Sanctifier – Daemoncraft

by Alastair Lethbridge-Stewart on April 15, 2013

sanctifier-daemoncraftSanctifier craft fine quality vintage-sounding Brazilian death metal, straight forward and without the desire to pander to the elitist shit contingent wanting the next trend. These death metal maniacs have been kicking around since they were teenagers in the 80s and are not children of the tape-trading phenomenon but instigators of it.

For that reason, while Daemoncraft displays its Brazilian sound right off the bat with a warped rhythm weaving through opening track “Demon Ov Lava” (which is also added as a bonus track with Portuguese vocals at the end of this CD) they’re also influenced by their peers of the time such as Immolation and latter-era Morbid Angel (i.e. during Rutan’s relocation from Redbank to Tampa). To my ears at least, this mid-period death metal influence shows up musically on this recording and appears more prevalent than other pioneering influences the band naturally does have.

Getting robbed at gunpoint and thus losing his equipment didn’t hold sole song writer Alexandre Emerson back from creating some wicked songs yet again in the name of worshiping the ancient ones, even before it was a fashion with the young whipper snappers after this sort of music became available at the mall. The cult of Cthulhu remains central to the driving force behind the writing of this music. Lyrical content avoids any crypto-punk subject matter which was par for the course when this band were teenagers and is consistently so now that they’re seasoned elders of the genre.

Daemoncraft emerges as a compact album with some amazing guitar work that has just the right amount of more modern (i.e. early 90s style) feel meshed with the primitive proto-death metal of the 80s from which this band is forged. “The Enchanter” is a good example of this layering of feeling between the two realms. However, the song is consistently deliberate throughout and makes for an excellently paced album.

I agree with executive producer Everton De Castro of Dying Music when he says Daemoncraft is a work for metal brothers of the death metal old school; for those who aren’t just here for a trend, is there any other kind?

Sanctifier – Daemoncraft: $12 (BR) / $10 (US)

8 Comments

Tags: ,

Sammath signs to Hammerheart Records for “Godless Arrogance”

by Brett Stevens on April 14, 2013

sammath-godless_arroganceDutch-German blazing black metal act Sammath, who are preparing to unleash their fifth album, Godless Arrogance, have signed to worldwide metal music label Hammerheart Records for the release of that album.

“I’m getting emails and telephone calls from people all over the world,” said Sammath guitarist/composer Jan Kruitwagen on the change that catapults them from a smaller metal label to worldwide distribution on par with Relapse and Nuclear Blast. The band is leaving its label of sixteen years, Folter Records, on amicable terms. “Joerg from Folter was actualy proud as fuck that we got signed to these guys and only wishes us well. It wasn’t easy telling him after 16 years on his label, but he understands.”

According to Kruitwagen, Hammerheart sought Sammath after hearing the demo tracks from the upcoming album and knowing the band for a long time. “The new tracks will destroy! Guido from Hammerheart knows what’s good,” he said. Believed by many to be the boldest step of the band’s career, Godless Arrogance combines the elegant melodies of Sammath‘s first album, Strijd, with the aggressive ripping death metal approach of their most popular work, Dodengang.

The band doesn’t plan to change a thing about their approach, which is old school technique and composition with an eye toward defiant independence. “We have lots of work left to do. All drums are recorded without triggers and everything is recorded live. Getting this all sounding like we want takes time. We do everything ourselves, no hands but ours will finnish this CD, except Peter Neuber for the master (Necrophobic, Revenge, Severe Torture),” Kruitwagen added.

Godless Arrogance will see release in “a couple of months at least,” but will not change its approach. “We need to make sure it all sounds up to mark, without losing the intense sound it already has,” said Kruitwagen. He added that despite a changing music industry, the band remains committed to its approach. He added, “let the music speak for itself.”

The tracklist for Sammath‘s Godless Arrogance will be:

1. Shot in mass
2. Fear upon them
3. Thrive in arrogance
4. Death (hunt them down)
5. This world must burn (hammer of supremacy)
6. Through filth and the remains of man
7. Nineteen corpses hang in the mist

3 Comments

Tags: ,

Sadistic Metal Reviews 04-15-13

by Brett Stevens on April 14, 2013

toxic_holocaust-from_the_ashesToxic Holocaust – From the Ashes of Nuclear Destruction: This is not bad music, but it’s an imitation of something in the rearview mirror, which is hard enough without a tendency to combine the worst aspects of several genres. The songs are chaotic like American thrash, but then like German speed metal, they’re very chanty with lots of chorus activity and not much deviation from that rhythm and the chord progression that carries it. In fact, this was the kind of music that back in the 1980s, drove people to Metallica and Slayer for more of a musical experience. Most of what you get with Toxic Holocaust is like a suburban rap album, which is to say that you hear the vocals and pick up their rhythm, and then there’s distracting stuff going on in the background. Whatever the chorus is gets hammered in your brain because it repeats again and again (and again, and again). Riffs are very similar, and derive from identifiable archetypes in classic speed metal songs. Like most of those bands in the 1980s, it’s hard to construct an argument against this. It isn’t musically incompetent, and it’s roughly of the same style, and it’s definitely metally as opposed to the alt-indie-nu crowd. However, really the question is what’s missing, and we can’t spot it because neither it nor an analogue is there. This band lacks purpose. Songs are there to be like other songs, not to express something unique. While nostalgia is neat and all, this puts Toxic Holocaust in the same camp as the big pop bands, who are just making songs to sound like other successful songs, be catchy and make people dance.

soen-cognitiveSoen – Cognitive: Somehow, people say they’re doing what they’re afraid they’re not doing. Soen is nu-progressive metal, which means that it’s basically a very vocals-intense, “passionate” form of indie rock — think post-1990s style drama-intense male vocalist nonsense — with occasional metal riffs. If you don’t mind the discount Morrisey style vocals, you will not be immediately set off by this album, but the grim fact is that this style of music is easy to produce and bands are a dime a dozen. These “deep” vocals end up sounding more like someone belting out over-emphatic drama, mainly because once you strip aside the technique, there’s little actual variation. The metal riffs can be surprisingly good but not original. It’s amazing how people have been making this style of music for decades and yet it doesn’t occur to each generation that maybe, just maybe, this stuff isn’t as new and revolutionary as it claims. If you like regular rock music, and want it to have more soul-searching vocals that override the other form factors, as in Coldplay, you’ll really dig this. If you’re looking for metal, you’ll end up fast-forwarding between the metal riffs and have a 2.3 minute album here.

arsaidh-roots
Arsaidh – Roots: another black metal/post-black metal hybrid. What is it? A mixture of techniques, with no purpose. It’s not bad except that since none of it connects to a greater organization scheme than designing a song based on template, it all has the same intensity and emotional level, which makes it a tedious drone. Again, look at any part: it’s well done. Zoom out, look at the whole: who cares? It’s like a fractal made of one giant circle in that anywhere you look, the end result is pointing back to the start. Nothing is learned between inception and conclusion. It’s oddly evocation of this disassociative time because it approximates the mental state of someone who is watching life go on by and realizes it’s all the same stuff, but has no energy to do better, so joins in emulation and hopes to not be noticed. Did you ever read Vaclav Havel’s “Power of the Powerless”? It’s easy to put up some token sign of assimilation, like a state slogan or an indie-metal album, and to fit in. That way, you expend almost no energy and yet are not subject to standing out and having to face criticism for having gone your own way.

buckshot_facelift-elders_rasp
Buckshot Facelift – Elder’s Rasp: From the newer school of grindcore, which combines the frenetic and ecclectic nature of bands like Brutal Truth with the “grab bag of anything goes riffs” and tendency toward distraction rather than continuity that is a hallmark of tech-deth and other metalcore-influenced styles, Buckshot Facelift create a faithful exploration of this style. Fast and chaotic, it shifts riffs regularly and with intensity, but could use a bit more variation in the tempo shift department. Riff composition uses techniques from the last 40 years of metal, punk and rock, with a tendency toward shifts between rock and punk riffs before drifting into metal to work up tension for a change. Vocals are like a chihuahua on methamphetamine that is reading a letter to the editor from a grandmother abandoned at the bottom of a deep well by her ungrateful children. If this subgenre appeals to you, this band is better than average but middle-of-the-road stylistically.

aeon-aeons_blackAeon – Aeons Black: Sounding like later Deicide with influences from the mid-paced death metal of the last decade, Aeon creates some compelling rhythms and uses a heavy NYDM influence through harmonic guitar squeals and repetitive downstroke rhythms. The result is “heavy,” but melody is used only as an effect, and the album is assembled of many similar pieces that lacking a gestalt, flow together into catchy wall paper. The result is thankfully somewhat death metal, but has a newer metal influence, and through its lack of focus, combines different forms and styles into one giant approximation that has no really distinct point of view. It’s like a xerox of a xerox of a photograph of Silly Putty(tm) imprint of the original. While it isn’t incompetent, and has some moments of inspired musicality, it has no content that it manages to express and so it feels like a disorganized detour into the late 1990s, perhaps death metal being used to make an infomercial. I can see the juice machines, instant waffle makers, hair braders, etc. now, because that’s what this album feels like: the shelves of a death metal store, arranged in no particular order, as you walk past and then go out the door, not having found anything worthy of permanent acquisition.

sophicide-perdition_of_the_sublime
Sophicide – Perdition of the Sublime: The modern style of metal throws a whole bunch of metal styles into a salad shooter and gives it a spin. What tumbles out is properly called metalcore because its songs are in the “variety show” form of late hardcore, but its riffs come from random metal genres. Sophicide does a better job of it than most by using rhythm to arrange riffs in roughly verse-chorus positions, meaning that you can easily follow what’s going on without much mental stress. However, the result is like most later hardcore designed around the concept of having lots of options that are incompatible with one another. They think this makes you avoid boredom, but because there’s no plan, each song devolves to the lowest common denominator. As a result, there’s not much listening to be had here unless you really fanatically love metalcore. This band is more interesting than your average metalcore, but still conveys that basic antipathy to organized expression that comes from confused times, and doesn’t help us resolve that confusion. In fact, the tendency of the listener here is to pay less attention the less organized the music gets, which is why people who hear metalcore frequently are unable to express an opinion about it. “It was there,” is all they can say, and in this style, that’s all we’re left with.

tormented-death_awaitsTormented – Death Awaits: In 1992, the average death metal fan would walk 30 miles through the snow uphill both ways to hear a new Swedish death metal album. Sometime in the 2000s, Daniel Ekeroth made a handy video about how to get the Swedish guitar sound, and at least 4,096 hipster bands suddenly became Entombed-worship acts. The problem is that they don’t understand why Entombed did what Entombed did, so they’re imitating the appearance of Entombed and then injecting their own motivations into the art. Unforunately for them, their motivations are often what hipster bands want, which is ironic acclaim and something to brag about as they make coffees at the day job. Tormented is a perfect case in point. It’s competent, the riffs are gently melodic at times, and songs hold together thanks to a riff-chorus assembly with transitional riffs worked in. The problem is that these riffs express nothing, so they’re based on existing forms in a “pick one from column A, one from column B, one from column C” approach. This misses the point of death metal, which is to stich riffs together so that they tell a story that expands as the song goes on, then revert to a simplest possible reduction. What is revealed at the center of this music is an obsession with repetitive catchy vocals, and hard rock style relatively immobile riffs, instead of the soaring tremolo architectures that made Swedish death metal great. On the surface, this is pure Swede-worship; underneath, it has more in common with Wolfmother than Entombed.

agrimonia-rites_of_separationAgrimonia – Rites of Separation: It’s time we admit that post-metal is not metal, but new age metal. Or rather, it’s new age rock that wants to be metal so it can be “rebellious.” Officially rebellious, that is, so that if anyone claims they’re worshipping Satan or extremists, they can point to their soft juicy fruity core of new age everybody-kumbaya-happy. Post-metal not only takes influences from the new age movement and its desire for gentle ambience with some kind of quasi-spiritualist uplifting feeling that makes us feel like our rotting industrial dystopia encloses a paradise of personal emotional balance, positive thinking, etc. This music is like Sonic Youth throwing in some metal riffs and then droning on a note or two, with “bizarre” song structures that are actually very much in the verse-chorus with transitions style of post-punk bands. Nothing is badly done but the music has no soul. Its essence is in tossing out anything it thinks you might like, with no relationship between those parts. Thus it’s like hearing a conversation on the subway, where you pick up on juicy phrases and the rest is hubbub which fades into the ratcheting clack of the passing tracks.

unburied-murder_101
Unburied – Murder 101: Despite the prevalence of death metal vocals, these songs song more like old hardcore with a metal influence. They are extremely simple, with often only two riffs per song which repeat while vocals rant and bass pounds out a catchy rhythm. The rhythms behind these riffs are simple but compelling, and the riffs despite being digestible draw in the listener with a sense of an asymmetrical response in formation. Comparisons to a punchier version of old Master, Mortician or even Psychomancer would be appropriate. While the music is compelling in a very primitive sense, it requires a patience for things which do not change over prolonged periods of time, and a love for the gore-grind tendency to mash a rhythm down into its essence and then use its persistence as a source of power.

altaar-altaar
Altaar – Altaar: The first track of this album presents bass-driven slow droning doom metal which is carefully put together and, while simple and somewhat predictable in terms of chord progressions, nonetheless establishes and nurtures a dark mood. After that, some kind of late model hardcore/post-metal hybrid emerges, which features predictable ranty vocals and sessile riffs. At that point, most people tune out because they’ve heard this exact same stuff from a million bands, which explains why bands like it: it’s easy to produce, thus makes for high turnover of albums, more happy fans, more sales, etc. Ideally popular music is like this because you can hire a dozen people out of the back of any bar or pool hall, channel them into a studio, and have them pump out as much of it as you can sell. This style of music rewards obedience, because you have to learn music and then memorize what others have been doing and then imitate it. That makes for something that isn’t musically bad, but has nothing to distinguish it, and because it’s not about anything, it conveys no sense of experience other than standing there listening to the random riffs.

17 Comments

Tags:

Helvete: A Journal of Black Metal Theory

by Jon Wild on April 13, 2013

helvete-a_journal_of_black_metal_theoryAs part of the burgeoning movement to understand metal and how it relates to the world, comes the first issue of Helvete: A Journal of Black Metal Theory. Although the title of the publication may imply that it is a technical analysis of black metal composition, this is not the case. As the back cover states, “Not to be confused with metal studies, music criticism, ethnography, or sociology, Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking.”

The book consists of about a half dozen short essays in a contemporary writing style, with full sourcing, complemented by some photographs of black metal musicians and landscapes. Subjects covered in the book range from suicide, ecocide, self-discovery, and more. Rather than treating black metal as both the beginning and end point of the book, it is instead the launching ground for exploration of how black metal’s spirit can find meaning in a cold and modernist world. The flaw in this is that some essays form a rather tenuous link to black metal, often distorted by what the authors want black metal to be, rather than what it actually is.

Of note for exploring this style is the essay by David Prescott-Steed with the admittedly disarming title of “Frostbite on my Feet: Representations of Walking in Black Metal Visual Culture”

Walking can be understood as a transitional practice whereby a person steps into, and through, a complex set of spatial and cognitive relationships. An example of such a theory of walking can be seen in the act of stepping through the doorway of a Gothic Cathedral (Notre Dame, for instance). Entering the westwork has long held physical and religious significance for Catholic devotees, symbolising one’s departure from a world in which a conceived God is incomprehensible and indeterminable (a transcendental space) into a space of communion with that God (an immanental space). Each step into the vast and ornate interior space of the nave, and beyond, comprises a transitional ritual that puts the walker in dialogue with the sacred.

The link to black metal given:

Truncated by the public’s engagement with the spectacle of Black Metal, the less exotic practice of walking nonetheless remains an important practice within the genre.Its significance can be seen in two recent documentaries on Black Metal: Vice Broadcasting System (VBS)’s True Norwegian Black Metal and Aaron Aites and Audrey Ewell’s Until the Light Takes Us. In the first instance, Gaahl (the documentary’s leading figure and the former frontman of Gorgoroth) insists that the film crew join him on a long trek into the Norwegian tundra. The hike draws our attention to the meaningfulness of the journey and speaks to the aura of solitude and endurance, of a confrontation with the unknown and human potential. Gaahl enforces: “I become what never fails, following the footsteps behind me.” In Until the Light Takes Us, slow-motion footage of Darkthrone’s Fenriz walking along a snowy forest path seems to evoke similar notions of the shadows of former selves seeking an obscured locus of self-authenticity. Both examples illustrate the capacity of walking to communicate a deeply planted Black Metal aesthetic.

This is indicative of the book’s tendency to have a coherent and intelligent view to convey in the essay, but have the given connection to black metal be suspect. A better idea would be to focus on the music, rather than aesthetics. (What’s more solitary than Transilvanian Hunger? Reference this instead.)

Other questionable choices include analyzing the compositions of Wolves in the Throne Room as being the last gasp of nature in an increasingly concrete world, the apparently transcendent lyrics of a band calling itself Make a Change…Kill Yourself, and how a slashed black t-shirt stuck to a wall is representative of “Ornament and crime (Hvis Lyset Tar Oss)”.

These flaws aside, the content of these essays can be interesting in itself, such as the idea that portable music represents a shield between us and a decaying word; where black metal heralds its deconstruction and the triumph of the wilderness, praise of the physical action of exploration, and how all worthwhile knowledge is achieved through struggle.

For people (like this author), who were hoping for a measured and academic analysis of black metal’s original music, meaning, and spirit, you will probably be disappointed. However, if one views the book as a collection of reasonably intelligent contemporary writers exploring unpopular subjects in the shadow of an often misunderstood genre, you will perhaps find something of interest.

5 Comments

Tags: ,

Interview: Supuration

by Brett Stevens on April 13, 2013

supuration-cube_3During the early 1990s, death metal was subject to criticism because people feared it. They would claim that the bands couldn’t play, or didn’t know their scales, or were otherwise incompetent.

One of the first bands to thwart this vision was France’s Supuration, a former grindcore/death metal band who gradually modified their style as they grew more proficient with their instruments. The result was a mixture of rock, pop, death metal and progressive music.

The Cube, Supuration‘s most famous work, introduced sci-fi concept album planning into the fertile mix of metal and progressive rock. Over the last 20 years, the fame of this legendary album has only increased as more people discover it and are able to understand it, now that an intervening two decades of progressive metal have made it easier.

This year, Supuration launched Cube 3, their follow-up to the original album and a means of uniting the storyline of intervening albums. We were fortunate to get to talk to Ludovic Loez, guitarist with this groundbreaking band.

You started out as a death metal or grindcore band, and then made the change to a progressive/rock/metal style; what spurred this change? Did your interests change, or did the newer style fit your interests?

After the recording of The Cube album and Still in the Sphere MCD, we decided to change our style. We didn’t want to record another The Cube in the same vein; we tried to create a more experimental music, with no limits for us. We like SUPURATION a lot but we thought that a second album in the same veins would not be cool for us, that’s why we created S.U.P.

How important do you think style is in the creation of music? Can someone make the same album in any style, or does the style fit the music? How does this relate to individual songs — does song structure need to fit the song, or is there a way to say the meaning of any song in any song structure?

I think the structure is quite important for a song; we are trying to be original, we all love death metal style in the band, but we also like new wave music and VOIVOD for example. If you listen to our three SUPURATION albums, you’ll find the same structures: each album is linked to each other; for the S.U.P albums, each album is a story, but the structures of these albums are different even if it’s the same way of writing songs for both bands.

You’ve obviously spent a lot of time listening to metal and studying its riff forms, but there’s other elements in there in addition to your own “home grown” outlook and style. You’re probably tired of people asking this, but what are your influences??

As I told you we are into new wave of the 80’s, real gothic music like THE SISTERS OF MERCY, VOIVOD, old PESTILENCE, DEPECHE MODE and sometimes electro music coming from Germany. We are also into original soundtrack, music scores…

Do you think the death metal style easily transitions to progressive rock? What do you see as the similarities between the two? Is progressive rock — most people don’t know that Tony Iommi was briefly in Jethro Tull, or that King Crimson’s first album was an influence on Sabbath — a part of metal, encoded into its DNA?

I think you’re right, in each style of music you can hear a “small” part of metal especially nowadays with the evolution of music in general…The way to the progressive rock is natural I think, except for brutal death bands like SUFFOCATION or CANNIBAL CORPSE and so on, it’s certain that they won’t turn into progressive [music]. It’s a choice, everyone have the choice especially in music.

A compilation of your early works, Back From the Crematory, was released in 2011 and seemed to spur some interest in the early years of the band. What first attracted you to grindcore and death metal?

CARCASS, NAPALM DEATH, OLD. We were quite young at that time and we were into grind core and death metal, when xtreemmusic asked us to put out our first work with ETSICROXE and early SUPURATION, we were really excited. Imagine your old demos and rotten live on a cd more than 20 years after…amazing and exciting…

You split the band into two entities, “Supuration” which was more metal, and “S.U.P.” which was more future pop/rock/progressive. Why did you make the split? Were you able to keep the two separate? How much did they converge, or become similar?

They’re sometimes similar, the voice for example. We created another the band because after the “success” we had with The Cube, we didn’t want to record a “Cube II” the year after. We wanted to create something new with music. The two bands are two different entities, but same members and same songwriter, so both are sometimes similar and different at the same time.

Have you seen interest in Supuration renewing itself recently? Why do you think this is?

I think it’s great!! With the new record company it’s quite easier. We had had a small renewal with the prequel of The Cube called Incubation in 2003. We have good reviews — I think the result is quite correct, that’s a good thing for us…

I have known relatively few albums that attract the kind of devotion that The Cube has. What do you think makes that album stand out, and what do you like about it most?

Its story, its concept, its futurist cover; this album realized in 1993 had a big success in general I can’t explain why…but it’s cool….

You’ve just released Cube 3, which alludes to the original The Cube. Do you think it’s a continuation of what was done on The Cube, a re-envisioning, or an entirely new direction using parts of the same storyline?

Cube3 is dealing with the end of the story [from] The Cube. Between these albums we recorded Incubation which is a prequel to The Cube, I mean the story before. If you want to hear the whole story you have to listen to Incubation first the reasons of the suicide of the young girl, then The Cube with the journey of the tormented soul throughout strange places and Cube3 which deals with the reincarnation of the soul of The Cube album.

Most of your albums seem to be conceptual, or united around a story or idea. Can you tell us about the storylines in your albums? Was there a consistent story idea through all of your works?

I would say, in most of our stories in our albums, the relation between the mother and is child is reccurent. You’ve got this relation in the whole story of The Cube, in “Anomaly” (S.U.P, science fiction dealing futurist machines that kills babies linked to a overpopulation in the future), “Room Seven” (S.U.P, story dealing with an autistic child and his mother), “Chronophobia” (S.U.P, twins separated at birth, mother killed in a carcrash), “Angelus” (S.U.P, quite different, dealing with the lost of faith in god and extraterrestrial life after death), “Imago” (S.U.P, also different, dealing with a futurist drug that makes a self regeneration after a serious disease or cancer, but quite dangerous if you take it twice) and “Hegemony” (S.U.P, dealing with a neovocyt, a new vegetal/human being who is trying to run away with the head of his mother throughout a searing desert somewhere in time on another planet).

Nothing sounds like Supuration — nothing! However, if I had to pick the closest, I’d point toward the first albums from Obliveon and Dead Brain Cells (DBC), and maybe mention some of the middle period Voivod material (Dimension Hatross). Do you find these bands similar? Is it odd, or perfectly rational, that they would have a similar sound to you? Does the fact that all of you are from French-speaking areas have anything to do with it?

I only know VOIVOD, I do not know DBC or OBLIVEON, I’m sorry. I don’t think we are similar, maybe we have the same way of seeing things, the same way of creating the music. You must be right — I trust you when you say that but…I don’t know if the French-speaking have anything to do with it…maybe….I don’t know maybe a similar culture somewhere…

Do you think metal’s riff style, which uses moveable chords like power chords and as a result ends up with longer phrases more like classical melodies or complex riff from prog rock, determines how you compose metal songs? Do you think this makes metal more or less like regular rock? Was it hard for you to integrate the two styles in your music?

You know, when you are used to playing in a way, it seems to be normal for you to play that way. I mean during these years metal music has changed a lot, except for some great metal bands that are staying in their metal style since the very beginning and that’s great too… There’s so many different styles in metal music, it’s quite difficult to answer this question, as far as we are concerned, we are writing songs normally, we’re trying to be original and not to disappoint our fans who are very important for us.

Some of your “S.U.P.” material, especially Room Seven, seemed to converge on a progressive alternative rock style that others were trying to achieve at the time. The use of non-standard chords, dissonance and off-time constructions in alternative rock appeared for example on Dweezil Zappa’s “Shampoo Horn” and even made it into punk with powerviolence and post-hardcore. What do you think influenced bands to move progressive in the late 1990s? What were they seeking to express, or change in the world? Did you see this as a confirmation of your direction (if you were aware of it)?

We’re not aware of it, sorry….I guess they tried to change some things in the world of music, I suppose…Every decade a new style is created in metal or death metal, it’s a kind of circle you know. We’re not into this kind of philosophy; we are trying to do our best for people who like our stuff and for our fans. I only know Dweezil Zappa because I was told that he was a very good guitarist, that’s it….

What’s coming up next for Supuration? Will you tour and/or continue releasing music? “Cube 3” seems a bit of a progression from your older material; what’s your next metamorphosis?

We’ll play some shows for Cube3, not real tour, I mean festivals, concerts, during one or two years and meanwhile I’ll star to write the new S.U.P album, we’ll see…. Thanks for the interview

Ludovic LOEZ
for SUPURATION/S.U.P
April 2013

No Comments

Tags: ,

Interview: Nokturnel

by Mike Arsenyev on April 11, 2013

Nokturnel_7_copy_1283185558Tom Stevens has been providing technical extreme metal since the 80s. Known as a virtuoso on guitar and owning the distro/label Nokturnel Eclipse, he’s been a supporter of the old school since it began. Though Nokturnel has gone through numerous line-up changes, Stevens has defied odds and kept the flame burning with an indomitable urge to shred.

Nokturnel is what I would deem “old school technical blackened thrashy death metal” (OSTBTDM).

DeathMetal.org is proud to present an interview with Tom Stevens about his music and businesses.

Howdy Tom. Thank you for your time. What was the mentality that drove you to form Nokturnel? Was there a frustration that you had to unleash? Why did you spell “Nocturnal” as “Nokturnel”?

Nokturnel was not something I really intended to do, my first band Savage Death fell apart and black metal was “out”…. the Satanic thing took a dive and believe it or not it was considered uncool. I had only begun to take Savage Death into what was considered technical metal at the time, and when it fell apart I wanted to take technical to a new level. The drummer of Savage Death was cool with that and he went on to meet Martin O’Connor. By then I was beyond frustrated with generic sounds, so the three of us made Nokturnel as different as we could; we chose to spell it that way because we knew many other bands would appear with the same name.

What are your thoughts on religion? You have previously stated that you believe in aliens. Do you believe that aliens created the human species? How about a mutual collaboration of humans and aliens to further each other? Have you ever seen any UFOs?

Religion is too complicated for things that must be valued with “faith.” It never struck me. The song Force Fed Fear is about the fear knowing you were told there’s a price to pay for not believing in religion. I do believe in Aliens and think they have been part of Earth’s history forever…. I could accept the facts if they were proven; easy for me to have faith in believing in the existence of life other than here on this planet yet I cannot have faith in religion…. I think there will be good and evil Aliens… some will wanna help, some will want us for our worst nightmares… I have no trust in government and think it is a long established fact Aliens have already played their role in where we are now and we were are heading…

tom yelling into a mic at mdfI haven’t heard much on Nokturnel since your last recording ‘Ancestral Calling’.  What have you been up to?

I managed to get that single recorded right before we played MDF. I had a lot of fan support at the time. It was amazing and heartfelt to be in the position I was in as an independent with no label support and I took it all very seriously. I had a lot of problems I would rather not get into but my stress level was at an all time high. I made changes as best as I could for Nokturnel. It was beyond maddening to be on the verge of taking things ot the next level and not have a stable lineup. I did two more shows which were clusterfucks for me…. the last one killed my drive to be on stage again until I have whoever is playing for me sounding exactly as I intended it to sound. With that mindset I chose to go into the studio alone for the third time to record “Shadows Alive,” I used Kevin Talley this time and it is my favorite Nokturnel song. It was redemption for my self…but unfortunately it did not get half the coverage “Ancestral Calling” received.

I am so fucking fed up with what the younger generation considers metal I feel obligated to carry on…Not enough people have heard any of my music. Many who do pick it apart and have no idea what I am going for. The truth is I have never done the same song twice, and I am working on several new tracks now, far beyond anything I have ever done. I don’t know how I am ever going to complete this project, but I am glad I began a few months ago, I always give it my all but this is going to be the most shocking work of my life… mark my words. It’s 666% Nokturnel!

You’re an avid snake breeder. How profitable is this trade? What are your favorite breeds of snakes? How many do you own right now?

Being a snake breeder is a lot like being a musician. You see bands selling records and touring like crazy and they bitch about being broke as fuck. Snake guys have expensive animals listed for sale on web sites and drive fancy cars and they too swear they are broke. Snakes have been very good to me. I am a hard-ass and price ’em high and tell people my animals are too good for them if they want to haggle. Like any business it has its ups and downs. After 10+ years into the game I have a solid customer base. Some are people you would never think would pay attention to a psycho like me, I take an online bashing once in a while for being that evil metal guy. It is fuckin’ funny!

But snakes are animals that require care. It is low maintenance but I insist on them being in above average condition or they are not for sale. You have to put a lot into to get anything out of it. I think I have about 100 here now. My favorites are Southern Pine Snakes, Bull Snakes and Florida Kingsnakes… that is what I have the most of.

tom yelling into a micYou played with Incantation for a while. What was it like touring with them? Any highlights that you’d like to share?

It was like most tours bands do where a lot of it is kind of bad but as soon as you get home you cannot wait go back out. Highlight show was in Santiago Chile with Cannibal Corpse and Death… I met many cool people during my time in Incantation but it all soured for me. I did meet my wife because I toured through Texas back then so that is something I do associate with the band as of course a great thing that came of it. Musically I am not meant to play for other people. I should do my own thing. More than one Alpha in a band is bad news… it could have been something, probably should have been but fuck it all…. was not meant to be and I lost interest in that band a long time ago

I’m curious to see which genre you regard Nokturnel as. Is it Technical Metal? Thrash? Death Metal? Black Metal? Or all of the above?

I now prefer to call it death metal but I really do not care anymore. People have been trying to label me since ’85 and they are usually wrong and it is not worth my time to argue. Nothing But the Hatred era material is harder to call death metal especially due to some of the humorous lyrical content but I saw that as a mistake and left that behind. People should realize that the extra track on Fury Unleashed, “A Collision of Dimensions” was a song in between Nothing But Hatred and Fury Unleashed and it showed the direction I was heading…. more death metal. People talk so much shit… too many solos, the vocals should be this way… it is not death or black…. blah blah blah…. I have watched the “scene” turn inside out several times over the years. Very few people have my respect anymore. Therefore… I do not care what anyone calls it if they happen to like it. That is good enough for me,

Nokturnel Eclipse has been supplying metal warriors with leather and spikes for over a decade. How did you come to crafting leather? Have you always been talented in this field?

I was seeing the need for a product and had a business that could easily carry it. My wife had made herself something that we felt we could take more into a typical metal armband. Osmose/Moonfog Black Metal was everywhere and people wanted Spikes. After some trials we introduced a few designs. Nokturnel Eclipse started by selling CDs which was destroyed by the digital shit we have today and now Nokturnel Eclipse focuses on Spiked Leather and Leather Masks.

Working with leather for yourself is one thing. Being able to sell it to customer after customer and build a reputation is another. We are now well known worldwide and have taken the whole process of creating what we offer farther than we ever thought. Years of experience make a big difference but making every single order perfect for every customer means a lot of hard work on our behalf. We are extremely busy which is great but it is delaying other new items we hope to add to Nokturnel Eclipse soon. We started in 1999 but things really took off for us in the past few years.

tom at mdfPlease detail your contributions to Ripping Corpse. Are you still friends with Erik Rutan?

I became friends those guys early on in the Nokturnel demo days. We all got a long really well and were great friends, When they had shows booked out of state they did not want to miss and needed a bass player I was the go to guy. They knew I was capable of learning all their songs in a short period of time and I did just that including unrecorded new songs. They also stayed at my house during the recording of Dreaming With the Dead, I was there from the first note to final mix. I got to sing on all the backing vocals on the record and one other small part for half a second in “Glorious Depravity.”

I am friends with Rutan and consider all of them friends but it is Shaune Kelley I keep in touch with, I am a fan of almost any band any of my friends are in, of course that includes Hate Eternal but Shaune IS Ripping Corpse. The list of people I know in established bands is ridiculous. I do not speak to anyone on the phone often and do not go out of my way to keep up with any of them any more than any random person on the internet. I consider tons of people friends and we are happy to get together when they come through my area but I am a busy person and prefer the company of my family. My closest friends in bands get the invite to stay with us…. Rutan and Kelley would make that list.

You and King Fowley appear to be the best of pals. How many times have Nokturnel and Deceased played shows together? How long has your friendship been? There must be some crazy stories with you two in the early days of extreme metal.

Yes, we are. We agree on many things more so than disagree and know us older underground guys are a dying breed. I have known him and a lot of people since 1990 or earlier. Nokturnel and Deceased did quite a few shows together in the early 90s and I went to many shows down south where they were from on my own just to hang out. King and I are a lot alike but we are not by any means carbon copies of each other.

He is a unique personality and I would like to think people see me that way as well… One time I was with Deceased in Maryland we all piled into one hotel room. Long after everyone passed out I woke up to what I thought was a fucking gunshot. When I jumped out of my skin only one other person in the room woke up… I think it was King.. I looked through the curtain and saw some guy hauling ass through the parking lot, it was freezing during winter at the time. It turned out that some guy had bought a can of soda from a machine and smashed it through the window of the room next door. He was freezing out there and just had a freakout.

There’s some good babble [on this topic] in the book Glorious Times…One time in Cleveland we both played a show called Splatterfest. King misunderstood me and during their set invited the entire show to MY hotel. When I said see you there with everybody I meant Deceased… not half of Cleveland…. no fun telling carloads of people to go away that night, good times

You originally lived in New Jersey and relocated to Texas. I have noticed in previous statements that you have a disdain for your prior homeland. Why do you prefer Texas so much? Is it because Texas has the ability to secede if the US keeps twirling into nonsense?

Some people would consider leaving the area they grew up in a nightmare, for others it is a nightmare to stay. I much prefer the people of the South, not meaning metalheads…. they are the same no matter where you go, but people in general are easier to live with. NJ is a place I look back at knowing life for me got a whole lot better when I left. Some people refuse to leave and look for something better in life. I am not one of them. I moved to Florida around the time I joined Incantation which was no fun with the extra travel but even that was a massive upgrade for me.

Texas is fucking awesome. Great people, open minded and tolerant. Great weather, amazing food. When I met my wife she was living in Austin and it was a no-brainer for me to come to Texas instead of us staying in Florida. This is where we both want to stay. After living here and seeing almost everywhere you can think of…. I cannot see myself living anywhere else.

tom playing guitarHow long have you played guitar? You’re quite an amazing musician. What type of equipment, guitars, strings, etc do you use? What type of equipment would you recommend to new guitarists that are just starting out?

I began about 1980. I had experience playing piano when I was very young, which I blew off… I used to read complex sheet music and all this crap. I do not remember ANY of it. Matter of fact I only know the names of two guitar strings and one scale. All of my guitar [playing] is natural.

I took some basic lessons and was taught a few basic things before I was told I did not need any lessons and not to return. My teacher showed me “I Don’t Know” by Ozzy in the most retarded way imaginable. I showed him the right way; he was not mad. He made sure I knew how to tune the guitar and said I pick way too hard but I would be a great player some day… I was furious as I wanted to learn how to play lead. I figured it all out on my own. To these schooled modern shredders, they seem to pick me apart and explain everything I do in terms that mean nothing to me. “you don’t come all the way around on a this and don’t finish a that before you go into a….”…. I am thinking if I did that…. I would sound like you, and Nokturnel fans do NOT want that… so take your shred knowledge and tell someone who is easily impressed.

I am happy where I am in my own realm of demonic possession and appreciate others way more than they appreciate me. No sleep lost there. I am most known for using the Washburn EC29, but I currently play a Halo Inverted and having a Kahler Pro Series tremolo is mandatory. I only have one other V and am in the market for a new one now. I would appreciate it if you would link the Tremolo Torture video I did for Kahler. I talk a lot about why I need a Kahler tremolo.

I am a gain maniac. Crank a dual rectifier with active pickups and add more distortion and gain and noise and you are ready to create some noise, I think the two things a new player needs to help them gain confidence is proper reverb and a little delay effect. Best advice I can give anyone who wants to learn how to play… begin with Iron Maiden Piece of Mind, learn the riffs, learn the solos… you are now metal

tom playing guitar at mdfHow well was the single “Ancestral Calling” received? What inspired you to write it? The riffs don’t seem to differentiate much, but the technical ability is amazing. How did you approach this song? What was your mindset? How will Nokturnel top this song in the future?

Overwhelmed with it really. It was incredible for me. I set out to do something I had not done in 20 years. A song based off only a few simple parts like Savage Death did in the 80s. I also wanted a song where the vocals and storyline dominate and that it did, Playing that song at Maryland Death Fest was the greatest moment for me in all of Nokturnel history. Seeing the crowd respond and even sing the words with me was just unbelievable. I was worried I kept it too simple, had feared Nokturnel fans would just not be into it. I was wrong, they fuckin’ flipped over it and I gained a ton of new fans. I feel I did top it.

The followup was “Shadows Alive” which is completely different. It is also based on real life paranormal experiences I was cautious about sharing with anyone. It is a very personal song for me and also much more furious than “Ancestral Calling.” Finding myself standing alone again after the last show I played and passing on other opportunities I chose to turn my back on everything and go back into the studio.

That song for me is a personal triumph. Not content with the few offers I got to play in 2013 and all the hassle to get the line up going I am now doing the same thing. Back in the studio alone, writing. “Shadows Alive” surpassed “Ancestral Calling.’ The new stuff I am working on now is way beyond that material, and believe me when I say I love all my music. This is why there are only so many Nokturnel songs as opposed to 10+ CDs worth. I am striving to make the best music…. not the most.. Every song counts.

Thank you for your time. If you have anything else that you’d like our readers to know, please share.

I think you did a great job with these questions. I managed to keep it short for a change, Thanks for that! I do intend to play shows again but I have a lot going on and much more work to do on new material. This band means more to me than anyone could understand, I have a lot more to offer and will fight to the death to make it happen.

Feel free to check out Tom’s businesses and music:

6 Comments

Tags:

Album covers: In the Nightside Eclipse

by Ralph Archer on April 11, 2013

emperor-in_the_nightside_eclipse

Inspired by Bosch, Dürer and Caspar David Friedrich, Kristian “Necrolord” Wåhlin has painted album covers for shiploads of underground bands since the early 90s (Therion and Dissection among others), but his most important and most striking contribution is probably the cover of Emperor’s In the Nightside Eclipse (1994).

altdorfer-battle_of_issusSome of its style and composition takes me back to Albrecht Altdorfer’s anachronistic oil painting The Battle of Alexander at Issus (1529), but true to the bleak genre of black metal the cover of ItNE is practically monochrome, which is rather typical of Wåhlin’s paintings at large (as seen in his paintings for Sacramentum’s Far Away From the Sun and Dark Funeral’s The Secrets of the Black Arts).

Wåhlin nevertheless manages to capture much of the grandeur sought by Emperor in those days. He allows us to delve in a detailed landscape of rugged forests, cold mountains and an army of monsters seemingly popping out of the ground in a setting of strange angles and charmingly inconsistent perspectives. High above, emanating from a crack in the clouds, Death sweeps his scythe across the sky, resonating the lofty keyboard phrases in the music of this album. The whole scene is awash in the light of the moon, gazing at us like a gate to eternity (try to outstare it during the finale of Inno a Satana …). The incorporation of Death seems to have been a way of providing a sense of iconic continuation, referring back to Emperor’s début EP which depicted a section of Gustave Doré’s engraving Death on a Pale Horse (Revelation). (The use of old engravings – especially those of Doré – seems a favourite means of visual expression in the universe of Emperor.)

kupka_resistanceI always assumed that the otherworldly castle and the winding path leading to it were reminiscent of that of a certain bloodsucking count. This is probably no coincidence: have a look at the lyrics of the song Beyond the Great Vast Forest. Not only does it refer to Werner Herzog’s film Nosferatu (1979); parts of the story of the over-the-top film Bram Stoker’s Dracula (1992) – which was immensely popular around the time of ItNE’s inception – had also found its way into the lyrics, and the solitary structure of that film’s castle and its inspiration, František Kupka’s The Black Idol (1903), somewhat parallels the idea of the castle on display here.

Ultimately, the cover of In the Nightside Eclipse confirms the nature of its music as slightly cheesy yet chillingly sincere, a satisfying visual representation of one of the best albums of the genre.

4 Comments

Tags: , , ,

Soilwork – North American Infinity Tour 2013

by Brett Stevens on April 11, 2013

soilwork-the_living_infiniteModern metal-indie hybrid Soilwork heads out to the buses for a North American tour to support their latest album, The Living Infinite.

Known for their melodic approach to a rock-metal mashup, Soilwork appeal to many who like either modern metal or loud rock. This is the band’s ninth album, and their first double-disc release.

The Living Infinite shows the Swedish melodic metal-hybrid sextet at their most adroit, combining influences into a smoothly integrated package that offers consistency in entertaining variation.

You can catch this post-metal/metalcore act live at the following venues:

  • 3/14 – Albany, NY @ Bogie’s
  • 3/15 – New York, NY @ The Gramercy Theater
  • 3/16 – Hartford, CT @ Webster Theater
  • 3/17 – Montreal, QC – CANADA @ Petit Campus
  • 3/18 – Quebec City, QC – CANADA @ Dagobert
  • 3/19 – Ottawa, ON – CANADA @ Mavericks
  • 3/20 – Toronto, ON – CANADA @ The Opera House
  • 3/21 – Pittsburgh, PA @ Altar Bar
  • 3/22 – Cleveland, OH @ Peabody’s
  • 3/23 – Westland, MI @ Token Lounge
  • 3/24 – Milwaukee, WI @ The Rave
  • 3/25 – Joliet, IL @ Mojoes
  • 3/26 – Des Moines, IA @ Wooly’s
  • 3/27 – St. Paul, MN @ Station 4
  • 3/28 – Winnipeg, MB – CANADA @ Park Theatre
  • 3/29 – Regina, SK – CANADA @ The Exchange
  • 3/30 – Calgary, AB – CANADA @ Republik Nightclub
  • 3/31 – Edmonton, AB – CANADA @ Starlite Room
  • 4/01 – Prince George, B.C. – CANADA @ The Generator
  • 4/02 – Vancouver, B.C. – CANADA @ Rickshaw Theater
  • 4/03 – Seattle, WA @ El Corazon
  • 4/04 – Portland, OR @ Hawthorne Theatre
  • 4/05 – San Francisco, CA @ Slim’s
  • 4/06 – Hollywood, CA @ Whisky A Go Go
  • 4/07 – Tempe, AZ @ Rocky Point Cantina
  • 4/08 – Tucson, AZ @ The Rock
  • 4/09 – Las Vegas, NV @ Las Vegas Country Saloon
  • 4/11 – Salt Lake City, UT @ In The Venue
  • 4/12 – Englewood, CO @ Gothic Theater
  • 4/13 – Kansas City, MO @ The Riot Room
  • 4/14 – St. Louis, MO @ The Firebird
  • 4/15 – Dallas, TX @ Trees
  • 4/16 – San Antonio, TX @ Backstage Live
  • 4/17 – Austin, TX @ Dirty Dog Bar
  • 4/18 – Abilene, TX @ Lucky Mule
  • 4/19 – Oklahoma City, OK @ The Chameleon Room
  • 4/20 – El Paso, TX @ Tricky Falls
  • 4/22 – Corpus Christi, TX @ House of Rock
  • 4/23 – McAllen, TX @ Geo’s
  • 4/24 – Houston, TX @ Scout Bar
  • 4/26 – St. Petersburg, FL @ State Theater
  • 4/27 – Jacksonville, FL @ Jack Rabbits
  • 4/28 – Charlotte, NC @ The Casbah @ Tremont Music Hall
  • 4/29 – Richmond, VA @ Kingdom
  • 4/30 – Baltimore, MD @ Soundstage
  • 5/01 – Teaneck, NJ @ Mexicali Live
  • 5/02 – Poughkeepsie, NY @ The Chance Theater
  • 5/03 – Buffalo, NY @ Broadway Joes
  • 5/04 – Columbus, OH @ Al Rosa Villa
  • 5/05 – London, ON – CANADA @ Music Hall
  • 5/06 – Syracuse, NY @ Station 58
  • 5/07 – Worcester, MA @ The Palladium

3 Comments

Tags: , , ,

Hessian Studies

by Brett Stevens on April 10, 2013

hessian_studies

The Hessian Studies Center was founded in late 1994 for the purpose of creating an atmosphere for study and respect of the Hessian tradition, folk art, and philosophical background. Over the next year it struggled off and on with authenticity and funding but eventually opted to remain underground because of the freedom given to respect metal’s traditions as independent, rather than integrated, with the western world’s containers for those philosophical and political entities. Additionally, the liberal policies of the Center regarding drug use caused ostracism and exile from the benevolent gaze of the herd.

The work of the Hessian Studies Center consists primarily of materials acquisition and content authorship, as well as think tank work in the continued architecture of Hessian history. Its members have authored numerous documents for this and related political efforts and continue their efforts to this day, striving for an independent Hessian state and the corresponding benefits of legal power (decriminalized recreational substances, an end to loudness ordinances, legalized crime).

The following is a reproduction of the original Hessian Studies flyer that kicked off the chaos back in 1994:

What is Hessian Studies?

Hessian Studies is the academic study of Hessians, Bangers, Metallians, Metalheads, death rockers, and other adherents to the genres of metal and grindcore. The Hessian Studies Department believes that any truly diverse multicultural population will contain representatives of this world-wide underground culture, with its rich and spanning historical and social contributions.

What are the aims of the Hessian Studies Department?

The Hessian Studies Department seeks to establish a presence of Hessians on campus and in campus events, as well as to create a comfortable environment at The College that suits the specific needs of Hessians at a small liberal-arts college. To this end, we have presented a List of Demands to the Administration:

  1. That there be Hessians hired to faculty and staff positions, and that all hair length rules and any form of drug policy regarding Hessians hired be abrogated, as Hessians have a religious need for some currently-regulated substances.
  2. That there be a Hessian Studies Center, complete with both audio and textual libraries and lounge area, for the study and advancement of Hessians.
  3. That the community radio station play more music favorable to the tastes of Hessians during prime-time shows.
  4. That the inscription at the gate of the college be changed to either “Fuckin’ Groovin'” or “You Suffer (But Why?)”.
  5. That discrimination against Hessians as a group of drug-addicted, drunken, long-haired incompetent losers destined for parole at best be eradicated from campus literature and mindset.
  6. That there be Hessian cultural events on campus, including concerts by noted Hessian bands and festivals related to various organic products enjoyed by Hessians.
  7. That the Hessian Studies Center be funded to provide late-night pizza and beer snack breaks.
  8. That Hessians be given equal time to speak at multicultural events, and the right to develop their own curriculum of Hessian Studies Courses.

Hessian Studies Center

Hessian studies is academic analysis of the international subculture of alienated heavy metal listeners and followers of intense music and noise of destruction. Our vision includes tolerance for all people and the right to individual autonomous direction and an end to compulsion and normative behavior.

Since its inception in 1994, the Hessian Studies Center has supported the international metal subculture through collection, analysis, and dissemination of the music and philosophy of thrashers, metallions, headbangers, metalheads, Hessians, longhairs, cruisers, piledrivers and others who comprise a virtual ethnicity of people inspired by the power of heavy metal, speed metal, black metal and death metal music worldwide. We achieve our ends through peaceful and herbological methods.

In addition to supporting the pantheon of academic and cultural programs above, the Hessian Studies Center aids with time and equipment as well as money the Dark Legions Archive, a repository of analysis concerning the music of the worldwide metal community. Headbangers, metallions, metalheads, longhairs, stoners, and other social rejects apply through means of this email link.

The United Hessian Front

The United Hessian Front exists as an extension of the Hessian Studies Center that seeks to find adherents to the subculture of heavy metal music and philosophy internationally and unify their voices in a forum for communication about future generations of metalion thought. Our goals are to acquire and disseminate information about the Hessian subculture in this process while reinforcing its objectives through our actions and treatment of others.

In order for Hessian culture to accelerate its own growth toward the future it must be aware of its past as well as the likely environment into which it will develop. As the world spirals closer to oblivion, entropy, and genocidal apocalypse, the vast suicide cult that is modern society seeks further methods of denying darkness, chaos, and destruction. Hessians exist so that this may not be so.

The objectives of the UHF are as follows:

  • Establishment of an Independent Hessian State.
    To ensure freedom for Hessian development and minimal intrusion from normals, sober people, and authority figures the creation of an independent and autonomous Hessian zone under self-rule is a primary objective of the UHF.
  • Religious Freedom and Controlled Substances
    The complex sociomystical structures behind the art, aesthetic and mindset of a modern Hessian lifestyle requires the stabilizing influence of chaos-generating psychoactive substances in order to remain efficient and content.
  • Equal Air Time for Nonconventional Music
    Current media tendencies exclude all but the most soothingly inane and simplistically melodic, leaving a void of contemporary music for the intellectual connoisseur or musician, generally attenuating the intellectual readiness of the population; for this reason alone we request more air time for metal and other non-mainstream forms of music.
  • Injunction Against the Christian Right
    Given the evidentiary state within science that concludes that so far agents of discreet brainwashing have not been found to be able to influence humans to extreme behaviors such as suicide, assault, or murder through the simple method of stereophonic amplification, it’s time to call off the Christian right from attacking metal and rap as “promoting violence and depravity.”
  • Flier for Public Distribution and Chaos
    Our reprehensibly straightforward and dissonant fliers bring all of the alienation and some of the isolation home to those you can dupe into reading them, as well as providing hours of family topics for discussion. Spread this bad news everywhere to deconstruct society the networked way!

Our vision is of a world where Hessians can be recognized as a virtual nation of headbangers, metalheads, and thrashers and will eventually be treated with respect to their specific needs and inclinations. Through mutual tolerance we can live together or we will surely die together.

Hessian Life

Introduction
Hessians come from the tradition of subculture, or resistant counter-culture embedded within a much larger cultural container. They have been spotted in almost every country in the world where electricity and a relative amount of personal music technology have been distributed. Most cultures have learned to recognize them and write them off — at their essential nature, they are a pacifistic culture of alienated and/or intellectualized rockers looking for truth in extremity.

Social Conception
Society encompasses their culture, but they treat it with dissonant indifference, realizing that its actions are beyond their control and are mostly ignorant attempts at control or manipulative, fearful and destructive compulsions to duty. The desperate impulse that is afraid of silence (as in silence one must think within) drives normal social activities to be centered around events and to aim at providing comfort. Hessians reject these ideals and instead favor indirection, mayhem, destruction and other chaotic acts in their free (not enslaved by school/job) time. Often they can be found gathered around a bong for interpersonal time, or gathered in small groups to become intoxicated and raise some hell. The heavy party culture that underlies all rock carries its extremities also in the extreme rock arena, where brutal concert violence and fastidious drug abuse are signs of successful interaction.

Philosophical Worldview
Beneath this fury of strange behavior a philosophical foundation supports but does not attempt to justify these acts. The naturalistic philosophy of the Hessians prioritizes justice and ideal at the same time it encourages chaotic fantasy; its essential communication is to live well through freedom from the clutches of neurotic thought, and to spend time in whatever liberating activities can be fashioned from the elements available. The nature of this in the trapped, suffocating world of commercial society (narcotic of the one true herd) is a relative overemphasis on intoxication and freedom from plans, morals, karma, memory, or the will of other people; the consequence is often an overindulgence in rebellion without a clear direction for self-preservation. However, Hessian philosophy as revealed by the metaphors within the music reveal a fascination with information, with fantasy, with power, with destruction, and an obsession with honesty and spiritual power to speak the apocalyptic truth.

Drugs and Mysticism
Hessians tend to believe in both the psychological/mystical power of drugs as well as the spiritual power of their music, although this belief is not shared by all. Often Hessians can be found gathered around a stereo consuming large quantities of marijuana, hashish, or other less-refined forms of drug. By liberating the mind in intoxication the Hessians believe they achieve a stable plane of nihilistic consciousness, where they are closer to the dark gods of winter and more able to comprehend the profundity of death. In this morbid ritual metalheads develop a comprehension of reality that supersedes all other methods of processing life and frees them from the drug of mainstream life, fear and consumption. In this more spiritual state they feel they can comprehend the complex messages transmitted through rhythm and metaphor in the music. Other parts of this ritual involve simple spreading of chaos in the fertile order of society, a mystical act of supreme rebellion and refreshing spiritual heresy.

Freedom Manifesto

Conventional social ideals would cast aside the non-ideal, the non-quantifiable and stay with the symmetrical and symbolic, fearing the ambiguous world of obscurity and metaphor. Double meanings, they say, balking in horror like the sheep they are. But what does the Hessian say?

The Hessian rejects insecurity and underconfidence and plunges ahead no matter how insane the project in conventional ideals. By denying the doubt of the people around them and aiming for loftier ideals than the simple “feed thyself” command of society’s trough, Hessians have created some of the most extreme and beautiful music ever to hit planet earth.

Their rejection of neurosis and mocking anti-idolization of society’s scapegoats make them a terror to the unstable and fragile balance of deception that allows our modern society to function.

“Turn off that fucking noise!” — every Hessian that has ever lived has heard it. Many people every day seem not to think about how unoriginal their comments are and tear into the usual insult of how Hessian music is “noise” and not music because it does not fit conventional classifications. The wily Hessian only laughs, and mocks back with even ruder noise — for the Hessian knows that human boundaries are only impositions of human understanding, and not inherent to the outside world — a place known for its nihilism and aggressive destruction as well as its nurturing instinct.

Through their addiction to noise Hessians have discovered a method of chaotic, spiritual, dark and naturalistic living that rejects the distinction between music and noise as it rejects government, religion, control and commodity as frivolous arbitrary containers of human invention for the purposes of competitive success. Who knows why humans think that way? But the Hessian only blasts louder, breaking down distinctions as his music breaks down assumptions and suggests a darker vision for art than the kitsch and design of mainstream consumer tastes.

The anarchistic views of Hessians rest in their fundamental choice to have will, rather than reaction, as their response to life. To be informed and to be of mental presence to make decisions, they say, is a fundamental part of the valuable capacity of being alive. Society is here to make room for the individual to create and to be, they say, not to glorify the process of society and to make it more demanding, more greedily afraid of its own destruction.

Through the needs of our industrial machinery we have enslaved ourselves to bureaucracy and the weakness of human need in the power-deprived state of an anonymous modern individual. We have seen, they say, the order of our grandparents and parents grow stronger every day to enforce its arcane social restrictions yet it cannot stop the problems it bemoans, but only makes them stronger as symbols against its rule. We have seen how soon all was suspect, and anything outside the norm became fearful — we have seen also how easily the scared will run to this strong will of order, begging for their dose of power from the dominatrix, doubt.

A civilization that worships fear is nothing to us, they say, as we like the ancients choose a broader, faster, freer life. We choose our will and our dreams over fear.

Naturally this runs against the order of society: sit down and be sensible, provide for yourself or you might become lost (sheep without pension must retire in poverty, and sheep without property may be beaten by the sheepdogs of the herd). For this reason to most in society Hessiandom is an Icaran falling into the abyss of fire, consumption by internal angst (although most of the inner tension is caused by the external internalized), but to Hessians it is the freedom in the one honest voice they hear, which affirms the nihilism of survival, the degraded state of the human race, the victory of destruction over life, and the uselessness of civilization as conditions of existence.

More than the violence of punk rock or the dissidence of political music, this scares the public because of its ambiguous but menacing message of deconstruction. But ineffective control has led to anarchy anyway, an anarchy of a different sort: the equal response to suppression is rebellious destruction; the power of denial cannot file this off the walls of our memory. And so metal is denied, as it has not yet been broken down into enough of a mainstream consciousness to be accepted as anything other than aesthetic.

In the shadow of this denial Hessians have had to find a new way of understanding their existence, when it is not often acknowledged and never given any credit for being as intelligent and architected as it is. This enforced internalization has reached its peak in the romantic but morbid subgenre of Black Metal, which encourages a fascistic love of self and misanthropic hatred toward the world. Alas, Hessians in this world are tainted by its virus, and this over-extension is sometimes as much reaction as independent direction. However their metaphor speaks its truth plainly, and rebellious deconstructs any rules or beliefs that it can lay a hand upon.

But were there only silence, the spirit of the Hessian would continue, in the same proclamation that life makes oblivious of its communication, a nihilistic acceptance and aspiration toward the light as if to become the world rather than consume it. This translates, through the voices of memory and individual personality, to a universal level of thought that refines to a simple message and harmonizes in the medium of chaos. In this arena, the medium delivers the message: with no order, it is free, and it has proclaimed itself so with the organic complexity of chaotic recombinance.

The dark nihilistic rage of the winter gods of thunder presents the looming possibility of spring, of death beyond life and life beyond the living death of modern society. In the combination of musics at modernistic minimalism and romantic construction, metal brings forth a future that may offer more answers and less emptiness than our current adaptation of our collective existence.

2 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