Amnesty International sues military for use of later Deicide in torture

For the last decade, the United States military has used loud rock music to torment captives from the war on terror. Isolated in dark cells, the captives are subjected to blastingly loud music on repeat for days at a time.

The international human rights agencies have been unanimous in their declaration that this is not torture until. Amnesty International spokesperson Bob Cratchit revealed that recent media sampling has provided a reason to declare this torture and end it.

The U.S. military has found the music handy at times. According to Mother Jones magazine, a song from Deicide’s album “Scars of the Crucifix” was played during interrogation of detainees in Iraq. The band said it was proud to do its part for the war effort. – AP

According to Amnesty International research, Deicide ended as a musical force after Once Upon the Cross and their remaining output is “so dishearteningly disorganized, aimless and without artistic merit as to create suicidal impulses in the listener.”

In fact, Cratchit added, “This music is so bad that most of our test subjects would only consent to listen to it when the only other option was Nickelback. Several test groups chose Justin Bieber’s ‘Baby’ on repeat over the later Deicide.”

Amnesty International acknowledges that early Deicide, from the self-titled album to the epic and devasting Legion, is ranked among the treasures of humanity. “Even Once Upon the Cross is an amazing album, although nothing like Legion.”

The US Fifth District Court held the injunction hearings and sampled the music in question. “The justices could tell right away,” said bailiff E.L. Saunders. “Old Deicide was distinctive and artistic, but the new stuff is a morass of confusion, like tormented souls locked in Wal-mart for eternity.”

The lawsuit by Amnesty International and three dozen other human rights and civil rights organizations allege that later Deicide, especially repeated, is a musical transgression that amounts to human rights abuse. Their lawsuit is pending before the courts at this time.

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Dark Descent sale

Sometimes, metalheads talk about shopping.

When it’s hard enough to get the music you like, it’s sometimes important to nab it whenever it appears.

Dark Descent records put up a sale that ends next Wednesday featuring many of the mainstays of their catalog.

Some highlights for the hardcore death metal or black metal maniac, especially those who like recent history:

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Thevetat – Disease to Divide (Dark Descent/Destro Records)

Thevetat’s demo CD “Disease to Divide” will be available early September. This is a collaboration between Dark Descent Records and Destro Records. The demo will be streaming on the Dark Descent Records Band Camp page when it becomes active later this month. The CD is the most limited Dark Descent Records CD to date, so don’t miss out. These will not be available for long. More info soon, including a link for preview on the Dark Descent Records Band Camp page.

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Immolation – Live at B.B. King in NYC, 2006

To sweeten the pot of the Hope and Horror EP, Immolation added a live DVD of a show demonstrating material from throughout their career. Pound for pound, this recording is one of the better live video and audio combinations to come out of extreme metal. The sound is a single track extracted from the soundboard, leaving out most crowd noise and faithfully capturing the instrumental sound in a thin but clear quality where optimally guitars would be louder. However, nothing cannot be heard and there are no fade-outs, which makes this a joy to follow along, especially since the videographer specializes in capturing tight shots of the playing of instruments as well as wide pans that show the enormous synchronicity and professionalism of this band. Unlike most videos, there are enough shots of the drummer and they linger long enough for us to see the interplay of hands and feet. The performance Immolation delivers merits quality cinematic treatment because it is technically precise, with medium levels of energy that allow the music not performer aerobics to be the focus of the video, and with none of the unprofessionalism or confusion that can make metal shows drag like extended sentences in foreign prisons. For technical reasons as well as the power of the performance itself this video should be commended.

1. Swarm of Terror (03:09)
2. Unholy Cult (06:25)
3. Into Everlasting Fire (05:27)
4. Dead to Me (04:11)
5. Sinful Nature (03:14)
6. Harnessing Ruin (04:27)
7. Unpardonable Sin (04:26)
8. Crown the Liar (04:41)
9. No Jesus, No Beast (04:45)
10. At Mourning’s Twilight (06:07)
Length: 48:18

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Slayer: best during mythological years

From a recent ode to Slayer:

The resulting tune was, appropriately, titled “Aggressive Perfector,” and it ushered in an era during which the band ditched the fake blood and histrionic shock of their formative days in favor of head-down assault. Or, as Araya says, “We started out with devils and demons, but we evolved to focus instead on the true devils and demons of society.” Which explains why the band ditched the D&D-esque vibe of early records like Hell Awaits and Show No Mercy in favor of a scorched-earth vivisection of society’s bleakest moments, often pairing their musical blitzkrieg rush with a lyrical preoccupation with war’s atrocities. Songs like “Mandatory Suicide” (from 1988’s South of Heaven) and “War Ensemble” (from 1990’s Seasons in the Abyss) combined a musical gut punch with lyrical odes to the senselessness of conflict that, to many, signified that Slayer were a band of their times, commenting on the brutality of the pugilistic Reagan/Bush years. – The Phoenix

Protest rock is all crap and Slayer lost focus when they went to protest rock.

Complaining about events in society enslaves the complainer to looking for approval from others, which requires whining about feelings hurt, the tragedy of others, etc.

Describing life in mythological terms instead frames the combat as one that can apply in any situation, and requires no pandering.

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PESTILENCE Announces David Haley (PSYCROPTIC) as new drummer

PESTILENCE Announces David Haley (PSYCROPTIC) as the new PESTILENCE drummer.

Guitarist/vocalist Patrick Mameli of the resurrected late ’80s/early ’90s death metal outfit PESTILENCE has issued the following update:
We are very pleased that we can officially announce that David Haley (PSYCROPTIC) will replace Tim Yeung for the upcoming PESTILENCE album and upcoming shows. Bassist Stefan Fimmers (ex-NECROPHAGIST) already joined PESTILENCE for the new album OBSIDEO and live performances.

Although Tim was really excited to join PESTILENCE, it was because of his conflicting tour schedules with MORBID ANGEL (and other projects), that made it nearly impossible for Tim to tour with PESTILENCE.

Patrick Mameli commented: But we (Uterwijk, Fimmers and Mameli ) weren’t really too disappointed by this unfortunate development because of our talks with David soon after. The new material will fit David perfectly. He is such an amazing drummer and a really cool guy as well!!! We all welcome him into the PESTILENCE camp.
David Haley commented on joining PESTILENCE: “Im very excited to be performing the drums on the new Pestilence album…and quite nervous about it too!! PESTILENCE have been such an influential band within the metal community throughout their whole career, so it’s quite an honor to be asked to perform for the upcoming album. The material I’ve heard thus far is amazing – and I am really looking forward to start the recording process”

For the new album OBSIDEO, eight of the ten tunes are written, and PESTILENCE hopes to start recording end of 2012. Some new song titles are: Necromorph, Saturation, Soulrot, Laniatus and Superconcious. Overall theme will be the journey of the human soul.

PESTILENCE 2012 is:

Patrick Mameli – Lead guitar/Vocals
Patrick Uterwijk – Lead guitar
Stefan Fimmers – Bass
David Haley – Drums

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Steve Harris – British Lion

EMI Music are proud to announce the release of Iron Maiden founder Steve Harris’ debut solo/side project album. Entitled ‘British Lion’ and comprising ten songs that Steve and his collaborators have been working on for the past few years between Iron Maiden tours and releases, it is an album that will surprise and delight music fans the world over.

With a decidedly heavy rock-vibe this roaring debut paints with a full palette of sounds; brooding, melancholic, righteously indignant and exuberantly heavy. With Kevin Shirley at the mixing helm – whose credits include Iron Maiden as well as Led Zeppelin, Journey and Rush among many others – this is an album to sink your teeth into.

From the growling riffage of opening salvo This Is My God to the heavy forlorn balladry of follow-up Lost Worlds which showcases Richard Taylor’s soaring vocals, it’s clear that ‘British Lion’ is an altogether different beast from Maiden.

Karma Killer, with its dirge-like muscularity, and Us Against The World, with its massive chorus, demonstrates just how far ‘British Lion’ has flexed Steve Harris’ considerable musical muscle. Dovetailed with guitarist David Hawkins’ positively gargantuan lyrical guitar melodies, it’s a mere hors d’oeuvre ahead of the epic, riffing-feast of The Chosen Ones, with its swaggering bravado.

A World Without Heaven, at a breathtaking seven minutes and infused with progressive elements without ever teetering into self-indulgence illustrates perfectly these songsmiths’ colossal abilities to create a mood and stay there. Supercharged by Steve Harris’ inimitable style, there’s an un-cynical vibe here that’s as refreshing as it is out of place in today’s all-too-categorised music industry.

And as far as the name ‘British Lion’; “I’ve always been proud to be British,” explains Steve, “I don’t see any reason why I shouldn’t be. It’s a massive part of being me. It’s not like I’m flag-waving or trying to preach, this is not a political statement at all. It’s like supporting your football team, where you come from. I just think it lends itself to some really strong imagery too, and to me it fits in with the sound.”

With Iron Maiden, Steve Harris has become one of the most recognised and successful ambassadors for British music on the world stage. Having released 15 studio albums, sold over 85 million records worldwide and played more than two thousand gigs in 58 countries in the band’s thirty-five year career, his appeal is truly global.

And now with ‘British Lion’, Steve steps out from Iron Maiden’s illustrious shadow to present a different side of his musical visions.”

The tracklisting for ‘British Lion’ is as follows:

1.This Is My God
2.Lost Worlds
3.Karma Killer
4.Us Against The World
5.The Chosen Ones
6.A World Without Heaven
7.Judas
8.Eyes Of The Young
9.These Are The Hands
10.The Lesson

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Best of YouTube comments

Music is not subjective. Quality is not subjective. If you are unable to see artistry, hear musical phrase and connect it to the overall aesthetic/narrative (what the band desires to do with these sounds) then you are tin-eared and need to widen your appreciation of music. Listening to expectation based, simple, easily gratifying music has spoiled you. Even when it is technically complex, popular music (and bad metal) satisfies simple hungers. – autobotftwww

Reality is not subjective.

Humanity is subjective.

People want to make our subjectivity into a false objectivity, so we can claim that we know our world, when really we are projecting onto it and nothing more.

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Interview with Jan Kruitwagen about the upcoming Sammath album

In a time of just about any style being called “black metal” if someone shrieks during the recording, Sammath stay true to the older ideal of powerful, melancholic, evil and naturalistic music.

Their archly elegant Strijd kicked off a promising career, and since then, the band have experimented with a more warlike outlook. We were fortunate to catch a few words with founder Jan Kreutwagen about the band’s fifth album, yet unnamed, which will emerge this year.

What can you tell us about the new Sammath? When will it be recorded, on what label, what’s it like?

It’s turning out just like I wanted Sammath to sound back in 1994: a fine-tuned combination of total chaos, aggression and the right dose of melody. Every time we started to write tracks for this album something good popped up.

The new album is only 34 minutes. I can’t see myself creating a better album than this in the near future. The work Ruud (bass) put into Sammath over the last few years is probably why it all sounds this way. He has a good ear to weed out the weak parts and most of all filter out the irrelevant bits. His dedication and experience, and also that of complete nutcase drummer Koos Bos, have made Sammath sound like this. I write all the music, but what Koos and Ruud deliver is so damn aggressive and intelligently thought out that it takes it all to a new level.

Folter Records will be releasing the CD at the end of this year or maybe early next year. I get enough offers from other, smaller and larger labels, but I will never leave Folter Records. What others think or how big the band is doesn’t really concern me. Jorg is a underground maniac and he was the first to give me a recording contract in 1997.

The demos you’ve been posting are admirably raw. Will the production and adornments remain this minimalist, or will there be more guitar solos, production tweaks and other refinements as there were on the last Sammath?

The tracks on the internet are just pre-production demos; all drums and guitars will be re-recorded in the coming months. I decided to throw some tracks online and the response has been overwhelming. I really want this release to sound as basic and raw as possible but with a great production that does not sound thin and weak like most black metal releases. Before we enter the studio I want the entire album finished in demo version.

Peter Neuber (Axis of Advance, Severe Torture) will once again be doing the mastering. He knows exactly how to get Sammath to sound its best — a review for the last album stated that it sounds like it’s all going to cave in at any moment, raw, loud and filthy. This time there are no guitar solos, production tweaks or other frippery; the tracks have enough energy already. It’s all very primal and blunt. I don’t think todays black metal fan will like it. The last album is still killer, but this will make it sound like an ABBA release.

These songs strike me as the best expression of the direction you’ve gone since the first album. How has your direction and intent changed?

Finally I am achieving what I’ve always wanted but simply could not do. It’s not technical, it’s just all very blunt and straight forward aggression. But the combination with the new chainsaw bass sound, the over-the-top crazy drums, without triggers or any slickness, makes it all sound very alive and dynamic. Someone told me it sounds like a combination of all previous Sammath CDs. I also think experience and creating your own sound is something that takes years to achieve.

Problem is that, unlike in 1994 when we started, we all have families, kids, so most of our days are filled up with watching over the kids or getting enough money together for them. I usually only have enough time at night so I get up in the middle of the night to work on new material. I now have the opportunity to record whenever I want, seeing as I have my own primitive little hellhole to create music at dangerously high levels without anyone being able to hear it.

Sample tracks posted so far sound like a cross between APOCALYPSE COMMAND and first album SETHERIAL; they’re blasting black metal with death metal influences, on the edge of war metal, but they have actual melody and structure so it’s not as monotonic. What are your influences and what style do you want to express with the new songs?

You have described it brilliantly. Those bands are totally great! I had never heard of Apocalypse Command (shame on me, just ordered all I could find). I didn’t really have any plans before I started recording; I just began and it ended up like this. After a few months I got the feeling that this was going to be very stripped down album, blunt black metal — no remorse. A big influence on me the last few years are Blasphemy, Revenge, Brutality, Incubus (now Opprobrium), and Autopsy. And some new bands like Portal, Impetuous Ritual.

Do you think black metal is still alive, or has it been absorbed into something else? How do you describe your music, now that we’re entering into black metal’s second decade?

I really don’t have a clue, at concerts I see less and less people I know, but then again I don’t go as frequently as I used to. I only have time in the winter, making sure to go to the Nuclear War Now! Productions fest this year again, the scene is great when you see over a thousand maniacs from all over the world there. Last year there were a group of about thirty of us creating havoc outside and I think there were twenty different nationalities.

Black metal has always been a strange scene; people tend to get too serious, no fun, no humans, to me that’s absolute weakness. I think black metal died when all the suicide-kill-people self-mutilating emo-boys appeared. All this anti-life propaganda stands for the depressed little boys who simply can’t get laid and feel like the world hates them. There used to be a great gap between gothic and black metal, the way some bands try to combine these two are what’s raping the scene the most.

For me, and I can also say this for everyone in Sammath, black metal stands for arrogance and power. My grandfather taught me this, ignore everyone else’s opinion, always follow your instinct. Even if people think I’m wrong I’m right. This might sound irritating, but I don’t look down on people, I’m a pretty easy-going person, I just don’t bow down to anyone (except my wife…). The new Sammath sound is black/death/war metal, nothing new, but it’s what I command and it will tear your head off.

Thank you for your time, and good luck with the new Sammath! Based on the promo track you sent us (attached in video form), this is going to be a great addition to the Sammath catalogue.

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Interview with Jan Kruitwagen about the upcoming fifth Sammath album

Originally this was to be published on Examiner.com, but they censored it for reasons unknown, with no explanation given.

One minute it was there, and the next minute it was all deleted as if it had never existed. Never mind the work that went into putting the interview together, formatting it in Examiner’s arcane system, working around their software, etc. Just deleted. I use Examiner.com because, since most of what they publish is pop culture, it’s a good place for links to underground death metal and black metal bands to exist, but it makes me wonder how professional they are to simply delete work without an explanation or even notification.

I was able to restore most of it and at the band’s request, we’re republishing the uncensored version here.

###

In a time of just about any style being called “black metal” if someone shrieks during the recording, Sammath stay true to the older ideal of powerful, melancholic, evil and naturalistic music.

Their archly elegant Strijd kicked off a promising career, and since then, the band have experimented with a more warlike outlook. We were fortunate to catch a few words with founder Jan Kreutwagen about the band’s fifth album, yet unnamed, which will emerge this year.

What can you tell us about the new Sammath? When will it be recorded, on what label, what’s it like?

It’s turning out just like I wanted Sammath to sound back in 1994: a fine-tuned combination of total chaos, aggression and the right dose of melody. Every time we started to write tracks for this album something good popped up.

The new album is only 34 minutes. I can’t see myself creating a better album than this in the near future. The work Ruud (bass) put into Sammath over the last few years is probably why it all sounds this way. He has a good ear to weed out the weak parts and most of all filter out the bullshit. His dedication and experience, and also that of complete nutcase drummer Koos Bos, have made Sammath sound like this. I write all the music, but what Koos and Ruud deliver is so damn aggressive and intelligently thought out that it takes it all to a new level.

Folter will be releasing the CD at the end of this year or maybe early next year. I get enough offers from other, smaller and larger labels, but I will never leave Folter Records. What others think or how big the band is doesn’t really concern me. Jorg is a underground maniac and he was the first to give me a recording contract in 1997.

The demos you’ve been posting are admirably raw. Will the production and adornments remain this minimalist, or will there be more guitar solos, production tweaks and other refinements as there were on the last Sammath?

The tracks on the internet are just pre-production demos; all drums and guitars will be re-recorded in the coming months. I decided to throw some tracks online and the response has been overwhelming. I really want this release to sound as basic and raw as possible but with a great production that does not sound thin and weak like most black metal releases. Before we enter the studio I want the entire album finished in demo version.

Peter Neuber (Axis of advance, Severe Torture) will once again be doing the mastering. He knows exactly how to get Sammath to sound its best — a review for the last album stated that it sounds like it’s all going to cave in at any moment, raw, loud and filthy. This time there are no guitar solos, production tweaks or other bullshit; the tracks have enough energy already. It’s all very primal and blunt. I don’t think todays black metal fan will like it. The last album is still fucking killer, but this will make it sound like an ABBA release.

These songs strike me as the best expression of the direction you’ve gone since the first album. How has your direction and intent changed?

Finally I am achieving what I’ve always wanted but simply could not do. It’s not technical, it’s just all very blunt and straight forward aggression. But the combination with the new chainsaw bass sound, the over-the-top crazy drums, without triggers or any bullshit, makes it all sound very alive and dynamic. Someone told me it sounds like a combination of all previous Sammath CDs. I also think experience and creating your own sound is something that takes years to achieve.

Problem is that, unlike in 1994 when we started, we all have families, kids, so most of our days are filled up with watching over the kids or getting enough money together for them. I usually only have enough time at night so I get up in the middle of the night to work on new material. I now have the opportunity to record whenever I want, seeing as I have my own primitive little hellhole to create music at dangerously high levels without anyone being able to hear it.

Sample tracks posted so far sound like a cross between APOCALYPSE COMMAND and first album SETHERIAL; they’re blasting black metal with death metal influences, on the edge of war metal, but they have actual melody and structure so it’s not as monotonic. What are your influences and what style do you want to express with the new songs?

You have described it brilliantly. Those bands are fucking great! I had never heard of Apocalypse Command (shame on me, just ordered all I could find). I didn’t really have any plans before I started recording; I just began and it ended up like this. After a few months I got the feeling that this was going to be very stripped down album, blunt black metal — no remorse. A big influence on me the last few years are Blasphemy, Revenge, Brutality, Incubus (now Opprobrium), and Autopsy. And some new bands like Portal, Impetuous Ritual.

Do you think black metal is still alive, or has it been absorbed into something else? How do you describe your music, now that we’re entering into black metal’s second decade?

I really don’t have a clue, at concerts I see less and less people I know, but then again I don’t go as frequently as I used to. I only have time in the winter, making sure to go to the Nuclear War Now! Productions fest this year again, the scene is great when you see over a thousand maniacs from all over the world there. Last year there were a group of about thirty of us creating havoc outside and I think there were twenty different nationalities.

Black metal has always been a strange scene; people tend to get too serious, no fun, no humans, to me that’s absolute weakness. I think black metal died when all the suicide-kill-people self-mutilating fags appeared. All this anti-life gayness stands for the depressed little boys who simply can’t get laid and feel like the world hates them. There used to be a great gap between gothic and black metal, the way some bands try to combine these two are what’s raping the scene the most.

For me, and I can also say this for everyone in Sammath, black metal stands for arrogance and power. My grandfather taught me this, fuck everyone’s opinion, never listen to other people, always follow your instinct. Screw religion, never trust anyone, and above all, don’t give a shit. Even if people think I’m wrong I’m right. This might sound irritating, but I don’t look down on people, I’m a pretty easy going person, I just don’t bow down to anyone (except my wife…). The new Sammath sound is black/death/war metal, nothing new, but it will fuck you up.

Thank you for your time, and good luck with the new Sammath! Based on the promo track you sent us (attached in video form), this is going to be a great addition to the Sammath catalogue.

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