Death Metal Tuesday - Children of the Scorn

One of Finland's earliest DM exports was Funebre, who produced just this 1991 full length before vanishing into obscurity. The early Finnish stuff is pretty damn cool as it carries obvious influences from the developing Swedish scene, along with east coast American DM. 

Funebre are fairly derivative, but at the same time, they're rather ambitious. Their songs are dynamic with tons of changes and plenty of good riffs to go around. Their drummer is constantly mixing things up and keeping the songs interesting. The key deviation from the more standard Swedish offerings, is their technical prowess and progressive songwriting. Listen to the broken tempos at the onset of "Congenital Defeat," or the triplet mashing in "Shiver." The openning moments of "Waiting for Arrival" are pretty kickass too, when the guitars drop out and the drums remain alone. They jam a lot more riffs into a song than many of the other bands at the time - there is a bunch to discover in this album in other words. It demands repeated listens. 

Children of the Scorn is one of those hidden gems from DM's history that could easily go overlooked. The vocals are a tad generic and the production is a bit thin, but they satisfy every old school craving I can think of. The only caution would be the technicality probably makes this album a little but less instantly accessible than a lot of other 91 releases, but that can be a good thing too. 4 out of 5. 

 

Death Metal Tuesday - Pinnacle of Bedlam

Death Metal Tuesday:

Among the myriad of technically over-the-top DM bands available to us nowadays, it's quite reassuring that the inventors of the sub-subgenre are still dishing it effectively out. And not just effective mind you, but with a certain flair lacking among their younger peers. I speak of, in my mind, the most important New York DM band of the genre's history (yes, over Cannibal), Suffocation.

The original core of Mullin, Marchais, and Hobbs has remained, despite 2-3 year-long breaks here and there, consistently churning out the silly-named "brutal" death metal for 20+ years. Having talked about a recent Cannibal Corpse release a few weeks back, I can say with confidence that New York neighbors Suffocation's 2013 album is several times more inspired and engaging than Cannibal's output over the past ten years - and it doesn't sacrifice any brutality or genre-faithfulness. The key difference, is Suffocation has not forgotten how to write a memorable hook. It also doesn't hurt that Mullin is a much stronger vocalist than Fisher. 

This isn't a Suffocation vs. Cannibal Corpse article however, so let's discuss Pinnacle of Bedlam. The stop-and-start tempos of old-school Suffocation are still the norm, as are the atonal riffs. There is, however, an abundance of melody and fairly structured parts as well - somewhat more so than in the past. Check out that middle breakdown in the title track or the (gasp) clean intro of "Sullen Days." Hobbs and Marchais still know how to structure a proper DM tune, obscuring structure and melody below the surface to be discovered after repeated listens. The broken rhythms of "My Demise" can slip by you if you play this album in the background, without fully attending to it. They manage to make music that holds together subtly, while sounding like a complicated mess to the uninitiated. 

The formula that Suffocation solidified on "Pierced from Within" remains consistent in their music, but so many other bands took their sound to soulless technical extremes, that it is nice to hear the fathers of the genre can still blend technicality with brutality and competent song writing. I'm also just stoked that these guys still rock this hard after almost 25 years. It gives me faith in the future of the genre. 4.5 out of 5 

Death Metal Tuesday - Torture 2012

25 years and 12 albums worth of death metal is an impressive achievement in itself, but the fact that Cannibal Corpse has remained so consistently dedicated to the genre that they helped make infamous back in 90-91 is something else all together.Cannibal is basically death metal’s answer to Slayer: year-after-year, album-after-album, they never risk alienating their original fan base. I can appreciate this, as Cannibal has never made me suffer through a Illud Divinum Insanus, or a Swansong, or aInsineratehymn. At the same time, it is starting to feel rather redundant and lifeless. 

I was skeptical when Barnes parted ways in 94, but Corpsegrinder finally converted me with Bloodthirst and then Gore Obsessed in 2002. It think Owens’ departure in 2004 has left a bigger hole in the band however. How do they keep things fresh and avoid repeating themselves? Well, the simple answer is: they don't. Cannibal fans expect consistency and that is what they get. Torture is Corpse-by-the-numbers with no real surprises. Starting with 2006’s Kill, I’ve started to feel like they keep writing the same album over and over. I just find it hard to imagine anyone in the pit before their show saying “man, I hope they play tons of shit off of Torture.” And I wonder how Mazurkiewicz and Webster feel when, after a block of new stuff live, Corpsegrinder announces “Skull Full of Maggots” and the crowd acts like the headliner finally took the stage.

The technical aspects and the production of this album is solid. My true hangup with the newer Corpse stuff is the sterility - it is so precise and technically sound, that it really lacks a personality. The songs are delivered with surgical precision and are plenty rocking, there are choice riffs, brutal vocals, and plenty of change ups. “Encased in Concrete” has some life, but then there is “Scourge of Iron,” “Intestinal Crank,” or the serialism of “Rabid” that just sounds like they’re stringing notes and words together out of habit more than anything else. I

Again, the Slayer metaphor is appropriate: You can’t knock a band that has stayed true to form and vision for 20+ years. So, I’m not knocking them, I’m just bored, and I feel like it’s their boredom that’s the problem. It also might be a deeper, philosophical issue regarding aging. Seeing my adolescent heroes grow old and tired, reminds me that I’m growing old and tired. Torture isn’t awful - I can put it on and not turn it off out of frustration, but I also won’t notice anything until it stops playing and my attention is drawn to how quiet it is now. 2 out of 5.

Death Metal Tuesday - Jester Race

In Flames is a band that has received a ton of flack for their change in musical direction. Over the years, they’ve enjoyed a sizable surge in popularity which inevitably alienated their original fan base. In Flames fans are polarized into two camps - pre or post 2002’s “Reroute to Remain.” That album marks the band’s completed shift to a more commercial sound - abandoning their melodic death metal roots for a more “groove metal” approach. 

If you’ve read this blog before, it is probably no shock that I tend to fall into the first group of fans - believing their death metal sound was superior. I understand bands need to evolve, but I just can’t hang with that new stuff. The personal affront that some fans take at the band’s shift, speaks to the strength of their earlier material. 

As Swedish death metal was evolving and splintering off into other sub genres, there was talk about the emerging “Gothenburg sound” which combined the traditional elements of Swedish death metal, with the melodic guitars of more traditional metal forms (specifically, Iron Maiden). This sound would eventually become what we call “melodic death metal” nowadays, but the key bands (At the Gates, Dark Tranquility, and In Flames) had no idea what they were starting - as far as they were concerned, they were just playing Swedish death metal with a twist.

In Flames’ debut, “Lunar Strain” has a rough production and menacing vocals from Michael Stanne (sounding akin to At the Gates’ Lindberg). On “Jester Race,” they clean up the sound, boost the lows, and bring in Anders Friden for vocals. All the elements that made “Strain” effective are enhanced and bolstered here, but the song writing is the real key. Opening track, “Moonshield” starts with acoustic guitars and transitions into a riff that is more harmonious and melancholic than heavy. There is immediately a noticeable departure from anything that could be construed as traditional DM, however the guitars are still crunchy as hell. There is an emphasis on catchy, traditional metal melodies that makes it sound both old school and fresh at the same time. Check out those major scales on "Goliaths Disarm Their David's," or the instrumental, "Wayfaerer." This is the most positive and upbeat sounding death metal there is - it's a crazy contrast. Of course, now this shit has been done to death, but in 96 this was revolutionary stuff. 

Every once in a while, a band gets in a spot where they are in the zone and simply can’t do anything wrong. In Flames’ 1996 sophomore effort, “Jester Race,” is one of those albums. This is on par with Metallica’s Master of Puppets, Slayer’s Reign in Blood, Death’s Symbolic, or Atheist’s Unquestionable Presence. It is re-playable to a dangerous degree (perhaps annoying others). After this one came the mighty Whoracle which is great, but not as consistent. After that… It was a somewhat rocky trip downward. 5 out of 5.

Death Metal Tuesday - Inbreeding The Anthropophagi

First off, this album has one of the coolest titles ever - a reference to a hideously gory Italian film from the early 1980's. You gotta love that these guys are into obscure, low budget horror flicks. This is their second full length, released in 1998. A California band, Deeds sound quite a bit like New York's Suffocation - ultra fast, with technical and atonal riffing and crazy stop-and-start drumming. The first few times through, everything sounds the same - full tilt brutal DM with a nice double vocal attack and relentless, through-composed brutality. 

Fans of Suffocation should eat this up, but those longing for a hook or two may find it hard to stomach. This is very atonal stuff with very little to grab onto in the way of melody. This is an athletic offering - I imagine these guys sweating buckets on stage just trying to keep this intensity. Because this album is so full-throttle, all of the time, I can only take Deeds in small doses. I like to throw 1 or 2 of these on a playlist, but taking this album down in one sitting can be a challenge that most casual DM fans would likely fail miserably. Only for the die-hards, it gets a 2.5 out of 5. 

Death Metal Tuesday - Ancient God of Evil

Here's a bizarre entry for you - 1995's Ancient God of Evil, created by Stockholm's Unanimated, sports a sound more inline with the Gothenburg sound (In Flames / At The Gates) and at times, even leaning towards a modern black metal approach (much like Stockholm's heroes of the period, Dissection). Making genre distinctions with this album is a difficult task, because it is clearly a "roots" album, helping develop the sound of the growing "melodic death metal" and "Swedish black metal” movements.

"Life Demise" kicks off the album sounding like a lost track off of Dissection's classic, "Storm of the Light's Bane." Purists argue that the two bands sound nothing alike, but I don't know what the hell they're listening to. At The Gates are another clear influence on Unanimated's sound with Micke Broberg's vocals sounding remarkably similar to Lindberg's approach on late-period Gates stuff. "Oceans of Time" hits that mark too - even starting with a pogo-beat and Iron Maiden harmony-laden riff. It is rich with money riffs throughout, making this track one of the true standouts. “The Depths of a Black Sea” is downright triumphant, making me think, yet again, of Dissection (this time, their excellent “Where Dead Angels Lie”). While yes, this stuff is a little derivative, it is from the same time period, so who’s to say who ripped off who? The point is, it’s catchy as hell with so many choice riffs, you’ll want to spin it a few times in a row.

In Flames would make a living off of this melo-death approach, so I'm not sure what happened to Unanimated - it sounds like an extension of the same ideas (“Jester Race” with more edge maybe). Hell, they pretty much started at the same time. But while one band became a ridiculous success the other, has only this obscure little gem for you to seek out - it’s worth your time if you are a fan of melodic death or black. The debut is listenable, but not nearly as approachable as this one. Listenable and accessible death metal simply does not get any better than this one - seek it out at all costs! 5 out of 5.

Death Metal Tuesday - The IVth Crusade

BOLT THROWER - THE IVTH CRUSADE

After the two successful albums on Earache (War Master / Realm of Chaos), England's Bolt Thrower released The IVth Crusade in 1994. Evolving from a crust / grind sound, Bolt Thrower were one of the first death metal bands to slow things down and focus on double-bass mid-tempo grooves.

By this fourth album, mid-tempo became the rule and consequently, things begin to sound a little repetitive. All the tracks run in that 4-6 minute range and simply do not vary enough to warrant the duration. Bolt Thrower has generated a devout following with this sound, but it has never really grabbed me for more than a couple songs at a time. That being said - if I listen to a track at random from this album, I usually dig it. Ritual is a standout, as it slows to a crawl several times and that sludgy, down-tuned guitar just sounds beastly. Ditto for Spearhead which offers enough variety to stay interesting. Celestial Sanctuary also has some awesome riffs and a nice doomy pace to it. 

Lead throat, Karl Willetts, has always sounded a bit bored to me. His delivery is very monotonous with little enthusiasm or menace. The result is the vocals become a background piece and the focus falls on the riffs. This means a song is only as good as its riffs and after a few tracks, Bolt Thrower seem to be repeating themselves. They also tend to hit the same few scales in their riffs - a song will end and a new one will begin, sounding like an extension of the last track. 

I can't call myself a Bolt Thrower fan I guess, but in small doses I find them hard not to like. Longtime fans put this and "...For Victory" at the top of the list. I might recommend "...For Victory" over this release as the production is that much better. Not a bad album by any means - 3 out of 5. 

Death Metal Tuesday - Clandestine

ENTOMBED - CLANDESTINE

Entombed started as Nihilist in Sweden in 1987, when most of the members were 15 or 16 years old. Along with Dismember (Carnage), Entombed are considered the founding fathers of Swedish death metal. Their debut album, "Left Hand Path" is the blueprint for the SDM sound - the Sunlight studio sound, including those famous "buzzsaw" guitars, was copied by legions if Swedish followers to come. Entombed were the first SDM band to land a deal through England's Earache records and "Left Hand Path" was hugely successful (by 1990 death metal standards of course).

This makes "Clandestine" one of the most highly anticipated follow up albums of 1991. Most of the guys in the band were 18-19 by this time, and they had become overnight metal gods in the eyes of their Swedish faithful. Nicke Andersson says this stardom led to cockiness which led to him firing Petrov from vocal duties just prior to recording their follow up. Consequently, Andersson fills in on vocals (having it credited to someone else in the liner notes). 

Andersson's voice is really the only downside of Clandestine, as there are a fair amount of kickass SDM tunes on board here - "Chaos Breed" and "Crawl" being my two favorites - well composed and both with stellar middle sections that evolve and keep the listener engaged throughout. "Stranger Aeons" was the single off this one, and it starts with a haunting intro which makes the guitars sound doubly crunchy when they eventually come in. It's a weird choice for a single though, as the intro and outro instrumental sections dominate the duration of the song. "Evilyn" was always the other standout track on this one, because it was mostly slow and mid-tempo with great groove sections. 

The production is a meatier "Left Hand Path" with the guitars sporting even more low end crunch than they did on the debut. The vocals really are such a shame, even Andersson himself admits he was not up for the task. I wish they'd go back and let Pertov sing the tracks for a re-release, these songs are just so good. 

The pressure of being Swedish Death Metal's poster boys would lead to Entombed drastically changing their sound on the follow up to this album, "Wolverine Blues." This would have a Metallica-Black-Album-effect on the Swedish scene, causing most of the key SDM bands to follow suit, slow their tempos, and crank out that horrid Rot & Roll crap. It would take years before most of them realized SDM was what they should be doing again. 4 out of 5. 

Gwar Album Review Spectacular

GWAR TRIBUTE

With the death of Dave Brockie last week, I was listening to a great deal of Gwar and I thought - maybe it's time to return to the blog with a Gwar tribute. So here it is, my thoughts on all 13 of Gwar's Albums from 1988 to 2013. I won't spend a lot of time talking about the Gwar mythos, I'm going to assume you are familiar with the story behind the band, or if so inclined, will look it up yourself. Let's talk music.

HELL-O

Gwar's debut is a low budget treasure trove of raw crossover classics. The lofi nature of this recording is really part of its charm. A great deal of time and energy clearly went into this release - this is a band trying to conquer the world, literally and figuratively. Hell-o has some undeniable nostalgia for me, so objectivity is difficult, but there are some classic songs here that still sound fresh when they show up in their live sets. "AEIOU," Americanized," and "Je M'appelle Cousteau" are some of the earliest Gwar tunes, and they're still essential in their catalog. Oderus is clearly an original and powerful singer mixing a sweet tenor singing voice with growls and screeches. His unique vocal cadence would define the band's sound, regardless of the music backing it. This album is more punk than metal, but it definitely has an edge. It also established, right out of the gate, that Gwar did not care who they offended, and maybe they were hoping to offend everyone. The goofy and less-then-subtle "I'm in Love with a Dead Dog" is a good example of this irreverence. Yes, this is lo-brow, childish humor, but it's also a great deal of fun. Old school Gwar fans cherish this album, new ones may find the production and punk style hard to get behind. 4 out of 5

SCUMDOGS OF THE UNIVERSE

Universally loved by their entire fan base, Scumdogs put Gwar on the map and earned them the recognition and commercial success they needed to take their production to the next level. The underground buzz of Hell-o led to a contract with Metal Blade records. Gwar show they can be heavy and irreverent and it works for them. Picking highlight tracks is almost futile, because there really isn't a bad track on here, but "King Queen," "Maggots," "Salaminizer," and the insanely catchy "Sick of You" are all outstanding. The barebones production and ridiculously cheap-sounding use of samples simply add to the appeal. Even the guest vocalist songs like "Slaughterama" and "Sexecutioner's Song" are good fun and not the needless filler they could have been. Though the nostalgia factor is huge with this album for me, thanks to the internet I have found that majority of Gwar's fans love this album equally as much. 5 out of 5. 

AMERICA MUST BE DESTROYED

Gwar's new found success led to a much bigger budget and the ability to step up the production values of both their audio content and their stage show. Fueled by the frenzy mounting behind them, Gwar's third album feels quite ambitious and exciting right out of the gate. "Ham on the Bone," "Crack in the Egg," "Gor-Gor," and jazz-thrash-fusion "Have You Seen Me" all seem like the logical progression from the previous album. Not only that, but they a new spark behind them (and a beefy production) that seems to take it to the next level. The writing seems inspired, the band more accomplished, and the vision more focused. Then something happens, the album runs out of gas. Two goofy tracks follow, introducing story elements to the incoming stage show - the morality squad trying to censor Gwar. They're both misses. Then there's "Poor Ol' Tom," a painfully slow and aimless sounding chunk of filler. The joke glam song and the joke power ballad are both throwaway tracks as well. So, in essence, Gwar's 3rd album could've been an EP, and it would be worthy of a 5. As a 12 song LP however... Not so much. After track 4, you might as well go back to track 1 and start over. 2.5 out of 5. 

THIS TOILET EARTH

Gwar had built a fairly impressive following by the time this fourth album came in 1994. This Toilet Earth introduces another new villain, Skullhedface, who steals Gwar's mojo essentially. Musically speaking, this is along the lines of America Must Be Destroyed, with thankfully more consistency. Most of the songs are crossover thrash with a few anomalies, particularly Skullhedface's track which features full orchestration. The band also sounds downright poppy on a few tracks, particularly "Jack the World" which has a real upbeat chorus. There is the common genre-stretching tracks like "Slap U Around" and "Pepperoni," and the obligatory way-too-offensive song, "B.D.F." "Saddam a Go-Go" seemed a mainstay on their set lists for years to follow, and "Krak-Down" seems to have an unrealized potential as a hit. For the most part though, this feels like a more approachable and even a more commercially viable Gwar, something that would doom several albums to come. 3 out of 5. 

RAGNAROCK

This album is the beginning of Gwar's awkward phase. Ragnarock shows the band rehashing some old ideas, bringing back Sexecutioner and Sleazy P. Martini for songs (though neither is as successful as the previous outing). Most of this is standard Gwar material, but it feels uninspired and smacks of contract obligation. "Meat Sandwich," "Dirty Filthy," and "Knjfe in Your Guts" are all decent tracks, but it is starting to feel like "Gwar-lite"- like they're losing their edge a bit. Most of the other tracks fall flat and the Oderus and Slymester Hymen duet is awful. Though far from their worst, there's little on here to bring me back to it. 2 out of 5.

CARNIVAL OF CHAOS

Though I was a fan since Scumdogs, this tour was the first time I saw Gwar live. This album is massive - 18 tracks that seem to go on and on. Carnival sees the band really starting to venture from the metal genre again. "Letter from the Scallop Boat," "In Her Fear," "I Suck on My Thumb," "Gonna Kill U," and "Sex Cow" are all novelty / throwaway tracks that would've helped slim the album done a bit if they were tossed. Ditto for the Gwar Woman album closer which is bad lounge music with a poor singer. What's left is a reasonable amount of songs with some essential tracks. "Penguin Attack," "If I Could Be That," and "Back to Iraq" are all high-spirited Gwar staples. The return of Techno Destructo is also a nice surprise as the band modernizes the classic track from Hell-O on "The Private Pain of Techno Destructo." Carnival of Chaos is about half a decent album and half a waste of time. 2.5 out of 5. 

WE KILL EVERYTHING

The darkest moment in the band's career is this colossal misstep which extends the novelty song tendencies of the previous release to the next level - essentially making this a LP worth of joke songs with little to no metal to be found. Even the punk elements have been turned into poppy nonsense, making song titles like "Baby Raper" and "Fish Fuck" seem all the more ridiculous and stupid. Even moments where Gwar tries to get heavy fall apart into boring uninspired drivel like "Escape From the Mooselodge" or "Jiggle the Handle." Where Carnival of Chaos had a handful of essential tunes, We Kill Everything is void of anything that would justify a recommendation. Only the instrumental manages to pass by without giving me the urge to skip it. This one would best be buried and never spoken of again. 0 out of 5

VIOLENCE HAS ARRIVED

The opening moments of "Battle Lust" seems to issue an official apology for their last album as it bursts with the thrashy sounds of old school Gwar, with just the right amount of goofiness. "Apes of Wrath," "Bile Driver," and "Licksore" all have that heavy sound we've missed for the past 3 albums or so. "Immortal Corruptor" has a beautiful intro which sets up perhaps the strongest track on the album. The band sounds heavier than ever before. They don't have to say it, they realized they were going in a bad direction, and they corrected it. Like many Gwar albums, it has a few tracks which could've been cut to streamline the release and shorten the running time a bit, namely the last two tracks. Ultimately though, Violence Has Arrived is a triumphant comeback album and probably the strongest effort since This Toilet Earth. I'm glad they got whatever that was out of their system. 3.5 out of 5. 

WAR PARTY

Gwar's second commercial peak is probably this album. With a new found commitment to their crossover thrash sound from the early nineties, the band issued their most focused effort since Scumdogs. The War Party is a political party focused on solving the world's problems with one tool: war - a concept that provides plenty of opportunities to offend, and provides perfect material for their live shows. War Party shows Gwar honing their skills and showing a profound understanding of what their fan base wants and expects from them. Predictable, yes, derivative, definitely, but also very listenable and well executed. The addition of a new lead guitarist doesn't hurt either as Gwar officially has a shredder - check out that lead on "Bonesnapper." The title track, "Bring Back the Bomb," "Krosstika," and "The Reganator" are both rocking and dripping with political sarcasm - Gwar in their comfort zone. War Party served as a validation for the band regarding what works for them both artistically and commercially. It's the start of a very enjoyable phase in their career. 4 out of 5.

BEYOND HELL

This album tells the story of Gwar journeying through hell to confront the devil. A promising concept to be sure, but this album's story seems to take precedence over the songwriting. The style is very much in line with War Party, but the songs feel more like a vehicle for storytelling than songs that stand on their own. That's not to say there are not decent tracks to be had here: "Tormenter" has some fine guitar shredding and a rousing, ominous chorus, "Destroyed" has some impressive riffing, and the final showdown with the devil on "The One That Will Not Be Named" is sufficiently epic and rather funny. The playing is top notch and things are plenty heavy, it just lacks the catchiness and memorable moments of the predecessor. 3 out of 5. 

LUST IN SPACE

Gwar's next album continues with their new found commitment to all things heavy. With a real shredder leading the axe attack, their riffs have a more progressive sounding edge to them. Lust in Space sees the Scumdogs finally getting a spaceship and getting off of earth (it only took them 11 albums). They maintain their balance of metal and punk with more through-composed tracks that focus on storytelling. Where Lust seems to succeed where Beyond Hell didn't, is that many of these songs are plenty catchy. "Let us Slay," "The Uberklaw," and "Metal Metal Land" have singalong choruses and solid hooks. "Lords & Masters" is nice bouncy tune with a nod to the golden age of Motörhead. The amusing "Where is Zog?" Tells of Oderus discovering his old master is a a washed-out drunk and has a rare voice appearance of Balsac at the end of it. Lust is another solid "3rd phase" Gwar album thats worth checking out. 3.5 out of 5. 

BLOODY PIT OF HORROR

Gwar keeps rocking on this 2010 release, their 12th full length. This is as straight forward a metal record that the band has released since Scumdogs. Oderus is full on pissed here, with plenty of lyrics to spew forth. Many of the tunes seem "lyric heavy," meaning there are a shitload of words crammed in. It is very effective however, as it brings to mind the Gwar of old. They sound recharged and focused on this release with heavy-riff laiden numbers like "Zombies, March!" and "A Gathering of Ghouls," and witty tracks like "Tick Tits," "You Are My Meat," and laugh-out-loud worthy "The Litany of the Slain" (which nicely lists those killed on stage over the years). For a band pushing 30 years of existence, this album is surprisingly fresh sounding and has the highest replay value of all their recent outings. 4 out of 5

BATTLE MAXIMUS

Gwar's final album has a much different feel than the previous few. Though still very much in the crossover thrash vein, there are times where the band is starting to sound downright progressive. Just check out the start-and-stop drumming on "Nothing Left Alive," or the staggered opening and dual guitar work of the title track / instrumental. Much like the excellent Bloody Pit of Horror, Battle Maximus sounds fresh and inspired. "Mr. Perfect" is a kick-ass mid paced rocker, "Torture" sounds like old school Gwar mixed with the new Carcass, and "They Swallowed the Sun" has a weird-as-hell yet incredibly catchy chorus. Vocally, Oderus is trying some new things, combining different vocal lines on top of each other on the prog-sounding "Triumph of the Pig Children." He almost doesn't sound like himself at times, but it's still pretty damn cool. It's a pity Oderus has passed, for his band was enjoying the most consistent high quality output of their career. Battle Maximus is a worthy final entry. 3.5 out of 5. 

Black Metal Tuesday - Burzum part 2

HVIS LYSET TAR OSS (If the Light Takes Us)

Recorded five months later, but released in 1994, Hvis Lyset Tar Oss sits atop many a “best black metal albums” list. A significant progression in style from the previous two, Hvis... is a deeply emotional and melancholic sounding album. Only 4 tracks make up the 45 minute running time, each song a masterfully written, and slowly developing journey. This is arguably the album that started the sub genre of “atmospheric black metal” or the ridiculously named “depressive black metal.” 

Varg’s vocal attack is more refined and controlled, communicating more sadness than lunacy. Track one, (named after the previous album) is a fourteen-and-a-half minute masterpiece that develops and blends ideas with great care. This is the type of songwriting that most impresses me - taking a few good riffs, and stretching them out into a natural progression - less is more.

Track two, the title track takes a more pronounced minimalist approach, lulling the listener into a trance over a blast-beat (no one would’ve thought that possible). Inn i slottet fra droemmen (trans: Into the Castle from the Dream) continues along the same lines until it hits the 3:40 mark and then drops into the album’s finest moment - three riffs that build upon each other into a powerful climax that sets up the album’s keyboard instrumental, “Tomhet” (trans: Emptiness) - a keyboard only piece that closes the album like it began, with palatable sadness. When that flute starts up about 9 minutes in, it is truly a moving moment. Hvis remains my favorite Burzum album because of the emotional depth it possesses. This is the work of a man in his most prolific and maniacal period. He was burning churches and plotting murders at this point so... this is the work of a mad man. 

FILOSOFEM

The final album recorded before his imprisonment, Filosofem is likely his most frequently cited work. The song writing is again rather accomplished, though this time it borders on self-indulgent (28 minute ambient instrumental?). What really makes this sucker stand out is the production. It will immediately capture you once the opening guitar of Dunkelheit begins. Varg talked of using the cheapest amp he could find, putting a mere 2 mics on the drums, and using a set of headphones as a microphone for vocals. This should sound like garbage, but it doesn't - it is unlike any metal album before or since. 

I once read a review of Filosofem that likened it to being swept out to sea - the first 3 tracks being the struggle against the waves, and the last 3 being the slow drift and eventual demise. This description is so accurate, that I sometimes wonder if it was taken from Varg's production notes. The first 3 tracks are definitely the stronger of the bunch. In fact, if the album stopped after track 3, it would be hard to say that it wasn't a perfect album. Dunkheit (German for "darkness" aka "Burzum") blends the buzzsaw guitars with an ambient synth over a slow plodding beat and Varg's distorted cries. His vocal approach is now subdued and controlled - almost sounding like a menacing whisper instead of the wailing and screeching of the earlier albums. "Jesus' Tod" has a solid old-school sounding Burzum riff over a 6/8 double bass romp which feels like a nice blend of the old sound with the new. 

Side B of the album has no drums and sees a sandwiching of two guitar suites with a mammoth-sized ambient keyboard piece in the middle. It is hypnotic and certainly sets a mood but, like most ambient pieces, I really have to be in the right mood and the right place to listen to it. As a drift off to sleep album though, it's pretty fantastic.

You could argue that all of Varg's work has a concept behind it, but Filosofem and Hvis Lyset Tar Oss feel like the concept was finally realized. Once in prison, Varg completed two keyboard-only Burzum albums. One (Dauði Baldrs) is worthless, while the other (Hliðskjálf) works as a ambient-mood setter. Once released from prison, Burzum returned to black metal (though he would never call it that). Belus and Fallen are both above average efforts and will appeal to fans of the Filosofem period (Varg obviously understanding his fan base there). His last 2 albums show him branching out again, and I'm not sure I'm on board. Enjoy your closing weeks of winter by hearing what this crazy asshole has to offer - you won't be disappointed. 

Black Metal Tuesday - Burzum part 1

In honor of Norway kicking everyone's butts in the Winter Olympics, I thought I'd depart from the usual format and talk about my favorite Norwegian musician. Varg Vikerness (aka Count grishnackh, aka Burzum) is Norway's Charles Manson. You don't have to dig too deep to find detailed accounts of his deeds, but I'll try and sum it up in a few sentences. 

Varg was a key member in Norway's formative "Black Circle" which I've mentioned several times this winter. Like most black metal musicians, he started off in a death metal band. Burzum was his solo project and started as a part of the black metal movement. Burzum's self titled album is considered the second Norwegian black metal album after Darkthrone's A Blaze in the Northern Sky. As the black circle's movement became more than just music, Varg became a key player in the church burnings, being brazen enough to put a picture of one of the burning buildings on the follow up Aske EP. 

As Varg's influence in the scene grew, it was met with opposition from the other Black Circle kingpin and Mayhem bandmate, Euronymous. Shortly after Varg was released from jail for several counts of arson (lack of evidence), he murdered Euronymous in his apartment in Oslo. After a short investigation, Varg was arrested, charged, and convicted. He served nearly 18 years and was released in 2010. Since then, Varg has returned to music and has been very outspoken about his Pagan beliefs, as well as beliefs akin to fascism and Neo-Nazism. 

While I do not endorse Varg's political beliefs or his crimes, I would be lying if I said those don't factor into the mystique of his music. He represents a true world evil that is just uncomfortable enough to be compelling. In an era where upside down crosses and goat head altars are commonplace, Varg is truly a scary and frightening entity. As awful as it is, metal needs it's villains, and Varg is public enemy number one. 

All of this would be nonsense if the guy's music sucked. It doesn't. Quite the contrary, Burzum pre-prison work is among the finest Norwegian Black Metal ever recorded. It was honest, genuine, and strikingly original. Burzum may be the key factor in black metal becoming such a compelling genre of metal in my adult life, long after the thrill of other forms of extreme metal had worn off. So, to honor Norway, I will honor their black sheep by discussing his first 4 albums. (first two this week)

*it is important to note that Varg's lyrics are never political in nature, so there is no need to endure any of those messages in his music - it's not there. 

**It is also worth noting that these four albums were recorded in the span of 15 months or so (January 1992 through March 1993), but released several years apart. 

BURZUM

1992's self-titled debut is a raw, self-produced masterpiece. Look around at all of the one-man-band black metal outfits today (myself included) and you'll see an inspiration from this album. Varg wrote and performed everything in this album (except for the lead guitar in "War" which was performed by his future murder victim). 

This is Varg's roughest and most abrasive work. The ambient and atmospheric elements that would become so pronounced in his later work are more than hinted at here, but there are moments where the traditional metal elements still peak through. His vocals will be an immediate standout. Though the music is rather even and some would even say, subdued, his vocals sound like a raving lunatic with his dick caught in a bear trap. Some will have great difficulty getting past it, and it took me a while too. Now, I think they're incredible. He was the first guy to take an approach other than hatred or evilness in extreme vocals - it is utter anguish. 

Musically speaking the debut has traditional metal elements, but also a distinct influence from old school video game music. I swear that first riff of Ea, Lord of the Depths sounds like a dungeon level in The Legend of Zelda. This album introduced the melancholic undertones that would become so prevalent in this genre. Listen to that riff at the 6:10 mark in Journey to the Stars it is the perfect blend of sadness and menace - the black metal miracle. Varg would only improve from here, but it's a hell of a start. 

DET SOM ENGANG VAR (trans: “What Once Was”)

The second album was recorded a mere 4 months later, but released just shortly before Varg was incarcerated for murder. The album opens with a few minutes of ambience which leads to “Key to the Gate” and the most ferocious minute of music Burzum has recorded. Shortly thereafter, it slows to a crawl and more familiar sounding material. Because of the short time in which Varg recorded another album, it should be no surprise that this one is a bit less consistent compared to album #1. Less consistent, but not lacking in quality material. It expands on the themes established in the debut, melodic, dark, with plenty of atmosphere. The slow and foreboding  “En ring til aa herske” (translated to “One Ring to Rule” - ala Tolkien) shows Varg using sung vocal lines underneath his screechy lunacy, to a surprisingly effective degree. 

This album undoubtedly has the cleanest production of the first four. All the instruments are cleanly audible and the drums sound well mic’d with compression, eq, the works. The strongest moments come towards the end, beginning with the sorrowful instrumental, “Naar himmelen klarner” (trans: When the Sky Clears) and finishing with the epic “Snu mikrokosmos tegn” (trans:  Turn the Sign of the Microcosm). Varg’s songwriting skills have developed significantly, even in four months’ time. 

Both albums are worthy to explore if you're interested in the genre in the slightest, but next week I'll cover the next two, arguably the best of his career.

Black Metal Tuesday - Jahreszeiten

Horn - Jahreszeiten

This modern black metal band hails from Germany, and plays a folkish (read - "Medieval") subtype more akin to Norway's Windir than their "War Metal" countrymen. Jahreszeiten is the one-man-band's debut from 2005. Nerrath (sole member) uses dual guitar harmonies to their limit on this satisfyingly DIY sounding release. 

The lyrics appear to switch from German to English throughout, one can never be sure. But from the sound of it, this is one of those "homeland" black metal albums, more concerned with sounding ancestral than evil. The result is some great riffs and melancholic harmonies that are bittersweet and damn-near beautiful at times. Track 4 opens with such a classic medieval riff, you can almost see the knights on horseback, riding valiantly through the countryside. Horn really do sound like Germany's answer to Windir, with a few more variations within their tracks than Valfar's project. With the exception of a short outro track, the songs are +6 minutes in length, covering a great deal of ground in each song. He also manages to achieve quite a bit of atmosphere without the use of keyboards.

Production-wise, Horn's debut sounds like it was recorded in a garage, but each instrument is clear and happily in its own space in the mix (with the exception of a bass guitar which I'm not sure exists at all). This is a very listenable record which will undoubtedly appeal to fans of the more melodic and "nature-focused" black metal bands (again, Windir, and to some extent, Wolves in the Throneroom). Jahreszeiten is a nice, rich listen and worthy of attention. It gets a 3.5 out of 5. 

Black Metal Tuesday - For Kunsten Maa Vi Evig Vike

Kvist - For Kunsten Maa Vi Evig Vike

This Norwegian troupe showed up in 94 and released one solitary full length in 1996. They are an oft overlooked band because they disbanded so quickly, but this album is pretty solid. Kvist (Norwegian for "Twig?") play a somewhat similar style to Emperor, however the production is more upfront and almost "garage" in tone, with a fair amount of keyboards mixed low. The vocals remind me of Immortal, as he is speaking more than screaming, in that "creepy troll" sort of way. 

Kvist's strong point is their use of melody and keyboard-guitar interplay. "Stupet" is a nice example of this, alternating a midtempo staggered attack with soulful keyboard surges. The bass is also unusually audible, which is a nice addition along with the drums which are mixed a little hot, and very aggressive. Given the time of its release, Kvist's debut was probably regarded as just another Emperor clone, but in retrospect, most of the symphonic black metal from 96 was not nearly this well done. The blast beat sections are tight and well executed, the songs are long with plenty of variation, and the songwriting is superb, particularly for a debut. 

As you delve into the black metal genre, it's important to research and know about bands that few people have heard of, it makes you more kvlt. Kvist is therefore, essential listening, and not too damn bad either. It gets a 3 of 5. 

Black Metal Tuesday - Autumn Aurora

Drudkh - Autumn Aurora

The Ukraine is home to a smattering of black metal bands, and Drudkh is probably one of the best known. Drudkh is modern black metal band that is actually a full band and not just one guy. Autumn Aurora is their second album, and was released in 2004. 

Drudkh are not the typical, occult / Satan worshipping black metal. They come from the Burzum school of soulful, hypnotic, ambient black metal - recalling Burzum's Hvis Lyset Tarr on more than one occasion during the 5 tracks (closing track, The First Snow is a dead ringer for that album's opener). As the album title implies, this is a concept album based on the Autumn season and the powers of nature. "Summoning the Rain" is a slow, repetitive track with multiple guitar layers that drop in and out. It sounds like music to sleep to. 

There is a warmness and almost positive feel to this album, which is weird to say about any black metal. The track "Sunwheel" sounds downright happy at the beginning, which is a bit bizarre. Somehow, it works and Drudkh have created a interesting thematic work with Autumn Aurora. On the downside, it is a bit monotonous at times, and may frustrate some listeners expecting a high-energy black metal band. Drudkh are like the mighty trees - sturdy and predictable. The vocals are also a bit of an afterthought - not much emotion or deviation in them,  he sounds rather disinterested with little emotion. 

Drudkh have a fairly devout following out there. They appeal to fans of the Northwestern black metal movement in American, like Wolves in the Throneroom. Unlike Wolves, however, Drudkh are very straightforward, particularly on Autumn Aurora (and their debut). 2006’s Blood in Our Wells is a tad more forward-thinking and a more interesting listen in my mind, but this offering is not without its charms - particularly if your looking for black metal that is less dark and oppressively evil (call it gray metal perhaps?). It gets a 2.5 out of 5.

Black Metal Tuesday - Vastiia Tenebrd Mortifera

Mortifera - Vastiia Tenebrd Mortifera

A French solo band created by Noktu Geiismort (also of Celestia), Mortifera's full length debut was released in 2004. Though not officially part of the notorious Les Legiones Noir, Mortifera sounds like they would fit right in, and are perhaps a logical progression from that movement. 

Geiismort's vocals are truly special on this album. He squeaks in fits of anguish, communicating utter sadness in a language I don't understand. It is tragic that he changed his approach to a much more generic screech after this, because it really makes this album something special. From the sound of it however, it may be reasonable to assume he couldn't make those noises any longer by the time album two rolled around. Musically, Mortifera play a lofi depressive style with tremolo-picked minor chords over usually slower drums with only the occasional blast-beat. "Le Revenant" starts after the instrumental intro, sounding like something off of Ulver's Bergtatt, rendered completely unique once the vocals come in. Track 4 is a short piece on classical guitar that is really quite beautiful. It's powerfully sad-sounding stuff and could probably bum out a great number of people. This isn't something you put on in your car as your driving down the freeway on a sunny day. This is quiet winter night music. 

As I said, this work sounds very much like the black legions' stuff, like Mutiilalation or Vlad Tepes, but the clarity of production is really a welcomed change. None of the atmosphere is compromised, but when all is said and done, you don't feel like you just heard some guy's demo tape. Also, though I don't remember enough from my two years of high school French to understand the lyrics, the content seems personal and introspective and not concerned with the occult or the Christian satan. This is the precursor to US bands like Xasthur - proving the whole range of human emotion can be expressed through the medium of extreme metal. That's a crazy thing to imagine, I know. This is a nice intro to the whole “depressive” sub genre for those unfamiliar, it gets a 4 out of 5.

Black Metal Tuesday - Sóknardalr

WINDIR - Sóknardalr

We move from the profoundly abstract to the ridiculously accessible this week. Windir hail from a small town in Norway called Sogndal. They were the brainchild of Valfar - a musician with a knack from writing catchy hooks who died years ago from hypothermia while lost in the Norwegian forests (how fitting). Before his untimely death, Windir released four albums of catchy, medieval-sounding black metal. Sóknardalr is their first album, released  after the Helvete store closed, Euronymous was murdered, Varg (Burzum) was arrested, and the black circle had dissolved. Even in 1994 Norway was still the center of the black metal movement,  and still introducing variations to the initial concept. 

Windir's debut is 8 songs of moderate length, all very triumphant and downright positive sounding compared to many of their darker and more evil peers. Windir probably has the most in common with Enslaved, focusing on Norwegian ancestry and mythology rather than satan. The result is a black metal album that could appeal to those who thought they couldn't like black metal. Vocals are standard black metal screeches mixed with quite a few clean / sung vocals and various flourishes including a nicely out of place "yeehaw" in the first track. Windir is big on guitar harmony, typically placing a higher pitched guitar line on top of your standard tremolo-picked chords. I Ei Krystallnatt and Likbor are highlight tracks for me, because the harmonies are particularly cool. 

Windir would go on to create one of my favorite black metal albums, 1997's 1184. On their debut, they are still perfecting their style and some songs are a bit too simplistic and sing-song for my tastes. Like I said though, it's instantly infectious and will get stuck in your head. This a good beginner album for those new to the genre who want to ease in with something that lacks the in-your-face harsh production or juvenile satanism of so many others. It gets a 3.5 out of 5. 

Black Metal Tuesday: Fas - Ite, Maledicti, in Ignem Aeternum

Deathspell Omega - Fas - Ite, Maledicti, in Ignem Aeternum

First of all, I understand what a poseur move it is to miss Black Metal Tuesday on the week of Xmas. I don't have a decent excuse, and I know how many evil points I just lost. Time got away from me. Forgive me. Anyway, happy new year - bring it in with black metal.

France's Deathspell Omega (DSO) started as a rather straight-forward blackened thrash metal band before embracing abstract melodies and quasi-religious philosophy on their 2004 album, the rather impressive Si Monumentum Circumspice. The follow up, 2007's Fas - Ite, Maledicti, in Ignem Aeternum, takes the abstraction to a whole new level of prog/math/art rock, presenting a chaotic and mostly atonal slab of miserable noise that stretches the limits of most listeners. I would challenge hardcore fans of tech-death acts like The Faceless or Spawn of Possession to tell me that this album is an easy listen. Between the bouts of cacophony is near-silent ambience that merely lets you catch your breath until the next assault. 

Technically speaking, there is some impressive stuff going on. The drums are madness, turbo-charged blasts and broken time signatures, completely unpredictable and exhausting. The guitars are playing a great number of things, all at once. There are sometimes 4 independent melodies going on simultaneously - giving the feeling of being between two radio stations - hearing two unrelated tracks at the same time. 

If the goal is to make one feel uneasy, then DSO accomplishes the task. The lyrics read like prayers to Satan - the band supposedly wholeheartedly embracing the theistic Satanic religion. Maybe this makes it more legit, or maybe not. At any rate, it certainly sounds evil and is essentially anti-music for the antichrists. If you look at DSO's entire catalog, this certainly is not representative of their sound, so it is essentially a concept album - I can respect that. What I can't do, is enjoy listening to it. It gets a 2 out of 5. 

Black Metal Tuesday - Rain Upon the Impure

THE RUINS OF BEVERAST - RAIN UPON THE IMPURE

Another one-man project, this time from Germany, The Ruins of Beverast play an ambient form of black metal similar to the USA's Wolves in the Throneroom or even Xasthur. What Ruins has going for them (or him, more accurately) is an airy, vastness in their production that creates an impossible sense of space. This album sounds massive, keeping all the themes slightly hidden as though to demand repeated listens. And repeat you will, many times. 

This album is dense and darkly compelling with enough melody to draw you in and keep you there. It plays from track 1 to track 7, as one complete idea, lovingly crafted with meticulous attention to detail to eventually sound effortless and organic. Keyboards drift, just beneath the surface, establishing the dark atmosphere and subtle melancholic melodies throughout the album. Vocals are growled from the depths of hell, or sang, Gregorian Chat style, in the distance. Each track takes a journey through various tempo changes and multifaceted themes, complex and involved in composition. Ruins are a band with vision and purpose, an accomplished musician, but focused on atmosphere above technicality. 

Rain Upon the Impure feels weighty and massive from start to finish. Fans of the depressive and atmospheric black metal movements will be drawn to this. I found myself thinking of the aforementioned Wolves in the Throneroom quite a bit as I went through this album again - yet significantly darker than their work, the comparison stands. There are expansive passages that are painstakingly slow and heavy, and occasionally wandering and aimless - it's clearly for the purpose of atmosphere, so I'll cut him some slack. Overall, it's a dynamic album and one that remains entertaining despite its massive length. Highly touted among several black metal bloggers, Rain Upon the Impure deserves the attention and earns 4 out of 5. 

Black Metal Tuesday - March to the Black Holocaust

BELKETRE - March to the Black Holocaust (split)

As black metal matured and diversified, many mini movements started in different countries throughout Europe. In France, a group of bands started a movement called the "French Black Legion" - very similar to the "Black Circle" in Norway during the early nineties. The Black Legion can be characterized by extremely lo-fi production (most of the albums sound like 4 track demo recordings from the 80's), and dark and dismal melodies. The muddiness of the whole thing, adds to the atmosphere. 

French Black Legion band, Belketre are one of the more a approachable bands in the Black Legion. At times, they sound like the logical progression of early Bathory, particularly in their vocal approach. March to the Black Holocaust (a split with fellow Legion member, Vlad Tepes) is a grim but varied lo-fi affair, occasionally discordant and ugly, other times, aggressive and downright rocking. This is Belketre's only "official" release. The song(?) "Hate" is 3 minutes of a sloppy clean guitar riff, and down-tuned demon growling, genuinely creepy. "Night of Sadness," is a mid-tempo rocker mixed with atmospheric clean guitar underneath the fuzz. "Those of our Blood" is a more traditional black metal track, erupting into a storm of impossible speed. 

I like to approach albums such as these as if they were recordings found in the basement of a creepy cabin in the woods (ala Evil Dead), made by some unknown entity - could be human, or maybe not. I think Belketre is most effective when viewed in this light (or more appropriately, in this "dark"). It's got a very home-grown feeling to it - if they recorded this in the studio, they got ripped off. There's a primitive charm to March to the Black Holocaust, one that will likely be lost on many. There's also the loose connections of black metal and neo-Nazism to consider: the inclusion of the word Holocaust and the given song titles may raise a brow. I choose not to explore such things, the vocals are unintelligible as it is, and no serious political agenda could be communicated through this medium in my mind. It gets a 3.5 out of 5.