Profile: Death Curse Productions (Germany)

by Brett Stevens on April 28, 2015

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Death Curse Productions represents the new wave of smaller underground labels who are targeting niches within the mainstreamed post-underground instead of trying to drop out from the methods used by normals to exchange music. Despite offering some unconventional formats, Death Curse Productions keeps its offerings accessible to the world at large, as if daring them to look underneath the mantle of normalcy and discover the twisted, weird and alienated…

When did Death Curse Productions (DCP) get started, who started it, and what was your intent?

Death Curse Productions was founded in the year 2013 A.B. by two individuals who felt the urge to uphold the traditions of Black Metal.

The main intent behind the label’s activities was, is and always will be to create strictly limited pieces of music we approve to be worth the attention. DCP’s work concentrates on the production of quality releases in every way, be it musical, spiritual, visual or concerning design in general.

Mainly it’s quality above quantity, as nowadays the so called Black Metal ‘scene’ is all about putting out shitty releases of shitty sideprojects on a daily basis.

What type of music do you cover, and what do you do? Will this expand in the future?

We don’t determine an exact style as long as the music or the band matches our philosophy. In this case the essence of our philosophy is the glorification of death itself.

We canalize the music onto analogue media to preserve them against extinction. For now the focus is on tapes but that shall not set a restriction for what we do in the future.

In other words expansion is something we highly strive for.

Do you think underground metal is still relevant in the days of post-metal, indie-metal, jazz-metal and modern metal?

Today, in a time where those genres reached their peak of popularity, they managed to take the original values from the metal music itself and turn them into something completely depraved. The music was originally intended to be violent, raw, sinister and dangerous, instead people went forth and created something clean, peaceful and enjoyable, only in order to attract a tasteless mass of lambs and accumulate money.

Concerning the underground, especially Black Metal is declared to be dead by a lot of people, yet there’s a black flame still being kept burning by a small amount of certain individuals, who preserve the underground from being swallowed by trends and who put all their passion and devotion into creating music following the old path.

What are your favorite bands in the underground metal genres?

This is not a question we want to answer, as opinion-making is for the weak-minded, whose taste is defined by trends.

Of course there are undeniable classics everyone should be aware of, as well as some so-called newcomers who stand out in a way, they contrast from the common stuff.

If people are interested in what DCP does, where do they go for more information and/or how do they contact you?

Whoever is seriously interested in DCP, should contact us by mail.

For any updates visit the blogspot page or facebook.

Death Curse Productions 2014 releases:

DCP001 – KILL (Swe) “Inverted Funeral” tape

Yet to be released in 2015:

DCP002 – BALMOG (Esp) “Testimony Of The Abominable” tape
DCP003 – BALMOG (Esp) “Svmma Fide” tape
DCP004 – ILLUM ADORA (Ger) “Demo MMXV” tape
DCP005 – ACRIMONIOUS (Gre) “Purulence” tape

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Blaspherian reaches milestone in recording new album

by Brett Stevens on April 27, 2015

blaspherian_-_band_photo_-_october_2014

Texas cult primitive occult death metal band Blaspherian has recorded five tracks for its upcoming Reborn through the Black Flames of LuciferLP/CD and another single track for a 7″ with another band, the band said Monday. This release will follow the triumphant Upon the Throne…of Eternal Blasphemous Death 7″, the 2014 release of the bands demos and 2011’s Infernal Warriors of Death.

Known for its raw and subterranean sound, Blaspherian won over converts with its 2007 full-length Allegiance to the Will of Damnation but has continued to hone and intensify its songwriting since that time despite having to overcome numerous lineup changes and other impediments. The story continues, as the band added to its statement: “Two more [tracks] and we are ready to record.”

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“Don’t let death metal become death by metal”

by Brett Stevens on April 24, 2015

tri-met_operation_lifesaver_-_dont_let_death_metal_become_death_by_metal

Oregon transportation authority Tri-Met is running a series of ads on billboards and posters warning people against the problems of distracted pedestrians, especially those lost deeply in their MP3 players. The campaign includes the above amusing reference to death metal, “Don’t let death metal become death by metal,” although both sound pretty cool to us.

This is not Tri-Met’s first mention of death metal in its public campaigns. It also shows up in writings about riders. If anything, this suggests the Tri-Met people are at least aware enough of death metal to deserve more of it in their lives.

Lady on my bus wearing cute pollyanna dress, white rights, black penny loafers and blasting what sounds like death metal.

If you feel a need to spread some of the death metal awareness, consider contacting Tri-Met by sending a copy of Deicide Legion to this address:

Tri-Met
Attn: DEATH METAL
701 SW 6th Ave
Portland, OR 97204
(503) 238-7433

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Century Media re-issues Gorguts Obscura and From Wisdom to Hate

by Brett Stevens on April 20, 2015

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Century Media Records has recently re-issued the death metal classics Obscura and From Wisdom to Hate by Canadian band Gorguts. The 2015 editions of these records were created in close cooperation with guitarist and songwriter Luc Lemay, who describes the history and context of these releases in accompanying liner notes. The re-issues are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002).

GORGUTS Obscura (Re-Issue 2015)

  • Gatefold black 2LP
  • Gatefold mint 2LP – limited to 200 copies (only available via CMDistro.com / Europe only – sold out in the US)
  • Gatefold lilac 2LP – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Gatefold transparent blue 2LP – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)
  • Standard Jewelcase CD (offered at mid-price)

GORGUTS From Wisdom To Hate (Re-Issue 2015)

  • Black LP+CD
  • Silver LP+CD – limited to 200 copies (only available via CMDistro.com / European & US webshop)
  • Transparent red LP+CD – limited to 200 copies (only available via CMDistro.com / US webshop only)
  • Clear vinyl LP+CD – limited to 100 copies (exclusive to GORGUTS’ current label Season Of Mist)

To order:

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Molested Blod Draum and Stormvold reissues inbound

by Brett Stevens on April 18, 2015

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The classic releases from pre-Borknagar death metal band Molested will see re-issue on Dark Symphonies Records in their original form. The 2009 re-issues on Galgenstrang Produktionen and Ars Magna Recordings provoked criticism for their modern, compressed and loud sound that some felt reduced the clarity of the original.

Known for being a boutique label that re-issues classic metal releases on vinyl with collector-friendly exclusive packaging, Dark Symphonies Records and its imprint The Crypt have decided to issue the Molested re-releases as jewelcase CDs. These include bonus tracks on Stormvold and will be faithful to the original recordings. Dark Symphonies Records released the following statement:

DARK SYMPHONIES / THE CRYPT is honored to work with Borknagar mastermind Øystein G. Brun to reissue official stand alone CDs of the brutal, classic debut album “Blod Draum” and the classic EP “Stormvold” from the legendary Norse death metal act MOLESTED.

We are proud to announce that we are working directly with Øystein to obtain a wealth of material. “Blod Draum” will include the original film negative of the cover artwork for best visual presentation, unpublished band photos, lyrics and new liner notes. The CD will include the original 1995 studio recording, which was carefully mastered from the original DAT source as well a revised version of the album, which will be remixed by Øystein from the original multi-track studio tapes. This CD is designed after the original 1995 CD release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.

“Stormvold” will include the band’s “Stalk the Dead” and “Unborn Woods in Doom’ demos. Including the original cover artwork, unpublished band photos, lyrics, new liner notes and the original 1997 DAT tape for the Stormvold audio source and original analog tapes for the DEMO audio sources.

“Stormvold” will be presented as a metallic gold printed insert and will be designed after the original 1997 Effigy Productions release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia.

No date has yet been announced for these re-issues.

http://www.youtube.com/watch?v=H7C0ZU7eZ3w

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Vexilla Regis Prodeunt Inferni – Vexilla Regis Prodeunt Inferni (2012)

by William Pilgrim on April 18, 2015

vexilla_regis_prodeunt_inferni_-_vexilla_regis_prodeunt_inferni

To make meaningful commentary on a band like Vexilla Regis Prodeunt Inferni, or any other band walking the old death metal tightrope for that matter, one has to hear them in context with the specific niche in time that their sound occupies. Execute a bit of nifty time-travel in the mind and place the band concerned in the august company that it aspires to keep. Observe if it compares favourably with at least the spirit of the originals in terms of aspects like general coherency in songwriting, perpetual will to forward motion, and, above all else, that ineffable, visceral reaction that only the very best are capable of evoking. Originality in this cloistered paradigm is a disingenuous word; what the avid listener hopes for is a transmission of the same vitality that informed the heyday of this music.

Vexilla Regis Prodeunt Inferni posits no claim to innovation but that is no crime in itself. Incantation, the bread n’ butter of modern death metal, is frequently referenced in the use of flowing tremolo lines plucked from the chromatic scale. While there is nothing inherently wrong with the use of atonality in death metal – it indeed comprises much of the bedrock of the genre – it also becomes something of a cop-out in the hands of lazy bands that lack the creativity required to compose tastefully and in accordance with tradition. Vexilla Regis Prodeunt Inferni aren’t an especially lazy band and are perfectly capable of constructing riffs according to harmonic conventions as heard in the more black metal-inspired sections of this album.

Where Vexilla Regis Prodeunt Inferni falls hard is in arrangement. Songs rarely build up to any kind of crescendo, even compromising whatever momentum may have been built up initially. While any topography consists of peaks and troughs, there appears to be no aesthetic meaning to Vexilla Regis Prodeunt Inferni‘s contours. Riffs rise and fall like waves on the ocean but without any of nature’s geometry, and what results is an album that touts itself as Satanic death metal but feels curiously void of life’s irrepressible energy.

http://www.youtube.com/watch?v=E6livJb29bs

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Desultory to launch new album in fall 2015

by Brett Stevens on April 17, 2015

desultory_partysan_open_air_2011

Swedish heavy metal/death metal band Desultory, who along with Dissection, Unanimated, and Sacramentum paved the way for legions of melodeath to follow, are back in wartime formation and planning to record a new album. The band posted the following to social media:

Ok, so finally! We´re back into the Necromorbus studio, now to record our next full lenght album. We will record during the spring and hope for a release during the fall. Thanx for all your support and patience, this album is for you!

While most of us know this band through their Metal Blade debut (and one of the first big label acknowledgements of death metal) Into Eternity, their collection of demos entitled From Beyond the Visions of Death is also quite worth attending to. It combines the melodic approach of Unanimated with a heavy metal core, which makes it both more accessible and prettier than regular death metal.

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

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How to get into black metal

by Brett Stevens on April 17, 2015

varg_euronymous

An experienced music listener who is new to black metal asked for a doorway into the genre. This raises the question of how to appreciate black metal, which like most things in life is mostly mental preparation. Without context, black metal seems like any other loud genre, and it becomes harder to distinguish the newer tryhard junk from the original.

The best way to gain context is to walk through the history of the genre from oldest to newest. This approach, common in art, literature and philosophy, allows people to see what developed from what and what the reasoning for that was and therefore, what the reasoning is behind what is here now.

The result of this query was a simple list to urge people to explore this genre further. This list originates in the history of black metal music, but also in influences that can be identified among the bands as immediately relevant. Toward the end it extends more into general conjecture based on what shows up later in highly different form among the black metal works of relevance listed above it.

I. Proto- Metal

  1. Bathory – The Return
  2. Slayer – Hell Awaits
  3. Hellhammer – Apocalyptic Raids
  4. Sodom – Persecution Mania

II. Interim

  1. Sarcofago – INRI
  2. Merciless – The Awakening
  3. Blasphemy – Fallen Angel of Doom
  4. Von – Satanic Blood

III. Black metal

  1. Immortal – Diabolical Full Moon Mysticism
  2. Mayhem – De Mysteriis Dom Sathanas
  3. Burzum – Burzum/Aske
  4. Emperor/Enslaved – Split
  5. Darkthrone – Under a Funeral Moon
  6. Beherit – Drawing Down the Moon
  7. Varathron – His Majesty in the Swamp
  8. Havohej – Dethrone the Son of God
  9. Impaled Nazarene – Ugra-Karma
  10. Samael – Worship Him

IV. Second Wave

  1. Gorgoroth – Antichrist
  2. Graveland – The Celtic Winter
  3. Ancient – Svartalvheim
  4. Sacramentum – Far Away From the Sun
  5. Ildjarn – Forest Poetry
  6. Summoning – Dol Guldur
  7. Zyklon-B – Blood Must Be Shed
  8. Gehenna – First Spell
  9. Behemoth – From the Pagan Vastlands

V. Extended Contemporary

  1. Demoncy – Joined in Darkness
  2. Sammath – Godless Arrogance
  3. Mutiilation – Remains of a Ruined, Cursed, Dead Soul
  4. Absurd – Asgardsrei

For immediate death metal background to black metal:

  1. At the Gates – The Red in the Sky is Ours
  2. Carnage – Dark Recollections
  3. Godflesh – Streetcleaner

For heavy metal background to black metal:

  1. Mercyful Fate – Don’t Break the Oath
  2. Venom – Possessed
  3. Angel Witch – Angel Witch
  4. Destruction/Tormentor – Demos

For hardcore punk background to all metal:

  1. Discharge – Hear Nothing See Nothing Say Nothing
  2. Amebix – No Sanctuary
  3. The Exploited – Death Before Dishonour
  4. Cro-Mags – Age of Quarrel

For electronic music background to underground metal:

  1. Kraftwerk – Trans-Europe Express
  2. Tangerine Dream – Phaedra

For progressive rock background to metal:

  1. King Crimson – In the Court of the Crimson King
  2. Yes – Tales from Topographic Oceans
  3. Camel – Camel
  4. Greenslade – Greenslade

For classical background to metal:

  1. Anton Bruckner – Symphony No. 4
  2. Richard Wagner – Tannhäuser
  3. Franz Schubert – Unfinished Symphony
  4. Mozart – Symphony 41
  5. Haydn – Symphony 82
  6. Bach – Partita No. 5 in G major
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The controversy over Abominations of Desolation

by Brett Stevens on April 12, 2015

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Back in 1986, one lineup of Morbid Angel recorded what that lineup considers the first Morbid Angel album, Abominations of Desolation, which was later re-released on Earache Records in 1991. But three years later, the band re-recorded most of the songs in a streamlined form and released it as Altars of Madness, which the lineup of the band as was at the time through the present considers to be the first Morbid Angel album.

Avoiding a peek into the controversy and the clash of personalities behind it, metal archaeologists today can look at the musical differences between these two albums. Altars of Madness focuses on a tighter and more streamlined style that too often slips into the type of verse-chorus with bridge that was used extensively on speed metal/death metal hybrids like Seven Churches and Rigor Mortis. This may show the influence of Texas band Necrovore, who established a more aggressive aesthetic but kept song structures closer to the NWOBHM model that speed metal used.

At the same time, other bands were taking a hint from Hellhammer/Celtic Frost and writing songs which had some repeated passages which could be used as verse and chorus, but behind those varied the riffs to give the song a unique structure. This opened up new possibilities that all bands entrenched in the rock ‘n roll “verse, chorus, bridge, solo, repeat” pop song format could not reach. In that new frontier, bands saw new musical and artistic possibilities, and the form of modern death metal began.

The first Morbid Angel album contained many of these aspects, particular in some of the odd structures used on the first track. For the most part however it stuck to good old fashioned pop song format with a few modifications, using the Slayer technique of introductory riffs and some hints from Possessed. This showed a dramatically different side of the band than the extended compositions of Abominations of Desolation which, while many used verse/chorus at their center, were more likely to vary riff form and use solos as a kind of second layer to the rhythm guitars.

Controversy continues to this day regarding which is the “true” Morbid Angel. As strange as it seems, the first recording may be the one that opened up more historical space, although its lesser production and expanded song structures made it less hard-hitting at any instance and thus less “heavy” or “brutal” to the audience, which is why the band wants it to be the first album: it is a better product. For many of us however Abominations of Desolation has long surpassed the first two Morbid Angel albums as the one most frequently listened to because of the depths of its complexity and musical imagination.

http://www.youtube.com/watch?v=L2EAo90fGzE

http://www.youtube.com/watch?v=6mfvSSl9L9M

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Supuration releases “Suffocate Through Asphyxia” from Reveries of a Bloated Cadaver

by Brett Stevens on April 10, 2015

supuration_-_reveries_of_a_bloated_cadaver

Back in the early 1990s, Supuration grew from a gore-oriented grindcore band into a death metal band, and then infused the mix with brainy indie/alternative rock of a progressive nature, carrying forward all three influences in varying degrees of balance.

Two decades later, the band plans to release Reveries of a Bloated Cadaver, a modern recording and high-value re-envisioning of the earlier songs with more technical playing, better production and improved cover art. To tease the fans, Supuration released a video for “Suffocate Through Asphyxia” that shows the direction this album will take.

Interestingly, the band preserve the underground metal focus of this material and take it in the proficient but still intensely violent and alienated direction that bands like Autopsy and Entombed embarked upon toward the mid-1990s. Improved playing and more adept tempo changes distinguish the original material of these songs, which appears somewhat reorganized to present itself more distinctively, and place it into a fully modern death metal sound.

It will be interesting to see what they do with other tracks that had more of a grindcore or alternative rock orientation back in the day. Supuration was the original alternative rock/metal crossover, but was ignored by the media because it retained its metal-ness instead of making metal-flavored Fugazi clones like the recent spate of media darlings. Maybe the band will reclaim its position in history with this upcoming release.

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