Empyrean – Resurrection Engine: This is really one of the more musical things to cross my desk, but these guys are on heavy drugs if they think the audience for this genre will reward them. First they try to do some metalcore, which I’m now convinced is basically emo (an offshoot of hardcore, originally popularized by Fugazi, then becoming its own genre) with metal riffcraft: songs are three-riff, with one riff for verse, one for chorus, and one a melodic interlude that happens every third repetition of the others and can be expanded upon without moving the fret hand much. As a result, their straight-ahead songs have a very cookie-cutter sound; the band really shines when they take post-rock literally and make spacy ballads that are as much folk music or ambient in spirit as they are rock (think Agalloch), and are very removed from metal and doubly so from punk. When the band launches into this type of material, my ears perk up. It has been dumbed-down a bit for the high school audience, most of whom are still trying to decide whether to dedicate their suicide to a girl, or nuclear warfare. However, a great sense of harmony underlies these songs. I think the band should chuck all the metalcore/post-metal horseshit and just do what they do best, which is atmospheric folk post-rock like Hawkwind crossed with Laurie Anderson or Brian Eno. I say do it you boys because metalcore/emo-core is like all rock music a giant aggregation of styles, which ties you down with so many conventions that soon you’re just repeating cliches in “new, exciting” forms. Empyrean have a chance to break free. Do it.

Herpes – Doomsday: This band make facile doom/death with underscorings of punk, shadowing early work by Autopsy and Cianide. They like to launch into songs with rough skeletal riffs, then develop those with their most grind/punk-influenced verse riffs, and then rotate through variations on that theme before concluding with a circuitous “descending into the dungeon” style resonant doom riff. This makes for an engaging mixture: just hookish enough to lure you in, twisted and cryptographic enough to keep your attention, but mostly these old school death metal tunes just immerse you in a dark atmosphere and then let it soak in, saturating you in a morbidity and empty despair that mirrors the purposelessness of modern life. Some influences from modern metal appear in the riffing but not in the song structure or tempi. Percussion is excellent and to these ears sounds solidly in the Chris Reifert tradition, both energetic and holding back just enough to keep the sensation of being in the midst of a dirge. This 2010 demo portends a bright future for these French old schoolers.

Glaukom Synod – The Unspeakable Horror: The industrial/metal fusion has been attempted many times since the Killing Joke/Ministry/Godflesh triumvirate back in the late 1980s, and it rarely comes together as anything other than industrial music with random riffing. Glaukom Synod do better than that, setting up a form of droning EBM that takes the bounce and happy right out of its percussion not by eliminating swing but by hammering offbeats only as a secondary role to the abrupt rhythm of whatever sample or keyboard riff dominates even the drum machine. On the whole this is more on the Ministry side of things, with catchy beats and intermittent appearances by noisy guitars, but like many industrial projects has difficulty closing a song. Songs more than anything else just fade out, reminding this reviewer of the Godflesh reworking “Love and Hate in Dub” which was literally dub: sonic wallpaper that rotated past, gaining a little momentum each time, and then evaporated. It’s quite competent and makes for good listening if you like this range of styles.

Impureza – Inquisition – The demo years: If you like Nile, you’ll like Impureza, because they share an approach. Riffs are not fluid rapid motion using chords like notes in a melody, as occurs in death metal; riff development is not riffs counterpointing one another like a conversation that only makes sense after you’ve heard both parts, as in death metal. Instead, as with Nile, riffs are designed around a chord repeated at a particular rhythm with a few melodic offsets, more like progressive rock or guitar AOR (Rush) than death metal, but still quite musical — in fact, more conventionally recognizable as music. This album starts with classical-styled acoustic guitar and gradually integrates this grinding progressive indie death metal into the mix, then tears through over a dozen songs of high-intensity material. These songs are technical but not in the sense of “completely losing site of having a topic.” They’re a layer of technical on top of regular songwriting, which instead of distracting from the song fleshes it out and gives it more momentum. In a world of “technical death metal” that’s basically really repetitive, sweep-happy metalcore, Impureza is a refreshing blast of sanity.

A team of graduate students is working in an experimental science facility when the world goes silent. The people outside are either dead, or have vanished. The students and advisers have to figure out what’s happening before it’s too late. The longer it takes, the worse things get. The students are safe for now. But that’s about to change. Because something new has shown up, and it wants in.

http://www.kickstarter.com/profile/egg

Audrey and Aaron’s collaborative videos and installations have shown in galleries and museums in New York, Tokyo, and Europe. Their award-winning documentary about the black metal underground, “Until the Light Takes Us,” comes out on DVD this September:

http://www.blackmetalmovie.com/

Rice University plans to sell its radio station KTRU (91.7 FM). This would remove a rare source of local, independent, non-corporate radio programming. Secret negotiations excluded input from Rice students and alumni. KTRU, which was created independently of the university by students with alumni funding, was never funded by Rice and is only “owned” by the university through a technicality. Help us oppose this sale by following the simple steps on this page:

http://savektru.org/

I want to say that I will start with the year 1984. Death metal had been around since 1984/1985 depending on who you ask. Mantas, Genocide, Deathstrike, Possessed, Slaughter and others had started years earlier and wanted to make music that made Slayer sound like Wham. “Black metal” had already started with Venom and Mercyful Fate. Then Bathory and Hellhammer came along. The term “death metal” was more widely used back then. Hell, there was even a compilation called “Death Metal” that had Running Wild and Helloween on it! Although I do dig both of those bands, they are hardly death metal! But the comp did have Hellhammer as well. So there was a back and forth there for a while. Even Sodom came along and called themselves “witching metal” to start off with! hahaha. But bands jumped back and forth and it was common for bands to be called both at times. Once Massacre, Repulsion, Death, and later Xecutioner, R.A.V.A.G.E., Morbid Angel and others started getting going with demo tapes flooding the underground, death metal was really starting to spawn. My comment about Slayer was a joke. Slayer upped the ante, so to speak, on playing faster and more aggressive. Slayer was influenced by D.R.I., Cryptic Slaughter and the fast hardcore punk that was coming out. Just like those hardcore bands became influenced by Slayer and other metal bands later on. So these death metal bands took the Slayer formula and made it even more aggressive and even faster and heavier than ever before. Black metal was kind of regulated to the same bands for a while. Possessed had the imagery of a black metal band, but were total death metal/thrash. Mercyful Fate broke up and Venom and Bathory started getting a little different in their musical direction.

Flash forward to 1989. I was already a couple years deep in the metal underground, but this is when I really got into the DEEP underground scene with the tape trading and fanzines and all of that. ALL KINDS of underground bands, that played different “styles” were all in the same fanzines and on the same compilation tapes. The black metal of Samael, Beherit and Blasphemy was featured right next to the death metal of Autopsy and Nihilist. The thrash of Merciless and Sindrome was right next to the grind of Agathocles and Anarchus. Everyone seemed to get along in one, big happy underground metal family! Then over the next few years, death metal then broke as a worldwide phenomenon. Everything either had a Swedish guitar sound or was recorded at Morrisound Studios with Scott Burns producing it. And had Dan Seagrave doing the artwork on the cover. Morbid Angel became mainstream, Carcass and Obituary started getting play on MTV more often. It seemed EVERYONE was familiar with “death metal”! But then weird stuff started happening with these bands. In Sweden and Finland, some of the old death metal bands started getting more rock or gothic (or both) with their music. Opeth and Katatonia followed suit with a progressive rock or gothic rock sound. Entombed did a horrible mix of death metal and rock and roll. Therion got weirder, then went all show-tunes. In Finland Abhorrence became Amorphis and ended up having more in common with classic rock. Disgrace went punk rock. Xysma went hippie. Convulse went “death and roll” (PUKE!) There was a disconnect that started and some bands and members of the scene felt slighted. But it was felt that death metal went cheesy as fuck. Some people grew tired of all of this, and decided to form a new thing. And the leader of this new movement was Euronymous of Mayhem.

Flamingly interesting post, on Metal Maniacs of all places.

This amusing list has been making the rounds:

One of the real delights of listening to truly great music is the capacity it has to continuously surprise an attentive listener. Great music makes itself known, in part, by the ways in which it yields up its secrets: slowly. In a sense, great music never “gets old” because each experience of it reveals new insight, allowing us to approach it as if for the first time.

The corollary to this, of course, is that while genius manifests itself in infinitely variable ways, all bad music is pretty much bad in the same predictable ways. Error was always thus: it cannot grow, it cannot meaningfully change, it can only, like a virus, reproduce itself in hosts who have not previously been exposed (which is why, to the experienced and attentive listener, each new iteration of bad music becomes more easily identified symptomatically while the inexperienced and/or stupid listener is likely to fall for FAILS that their more competent brethren spot from a mile away).

A Taxonomy of FAIL

Carnival Music

Symptoms: Like a carny barker or a snake oil salesman, many bands try to distract listeners with novelty or wild stylistic gesticulations designed to steer attention away from the underlying emptiness of what is being offered. Often, this will take the form of superficially “innovative” gestures like adding flutes, “technicality,” exaggerated, cartoonishly executed additions from “surprising” outside influences, or maybe just really long songs.

Classic FAIL Archetypes: Opeth, Dimmu Borgir, Deathspell Omega, Necrophagist, Cynic, later Therion

Sonic Wallpaper

Symptoms: Most often associated with black metal, this FAIL is typified by a failure to grasp the dramatic, narrative aspects of metal. As a result, these bands make music that is often pleasant, inoffensive and even impressive in its constituent parts, but devoid of meaning, spirit, passion or lucid organization. It may work as background music, but it cannot stand on its own merits when listeners pay close attention. Basically, when you find yourself hitting the snooze button four minutes in, you’ve stumbled on this brand of FAIL.

Classic FAIL Archetypes: Ulver, Drudkh, Negative Plane, pretty much anything involving Stephen O’Malley

Metal as Mainstream Pander

Symptoms: Most often spotted in the wild among established bands who have depleted their creative fire and genre tourists with no established connection to metal, this FAIL can be easily spotted by the way it apes mainstream music while superficially applying metal technique. Often includes elements of either Sonic Wallpaper, Carnival Music or both. Comes in both “high brow” and “low brow” versions.

Classic FAIL Archetypes: later Metallica, later Enslaved, Wolves in the Throne Room, post-Hell Bent For Leather Judas Priest

Angst for Autistics

Symptoms: FAILS of this sort reveal themselves by an emphasis on dumbed down rhythm to the near total exclusion of all other traits, usually accompanied by some sort of superficially “shocking” or simply mind-numbingly aggro lyrical content. Basically, they exist to mollify the angry impulses of speds, emotionally crippled jocks, JNCO-sporting malltwats, meathead bigots and assorted other human defectives.

Classic FAIL Archetypes: Pantera, Cannibal Corpse Origin, later Deicide, pretty much all metalcore, deathcore and NSBM

From a user named Dylar114.