Nerlich – Defabricated Process (2007)

On Defabricated Process, the only album by this now resurrected Finnish death metal band, Nerlich exhibits very competent compositional skill, utterly obliterating the chronic masturbators who picked up a guitar and think they can play death metal, by putting their egos at bay to serve the piece, much like good musicians should do.

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Analysis of Demilich’s “When the Sun Drank the Weight of Water”

[Sections of this article by Jerry Hauppa].

The Finnish scene has spawned an impressive number of death metal giants, possibly the strongest overall scene with no band searching for shallow fame or popularity and each band exploring their own sound in complete artistic integrity and more often than not achieving powerful results. Though all these bands have captured the hearts and the imaginations of Hessians everywhere, one four-piece has managed to completely change the face of death metal. Releasing one album that elevated metal into being recognized as an intellectual genre in the eyes of the mainstream, so much so that the mainstream metal media fled from this album as no one could commercialize and democratize what was being played here, Demilich were unfairly pushed back into the underground when they deserved adoration from the masses.

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Decimation: Atonality in Death Metal

Never has there been a word in metal as misunderstood as atonal, allowing all kinds of ridiculous claims since most individuals confuse atonality with dissonance and chromatism.

There are two ways to define atonality, one being the complete lack of tonal character and being reduced to noise like some of Kerry King’s solos or the works of Merzbow. The other definition that interests us here is the complete lack of functional harmony. In simpler terms that implies not having the root note that commands a certain melody. Without a root note, the notes in an atonal melody are not connected by scales, modes or chords.

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Metal Works as Stepping Stones

Until now, metal works (albums, EPs, pieces, etc.) have been regarded as products, even by those who would assume anti-commercial postures. Why this is so, why the underground metal community still sees albums as products and so judge them in that light, has to do with the history of metal as arising from the general rock business context. Black Sabbath as the foundational metal band followed this path and they were also the first metal band to sell out, though there never was much to sell out. In any case, they did not really know what they had and quickly devolved into rock-ized (standardized) “improvements” on the gold they had struck at first, instead of exploring those new sounds and ideas regardless of the commercial context, regardless of the business prospects (gigs, deals, etc.). We must understand, however, that the ideal of metal beyond rock, beyond trends and commercialism, only arose with the Mayhem cabal. Their commercial activities, it should be understood, were a means to something greater, as can be seen from the meticulous selection of albums that came under the auspices of Deathlike Silence Productions.

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Last Sacrament – Enantiodromia (2013)

Florida’s Last Sacrament are one of the rare contemporary bands that successfully captures the essence of old school death metal while developing a voice of their own in the process. While initial full length Enantiodromia has a few juvenile kinks to work out — the members are shockingly young — the record as a whole is a striking, confident foray through classic metal.

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