On the 29th anniversary of Fates Warning’s classic debut album, Night on Bröcken, original guitarist and founding member Victor Arduini releases the debut of his new band, Freedoms Reign.
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Tags: american heavy metal, fates warning, freedoms reign, Heavy Metal, power metal
Part of our job as people who support and believe in metal is to cheer its adoption in the world. However, as part of that mission, we want to make sure the task is done correctly. After all, McDonald’s “Black Metal Happy Meals” wouldn’t exactly be the direction we wanted to go in, would they? Nor would an article that argued heavy metal was a form of protest music or the continuation of disco (actually, that’s dubstep).
Thus we turn to Nottingham University’s new “heavy metal” undergraduate degree, which allows you to spend your college years learning music performance, composition, marketing and songwriting as you go through your degree program. On the surface, this is a great thing, in that it gives heavy metal some recognition in academia as a type of discipline. Or is it?
It seems to us that the approach followed by other metal academics is more sensible, which integrates heavy metal into fields like English literature, sociology, history, philosophy and linguistics. Instead of making metal an isolated commercial product, and teaching it in the same facility that because it teaches a rock-based curriculum will most likely teach a metal-flavored version of rock, the metal academics prefer to pursue metal on the graduate level.
While we applaud Nottingham University for being open to the idea of heavy metal in academia, we suggest a different approach. Metal is not a product, but the result of a thought process, which is the only way to unite such decentralized compositional elements into a singular concept. Thus the best use of the undergraduate degree is perhaps to study the background ideas that are needed to make sense of it…
No CommentsTags: academia, Heavy Metal
Legendary heavy metal band Judas Priest has announced that they will be releasing concert footage off their last tour. Entitled Epitaph, it features the band playing selections ranging the scope of their long career. The film will be screened at select theaters starting in May, culminating in worldwide release on May 28 on DVD.
Says the band: “The Epitaph world tour came to an exciting conclusion at the renowned Hammersmith Odeon (now known as the Apollo) in London. Knowing our fans around the planet recognize that venue for many legendary metal moments, and of course with Judas Priest being a British metal band it was the perfect gig for us to film and record. Big thanks as always to you our metal family of fans – so start banging your heads one more time with us as we scream together ‘The Priest is back!’”
As one of the earliest heavy metal bands, many later genres were influenced by Judas Priest. The band was one of the first to use rapid palm-muted riffs and connecting structures that later inspired speed metal, death metal, and proto-black metal bands.
1 CommentTags: Heavy Metal, judas priest, NWOBHM
Retronomicon compiles the demos and EP of After Death, the band Mike Browning formed as a replacement for Nocturnus as Nocturnus A.D., and then renamed to avoid confusion with the other version of Nocturnus that resurrected itself briefly in the 2000s.
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Tags: after death, Heavy Metal, power metal
Although AC/DC and Motorhead have been putting out basically the same album over and over for 30 years, fans of these two bands never blamed them for not being different.
Instead the audience continues to cherish this phenomenon, as this straightforward, wild and raw music style is the trademark of these bands. Risen from rock music and propelled by underground metal, this kind of music stands for the desire of liberation, freedom and simplicity in this plastic world. It will never go out of time.
In the realm of death metal, there is a band which greatly influenced by AC/DC and Motorhead also has a constant style of music. This band is Unleashed.
Unleashed was formed after the disbanding of Nihilist. Unlike the other key figures Entombed and Carnage whose members were in Nihilist, Unleashed brought the roadhouse rock style of AC/DC and Motorhead into death metal. However as a death metal band, Unleashed has more creative ideas than the old classics. You can tell that by just looking at the names and covers of their albums, each one is as exciting to look forward to as a new Pirates of the Caribbean movie. The scent of fighting in their music also demonstrates that death metal ponders on our existences in world.
The mystic and adventurous sense of Unleashed comes from the extension of the typical “verse-chorus-bridge-verse-chorus” structure the phrasal riffs of death metal. Under an emphasized theme, each phrasal riff acts like a puzzle and combine into an epic scenery. Therefore Unleashed’s musics are richer and more narrative comparing to AC/DC and Motorhead (Before the Victory which completely lost all apprehension of mysticism). To the fans of AC/CD, Motorhead who also enjoy underground metal, do not miss Unleashed.
Translated from this post.
7 CommentsTags: death metal, Heavy Metal, Unleashed
Black Sabbath has revealed their complete North American touring schedule for the summer and fall of 2013.
Starting at the end of July in Houston, the band will bring a mixture of new and old songs across the country, with their final gig at the beginning of September.
Listeners can expect to hear a wide variety of styles during one concert, as the band’s history provides fertile ground for selections from the blues-influenced hard rock and heavy metal genres.
Tickets will go on sale starting in May and are expected to sell out quickly, as this may be the last time the band graces this continent.
Tags: black sabbath, Heavy Metal, tour
Seminal heavy metal band Black Sabbath has released the first single from their upcoming album, 13. Entitled “God Is Dead?”, it features 3/4 of the iconic Sabbath lineup.
While still possessing the distinctive Sabbath sound, it is clear that this is a song produced in the commercial hard rock vein, rather than a unique artistic statement as was their original work.
Even done relatively well, it’s not the Sabbath of lore and must be viewed in a different light than the original era. Forty-three years after the band’s debut, it is not unexpected that they might alter their sound somewhat.
Releasing their debut self-titled album in 1970, Black Sabbath were the first “proto-metal” band in that they used the movable form of the power chord to make riffs that slid down the fretboard and thus encouraged songwriting with longer phrases, more atmosphere and a more flexible rhythmic attack than the rock music of the day. Distinguishing themselves with a number of chart-toppers as well as an audience who craved more, Black Sabbath kicked off the metal genre which quickly differentiated itself from rock and became a subcultural movement in its own right.
13 is due to be released on June 11 and the band will be reaching North America later in the year. Initial tour dates have been announced as follows:
Tags: black sabbath, Heavy Metal
I’ve been listening to “God Is Dead?”-the first single off Black Sabbath’s new album 13, since yesterday. It’s really good and really Sabbath. I’m obsessing. And maybe I’m a rabid fan who’s lain in wait and whose enthusiasm has gotten the better of him. But this is enlivening me in the way only music can. So, I’m going to return the favor and Analyze It to Life.
I’ve been waiting for this all this time. I’m not disappointed at all. But in a way we have two songs here. The first 4:00 or so are great. Wilk’s drumming is Ward-esque in places and seems almost respectful of Bill’s sound somehow, especially at :30 behind those power chords that hit us in the face–a taste of what’s to come. But it’s not quite the Sabbath I was waiting for–yet. The vocal starts, sounding a bit like an Ozzy song, perhaps because he doesn’t have the pipes he did 40 years ago. I’m glad he made the adjustment and went with his current ability. Ronnie did that on The Devil You Know too. It’s the right choice. The lyrics are super dark and REALLY like the old Sabbath. Tony and Geezer are holding back. I’m still waiting for it. I still needed some Sabbath in my Sabbath. Then the chorus hits at 2:16 and at 2:26 that super-doomy descending lick hints at the Sabbath sound. It made my heart go faster. The entire chorus is the doomy, Sabbathy sound I want. But they are still holding back. It’s clean. It’s not quite Sabbath yet.
Then they go back for the next verse. It’s more intense now because the chorus has put us on notice. Something is coming after this second verse.
WOW! Does it come! At 4:05 that Sabbath discord starts in behind the verse “When will this nightmare be over? Tell me!” But musically, the nightmare is beginning. Did they mean to do that? Anyway, in my 35 years of listening to Black Sabbath, Tony has seldom used discord just to use it. It’s a signal. And THEN, right AFTER “Tell me!” at 4:09-4:10, it all changes and becomes Black Sabbath and never turns back. Tony does what only he does. If you’ve seen them live or on video, you will see him slide up and “shake” the chord. I don’t know of anyone that does that. All this time, all these guitarists, and ONLY Tony Iommi does that. Then after the lyrics “When can I empty my head?”–a classic Iommi riff (4:17-4:18), then a reprise of the aforementioned descending lick, and an expansion the power chords at 4:10 into back-and-forth riffing that makes us want to erupt. It’s a crescendo, really (that doesn’t stop, this riff actually takes over the song here). The lyrics ask “Is God really dead?”; the music behind it screams “ANSWER THE QUESTION”!
NOW, that riff churns forward, pushing. We were invited to listen until 4:10. We are being compelled now. This is classic Black Sabbath. That relentless, hypnotic intensity that won’t let go. At 5:38 we get to the chorus with that descending lick again. Then at 5:48 they reprise the power chords from :30 into the song. It’s a set up.
These chords are a bridge to the break at 6:19. This break is amazing. It seems like something off the first album or Vol. 4 (or Falling off the Edge of the World off Mob Rules). The guitar starts it. all by itself. It’s CLASSIC SABBATH. The at 6:27 Geezer Butler kicks it into high gear. He never lets up. He proves once again that he is the king of metal bassists. Another verse soars above the chugging riffs. All the musicians are doing the same thing. CLASSIC, CLASSIC, CLASSIC SABBATH. Then the chorus again, but under it Geezer starts what will be one of the best performances on bass guitar–I’m going to say it–anywhere in the Black Sabbath oeuvre. It’s relentless and never really stops. Even when the songs slows, his playing does not. He’s the unsung hero of this band. I would put him up against anyone playing bass today, in any genre. The solo has a 60’s sound to it. It’s not very long-about 15 seconds (7:38–7:53). In fact, it’s bluesy. What an interesting choice. I think it’s perfect. I can see how it would have been cool to extend it a bit, but the musicianship and intensity so far have been so powerful that a solo isn’t needed for the song to have a high point. In fact, Geezer’s playing behind the solo is almost soloing itself. He’s playing much faster than Tony.
We have a minute left. The exeunt is the descending lick behind repeated “God is dead” chorus. Solid, unified wall of sound-classic Sabbath. The chorus leaves us with a rather definitive statement “I don’t believe that God is dead.” Then it stops.
There is surely a strong Ozzy aesthetic early in the song. I’m glad for it really. We’re used to Ozzy, and it’s a comfortable start. Wilk is no Bill Ward, but he really does very well here, and at times, as I mentioned, he pays homage to him. But the first four minutes are a build up, like a prerequisite course. The rest of the song is pure Black Sabbath. Tony and Geezer are as good as they ever were.
I don’t believe that Black Sabbath is dead. I believe they are more alive than ever.
Originally posted on Prof. Jacobsen’s Facebook Notes page. Reposted with permission and gratefully used.
1 CommentTags: black sabbath, Heavy Metal, proto-metal
A horticultural student wanted to find out about the effects of music on the growth of plants, so they were tested with classical music, silence, Cliff Richard and Black Sabbath. The plants hearing Black Sabbath thrived and surprisingly, were also the most disease-resistant.
“And the ones with Black Sabbath – great big, thumping noise, rowdy music – they were the shortest, but they had the best flowers and the best resistance to pest and disease,” said garden guru Chris Beardshaw.
According to the researchers, the plants were subjected to high-intensity sound for the duration of their lives in the nursery. “It was alstroemerias we were growing and we bombarded these glasshouses with sound for the life of the plant,” said Beardshaw. Of the types of music, Black Sabbath produced the biggest flowers, and those plants exposed to Cliff Richard died.
This is no surprise to metal fans, who note that metal has some of the greatest depth of mood and power in all of music, mainly because most music focuses on only one or two moods to make its ego-centric love songs palatable. “Plants love heavy metal,” said the BBC Gardens expert.
5 CommentsTags: Heavy Metal, plants
Lost in the darkness
I fade from the light
Faith of my father, my brother, my Maker and Savior
Help me make it through the night
Blood on my conscience
And murder in mind
Out of the gloom I rise up from my tomb into impending doom
Now my body is my shrine
The blood runs free
The rain turns red
Give me the wine
You keep the bread
The voices echo in my head
Is God alive or is God dead?
Is God dead?
Rivers of evil
Run through dying land
Swimming in sorrow, they kill, steal, and borrow. There is no tomorrow
For the sinners will be damned
Ashes to ashes
You cannot exhume a soul
Who do you trust when corruption and lust, creed of all the unjust,
Leaves you empty and unwhole?
When will this nightmare be over? Tell me!
When can I empty my head?
Will somebody tell me the answer?
Is God really dead?
Is God really dead?
To safeguard my philosophy
Until my dying breath
I transfer from reality
Into a mental death
I empathize with enemy
Until the timing’s right
With God and Satan at my side
From darkness will come light
I watch the rain
And it turns red
Give me more wine
I don’t need bread
These riddles that live in my head
I don’t believe that God is dead
God is dead
Nowhere to run
Nowhere to hide
Wondering if we will meet again
On the other side
Do you believe a word
what the Good Book said?
Or is it just a holy fairytale
And God is dead?
God is Dead x4
Right!
But still the voices in my head
Are telling me that god is dead
The blood pours down
The rain turns red
I don’t believe that God is dead
God is Dead x4
Lyrically, it reminds me of “After Forever” but a bit more world-weary. Musically, it contains several allusions to past Sabbath and solo work by its members.
Thematically, it seems to me a response to black metal. Was Nietzsche’s target God, or our tendency to say nice things to each other and conceal the essential truth of the challenges before us? There are often many problems, but one root cause. If you don’t strike at that root cause, you get lost. If the problem is man, and not God, and society (collection of humans) instead of some external scapegoat, then we have a greater struggle than can be fixed by burning churches.
Black metal was purely Nietzschean in that it rejected the idea of a moral society and replaced it with the notion that the natural order of Darwinism produced better results. All of the Nietzschean tropes come out: praise of winter, of hardness, of privation, of wolves and of combat and struggle.
Black metal faltered in the mid-1990s when the bands realized that they might have missed their real target, which is something more like people socializing with each other and thus concealing unpleasant truths. While there are other intermediate and proximate causes of the problems we find it this world, the root cause often gets overlooked. That isn’t to say those other causes are good, or shouldn’t be fought in some form or another, just that they’re not the cause.
Black Sabbath is asking “Is God Dead?” and responding in the negative, pointing out that perhaps that last fifteen years of metal have been barking up the wrong tree. The first half of the song is questioning and self-centered, a personal drama. The second half, after the question is posed, is a thunderous rejoinder. The song splits on themes: the wine, the voices that fill the head (he cannot “empty his head”), the lack of any holiness outside the body that is the shrine, and the sense of a “mental death.” On the other hand, there is belief, a pervasive sense of something not fitting together with the narrative of the voices in his head.
Much is left ambiguous by this. “With God and Satan at my side” suggests a type of esotericism that mainstream Christianity will not embrace, and although there are references to the “Good Book,” a particular denominator has not been mentioned. However, the conflict between logic and intuition rises strongly in this song. On one side, there are empirical forces at work; on the other, instinct and a gut feeling. The song ultimately concludes with the idea that God is not dead.
And all of this happens under a banner formed of (a) a dour Friedrich Nietzsche and (b) a nuclear blast. This reminds me of not only black metal’s Nietzscheanism, but its apocalyptic viewpoint. In bad times, people start to get serious again about what they’re doing. Part of getting serious was, at least for black metal and probably for old Black Sabbath, rejecting what is popular and social.
Black metal is uncompromisingly against what makes people comfortable. In Until the Light Takes Us, musicians from Burzum and Darkthrone describe how they tried to get “bad” production for their music, to make it sound old and rotted. How they embraced evil imagery and acted out the most extreme things possible. This wasn’t a rejection of Christianity; it was a rejection of the social impulse behind civilization that prizes what looks/feels good to a group, to what is true — something that generally can be known by only a few, in the Nietzschean sense of the “apex predators” who have through natural selection risen above the rest and can see through a noble light how aggression is central to life.
Black metal may be anti-Christian, but more, it’s about the potentially mind-warping effects of socializing with others. Black Sabbath seems to be suggesting a new direction, which is less toward atheism and Nietzsche, and more toward sacrality, to which black metal might then respond that sacredness itself is what gets destroyed by socializing with others and obscuring the truth. This mirrors where a lot of the black metal guys went after the movement — Beherit to Buddhism, Darkthrone to cosmic space music, Varg to esoteric nationalism, the Graveland guys to folk music, and many others moving on to esoteric sounds like Jaaportit or Vinterriket.
Although they’d probably kill me for saying this, black metal people are generally the most religious people in the room. They believe that life is sacred, that forests are sacred, and that if nature is “red in tooth and claw” and life is “nasty, brutish and short,” that these are manifestations of the divine as well. Far from being “god is dead” people, black metal musicians strike me as being “we are worshipping the wrong god” people.
Hegel would argue that history moves through new ideas, their opposites, and compromises (synthesis). I would argue that history moves by the ideas created through a type of play acted out by characters representing extremes. In this, black metal shows us the antisocial, and Black Sabbath comes out for the sacred; the two will find common ground, because metal is ultimately sacred music. It worships power, death, nature and violence while others prefer pretty flowers and prancing kittens, but only one of those two perspectives embraces all of reality, while the other requires a social filter to merely exist. Black Sabbath and black metal are united in their dislike of that social filter.
27 CommentsTags: Black Metal, black sabbath, Heavy Metal, Religion
