A few odds and ends, from other blogs and the forum:
- Birth A.D. launched a new store so you can now easily get the album, the mp3s, and the new shirt design.
- Blaspherian is recording a new album that will be out in October on Deathgasm in the USA and Die Todesrune in USE.
- Gridlink is recording Orphan, their new blistercore album for release this year. Note: parodic genre names may appear in this update.
- Sacrifice of the Nazarene Child #10 is going to have Mortem, Blaspherian, War Master and Bahimiron playing live in Houston on October 9.
- Doom metallers Sleep have reunited and are playing shows starting in the effete metrosexual northeast.
- After recording the biggest turd of his life with Belus, Kristian “Varg” Vikernes has changed his name, sold his farm, and moved to an apartment in Los Angeles.
- Divine Eve are a contender for best of 2010 with Vengeful and Obstinate.
- Medical science is investigating Ozzy Osbourne to find if the secret to his longevity despite prolonged self-abuse is in the genes, or if he simply lacks the cognitive ability to die.
- Corrosion of Conformity reunites with Animosity-era lineup to play a show in Austin on August 13.
- Birth A.D. played a show in Austin that ended with the fire department being called and warrants issued for unauthorized body cavity searching of fans.
- Old school death metal band Disma have released two new tracks of their melodic take on Incantation and Obituary.
- DLA activists attacked known Crowdist hipster site Reddit with What is heavy metal?, The early history and development of death metal, Old school death metal and The more reputable bands from which known coprophages Pantera borrowed their sound.
In addition, we bring you the uncanny association between Republicans, death metal, and knowitall lesbian news anchors who got promoted for the novelty of hey-did-you-know-she’s-a-lesbian-and-my-grandmother-thinks-it’s-shocking:
That ought to keep you for awhile.
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nlike many albums of the NWOBHM there is no real incohesion or disruption halting the flow of compositional prowess. Quite an archaic use of notation that makes great use of pentatonics, yet moderates the restraints of blues and R&B music, has something more in common with European music of centuries past. If one were to imagine listening and removing the aesthetics of the modern band-set up, and replacing the electrical distortions of the guitars with perhaps harpsichord or sole acoustic guitar in it’s place a bridge can more or less be established as an imaginative transition to a modern form of music. One of the absolute best releases of traditional metal, this is highly overlooked and highly recommended.
Ghoulish, ethereal and enwrapped in a magnetic tape production reeking of ancient tombs and broken 4-trackers, Helheim’s vision of industrial black metal is far more elemental than the connotations of that description during the last decade. As with the primitivist throbbing drum machines of Mysticum and the ambient blankets of Sort Vokter, the aim is ritual-hypnotic music which does not try to spice up black metal in order to make it more comforting or exciting; instead, it challenges one’s concentration by looping, returning and rewiring little fragments and pieces of riff in powerful early Norwegian black metal language, conducted by the raging screams of the now-deceased vocalist Jon A. Bjerk. The svastika simulacrum depicted on the cover highlights the natural difference with the smoother approach of the other Helheim of the same era, famed mostly for the vagrant mythological epics of “Jormundgand” – this Helheim rather spits in the face of the observed tradition in order to bring forth the subconscious terror of life and death that has been embedded in the mythos of all ancient cultures and bring across a pertinent message to the civilization (macrocosmically) and the black metal of our time (microcosmically). –Devamitra
Remember how disappointed you were the last time you heard a new Varathron or Rotting Christ album? If the same lack of consistency and effort permeates other areas of Greek society, them having descended from the mythic glory of Athene into debts and poverty needs hardly the prophetic eye of Cassandra to fully explain. As in Neil Gaiman’s fantasy novel “American Gods” the lost European deities are found prowling the Wisconsin backwoods, Chicago based Alioth’s mystical and sensual tribute to Hellenic black metal ca. 1993 is admirably not only a continuation of the electric technoid dynamo drumbeat and an application of the palm muted speed and doom riffs in esoteric underground context; it’s also a highly logically strung sequence of moods as if the physical organization of pain and pleasure in a Dionysian ritual theatre, succumbing with the heavy held back moments of “The Channeling” and “Apocryphal Dimensions” and rising through the interludial “Invocation” and “Invocation II” to softly expire orgasmic relaxation. So much could be created out of this basic concept that it’s a pity the full-length album has remained cloaked in the depths of the primal sea, while Wargoat Obscurum iterates far less subtle (and far less interesting) metal with Cult of Daath. –Devamitra
Goreaphobia’s debut album wouldn’t have been quite so eagerly anticipated without a strong back catalogue of minor releases such as the ‘Morbidious Pathology’ demo, which provides an unexpected listening experience if Mortal Repulsion is the only recording you’ve heard from the band. Where the full-length communicates visions from the abyss through the blank eyes of an old mystic locked in a lucid dreaming state, this demo is full of enough youthful energy to express the paranoia of a thousand souls trapped within the claustrophobic confines of their own mortality. Variations in riffs reflect these tightly packed structures, seeming to progress with not so much a linear logic than the re-arranging of parts of the whole, like limbs being removed from a body and sewn on to somewhere else entirely until the true grotesqueness of humanity is revealed. As with Mortal Repulsion, despite the physical connections to Incantation, there is a stronger similarity to the craftsmanship of Immolation and albums that would come in later years, such as the complex and disjointed but melodically evocative Here in After. The lead guitar work, though highly restrained, possesses a sense of neoclassical refinement that bridges some short-burst riffage with eloquent but totally disturbing solos. This demo shows the beginnings of an all too rare experiment in Death Metal where you can observe the maturation of a consistant idea as it goes through the turmoil of a tortured, temporal existence. –ObscuraHessian
It’s not difficult to understand the distaste that Darken has for the recordings commited to tape during Graveland’s infancy in the light of his recent catalogue of pristine, epic and Atlantaean creations. Some distance away from the expansive scenes of battlefields and expressions of Romantic nationalism, this ancient offering from the living master of Pagan Black Metal is totally shrouded in a necrotic production, like ghostly shadows moving through oaken forests, casting a spell within more cloistered and Druidic surroundings than the output of Graveland from the past 15 years. Alongside the visions that created the force of Scandinavian Black Metal in the early 90′s, this demo represents the reclusive and misanthropic esotericism of that era, especially the primality of the lowest fidelity cults, Beherit and Ildjarn. Sounding like the work of a punk ostracised by that increasingly over-socialised group for being too idealistic and inhuman, Darken conjures a lurid interpretation of hypnotic Bathorean riffing that develops through the echoing of majestic, synthesised voices that open this recording as though a prologue to ‘The Celtic Winter’. The experimentation with primitivism in ‘Drunemeton’ is so deconstructionist that the guitar technique becomes fragmented completely and subordinated to reveal gloomy ambient moods that amplify the silence of a forest at night before the dawn of battle. There’s a similarity to the Beherit song ‘Nuclear Girl’ in how the guitar is used more like a sample, reverberating it’s texture through the keyboards to emphasise a cloistered sensation, accompanied by monastic chants at other times. Culminating in the ambient classic, ‘The Forest of Nemeton’, this demo is the successful beginnings of Graveland’s exploration into unconventional and nihilistic territory beneath the folky phrasing of guitar-led melodic work, which would shape the dynamic of his entire discography to follow. –ObscuraHessian
Fifteen years ago, we were too proud and lofty to listen to it, our sensory devices soothed and inflamed by Panzerfaust, Battles in the North and Høstmørke, while the new generation of neo-progressive and mainstream black metal bands sought to enrapture even wider audiences with movie soundtrack influenced keyboards and angelic female voice conjured by fat-bottomed gothic tarts. For the atmospheric maniacs only, as it’s hard to argue for its musicality against the likes of Vikingligr Veldi; but the epic wanderlust and distorted pagan death ritual of this demo’s centerpiece, “Fimbulwinter”, unfolding like a flower at dawn or the psychedelic mandala of LSD invading brain receptors, is one of the pure innocent and mesmerizing gems of underground black metal in this sacred and forsaken era. The primal Isvind-esque melody dance like ripples of waves on a forest pond, the hissing tracker production complete with the macabre clack of a drum machine and the dampness of a Nordic bedroom cellar permeate the recording to such a thickness of adolescent black metal fury that it’s hardly palatable to generic audiences then and now. Barely a trace of the fast norsecore of the more familiar debut album Kill For Satan is noticeable here, the only similarity being the guitarist Draugluin’s technique of bricklike tremolo chord architecture where rhythm plays little importance. While primitive, this compositional method bears an intrinsic beauty which is worthy of recapitulation when the pure augustness of early Norwegian black metal has mostly become forgotten in favour of seemingly more rich and elaborate indie stylings. –Devamitra
Summoned forth to rage fury upon the unsuspecting but no less innocent, Pestilence, on each of their first three albums ushered in a predestined Apocalypse of the mind and struck at the heart of the dark forces of the Kali Yuga thus completing their microcosmic responsibility as “Kalki”, and providing the foundation upon which a new golden age and conciousness would hopefully arise. On their uncompromising and frenetic debut album, Malleus Maleficarum, Pestilence as corporeal manifestation of death and conqueror, harnessed the power of becoming to destroy the destroyer that is illusion and ignorance, and defiantly placed themselves within the torrential stream of becoming in a quest for truth. We as listeners are thus treated with no less than a passionate and structurally free form album that through its fluid, intelligent and precise use of riff craft probes and attacks on multiple fronts the lyrical themes tactfully explored by Van Drunen and Co.
Although one may be quick to argue that that the addition of socially conscious lyrical subject matter such as genetic manipulation and religious strife defines Malleus Maleficarum as a strict Speed Metal album, it is nonetheless better characterized as a highly refined and progressive speed metal album that straddles the death metal fence. Indeed, indicative of their speed metal roots is the common use of hysterical and staccato driven guitar technique reminiscent of bands such as Exodus, Destruction and Slayer that, coupled with an emerging yet competent sense of dynamics, melody, development and recapitulation of themes, successfully places “Malleus Maleficarum” outside the realm of pure Speed Metal and onto a pedestal of its own thereby providing the impetus for not a few debates regarding the essential nature of this album. Not to be missed of course is the embryonic vocal performance of Van Drunen, who while courageously exploring the memes that have driven modern society into calling forth the forces of plague and death to precipitate the end of this current cycle of humanity, opts for a hoarse rasp like yell in contrast to the later visceral death metal growl he is better known for.
Autopsy’s barbaric and seminal album Severed Survival offered the listener what would by 1989 arguably represent the nihilistic and amoral apex of the burgeoning death metal genre and thereby cement their place in death metal history. Primitive and raw, the power with which Autopsy frantically bash out these energetic incisions into the human psyche, indicates a desire to transcend and break down the perceived but illusory moral world order and come to terms with the cold harsh realities of existence. On Severed Survival, Autopsy unabashedly presents the listener with a sometimes shocking but nonetheless candid and unmitigated reality, smashing to pieces any presupposition of a cosmic moral world order. As listeners we are forced to come face to face with death, desperation and the unspeakably twisted and cursed elements inherent in the mechanisms of reality and in the collective human consciousness, which Autopsy, like a skilled pathologist expertly dissect and examine. Exhumed are the intense, destructive and “degenerate” elements that are not spoken of in civilized society but which nonetheless drive reality and remain active as motive within the omnipresent but subterranean catacombs of the human mind. Unquestioningly suppressed out fear or an inability to place these depraved realities within the context of our currently constructed, illusory but ubiquitously advocated a priori moral world-view, it is Autopsy who courageously revel in exploring the obscene and who seem bent on destroying illusion in favor of discovering, conforming to and coming to grips with the power of reality.
