Death Metal Underground

Deeds of Flesh – Portals to Canaan

by Brett Stevens on October 18, 2013

Deeds of Flesh pioneered the West coast version of the percussive death metal innovated in New York by bands like Suffocation and Morpheus Descends, itself a derivative of the more textured muted-chord riffing of speed metal bands like Prong, Vio-lence, Exhorder and Exodus. With Portals to Canaan, Deeds of Flesh hope to expand their style into the future.

As a result, they’ve brought in some influences. Some come from expected quarters, like the Gorguts Obscura influence visible on many tracks, or the modern “tek-deth” borrowings. Others are more obscure: the use of background drones and electronic effects like Tangerine Dream, for example, or the repeated allusions to tracks from all of the first three Deicide albums. This tendency shows a band in touch with how stale both the old school bands currently and the entire concept of modern metal have become.

Portals to Canaan does one better, which is that it attempts to make these riffs work with another. This leads to a sort of game: how outlandish can we be and still pull it off? As a result, the guitar fireworks immediately dive into almost paranoid riffs that despite being primitive show a delicate sensibility of avoiding predictability. Deeds of Flesh love breakneck tempi, but even more, they love to break up patterns, transition through a series of barely related ideas, and then return to the original. Tempo changes explode, riffs invert themselves, and guitars chase each other oblivion and emerge in harmony.

The primary downside of this album is that it borrows from both deathgrind and tek-deth, which both include tropes that are aesthetically annoying. Deathgrind has the chromatic chugging advance while the vocals chant in double time, and tek-deth has its video-game-sound sweeps and noodly squeal riffs. Deeds of Flesh try to minimize this whenever possible, but rely on it frequently enough that it is hard to overcome. What is great about this album however is that it is able to unite its wide variety with the riffs themselves, like an old school band, and not fall into the nu-death trap of being so divergent that the only unification can be found through return to very standard song forms after short deviations.

Culminating in the epic track “Orphans of Sickness,” Deeds of Flesh Portals to Canaan offers a credible attempt to find a new path through metal. I’d rather they dropped the deathgrind and modern metal and focused solely on inheriting the other techniques they have innovated over the years, but Deeds of Flesh have converted some annoying modern metal tendencies into fertile techniques and shown how old school metal’s approach to gluing riffs together to make sensible songs can overwhelm even the modern metal influence. In addition, the use of ambient sound and innovative song construction makes this release a good listen, even if as I do you wince at the core/grind parts.

8 Comments

Tags: death metal, deathgrind, deeds of flesh, modern metal, tek-deth

Merciless Reviews 10-18-13

by Staff on October 17, 2013

Cursed 13 – Triumf

At some point, every artist must ask themselves who their audience is. For some, it’s the inexperienced. Cursed 13 would be OK as your first metal band, the one you listen to and swear is really cool and then you get distracted by something like a fishing trip and when you come back you just forget to listen to it ever again. This is metalcore: it uses late hardcore pacing, emphasizes the vocalist as the individual listener, keeps a groove to its riffs and uses them as contrast rather than motifs. No narrative evolves from this. It’s verse-chorus in the minor key bittersweet sounds of indie rock, but with death metal vocals and heavy distortion. Why not just be a shoegaze band instead? That way, at least you’d be aesthetically pleasant. As it is, this is just boring.

Vasaeleth – Crypt Born & Tethered to Ruin

Marshal McLuhan said that in our postmodern time, the medium is the message. To a large degree that’s true, and sometimes you just want old school death metal to blast at the neighbors to fly the flag of an eternal truth discovered with particular insight during the underground days. However, Vasaeleth is something boring. They rely on very primitive riffs in very predictable ways, which doesn’t create the awesome assault of randomness or idiosyncrasy that many old school bands fostered, but instead a sense of plodding. We know, for example, that a riff designed to emulate old Demoncy and Incantation will cycle between two chords, and Vasaeleth have picked two a third or a fifth apart, and beyond that the riff is essentially an extended chromatic fill. Because it is so focused on upholding the past, it loses much of the ability to use that chromatic fill toward a phrasal end, so we hear the thudding drums alternating between two chords with some guitar stuff fuzzing around in-between. It’s a shame; I like this, and I’d like to really like it, but it’s getting filed with Mortician and Six Feet Under as too musically obvious to stand up to repeated listening.

Corrections House – Last City Zero

Everybody’s jumping on the doom metal bandwagon. The metalcore bandwagon popped a spoke, then the retro wagon hit a pothole and the stoner doom/sludge bandwagon got stopped by small town police. What’s left? Take the exact same watered-down 1980s-indie/1980s-late-hardcore mix and turn it into doom metal. Corrections House is basically rock with some doom riffs, a whole lot of Gothic atmosphere and an energetic punk vibe, but wrapped around the exact same songs they would have puked out as an indie-rock, alternative-rock, post-metal, etc. etc. all these genres are the same, etc. band. What they do well is make doomish metal catchy by letting the aforementioned Gothic elements ride over everything else. If you ever wondered with a Paradise Lost/Type O Negative crossover would sound like, here’s your answer.

Urna – Mors Principium Est

This is a band playing a psychedelic hybrid with funeral doom, using extensive variety of riffs within their songs, but shying away from the metal style of riffcraft for a more static style. This approach, like Djent or many Nile tracks, relies less on creating riff phrases than to use rhythm to chop up a few chords into an interesting texture. Here, the texture is less important than using the chords to sketch out a basic progression for harmonizing, and while many of these progressions are doomy most show some influence by indie rock and approximate a cross between Skepticism, My Bloody Valentine and Catherine Wheel. The result is sensitive and has depth, just as its riffs develop a theme, but it is ultimately not convincing beyond aesthetics and so will not stand out as a classic of this genre.

http://www.youtube.com/watch?v=F6nR2sFHRqQ

Deprecated – Deriding His Creation

If you want to talk about a band that brings out mixed emotions, Deprecated is it. Listen to my two-word assessment: excellent deathgrind. That means this is excellent, but also, that it’s deathgrind. You can’t have one without the other. Thus we have to talk about deathgrind. Death metal focuses on the relationship between riffs; deathgrind focuses on forcing the listener into a strict rhythmic pattern and making them expect the consistency of it so it can be fragment. It’s sort of like Stalinist propaganda; you’re supposed to chant “All Glory to Mother HypnoRussia!” until the officials in charge announce that something has gone wrong, at which point you must call for the blood of Emmanuel Goldstein or Julian Assange or whoever else is the official enemy that afternoon. The result is that deathgrind is excruciating at least for this music-reviewer to listen to. For one thing, all the neat interplay between riffs that changed the context of choruses is gone; instead, the verse builds up a rhythm and the chorus breaks it, then affirms it. And the rhythms are brutally basic, very familiar in that we could assign them to common tasks: chopping wood, loosening the transmission case, beating a recalcitrant child, etc. Add to that the detuned chromatic “first five” use of the fretboard, and the result sounds like listening to “America’s Best Landslides” on an old TV with blown speakers. It’s good, but I really hate this style and can’t get past that.

Axegrinder – Rise of the Serpent Men

I thoroughly enjoyed this release but, as with much of punk, wonder how often I would repeat listen. Axegrinder is like a cross between later Amebix and earlier Amebix, so it has the rawness of Arise! with the more comfortable song structures of Monolith. The best way to describe Rise of the Serpent Men is accommodating. It has all the aesthetic elements of crustcore that we’ve come to expect, uses very familiar chord progressions in slightly unusual ways, and has a good sense of rhythm. Each song is reasonable distinct and very listenable. The only challenge is whether that’s enough to get over the boredom valley.

Baptists – Bushcraft

Sounding very much like late-1980s hardcore with the precision techniques that came about in the 1990s, Bushcraft is a punk album that mixes raw riffs with quirky dissonant hooks and open chords. The result is a ranting tirade that ends in an ornament and thus sticks in your mind like a pop song, such that you don’t notice how much of this is three-chord riffs under ranting vocals. It’s well-executed but sounds like many other bands and despite the high degree of instrumentalism, doesn’t manage anything more compelling than hook.

Falcon – Frontier

Whether ironic or not, this band is pure retro, combining 1970s progressive rock, hard rock, album-oriented-rock, soft rock and music you would hear at a skating rink. Falcon have no intent to make unique riffs, but rather to borrow riffs, rhythms and conventions and use them to cloak new songs which have more in common with the independent alternative rock of the early 2000s. They’re bittersweet, lost and melancholic songs, full of longing and insecurity with a vast backdrop of sadness at a civilization disintegration from within. If you have ever looked at younger people and spared them a moment of compassion for how lost in nostalgia and emotion they are, this music puts a soundtrack to that feeling. It also pumps out high-energy songs that are distinctive and highly listenable. The only thing that keeps me from listening to this again is that I hate the style, but it’s more competent than 99% of metal and far more musical.

Valgrind – Morning Will Come No More

How you approach a project determines much of the outcome. In this case, the band wanted to entertain, so they made songs with lots of variation, and sacrificed internal cohesion to that aesthetic ideal. The result is like riding a subway through a dream where it stops at random cities where people do random things, and at the end of the line, you remember nothing other than that it took some time. Valgrind have a number of tasty riffs, but inevitably they clown those by following up with chanty nu-core vocals, sweeping jingle-riffs, or comical absurdities of hard rock riffs taken to an extreme. You can appreciate any moment of this album, but when you add it up, it’s not something you want to hear again.

Empire of Rats – Empire of Rats

Did you ever wonder about the reason they had warning stickers telling you not to drink the rat poison, etching fluid or platen cleaner? That’s because some kids would chug it right on down without sniffing it first, or even wondering why anyone would drink something from a filthy bottle under the sink. The point of that factoid is that everyone needs different music. Empire of Rats is metalcore from the 1980s definition which means that it uses punk riffs with metal pacing and standoffish vocal rhythms in the style of Pantera or other hip-hop influenced bands. Thus what you have is good hardcore with the worst stylistic aspects of tough guy mainstream metal and punk. On numerous moments, I wanted to like this, but it wore me down through simple loudness and simple dumbness, much the way no amount of Fer-Dime’s candybag leads could sweeten up the fundamental skull-throbbing monotony of Pantera.

2 Comments

Tags: Black Metal, death metal, reviews

Abscession – Death Incarnate

by Brett Stevens on October 15, 2013

If you approached Slaughter of the Soul with the stylistic outlook of Left Hand Path, you would follow the path that Abscession travel on Death Incarnate. These are short, melodic songs that understand the dramatic nature of successful Swedish death metal.

Easily imitated, Swedish death metal is hard to master. The basics are simple: play d-beat drums under riffs adapted from the vocal melodies of 1970s horror film music and American guitar rock bands, then stack those against faster Black Sabbath-styled chromatic rhythm riffs. Is there really such a void between “Symptom of the Universe” and “Crawl,” or the soundtrack to Carnival of Souls and Clandestine? Not if you listen to them side-by-side.

Thus, by combining Discharge and heavy metal with horror soundtracks, the Swedes invented a new style and kicked it into high-gear with that buzzsaw dimed-Boss distortion. But while qualification in this style is easy, it quickly becomes generic. That is because to take riffs out of context, one must build up a next dramatic context to give them framing, such that the change in riff (and tempo) is symbolically and aesthetically significant to the listener.

Abscession kick off this mini-album (EP) with a lengthy intro that, while funny at a first listen as it reveals death metal obliterating the music of normals, probably isn’t going to be fun past the first couple of listens. After that, it’s into what they do best: buzz-saw rhythm riffs which give way to lengthier melodic riffs which are played in power chords instead of single-string-picked like the first At the Gates.

The result captures much of the mood from Clandestine with big bristly clouds of buzzing distortion cushioning us as a melody emerges from within, like flying through clouds and seeing the moon emerge above. Once we’ve settled into the feel of the fully mature song, Abscession give it a kick or otherwise challenge it with a dramatic transition, which requires guitarwork to wrangle the song back toward its final state of affirming order.

What makes this release stand out is how well-composed the melodies are and how the band is able to arrange riffs in a meaningful manner, even if a simple “meaning” like the sensation of a walk through a dangerous forest at night and a confrontation with mortality as the blade of a foe emerges. Riffcraft is good and focuses on the longer melodies that distinguish the professionals from the “Garage Band” weekend activists in metal at this point, and all musicianship is good, but it is the content and composition of these songs that sets Abscession ahead of the Swe-death pack.

Abscession – Death Incarnate (free download)

3 Comments

Tags: abscession, d-beat, death metal, horror movie soundtracks, Swedish Death Metal

Oration of Disorder Reviews 10-15-13

by Staff on October 15, 2013

Ihsahn – Das Seelenbrechen

Much as we all admire the ex-Emperor axeslinger, he’s fallen into the pit of what happens to musicians once they’ve blasted out their most vital creative material: they become masters of interesting details, but this means that they fit into the dominant paradigm. In this case, Ihsahn is basically progressive indie rock with a tendency to launch off on flights of fancy that sometimes involve metally riffs. But for the most part, he’s playing with the same pieces and riding in the same channel that everyone else has been cruising for the last 70 years. This doesn’t showcase the legendary creativity that propels this artist toward his best work, and also doesn’t make for great listening, since it’s a collection of mixed moods that never really pick up a direction anywhere but into themselves.

http://www.youtube.com/watch?v=DlAunHz0RIE

Falkenbach – Asa

Folk metal isn’t a genre; it’s an approach to any number of genres. Falkenbach is heavy metal with some black metal influences but is approached in a “folk” way that resembles jaunty pirate and epic Viking songs from Hollywood movies, thus continuing metal’s infatuation with the soundtrack. The music isn’t bad, but cycles verse-chorus and develops very marginally so there’s not much of a vertiginous sense of revelation. Further, either this dude has a sinus infection or they autotuned these vocals, which is somewhat repellent if your music is naturalistic. Thus this gets filed in the pile of stuff I’d like to like, but can’t have faith in, and find aesthetically irritating.

Beastmilk – Climax

When we run out of ideas, we run to the past. So it is with Beastmilk, who resurrect 1980s indie rock with a slightly more intense guitar focus, like R.E.M. crossed with Dave Mathews and grafted into Journey. This isn’t bad, but not so exceptional we must cover it on a death metal site.

Inferno – Omniabsence Filled by His Greatness

Strongly reminiscent of early Dark Funeral with lower tuning, Inferno provide charging black metal with strong concluding themes and high energy. None of these riffs will really strike you as all that unusual, but they knit together well into songs. To flesh things out, Inferno use fills of sweeps or lead picking between the rushing power chord riffs. This release really doesn’t have enough character to distinguish itself for the ages, but is more refreshingly clear about what it likes than most of the kvltists or hybrid-bands that wander through our review stack these days.

Blizaro – Strange Doorways

Sometimes we confuse having a lot of material with having something epic. This 2CD is a fusion of doom metal in the style of Confessor/Candlemass and a lot of random 70s influences from Hawkwind to Yes. These guys like to jam, and this music seems like someone recorded jams for a year, patched ’em up so they stuck together as songs, and worked them into an epic format. They’d do better to distill this to an EP of their best thoughts.

Polluted Inheritance – Betrayed

When Polluted Inheritance play death metal, they create a type of very familiar and nocturnal music that feels like moving through a darkened battlefield. This is broken up by speed metal riffs and lead-ups which sometimes have Pantera-style roundabout vocals circling the end of each phrase, causing a sense of this battlefield being broken up by machinery. In addition, Polluted Inheritance like to drop in sporadic progressive riffing or extremely noodly guitar, often accompanying some of the speed metal riffs. Reminiscent in many ways of later Adramelech, the band thus “comes into its own” less frequently that it would if some hard stylistic decisions were made and individual members had less freedom to indulge musicianship for musicianship’s sake. It is gratifying however to find a release that actually wants to be metal, and can execute moments of insight in riff form that evoke the best moments of classic death metal.

http://www.youtube.com/watch?v=-J5s-5sNpts

Boal – Infinite Deprivation

Although from the deathgrind genre, this album represents an attempt to use old school approaches to melody and riff with the “modern technical metal” style of static or harmony-based (sweep) riffs. These riffs are designed to contrast each other toward resolution in the old school way, but ultimately are too linear and rhythmic to develop enough phrase. However, the deathgrind portion of Infinite Deprivation is a breath of fresh air, incorporating groove in a subversive and unnerving way and building up to honest culminations. Obviously it’s too much to ask this band to go all old-school but they’re the closest thing to interesting in deathgrind.

http://www.youtube.com/watch?v=5Hje–YVhEQ

Root – Viginti Quinque Annis In Scaena

This album sounds like Venom covering Cream. It’s basically hard rock and the generation before it, sped up with more precise playing and some hefty fellow bellowing over the top. While none of it is is particularly badly executed, it also sounds dated, like a flashback into the late 1960s which is being resurrected for purposes of nostalgia. The homebrew nature of this band would be appealing if the songs stretched beyond an emulation of that past state in time, but although heavily influenced by the Hellhammer-Bathory first wave of black metal, this music remains in part of that cluster of material that belongs to a time before the underground.

Circle – Incarnation

This seems like “sludge metal,” which is really just slow metalcore, with throw in influences from indie and black metal. Mostly disorganized, it fails from inability to make a point, although there are no other deficits. Like most music in this style, which seems to be people who want doom metal with aggressive open intervals instead of minor key ones, the modus operandi of the listener is to experience drone and forget where he is in the piece, then notice periodic interesting bits before descending again into a rumble of confusion.

Toxic Holocaust – Chemistry of Consciousness

The whole of the human condition is revealed by this album: it is well-executed on the surface, but its independent spirit is bound up in pleasing others with what they already know, in order to get power. As a result, it is a fun listen until you start thinking about hearing it a dozen times. It’s more instrumentally competent than your average retro-thrash band, but strays mostly into speed metal territory, mix and matching riffs from 1980s speed metal bands so that verse and chorus riffs each resemble well-known types but they don’t appear together as in the original song. Most of these songs are repetitive verse-chorus with a break to provide contrast before the reprise. Oddly, the vocals are whispered and distorted like a black metal band but using the rhythms of a late 1980s band like Sodom or Kreator. This is well-executed but I wouldn’t want to hear it again, especially as I heard all of these ideas the first time around — back in the 1980s.

http://www.youtube.com/watch?v=KgxTN9M_3uM

4 Comments

Tags: Black Metal, death metal, Heavy Metal, oration of disorder, Thrash

Underground Never Dies! LP details released

by Brett Stevens on October 14, 2013

The forthcoming release of Underground Never Dies! on Doomentia Records will be accompanied in its first pressing by a unique LP which features classic tracks from back in the early days of the death metal underground.

Thanks to author Andrés Padilla, editor of Grinder Magazine (CL), the world can now see what’s on the LP. But first, information about the LP itself. There will be several batches, as follows:

Box set
- Limited to 150 copies
- Massive box with custom padding for:
- Underground Never Dies! book
- LP on colored vinyl
- MC
- CD
- A1 poster
500 x vinyl

150 on black/white HALF/HALF effect
350 on black

500 x CD
200 x MC
500 x Underground Never Dies! book

This means that 500 LPs will go out with the book, and another 500 LPs, 500 CDs and 200 MCs will be available for underground maniacs. There’s going to be a run on these at your local distros, especially the padded box set which is “massive” in form and content if early reports are right.

Next, what’s on it? Here’s a complete tracklist:


SIDE A
INCUBUS	Engulfed in Unspeakable Horrors	5:19
SLAUGHTER LORD	Taste Of Blood	3:13
MUTILATED	Hysterical Corpse Dislocation	3:05
DR. SHRINKER	Cerebral Seizure	3:06
AFTERMATH	When You Will Die	3:52
EXMORTIS	Beyond The Realm Of Madness	3:24
Total Running Time Aprox. 21:30

SIDE B
NECROVORE	Mutilated Death	4:25
INVOCATOR	The Persistence from Memorial Chasm	4:14
SADISM	Psychomental Storm	2:57
ARMOROS	Euphoria	3:23
POISON	Black Death	3:14
MENTAL DECAY	The Final Scar	3:27
Total Running Time Aprox. 21:98

Bonus Tracks for CD/MC:
PHANTASM (US)	A Souls Nightmare	8:12
FATAL (US)	Malevolence	2:44
FUNERAL NATION (US)	Sign Of Baphomet	4:03
VIBRION (ARG)	Massive Frustration	2:56
INSANITY (US)	Fire Death Fate	2:51
DEATH YELL (CHI)	Untited Track – Unreleased	3:17
CORPSE GRINDER (CHI)	Concentrator Camps	3:53
NECRO BUTCHER (BRA)	Christ Psychic Butchery	1:53
INNER SANCTUM (URG)	Deathless Prophet	3:37
MACERATION (DK)	The Forgotten	2:40
BLOODSOAKED (MX)	Emptiness	3:01

5 Comments

Tags: andres padilla, book, death metal, extreme metal, grinder magazine, underground metal, underground never dies, zine

Organic (formerly Organic Infest) releases catalog on internet

by Brett Stevens on October 12, 2013

On the anniversary of the release of its first recording, Puerto Rican death metal band Organic (formerly Organic Infest) is releasing its four recordings — two albums, an EP and a single — for free download on its ReverbNation page.

These songs are available for free listening. If you like them, you can purchase them in digital form, with 50% of the proceeds going to Fender Music Foundation, which provides musical instruments to students who cannot otherwise afford them.

Organic got its start with 1993’s Penitence which despite abysmal production showcased a new take on the guttural blasting style of percussive death metal favored by bands like Malevolent Creation and Cannibal Corpse. From there, the band explored a melodic avenue with its more recent works.

5 Comments

Tags: death metal, organic, organic infest

Death metal horror film Deathgasm solicits funding

by Brett Stevens on October 12, 2013

A New Zealand director is campaigning to get his death metal themed horror film funded through a crowdsourced campaign. The film, named Deathgasm, will concern the adventures of social outcasts who discover music that can summon evil.

Written and to be directed by Jason Lei Howden, Deathgasm is designed as a throwback to the early 1980s budget splatter films and the Heavy Metal horror genre. The director promises that Deathgasm will have a soundtrack that “will be the bane of noise control officers the world over.”

The plot revolves around evil, antisocial behavior, Slayer lyrics and black magic, but ultimately turns on a plot point related to music itself. Deathgasm will thus be a themed film with death metal as an integral part of that outlook.

We got a few questions back from director Jason Lei Howden to give our readers more of a feel of where the film is going.

What’s your history with horror movies, and heavy metal?

I’ve been obsessed with horror since I was a kid, and was naturally attracted to the imagery and dark storytelling of Heavy Metal.

When I was really young, I remember seeing Motley Crue and Iron Maiden cassettes and thinking the contents must be the most insanely satanic shit. Which in hindsight seems absurd.

I quickly progressed towards Thrash and Death, those amazing years in the early 90’s, Slayer, Cannibal Corpse, Obituary, Deicide. Such a great time for Metal.

What are the connections between Deathgasm and heavy metal? What about death metal specifically?

The characters are teenage outcasts. Death Metal is their only form of release. They won’t be wearing Disturbed t-shirts or anything like that; these kids are pure death fans. They are social rejects but find strength in the music. I want to stress that we aren’t out to parody or make fun of Metal, it’s more of a salute to the genre.

I want heaps of references to the classic bands in there, but if we could get some up and coming Death Metal bands on the soundtrack it would be awesome.

There are some amazing Heavy Metal horror films, and Trick Or Treat is a big influence. But it’s a dormant genre and it’s about time to combine brutal sounds and gore again. Death Metal in particular has imagery with is extremely horror when you think of the album covers and lyrics.

There are also occult and satanic themes, they start to dabble in black music and get in over their heads.

In saying that, I want to clarify that you won’t need to be a Metal fan to enjoy Deathgasm, just like Metalocalypse appeals to a huge audience. Anyone who has felt like an outsider will relate to our characters, and fans of Evil Dead, Bad Taste or the Troma films will love the Deathgasm.

Do you think there’s a horror movie culture? What about a heavy metal, or death metal, culture?

New Zealand is so small it’s hard for me to gauge, but Metal culture seems to be far smaller than it used to be. Because there are so many sub-sub genres now, it’s more fragmented. Maybe Metal is better off being underground, whenever it gets too mainstream it de-fangs it a bit.

Horror seems to be still huge, seeing shows like “The Walking Dead” and “American Horror Story” on mainstream TV and getting Emmys is surreal.

Can you tell us about your history with film and horror film?

I went to film school and since then have finished a couple of fantasy/post-apocalyptic short films. It’s really hard to get horror funded here, our industry is based around small coming-of-age dramas.

But even if I don’t get funding, I’m adamant I’ll do a horror next. I work as a visual effects (VFX) artist, working up to 80 hours a week. I need to get outside and throw blood and guts around. We are really lucky to have the Make My Horror Movie Competition; it’s a great opportunity.

You’re launching a funding drive for Deathgasm right now. How close are you to what you need? When you get there, what happens?

The winners get $200,000. The project with the most Facebook “likes” gets into the top five. Right now we don’t have many votes compared to some other projects, but we only submitted recently. We would need a couple of thousand more Facebook “likes” to crack in to that threshold.

There is no sign up or spam, if people go to the page and just click the Facebook “like”, then maybe share it with friends it gets the project visibility and lets the judges know there is a market for a brutal Heavy Metal Horror film.

If we don’t win we may develop the idea more and do a Kickstarter campaign. I want it to be a community thing, with an awesome soundtrack and heaps of Death Metal in-jokes and references.

And gory as hell! The Evil Dead remake was shot in NZ and was pretty gory, but we can take it up a notch or two from that. We have some talented friends and contacts in the practical effects industry here, I don’t want to give too much away but we have some awesome death set-pieces planned. We want to keep it practical; VFX gore just doesn’t look right.

If all goes well-ish, meaning according to plan and accounting for life’s little glitches, when will we be able to see this movie? And where (theatres, Netflix)?

Dark Sky films is a partner, they distribute some great horror, recently Frankenstein’s Army and Hatchet 3. So a lot of people are going to see it. I’m unsure about a theatrical release, netflix would be pretty probable. Would be looking at a late 2014/early 2015 release I would say.

For more information, and to support Jason Howden in his quest to make Deathgasm a reality, please visit the funding page and show support for this project.

1 Comment

Tags: death metal, deathgasm (film), horror movies

Sorcery – Unholy Creations

by Cory Van der Pol on October 11, 2013

Hells Headbangers began shipping the Sorcery Unholy Creations 2CD compilation of this band’s works a few hours ago, which makes it time to delve into this band’s history.

Since so many of the revivals of late are either disappointing new albums murdering promising careers, or revivals of disappointing past material in an attempt to launch a better career, it is worth approaching any new material especially any new Swedish death metal material with skepticism.

In this case, the skepticism is well-deserved. There is a reason that demos like “Maculated Life” and “Unholy Crusade” stayed mostly in the past. While the band has kept releasing, unleashing full-lengths in 1991 and 2013, the foundation of their career is this early work which gets them inside the window in which Entombed, Carnage, Nihilist, Dismember, Therion and Unleashed thrived.

However, a more apt comparison for this band’s older material might be to a cross between Desultory and Grotesque, except with more of a grounding in the speed metal of the previous era. Big, bold and somewhat boring chord progressions underlie riffs which reveal a heavy metal lineage and the recursive, percussive rhythms of speed metal.

Unholy Creations faithfully compiles most of the band’s past ouvre, missing the Rivers of Dead EP from 1990, but at the end of the day, the verdict on this band is that they’re not what we’re all hoping for: the undiscovered successor to Entombed. With that being said, it’s also worth noting that this band is stuck in the past of death metal, namely too much speed metal, and also isn’t very exciting or even as melodic and elegant as Desultory.

http://www.youtube.com/watch?v=__KB_g03Fvk

1 Comment

Tags: death metal, sorcery

Interview: Origin

by Mike Arsenyev on October 10, 2013

origin-ultravioletsocialclub Originating from Kansas in 1998, Origin contrive unprecedented mastery of musicianship and merge cosmic and horror concepts to differentiate themselves from the slew of other technical death metal bands.

Their debut album Origin established a well-rounded sound that would cater to casual death metal listeners, as well as those who approach the genre looking for the most technically proficient of brutal wizardry. Since then, Origin have released four more albums and are in the process writing the next one.

We are fortunate to have virtuosic guitarist Paul Ryan reveal the happenings of Origin.

You’re currently writing material for your next album. What do you hope to accomplish with your next release? Will there be new elements that Origin hasn’t expressed yet?

A continuation in the development in the sound of the band. I guess that the thing for me is that I am a old metalhead who enjoys a lot of different styles of metal which in the early days of the band I only presented a more straight-forward stylistic approach… I am using a couple of ideas from the past in technique and in dynamics to not present the same album again… I hope to keep both old and new listeners entertained by something fresh on every Origin album… During our live shows while playing I kept asking myself what can we bring to our live set that we don’t have yet… I feel that is what influenced my writing the most!

You’ve been ranked as one of the best guitarists in metal by several publications. Do you have any advice for guitar players that hope to advance their technical abilities?

Well I must say it comes with practice, practice, practice. There wasn’t Youtube or professional lessons online when I was growing up & now there are so many resources out there today to assist a young emerging guitarist to get very good, very fast. Something that I’ve noticed in today’s generation is that it isn’t always about composition on a computer, but being in the garage with other musicians brainstorming ideas & grinding it out (some of the funnest moments as a musician I’ve ever had). I spent many days of my life going to shows/practices just learning about how other bands worked as well.

A lot of Origin’s lyrics and titles encompass how small and minuscule our existence is. Is there a philosophical standpoint behind the band or is this something that’s derived from general contemplation?

Prior to Origin I played Death metal with typical Death Metal lyrics. Once I realized that I wasn’t going to kill anyone (unfortunately a few friends of mine did), I wanted to find something to write about that wasn’t so singularly based. Sci-fi & Horror always entertained me & Music took me away from the hell that I heard in my head. It was a positive release of negative energy. I was just looking for something that was endless that could be written about… The unknown.

So, Origin’s listeners can assume that you desire to reach a more broad scope to what the band wants to convey? Not just about blasphemy, blood and guts, but about a more meaningful or challenging way to look at life as a whole? Something that each individual ponders about, but may have a different take on?

When i’m listening to music & reading the lyrics I want to go on a Cerebral Journey. I hope that in some way my music can take someone out of the moment of their own personal life & just sit back & listen to music. I dunno if there is personal enlightenment in our message other than I hope we are conveying some new topics to think about.

What bands have inspired you over the years? Which are your favorites? Can you pinpoint any musicians that have had a profound influence on you?

Well in the very beginning of my playing it was Slayer, Celtic Frost, Cryptic Slaughter, & Yngwie Malmsteen. These bands influenced my early playing style & eventually crafted what I am today. Death, Napalm Death, Suffocation, Early Carcass, Early Deicide, and Bolt Thrower had a lot to do with it as well.

What are your hobbies outside of music?

Music is my life. I work in a music store. Other than playing music I enjoy exercise & spending time with my girl, going to shows & MORE GUITAR!

Origin has extensively toured over the years and has succeeded in reaching a very broad metalhead fanbase. Which shows have been the most memorable?

Oh man there are too many to name… You always remember your first & last I guess… Every show has HAD ITS MOMENTS OF INSANITY!!! Always playing a new venue, city, or country is a pleasure. My mentality has been this..

Every show. Every Fan. Every City. Every State. Every Country. Every Time…
I try to give it my all every time. I want people to enjoy a show they paid for no matter the turnout whether its a 100 or a 1000.

You’ve enlisted Lonegoat from Goatcraft to aid with some synthesizer work for the next album. How did this come to be?

Basically as a musician on the road you get guys handed cds by many other musicians… I try to listen to everything that I get…. Once you get something good you don’t forget it. One night of driving all night to the next gig I popped in a cd that took me on a journey!!! I listened to the album all night on repeat!!! Basically I just contacted him directly & said I really enjoy your work & I have a piece of music that fits what you do perfectly!!! Hopefully we can put something else together as well!!!

Many guitarists treasure their gear and guitars. What’s your current setup like? What will you use on the next album?

I use a Jackson Warrior w Emgs
Mesa Boogie Stereo 100 power amp
RecPre Dbx166xl compressor-limiter-noise-gate
a bbe Sonic Maximizer 882e
Mesa Boogie cabs
Monster Cables

Do you think your sound is evolving? If so, from what and to what?

Yeah to the outside world. I am very private & most of my music isn’t ever heard by Origin fans…I have literally hundreds of riffs that didn’t make it to a Origin album that I enjoy playing; it’s just that the Death Metal scene is very singular in what they want to hear on a album. I think I have learned a lot about the guitar since the beginning of this band & feel that most fans only enjoy what they hear first from a band… To say that my earlier work is stronger than my latter is comical as a musician.

What genre is Origin’s music? What are the primary influences on that genre as a whole?

DeathShred!!!

I hear a lot Origin’s influence in the Death/Grind/Core scene today… I am very humbled by that.

A lot of your earlier music had themes to it. Are you going to continue along that direction, or relax a little and get more down-to-earth?

Well we are still in the writing process for the next album, so I can’t give you a correct answer to that. We are very excited to see & hear what this lineup can bring with Jason Keyser contributing to this album vocally & lyricaly… It will be Origin, but even in just the new demoing of the material Jason has a different approach which I feel will add another dimension to the music!!

Entering the studio for the next album in January so expect a spring/summer release on Nuclear Blast Records in 2014

Also in the mix is re-releasing A Coming Into Existence with Bonus material of the bands I was in before Origin & the DVD is slowly becoming a reality!!!

Thanks for the interview!!!

Visit Origin’s facebook page here.

2 Comments

Tags: death metal, Origin, Paul Ryan, Technical Death Metal, tek-deth

Underground Never Dies! metal fanzine book nears release

by Brett Stevens on October 9, 2013

“Underground Never Dies!” chronicles the underground metal explosion of the mid-1980s through early 1990s when a decentralized volunteer force created a parallel music industry for music that had no commercial appeal, but a fervent sense of truth and opposition to some aspects of post-modern civilization.

With over 500 pages of interviews, photos, excerpts from period fanzines and artwork, “Underground Never Dies!” addresses the complex interweaving of bands, fans, zines, promoters, artists and labels that fostered the underground metal movement and allowed it to expand with maximum flexibility.

Written by Grinder Magazine Editor Andrés Padilla, the book includes fanzines from around the world as well as an extensive selection of underground flyers, so it will be not only a narrative of the history of underground metal, but also a massive and interesting menu of diverse viewpoints for devotees of underground metal genres such as death metal, black metal, grindcore and doom metal.

Doomentia Press will publish and distribute “Underground Never Dies!” which will include a compilation 12″ LP featuring historically important bands exhumed from the 80s, such as Slaughter Lord (Australia), Mutilated (France), Incubus (Florida, USA), Poison (Germany), Exmortis (USA), Fatal (USA), Armoros (Canada), Mental Decay (Denmark), Funeral Nation (USA) and Insanity (USA) among others. Presented in gatefold format, and limited to the first 500 copies of the book, the LP will be followed by CD and tape versions of the same material with added bonus tracks.

Cover art by Mark Riddick accompanies introductions by Ian Christe (Bazillion Points), Chris Reifert (Autopsy), Erik Danielsson (Watain) and Alan Moses (Glorious Times). This celebration of the underground will attempt to make sense of the fertile but chaotic years of its origins.