich’ roughly translates to ‘kingdom’ or ‘domain’. So there you have a kingdom of worms, the domain of Satan. At a superficial level, the name also sounds very sharp and biting.
What came first in your life: Black metal or Satanism? Did your Satanism inspire you to pursue black metal, vice-versa?
My interest in metal in general led to a passive interest in Satanism. As a young kid, albums by Slayer and Iron Maiden’s The Number of the Beast fired my imagination and filled my head with images of hellfire and brimstone. It wasn’t until I had discovered Black Metal in my mid-teens that Satanism became a driving force in my life. The lyrics of bands like Dissection and Demoncy were early inspirations for exploring Occult and Satanic literature and philosophy. Since those times, I have expanded my knowledge and developed my own interpretations of Satanism/Luciferianism, the fruits of which are present in Wormreich’s lyrics.
I detect a much more sinister and horror-inspired sound with Wormreich than any other black metal band around today, like the haunting nature of early Swans material or dark ambient. Did you consciously draw influence from any of these?
I wouldn’t call it a conscious decision to incorporate these elements into our work. While I myself am a huge Swans fan, I can’t say that they’ve had a direct impact on our sound. More specifically, ambient/atmospheric black metal works by artists like Blut aus Nord, Lunar Aurora, Nortt, Drudkh, early Kataxu, Summoning, and even early Manes are huge inspirations to us, both individually and collectively. For Wormreich, atmosphere is just as important as violence and intensity. We simply want to create the type of black metal that we like to hear. Musically, nothing is more paramount to us than being able to fully enjoy our work.
Theistic Satanists tend to have a general disdain for the LaVeyan ideology of Satanism. Is it partly due to the humanistic tendencies of the Church of Satan? What’s your view on this?
I don’t view LaVeyan Satanism with the same level of disdain and hostility as many Theistic Satanists tend to. I believe that LaVey’s works are interesting and do serve a purpose, though a dilettantish one. That said, I also view the Church of Satan as a silly organization of glorified atheists who care more about shock value than actual substance, the product of a generation preoccupied with pissing off mommy and daddy.
What can be expected for the future of Wormreich?
We are in the process of working on a split with the Malaysian band Neftaraka, as well as our next full-length, III: Vril, which will also be released via Moribund. We are also in talks to have our debut album, Edictvm DCLXVI, reissued later in the year. We have several US festival dates booked this year, with more in the works. We hope to begin touring the States soon, and we will actively begin to pursue European ventures as well. There are also some other very big and exciting things in the works, but nothing confirmed as of yet, so I cannot go into any details.
Final words?
Only that we greatly appreciate the interview and support. Hails!
For over two decades, Incantation has been one of the leading innovators of death metal. Although it never received the public accolades worthy of its contributions, Incantation represented a titanic figure in the underground scene that created works of more consistent quality than that of its contemporaries, although as with all bands from metal’s golden age there’s been a noticeable tiredness creeping into its work.
On Incantation‘s latest album Dirges of Elysium the tiredness reveals how it has spread to composition. While the traditional core of recognizable Incantation shines through at times, audible indications of decline present themselves on every track. The band did not attempt to create something to move either upwards or forwards, but instead sullenly sinks back into uninspired riffs and concessions to the contemporary marketplace.
Incantation displayed willingness from its very beginning to stretch the realms of death metal, particularly with slowed-down tempos of doom metal; however, when the band did this it was well-placed within the order of the present track and was synonymous with the expression of the blistering assault book-ending it on either side. On this album, this expert sense of structure is greatly reduced. Rather than being weaved together in an organic whole, riffs are placed parallel to each other with little to bind them together. While some riffs are competent, the lack of any unifying cohesion to the album leaves them stranded as brief moments of interest.
Although the core of the album remains as death metal, there are also hints where the veneer cracks: straightforward speed metal riff fragments signify the lack of imagination present and the simplistic pounding of palm-muted riffs occasionally approaches the knuckleheadedness of post-hardcore bands. The speed metal influence as inherited through its hybrid with jazz-lite and math metal in metalcore presents a subtle but pervasive decline to the integrity of the palette Incantation uses. When throwaway riffs and foot-tapping crowd pleasers become acceptable random h’ors d’ouvres among the meatier riffs, chaos has overcome order.
It is also worth mentioning the final track as a case study in decline. Clocking in at almost 17 minutes in length, this song completely dominates the album in terms of proportion. While this author was excited to hear this composition, the fact is that this track is extraordinarily difficult to listen to. It is the entropic decline of the entire genre expressed: a reduction of everything to faux-angst, lazy generalities that signify no individual artistic direction. A modern mess and doom/speed metal disaster, it is very hard to imagine that this track (and album) was composed by the same band that released some of the best death metal albums of all time.
Readers are advised to temper their expectations before listening. Dirges of Elysium will be released on June 24th via Listenable Records.
