Empyrium Into the Pantheon DVD and documentary to be released on September 24, 2013

by Brett Stevens on September 2, 2013

empyrium-into_the_pantheonCult doom metal/goth band Empyrium plan to release their new DVD, Into the Pantheon, on September 24, 2013 through Prophecy Productions. At the same time, the band will release a documentary on the making of Into the Pantheon.

Following in the footsteps of Paradise Lost and My Dying Bride but at a pace more familiar to funeral doom fans, Empyrium have gained a cult following through their melodic doom metal that uses tropes from Gothic music as well as extensive clean vocals and orchestral instruments like violin and cello.

On Into the Pantheon, you will see the band present an hour and a half of live material featuring live musicians playing those orchestral instruments alongside guitars, keyboards, bass, vocals and drums in the traditional metal style. While this is slower-paced and more elegant than much of metal, it preserves the doom metal atmosphere of melancholic and bereft moribund moods.

In addition, the band will release an hour-long documentary about the making of the live show and the band and its attitudes toward life, death and everything in-between, which will answer many of the questions of the die-hard fan. This band is highly secretive, and does not give interviews, so even a concert was a rare event. This DVD chronicles the band’s first live concert ever.

Some have described Empyrium as taking a power metal attitude to doom metal, and much of what you see here will fit that description. Musicianship is excellent, professional standards are upheld, and the music while emotional and dark is also quite accessible. For more information, see the label page.

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Master – The Witchhunt

by Brett Stevens on September 2, 2013

master-the_witchhuntUntil you succeed, you face a threat from competition. Once you succeed, you may face a worse threat, which is competition from yourself.

The history of Master may be divided into roughly two parts, those albums before …And On the Seventh Day God Created and after it. Before, Master was a proto-death metal with a punk and old school rock vibe; after, it was tight and rigid high intensity death metal.

The Witchhunt picks up on that style and adds a bit more melody and riffcraft, but returns to the classic punk-style open percussion that Master used on its earlier albums, but sped up. As a result, there’s less stop-start and more raging fast lead-picked riffs.

Other than that, not much has changed. Speckmann is still the primary songwriter and builds songs around a vocal rhythm and bassline, which his band cohorts fill with guitar riffs and drum patterns. The current lineup seems to have effected positive change in his sense of tempo and change.

Intensely consistent, Master sound like themselves on this album and thanks to some modernization of sound are competitive with the more intense bands out there. What might be great is if they expanded to use more riffing and less verse-chorus construction such that the band fully moved into the death metal era.

Speckmann’s vocals are both strained and emotional and gruff and functional at the same time, creating a type of voice of authority which channels the music between its extremities and coherence. Percussion is reminiscent of early Vader or Sinister.

While some will argue that this album offers nothing more than what Master has done in the past, The Witchhunt may surprise them. Songs are more distinctive in rhythm, riff and aesthetics, and the uptempo change has forced more efficiency in songwriting.

In other words, this is not “just another Master album,” but a steady improvement that is consistent both with the second era of Master and the general direction of the first. This makes it a complement to the near present and distant past.

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Heavy metal saved my life

by Brett Stevens on September 1, 2013

rabbi_darby_leigh-heavy_metalHow many of you feel that metal music saved your life?

When I was suffering through high school — boring assignments, ludicrously uptight authority figures, absurdly judgmental peers, and crushing ignorance about the world and myself — heavy metal indeed saved my life.

It had several methods that saved me. The first was that it let me escape into a mood that was bigger than my everyday concerns. This helped me establish values, center myself and see day by day stuff in context. The second was that it gave me a sense of belonging to something bigger than myself, which both freed me from the judgments of others and my own tendencies toward self-obsession. Finally, it was a gateway into history and literature, philosophy and art. It was a more exciting entry point to those disciplines than the rote ancient material taught in school.

From others I have heard similar stories. When your parents are dysfunctional, heavy metal is like a window into a much wider world beyond where things can make sense even if they don’t right now. When instability is all around you, “metal never bends” or “true metal it is, or no metal at all” are not just comforting ideas but mission statements.

To some, however, heavy metal has a different mission: it states it’s OK to be different. Witness the words of this heavy metal Rabbi:

Growing up as a Jewish teen in Manhattan, he was drawn to listening to heavy metal bands. Leigh’s body found joy in the chords and musical vibration that emanated from the emphasis on bass and percussion. He also found community and faith when he attended concerts.

“I found God in a mosh pit,” said Leigh, who attended his first concert, a Twisted Sister performance in New York, when he 14. “Heavy metal saved my life. The experience of growing up deaf in the hearing world means that you grow up as a minority. So many of us have the experience growing up where we feel like we don’t fit in, or we don’t fully belong.

“I found in heavy metal a music and a culture that supported individuality and rejection of the social norm. I found a culture that said, ‘you don’t have to be like that. You’re not. It’s OK to be different, it’s OK to be you. And guess what? There’s a whole army of metal heads out here like you, that are “freaks” and don’t fit into normal society.’ And the celebration of that and the outlet for anger and frustration as a teenage adolescent male just totally resonated with me.

…

Not surprisingly, Leigh has been known to write his sermons while listening to heavy metal.

That commotion you hear is our entire staff converting to Judaism. Leigh has an interesting view of metal, in that it is acceptance for those who don’t fit into society.

Others take it even farther, and see metal as a rejection of society itself. Or rather, the tendency of society to make rules to protect the herd, at the expense of those who actually know something.

If you let social forces predominate in any situation, you’ll get the usual feel-good stuff that we hear in most rock ‘n’ roll music. If you are antisocial and untamed like a metalhead, you get instead a different kind of morality, based on results and passion instead of obedience.

Recently, Erik Danielsson of Watain took some flak for his views on black metal:

If you want to be in a black metal band, you take yourself as an adversary of society, because that’s what black metal is.

An adversary of society. Society means both civilization, and people socialization with each other as a form of civilization order. It refers to the social groups set up that keep a society together.

Historically, black metal has opposed the socialization process. It stands against the “we can all get along” viewpoint, endorses enmity and Darwinistic predation, detests a morality of protecting the weaker and makes itself almost impossible to listen to with bad production and extreme elements. Black metal is antisocial because it sees socializing as an illness.

Traditionally, the genre has identified with the demonic to explain its rejection of social feelings:

Black metal music is music that, in essence, is diabolical and has diabolical energies…we’re talking about the wild, the untamed, ferocious, predatory aspect of it, the tribe within this music.

Perhaps it isn’t as simple as heavy metal validating non-conformity. Perhaps it does that and goes a step further by pointing out that conformity itself, as part of socializing, is what makes our society so unbearable.

Think about everything you know in this life. A new idea, band or place comes about. Few know about it and it’s great. Then others discover it. Soon it accommodates them, and it changes. What made it great is lost.

For all the time that people spend on politics, philosophy, religion and art, it’s possible that the key to the human problem is simpler than we thought. It could be in how we form societies itself, and this explains why no matter what we do we have the same problems.

Even more exciting is the possibility that heavy metal holds the answer: be less social, and less conformist, and more focused on the “wild, the untamed, ferocious, predatory aspect” of our nature instead of our civilized, let’s-all-get-along social training.

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Interview with Matt Harvey of Exhumed

by Brett Stevens on September 1, 2013

matt_harvey-exhumedNorthern California’s Exhumed made themselves a name back in the late 1990s by fusing Carcass-style grindcore with energetic and melodic death metal of the Swedish style, injecting a lot of punk along the way.

Although this created more of a popular form of death metal than the original underground style, it introduced many new fans to the genre and created a framework for an integration of punk into the style. Its enduring popularity has provided Exhumed with a legion of fans.

We were fortunate to be able to talk to Matt Harvey, who has been “the voice of Exhumed” for almost two decades now. Most of our questions focused on Exhumed’s latest album, Necrocracy, and what the band’s been up to since.

I realize genre names aren’t all that popular, but what genre is Exhumed these days? Are you grindcore, or death metal, or did you invent something new?

I think we are what we’ve always been: Gore Fucking Metal. I don’t know that it’s something completely new, but it’s a combination of all the stuff we’ve always been influenced by, Death Metal, Grindcore, Thrash, NWOBHM, Powerviolence… All the good stuff, haha!

What is the ideal environment in which to enjoy an Exhumed album?

As long as there’s beer and lots of volume, then it’s good. I think that’s up to the individual. For me, I’d say you’d want a 12-pack of beer, some expendable furniture to smash, and a few friends would be the best accoutrements to a listening session.

Necrocracy is quite provocative. It seems to suggest that the world is not as peachy as my television tells me it is. Can you tell me more about the concept of this album?

Yeah, I’d say the world is not that peachy keen. The lyrics still revolve around death and gore, but they use those concepts as a metaphor to discuss a lot of the things going on in the current US political and socio-economic climate. The songs usually revolve around stuff like the destructive influence of corporate greed (Ravening), the gross inequalities inherent in the taxation / medical system (Coins Upon The Eyes), the meaningless pandering of the electoral system (Necrocracy), and the distorted perception that Americans have of their way of life and country’s role in the world (Dysmorphic).

You’re back after a hiatus. What made you personally and all of Exhumed decide to return?

It was one of those thing where it just made sense to do a new record. I had had enough of the break, and was just getting back into writing these kinds of riffs and songs and stuff. And it was one of those things that just kind of came together and took on a life of its own which was pretty awesome.

What are you most looking forward to on tour?

Free beer and seeing friends in different cities and states. Same as always! Plus I get a lot of reading done on tour, haha!

Do you think metal’s in bad shape? A lot of people seem to think it has become redundant. What do you think about modern metal, metalcore, etc?

I actually think metal is really healthy. There’s all kinds of niches and sub-genres all over the place, and every form of metal, from 70s proto-metal to the most modern math-rock stuff has an audience. If you think about it, the first Sabbath record came out over 40 years ago, and in order for the genre to move forward and stay viable, creatively and commercially, it has to change and evolve. Me personally, I’m really only into 70s / 80s / early 90s metal, but I’m in my late thirties. By the time my Dad was my age, I was thirteen, and it seems silly to think that a thirteen or fifteen year old kid is going to be into the same music as a guy that’s 37 years old. It’s easy to be nostalgic or think that one specific generation has “nailed it” and everything else is false – people into Blue Oyster Cult and Thin Lizzy thought “Kill ’em All” was just noise when it came out, people into Exodus and Slayer thought “Scum” was crap when it came out too. Things move forward. You don’t have to like it all, but you have to accept that it’s the way things work. While a lot of the modern stuff isn’t my personal cup of tea, it’s good that things keep moving forward and the genre stays viable.

How do you think Exhumed has grown and dare I say…… “progressed” ….over the years?

We’e always had the same kind of riffs and stuff, based our shit around the Repulsion / Terrorizer / Carcass / Napalm Death / Death / Autopsy template, but we’ve definitely gotten better at structuring songs, incorporating melody, using tasteful guitar solos and shit like that. It’s all been a very slow and gradual, so sometimes it seems to me like we haven’t progressed at all, but then I listen to some of our old stuff and I realize that we have come a bit of a ways through the years, which again, is a positive thing.

Are you planning to continue for another album or more, after Necrocracy?

We don’t have any plans of stopping, if that’s what you mean, haha! I have an idea for the next album title already, but we’ll jump off that bridge when we get to it, haha!

What do you think made death metal and grindcore what they were? Did it take a state of mind to make music like that? Can it return?

I don’t think it can ever “return” or be the way that it was, which is as it should be. At the same time, the same spirit of wanting to play more intense music, pushing the boundaries, it’s still alive, it just manifests itself differently because of the context of the times. There are still tons of great grind bands out there, Nails is awesome, Teething is great, and those bands are about as traditional grind as it gets. Same with Death Metal, there’s a resurgence of bands playing in the older style that’s awesome to see. There’s at least a nostalgia and a place for that kind of music that isn’t going away and that’s awesome and gratifying to see.

The song “Coins Upon The Eyes” is super-catchy and yet really abrasive. How do you write material like that? Do you just think up a riff, or sit down and design it?

We actually have a bunch of multi-colored balls that represent different riffs, then we throw the balls into a pool full of seals, and whatever order the seals flip the balls back to us is the order that we play the riffs in. It’s basically a foolproof hit factory!

Honestly we just think of things in terms of songs, not in terms of “brutality” or something ephemeral or subjective. With “Coins,” it’s almost like what we did with Waxwork, where you have one main riff (the chorus) and most of the other riffs build from the note choices and movement within the main theme. From there, the pre-chorus and the guitar solo parts serve as the contrast points, being in different keys with different rhythmic structures to build tension.

Of course, it’s not quite so scientific when you’re coming up with the riffs, there’s a fair amount of playing from the gut that kind of pulls you in the direction that the song wants to go. After you have something that works, you can analyze it, and that analysis will help you know what works next time around. I’m a big adherent to the pop songwriting philosophy and we try to always include some hooky choruses and catchy stuff in every song.

That’s really the ultimate goal, now that we know how to be heavy and brutal and all that stuff – whatever that means, haha!

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100% Metal Forum looking for metalheads, bands, labels and zines

by Brett Stevens on September 1, 2013

dark_legions_archive_metal_hallMetal Hall, our 100% true metal forum, is looking for metal fans, bands, zines, labels, radio and promoters to post their news and events to the Metal sub-forum.

While you’re there, you might enjoy the metal-based conversation, or head over to Interzone for no-holds-barred and no-topic-required conversation and raging. Unlike the rest of the internet, we don’t pretend we’re anything but memetic anarchy and social chaos.

For kicks, check out our forum FAQ (which is a complement to The Heavy Metal FAQ) which explains some of what we’re about. Then dive on in and start raising the spirits of chaos in our forum.

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Codex Obscurum – Issue Number 2

by Brett Stevens on August 31, 2013

codex_obscurum_zinePeople thought the golden age of metal zines was over. However, now that the internet has flooded the world with low quality information, including Garage Band musical projects, there’s a new need for zines: to find the good stuff and celebrate it.

When you think about it, almost everything you’re exposed to on a daily basis is a commercial message. Whether it’s some commercial on TV selling you Viagra, someone soliciting “likes” on Facebook, renting your apartment on AirBnB or even a news broadcast, money is changing hands.

How this works is that the person creating the information makes it about a topic on the surface, but in its inner structure, it’s about the sale. Some material works from the opposite direction, and makes its inner structure about the music itself. We call that media “underground.”

Codex Obscurum’s second issue has two dimensions to it. The first is how it looks, and the second in the quality of information inside. As someone who lived through the years of four-track production and grainy xeroxed zines, the former doesn’t influence me much. It’s in the information zone that Codex Obscurum thrives.

The staff behind this magazine have clearly put a lot of effort into acquiring interesting interviews, stories and relevant record reviews. What other zine do you know would contact Burzum mastermind and known church-burning neo-Nazi Varg Vikernes, and only ask him about his new role-playing game? Or would create a Slayer tribute that’s this personal?

In addition to the human interest stories, the bread and butter of this zine is its scene reporting. An interview with Incantation shows more of the band than we’ve seen in a long time, getting into the depths of its motivations and musicality. There’s a killer Morpheus Descends interview and a wad of record reviews that are not only coherent but insightful.

No zine will be perfect in form or content. Some of what goes into this issue of Codex Obscurum struck me as irrelevant to my personal pursuits but it’s hard to argue against inclusion of longstanding local scene veteran bands, and those interviews turned out to be interesting, so it’s a quibble at best.

In form, this zine could improve. Luckily, their error is that they are trying too hard. The editors created a number of different layouts, with different fonts and background colors, to try to liven up the layout. My advice is to stop doing this, and to go back to the whitespace backgrounds of bygone days, but use space more efficiently.

Codex Obscurum could fit in more content by modifying its layouts in this way. Similarly, for record reviews, just use a table grid. You don’t need to come up with something visually arresting in every case because if you’re using the space efficiently, it will be packed with information. Typerwriter font is fine because it copies well, unlike some of the Olde English and Stencil fonts used here.

That being said however I thoroughly enjoyed this zine and its writing style. Unlike the blog-influenced writing of the mainstream media, this zine does not take a few nuggets of information and drown them in a sea of happy social noises. It cuts to the chase, and starts dishing the vital knowledge without a lot of backstory and chatter.

Best of all, this zine understands the underground. Codex Obscurum is written from the perspective that the truth is out there and most people don’t want to see it and refuse to even take hints that it exists. Thus, that which wants to keep its integrity must stay underground, and requires dedicated zines to explain it to others.

$3 plus shipping

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Sammath Godless Arrogance to be released February 3, 2014

by Brett Stevens on August 30, 2013

sammath-godless_arroganceHammerheart Records has set a release date for the fifth Sammath album, Godless Arrogance, which will see worldwide release by the Dutch label on February 3, 2014.

You can hear a sample track in high definition at the Hammerheart Records Sammath Godless Arrogance page for “Fear Upon Them”. This track showcases not only the songwriting of the new album but the production you’ll hear which improves upon past Sammath releases.

Creating music in the style of fast ripping death metal with the underlying melody and moodiness of black metal, Sammath deliver a blast of fury and beauty that resembles the second Immortal album crossed with Fallen Christ. Godless Arrogance may help renovate metal in 2014.

http://www.youtube.com/watch?v=OXpt5krfApU

http://www.youtube.com/watch?v=h0-ak6p5krM

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Parasitic Ejaculation – Rationing the Sacred Remains

by Brett Stevens on August 30, 2013

parasitic_ejaculation-rationing_the_sacred_human_remainsBearing one of the more enjoyable band names of recent note, Parasitic Ejaculation bring a focused, percussive take on death metal while simultaneously grotesquely offending any person with mainstream sensibilities.

The band chooses to play death metal in its purest form, with a focus on the morbid and postmortem. Riffs naturally lead from one into the next, without ever letting the listener get complacent with verse-chorus simplicity. Instead, the songwriters focus on the underlying structure and how modifying its form can produce creative results.

Rationing the Sacred Remains utilizes competent instrumentalism in which all instruments are well-played and eject an exciting contribution to the whole. Steady low-pitched belches provide a framework that pushes the songs forward. In its best moments, the band plays in a highly evocative manner, in which melting chords and pinch-harmonics simulate the death throes of the prey of a violent predator.

However, at times the band seems to dip into parody, such as allowing harmonics to become the driving element of a song rather than as ornaments, in addition to incorporation of rhythms that become self-referential rather than contributive to the overall design. In such instances, the “spell” is broken and the listener is given the impression that the song is merely something to mosh to, rather than the art it has the potential of being.

Regardless, this is a band to keep an eye on as they refine their music into the future. Their debut album, Rationing the Sacred Remains, can be heard in full over at their Bandcamp page.

http://www.youtube.com/watch?v=frlki3zvX9U

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Abominant – Onward to Annihilation

by Brett Stevens on August 29, 2013

abominant-onward_to_annihilationAbominant make midwestern death metal which showcases its extensive and varied influences within the metal genre. Astute observers will note charging death metal like Afterlife, but simpler and more direct, mixed with heavily Iron Maiden influenced heavy metal.

Onward to Annihilation exhibits Abominant at the height of their powers, having been making metal for over two decades. The tempo changes are crisper, the riffs faster, and the vocals put the sore abraded throat sound of death metal singing to a powerful use. The lengthy fast and emotional bluesy solos are still rippling through the bridge riffs.

Songs are fundamentally riff salad wrapped around a verse-chorus construction like a DUI driver wraps her SUV around a light pole. Structures veer off the beaten path, but do so as a way of returning, and tend to go through a series of riffs from heavy metal and speed metal before returning to the death metal norm.

Abominant have improved on previous efforts by evening out the balance of melodic material to the rest, and keeping the intensity up by tossing out less intense riffs. This shows the band at their leanest and meanest, smashing their heavy metal-death metal fusion into the faces of an oblivious world.

Onward to Annihilation, Abominant’s 10th studio album, is out now on Deathgasm Records.

  1. We Are Coming
  2. Conquerors of Dust
  3. Left to Rot
  4. Battlescarred
  5. Onward to Annihilation
  6. Hold Your Ground
  7. Beside the Dying Flame
  8. Legions of Hell

http://www.youtube.com/watch?v=GPwLppaGe04

http://www.youtube.com/watch?v=hn2Xo4t2iRM

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Dark Funeral to re-issue first six albums including In the Sign…

by Brett Stevens on August 26, 2013

dark_funeral-in_the_signDark Funeral, the Swedish black metal band started by Necrophobic guitarist David Parland (whose untimely demise this year shocked the metal world), has a long and storied career. The band is now re-releasing its earlier works with the usual remaster and rare tracks treatment.

The important album to look forward, however, is In the Sign…. This one, which features the guitar work and composition of Parland, shows melodic Swedish black metal at its raging best. With the energy of Belial, and the general aesthetic of a simplified Dissection, early Dark Funeral is a more heavy metal take on black metal that often resembles tremolo-picked version of Ride the Lightning.

In the Sign… as re-issued will be almost twice as long, with the original self-titled MCD/EP combined with four Bathory covers to produce an approximation of an eight-song album. These titles will be released in Europe on September 9 and in North America on November 12 via Century Media Records.

In The Sign… (re-issue+bonus) track-listing **available as CD, LP (plus poster), digital download**
1. Open The Gates (4:36)
2. Shadows Over Transylvania (4:22)
3. My Dark Desires (3:52)
4. In The Sign Of The Horns (3:43)
5. Equimanthorn (BATHORY cover) (3:21)
6. Call From The Grave (BATHORY cover) (4:34)
7. Open The Gates (live 2003) (3:54)
8. Shadows Over Transylvania (live 2003) (3:16)
9. My Dark Desires (live 2003) (3:48)
NOTE: tracks 1-4 are taken from the self-titled MCD (1994), tracks 6-7 are taken from ‘In Conspiracy With Satan’ BATHORY-tribute sampler

The Secrets Of The Black Arts (re-issue+bonus) track-listing **available as 2CD, Gatefold 2LP (plus poster), digital download**
CD1:
1. The Dark Age Has Arrived (00:18)
2. The Secrets Of The Black Arts (03:40)
3. My Dark Desires (03:46)
4. The Dawn No More Rises (03:58)
5. When Angels Forever Die (04:06)
6. The Fire Eternal (03:54)
7. Satan’s Mayhem (04:52)
8. Shadows Over Transylvania (03:41)
9. Bloodfrozen (04:20)
10. Satanic Blood (VON cover) (02:12)
11. Dark Are The Paths To Eternity (A Summoning Nocturnal) (05:56)
CD2:
1. Shadows Over Transylvania (Unisound version (03:39)
2. The Dawn No More Rises (Unisound version) (03:40)
3. The Secrets Of The Black Arts (Unisound version) (03:26)
4. Satan’s Mayhem (Unisound Version) (04:48)
5. Bloodfrozen (Unisound Version) (03:36)
6. My Dark Desires (Unisound Version) (03:21)
7. Dark Are The Paths To Eternity (A Summoning Nocturnal) (Unisound Version) (05:39)
8. The Fire Eternal (Unisound Version) (03:38)

Vobiscum Satanas (re-issue+bonus) track-listing **available as CD, LP, digital download**
1. Ravenna Strigoi Mortii (04:26)
2. Enriched By Evil (04:40)
3. Thy Legions Come (04:11)
4. Evil Prevail (04:28)
5. Slava Satan (03:56)
6. The Black Winged Horde (04:37)
7. Vobiscum Satanas (05:00)
8. Ineffable King Of Darkness (03:38)
9. Enriched By Evil (live 1998) (04:43)
10. Thy Legions Come (live 1998) (04:14)
11. Vobiscum Satanas (live 1998) (05:00)
12. Ineffable King Of Darkness (live 1998) (03:28)

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