Nottingham College offers college degree in heavy metal, and we say the unspeakable

heavy_metal_foundation_degreePart of our job as people who support and believe in metal is to cheer its adoption in the world. However, as part of that mission, we want to make sure the task is done correctly. After all, McDonald’s “Black Metal Happy Meals” wouldn’t exactly be the direction we wanted to go in, would they? Nor would an article that argued heavy metal was a form of protest music or the continuation of disco (actually, that’s dubstep).

Thus we turn to Nottingham University’s new “heavy metal” undergraduate degree, which allows you to spend your college years learning music performance, composition, marketing and songwriting as you go through your degree program. On the surface, this is a great thing, in that it gives heavy metal some recognition in academia as a type of discipline. Or is it?

It seems to us that the approach followed by other metal academics is more sensible, which integrates heavy metal into fields like English literature, sociology, history, philosophy and linguistics. Instead of making metal an isolated commercial product, and teaching it in the same facility that because it teaches a rock-based curriculum will most likely teach a metal-flavored version of rock, the metal academics prefer to pursue metal on the graduate level.

While we applaud Nottingham University for being open to the idea of heavy metal in academia, we suggest a different approach. Metal is not a product, but the result of a thought process, which is the only way to unite such decentralized compositional elements into a singular concept. Thus the best use of the undergraduate degree is perhaps to study the background ideas that are needed to make sense of it…

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Judas Priest launches “Epitaph” live concert film

judas_priest-epitaphLegendary heavy metal band Judas Priest has announced that they will be releasing concert footage off their last tour. Entitled Epitaph, it features the band playing selections ranging the scope of their long career. The film will be screened at select theaters starting in May, culminating in worldwide release on May 28 on DVD.

Says the band: “The Epitaph world tour came to an exciting conclusion at the renowned Hammersmith Odeon (now known as the Apollo) in London. Knowing our fans around the planet recognize that venue for many legendary metal moments, and of course with Judas Priest being a British metal band it was the perfect gig for us to film and record. Big thanks as always to you our metal family of fans – so start banging your heads one more time with us as we scream together ‘The Priest is back!’”

As one of the earliest heavy metal bands, many later genres were influenced by Judas Priest. The band was one of the first to use rapid palm-muted riffs and connecting structures that later inspired speed metal, death metal, and proto-black metal bands.

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Summoning – Old Mornings Dawn

summoning-old_mornings_dawnAfter the first wave of Norwegian black metal entirely re-defined the genre into a melodic and intensely artistic form of music, it seemed metal had culminated. Its technique exploded in death metal, and with black metal, it began the process of creating narrative melodic compositions.

Summoning jumped into this heap by evolving from a relatively straightforward downtempo black metal band into a melange of keyboards, lengthy fast-picked slow melodic passages, and soundtrack-style framing of song structures in the context of atmospheric, Tolkien-inspired vaguely medievalist metal. Ever since they nailed that combination on Dol Guldur, Summoning has been a legend in the metal scene.

After the experiment in greater use of vocals and folk-like dynamics that was Stronghold, Summoning returned with Oath Bound, which edged them closer to the territory last explored on Dol Guldur before the music got more atmospheric on the Nightshade Forests EP. Seven years later, anticipation ran high for their latest, named Old Mornings Dawn.

Coming from the same creative wellspring as other Summoning works, Old Mornings Dawn channels three separate influences: the classic downtempo black metal of its origins, the “Renaissance Faire” style of folk/world music that it became, and an influence that can only be described as dark 1980s industrial goth pop. This album fits in with Joy Division, Soft Cell, Sisters of Mercy and other darker forms of synthpop and EBM, much in the same way that Nightshade Forests picked up similar influences. At the same time, hints of the Stronghold style where vocals lead composition help define these songs.

What is most pronounced on this album however is that Summoning are using the layered style that worked so well on not only Nightshade Forests but the Lost Tales EP as well, but have removed even more of the metal “forward” style narrative composition. Instead, these are circular compositions with layers, but in the best metal style, moods accrue and eventually force change into an entirely different but complementary riff. The result is a ferment of slightly differentiated influences fit into the only song structures that could incorporate them all. The result is like an exotic tour alongside a riverbank populated by fantastic figures from dreams.

Old Mornings Dawn is a creative journey into the recesses of the mind and embraces the sentimental alongside the epic, using its ambient structuring to immerse the listener in a world far beyond anything they have experienced. The result drifts farther from black metal without betraying black metal, and instead creates a voice unique to Summoning which sensibly does not try to be Dol Guldur II, but to create a niche for itself. Its decreased distance from the listener allows emotion to meld with music and create an atmosphere unique to this band and the spread of time they have chosen with their music.

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Bands that keep making the same album but do it well

unleashed-where_no_life_dwellsAlthough AC/DC and Motorhead have been putting out basically the same album over and over for 30 years, fans of these two bands never blamed them for not being different.

Instead the audience continues to cherish this phenomenon, as this straightforward, wild and raw music style is the trademark of these bands. Risen from rock music and propelled by underground metal, this kind of music stands for the desire of liberation, freedom and simplicity in this plastic world. It will never go out of time.

In the realm of death metal, there is a band which greatly influenced by AC/DC and Motorhead also has a constant style of music. This band is Unleashed.

Unleashed was formed after the disbanding of Nihilist. Unlike the other key figures Entombed and Carnage whose members were in Nihilist, Unleashed brought the roadhouse rock style of AC/DC and Motorhead into death metal. However as a death metal band, Unleashed has more creative ideas than the old classics. You can tell that by just looking at the names and covers of their albums, each one is as exciting to look forward to as a new Pirates of the Caribbean movie. The scent of fighting in their music also demonstrates that death metal ponders on our existences in world.

The mystic and adventurous sense of Unleashed comes from the extension of the typical “verse-chorus-bridge-verse-chorus” structure the phrasal riffs of death metal. Under an emphasized theme, each phrasal riff acts like a puzzle and combine into an epic scenery. Therefore Unleashed’s musics are richer and more narrative comparing to AC/DC and Motorhead (Before the Victory which completely lost all apprehension of mysticism). To the fans of AC/CD, Motorhead who also enjoy underground metal, do not miss Unleashed.

Translated from this post.

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Bring us another Toba catastrophe

volc1For those that are unaware of the Toba catastrophe theory – it’s based on a supervolcanic event in present-day Indonesia that changed the world. Around 75,000 years ago one volcanic eruption bottle-necked the human species and put the Earth into a decade-long volcanic winter. The human species was rendered to less than 10,000 breeding pairs and the planet was cooled. These volcanic events are nature’s way of bringing a balance back to the planet; something that modern civilization doesn’t pay any heed to because most people pigeonhole themselves in mundane routines.

How do volcanoes transpose to metal? Well aside from their “bad” nature, the Earth reclaims its shell by cutting out the fat on its crust. This is something that needs to happen in the metal community.

How often do you find yourself at a show and every band on the bill are generic rehashes of the past or common variations of pop formulas? The scene is infested with hundreds and hundreds of boredom inducing clones that mimic their favorite bands – not extending upon the concepts that were previously founded. They are imitations. The prolegomenon of mediocre bands doesn’t leave much room for more quality music to thrive. Perhaps a metaphorical influx of lava and ash clouds would keep the weak at bay and let true metal flourish.

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Last Burzum metal recording ever

burzumBurzum composer Varg Vikernes has posted a “goodbye” to his old self as a metal composer and in a sentimental posting, announced his retirement from metal and his intent to pursue ambient music alone.

Burzum appeared from nowhere in 1991 with a demo tape made up of a dozen guitars-and-bass-only tracks in rehearsal quality. I made a few more or less successful metal albums, but they all always included at least some ambient music. With time I moved further and further away from metal, and today only the ambient music remains. Today (2013) I think I am done playing metal music for good.

Many of you followed Burzum through the years, some even from the beginning, and I think metal-Burzum deserves a proper “good bye”. So, just like I started out I will finish metal-Burzum with a guitars-and-bass-only track in rehearsal quality. “Back to the Shadows” is made up of the last metal riffs I ever made (in 2012). It was never released in any way, or recorded (beyond what you hear here), and it will not either — beyond this short “video”.

Take it for what it is; a sentimental good bye to metal-Burzum.

The music is playing with an image of the 17 year-old me, taken from the time when some of the first Burzum tracks were made. You can see this track as a good bye to that fellow too.

For those of us who have been watching Burzum and Vikernes over the years, this is a welcome development. Heavy metal is beautiful but it will always be attached to popular conceptions of entertainment. Ambient music, especially complex material, gets treated as culture.

While we hope to change that perception of metal and to have it be studied as art and part of culture, that’s an uphill battle when the fans routinely rush to gimmick bands and depthless clones in a hope to be part of the next popular trend.

Either way, this bodes well for more interesting compositions in Burzum’s future.

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Necropsy’s demos re-released

necropsyCentury Media Records will release all demos of Finnish death metallers Necropsy on June 3rd in a compilation containing three CDs, all songs remastered from the original tapes. CMR promote it thus:

The result is mindblowing: Without ever destroying the analog charm of the old tapes, all songs sound fresh, just like they have been recorded just a few years ago.

Tomb Of The Forgotten – The Complete Demo Recordings will start anno 1989 and end in 1993, a time period in which the band, frankly, only recorded demos, with the exception of an EP and a split with Demigod in 1992. The band’s first full-length, Bloodwork, arrived as late as in 2011, after a 17 year long hiatus.

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Zombiefication – At the Caves of Eternal

zombiefication-at_the_caves_of_eternalZombiefication incorporate many styles into their old school styled death metal but their ultimate forte is melodic death metal in the style made popular by early Necrophobic or Unanimated.

This band contributed a track to the Cenotaph tribute album and it’s hard not to think of the second and third Cenotaph albums which used the stylistic span between At the Gates and Therion’s Lepaca Kliffoth. In addition, Zombiefication use riffs much like early Amorphis, if Amorphis were interested in single-string picking of quick melodies.

Not all is old school however. At the Caves of Eternal features vocals that might be more at place on later At the Gates or The Haunted albums. They are nearly monotonic and do not vary style or inflection between songs, which gives them a consistency that breaks from the death metal tradition that all instruments labor toward the same effect. Drumming is more modern as well, with a jazz-fusion influence that is understated but prevalent. In addition, many of the leads follow more of a rock sense of theme and balance than the metal goal of high intensity chaos forming order despite itself.

At the Caves of Eternal uses the melodic death metal style effectively across this album, with the songs clustered near beginning and end having the most punch. If it has a fault, it is not stylistic, but in substance; the emotions and approach do not seem to vary between songs, making them variations on a theme that may be entirely musical. However, if you want to revive the old school melodic style, this album presents a potent option.

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