overground scene


Neocaesar – 11:11

Although this is not a music reviews blog, every once in a while a new album comes out that gives me so much pleasure that I feel the duty to mobilise the limited resources in my possession to promote it. Neocaesar‘s debut album, titled 11:11, is one of those albums. 11:11 marks the return of one of death metal’s finest duets, Bart van Wallenberg and Mike van Mastrigt. This constellation’s finest achievement has been Sinister‘s Hate (1995), a masterpiece of unique death metal. Although Bart and Mike are also partially responsible for another masterpiece, Sinister’s Diabolical summoning (1993), it is Hate that showcases Bart’s song-writing style in all its splendour (Diabolic summoning is primarily Andre Tolhuisen’s brainchild – read more here). Completing the line-up of Neocaesar are Erik de Windt, who sang on Sinister’s monumental  Aggressive measures (1998), and Michel Alderliefsten, who played bass on Sinister’s Bastard saints (1996).

I cannot overstate how happy this release has made me. Neocaesar’s debut is an album that takes the listener back to Sinister’s golden era. Listening to this album feels like listening to a classic death metal album from the past. It contains eight astounding songs plus two dark instrumental pieces. It is hard to decipher what makes 11:11 such a fantastic album. Mike’s vocal delivery is one of a kind, and the vocal patterns he’s come up with are extremely catchy. Bart is sensitive to composing songs with a narrative rather than riffs awkwardly glued together. He also knows how to change the mood of a riff by adding layers to it. In most cases this in not even a complicated approach, but it is so skillfully done that it’s astonishing. One good example of this can be found in the middle of “Invocation of the watcher” where the main partially palm-muted frantic razor-sharp riff – whose role in the rest of the song is to induce intensity – is complemented by an accented tremolo-picked three note progression to create a more eerie atmosphere. “Victims of deception”, a song about child abuse by the christian clergy (thematically I sense an affinity to “Bastard saints“), has to be the most infectious song of the year; one awesome riff after the other, great performance by Mike, and great drums written by Erik. “Sworn to hate” is a dark, atmospheric track, reminiscent of the respective turn of Sinister after Bart took over musically (between 1995 and 2001). The beginning of this song is another great example of Bart’s beautiful orchestrations. Each song is so well-made that trying to identify highlights is meaningless; this album is unique and perfect from beginning to end. Note the awesome Slayer-ish “Criminally insane” section  halfway through on “Valhalla rising”. Old Sinister fans will notice the lyrical reference to “Art of the damned” on “From hell”. Mike’s raging delivery during the last 30 seconds of “Angelic carnage” (as well as earlier on in the song) brought forth memories of his delivery on the ending of “Embodiment of chaos“. “Blood of the Nephilim” closes the album in a majestic manner, its opening slightly reminiscent of the opening of “Sense of demise”.

If you grew up listening to early 1990s brutal death metal, Neocaesar will blow your mind. If you find contemporary death metal soulless, over-polished, and generic, then Neocaesar will restore your faith in death metal’s ability to surprise and send chills down your spine. If you can afford to buy only one album in 2017 then this album should be Neocaesar’s 11:11.

p.s. Support the band by buying their merchandise and music here.



An auto-biography of gig attendance #2: Cannibal Corpse, 1998

Each time someone poses the question “which one is your all time favourite gig?” my response is usually, “Cannibal Corpse”. I saw Cannibal Corpse in Woodstock Club, Peristeri (Greece) on the 25th of October 1998. The venue was small and claustrophobic, and would serve as the site for many other awesome gigs in the years to come. I was with two of my best friends (and one not that close friend), all of us big Cannibal Corpse fans. Cannibal Corpse shared the bill with Dark Funeral and Infernal Majesty. Although Gallery of suicide had just been released, we had already learned most of the lyrics by heart. My friends also liked Dark Funeral (one of them was obsessed with Vobiscum Satanas) but I didn’t. Infernal Majesty had just released Unholier than thou, a great album, and even though I wasn’t a big fan (I hadn’t even listened to None shall defy) I was somewhat excited to see them.

We arrived at the venue all pumped-up and with our tickets carefully bent near the bottom so that they could be smoothly ripped at the door, rather than being totally destroyed. It turned out that the people at the door did not tear up the tickets, hence the white line on the ticket on top of the date (see ticket above). I have absolutely no recollection of Dark Funeral playing. I remember seeing Masse Broberg in full leather and spikes, towering over me on his way to the stage. I also remember Chris Bailey, Infernal Majesty’s singer, in the crowd before they played, and I approached him, welcomed him and asked whether they would play “Roman song” off their latest album. I cannot remember his reply but I think they did play it after all. Again, although I remember enjoying Infernal Majesty, I don’t have any recollections as I was burning with anticipation for the headliner.

The year 1998 was a time when exposure to death metal videos in Greece was rare, so, speaking for myself, I didn’t know what to expect from a Cannibal Corpse gig. When the band started playing I could not believe my eyes. I was at the front of the stage, at arm’s length from Jack Owen, and I saw all the mind-blowing fret-work in all its splendour. I had never seen something similar in my life, and, suffice it to say, it changed my appreciation of death metal in terms of musicianship. Webster’s face was hidden behind his hair during the entire gig, and his stage presence was imposing. The band visited all the stops in its, already by that point, long and impressive career. At least one song was played by each one of their six albums. The awesome set-list included (not in order played): Skull full of maggots, Covered with sores, Meathook sodomy, I cum blood, Hammer smashed face, Starring through the eyes of the dead, Fucked with a knife, Striped, raped and strangled, Devoured by vermin, Perverse suffering, Puncture wound massacre, I will kill you, Disposal of the body, Gallery of suicide, Dismembered and molested, Headless (and I’m pretty sure they also played “Sentenced to burn”, although I haven’t written on the back of my ticket). The sound was perfect and the performance was immaculate. Every single moment was an amazing experience.

After the end of the concert we went outside to get some fresh air and catch our breaths. Soon after Corpsegrinder came out, and my friends and I surrounded him. He was in a good mood, and really nice to us. I mentioned his pierced tongue – which I had noticed during his performance – and he did some grimaces for us exhibiting his piercing. He signed our tickets. We then asked one of our friends who had a disposable camera to take a group picture of us with Corpsegrinder. We struck a pose and when he tried to take the picture he realised that he had used up all the film during the concert. So, we started swearing at him in Greek, and, of course, Corpsegrinder picked up the word “malaka” (wanker), and started repeating it in his funny, distinctive voice – a performance which brought about laughter from everyone in the vicinity. Owen also came out of the venue but he was quite withdrawn and walked around on his own. We approached him and asked for an autograph, which he gave, but he seemed almost sad. He quietly signed our tickets and walked away humming some kind of bluesy tune. After a while we got into a taxi-cab and headed home. The taxi-driver asked us if we were in a rock concert, and we said that we were. He was a middle-aged man, and had a macho-attitude typical for Greek taxi-drivers. After a brief period of silence, he addressed all of us with the question, “So…do you guys fuck a lot?”. We instantly burst out laughing, but I have no recollection of how we addressed his question. He then went off on a tangent telling us about his various “hot, young” girlfriends. He dropped us off, and we ended the night making fun of him in raspy voices, the result of our tormented vocal cords.



An auto-ethnography of vinyl consumption

In the early 21st century vinyl has been making a comeback (Savage, 2017). After more than a decade, between the late 1980s and early 2000s, during which the music industry put its faith on CDs, and in the midst of the digital revolution, the few remaining record stores left are full of vinyl records once again. Overpriced vinyl issues of new releases, reissues of old albums, vinyl pressings of albums never released on vinyl before, vinyl pressings of bands’ obscure demo tapes, limited editions, limited editions that are more limited than the previous limited edition of the same album (but less limited than the one yet to come), and so on. Enough cultural commodities for vinyl junkies and trend-followers that would make king Solomon blush.

get-yours-todayBehind the resurgence of the vinyl market are many factors, including the music industry’s imperative to survive, opportunism, but also pure fan passion. The music industry sees in vinyl an opportunity to impose artificial scarcity (Hesmondhalgh, 2007); it is a medium for music dissemination that does not lend itself to expropriation by fans. The reason behind this is not some kind of “objective” quality linked to the medium; it is rather that “vinyl” has been situated in a discourse appropriated and actively reproduced by the music industry that fetishises (not in the Marxist sense) the physical object (i.e. manufactured paper and plastic) rather than the immaterial content (i.e. songs). In other words, the fan buys a vinyl record because they believe that there is inherent and exclusive value in the physical artefact itself. The value might be exactly that not everyone can own one, as opposed to mp3s, so it gives the fan a sense of distinctiveness. The value might be that the vinyl collector is a category that has been invested (partially by the music industry itself) with the meaning of the expert, or the “true fan”, or that listening to vinyl is seen as the “proper way” to consume music. This is a slightly different discourse to the one produced by the music industry in the 1990s whereby CDs derived their value from being on the cutting edge of technology, as well as the effectiveness (better sound) and efficiency (more space) associated with digitisation.

Of course, the activity of vinyl consumption cannot be reduced to the record industry’s imperative for profit and audience exploitation. Consuming vinyl means different things to each different person. Nobody can deny that music fans are at the mercy of the music industry. Almost every single aspect of our music consumption – from the existence of bands, the mass production of music so we can access it around the world, production values, to the existence of genres – is contingent on the existence of the music industry. Nevertheless, as Michel De Certeau (1984) or John Fiske (1989) would say, as consumers we make do and we make with those primary materials provided to us by the music industry. This post is about what I make with those cultural commodities.

I have talked in more detail about my history with vinyl consumption in a previous post. Here I will focus more on my rituals of vinyl consumption, using as an example the most recent album I bought, Deranged‘s Struck by a murderous siege (2016). This post is based on an article I have written and will be published in early 2018 in the Metal Music Studies journal (Zenerian, 2018).

I listened to Deranged’s new album a couple of months before I bought a physical copy of it. I first listened to a song that the record company (Agonia Records) released in the form of a YouTube lyric video to promote the album. After the album was officially released I downloaded it for free and listened to it on my computer and mp3 player. I then decided that I liked it enough to buy a physical copy of it. The purchase took place online. This is a process that involves very different thoughts and feelings to the pre-online shopping record purchasing experience. Entering a shop and searching the record stalls involves an element of excitement that cannot be replicated online. Buying a physical copy from a physical record store means that I own it from the moment I have paid for it. There is a sense of finality that in the case of online shopping is postponed until the moment the record is delivered, which can be several weeks after the purchase. Hence, buying online is always stressful for me.

der1

When the album arrived, the first thing I did was to examine the jacket and vinyl to make sure they are not damaged. I was happy to find it in perfect condition. I spent some time investigating the cover art. Struck by a murderous siege has an awesome albeit cheesy cover. It is awesome because it is pretty detailed, so there is a lot to be discovered. I try to work out if the cover tells a story. The album title works as a caption, the linguistic message that offers guidance on how the image should be read (Barthes, 1984). In this case, the iconic message stands in a relation of complementarity to the linguistic message. The title of the album works as a relay. There is a murderer loose wreaking havoc in a big city. His threatening figure looming over the city connotes that the city is under siege. The police are after him, and they also look for his victims, which we can seen dumped in the sea by the city. I pay attention to all the details; the rotting corpses in the sea, the crow preying on one of the victims, I am looking for signs on the city buildings that could give me information of the identity of the city. I spend quite some time gazing at Deranged’s logo, and I think that it is one of the best logos ever designed.

der3

I then remove the lyric sheet from the album. I am happy to see that all the lyrics are printed therein, there is information on writing credits, and photos of the band members. Sadly, there is no Thanx List. I look at the band members photos and then I go to the writing credits of each song to see who wrote what. I discover that all the music is composed by Thomas Ahlgren, who has been with the band for almost a decade. Rikard Wermen (the only original member) was involved in all the arrangements, keeping the trademark “Deranged sound” alive. Lyric credits are shared between Wermen and the bassist, Anders Johansson, and there are also lyrics based on letters by various serial killers such as the Son of Sam, the B.T.K killer, and the Toy-box killer. The band has also allocated vocal patterns credits (shared between Wermen and Johansson), in the style of Cannibal Corpse (see Gallery of suicide, 1998).

I then remove the vinyl from its sleeve. I smell the inside of the jacket, a habit I have had since high-school, searching for the distinct musty odor of cardboard that old records have to no avail. I look at the grooves and investigate the label. I then check to see if there are any interesting engravings around the label. There is none other than mundane pressing-related information. Back in the day I loved when I would discover messages such as “WATCH OUT FOR TERRORIZER” (Morbid Angel, Altars of madness, 1989), or “IS NICK HOLMES THE NEW ANDREW ELDRITCH?” (Paradise Lost, Gothic, 1991).

der2

I put the album on the turntable, position the stylus and sit comfortably on my chair with the lyric-sheet in my hands. The opener “The frail illusion of osteology” is one of my favourite songs on the album. While I am listening to the second song, whose lyrics are based on the Son of Sam, I start thinking that no band will ever be able to write a better song than Benediction on this topic (“Jumping at shadows”, 1991). I then wonder whether the murdered figure on the album cover was inspired by the Son of Sam. I put the lyrics on the side and go on Wikipedia and read a bit about the Son of Sam, the B.T.K. killer, and the Toy-box killer. The lyric-sheet has pictures of all three of them. I then go back to the album cover and try to see if the figure resembles any of the murderers addressed in the songs. I notice no apparent resemblance.

I then go back to the lyrics and keep listening and reading. During the third song – one of the very best on the album – I begin to evaluate Johansson’s lyrics next to Wermen’s lyrics, and I think that Wermen’s are much weirder and chaotic, while Johansson’s are more structured and catchier. The first song on side B is another great song, about the B.T.K. killer. B.T.K. stands for “Bind, Torture, Kill”, which reminds me of the Suffocation song of the same title. The song inspired by the Toy-box killer (“Toy-box torture chamber”) has the most disturbing lyrics, matching the disturbing nature of the crimes. The song is sung in the first person which makes the depraved and misogynistic character of the lyrics even more disturbing to read (I won’t be reading the lyrics of this song again). I continue listening to the album, occasionally air-drumming and playing air-guitar, until it is over.

What I described is an experience of vinyl consumption that cannot be reduced to commodity fetishism, following music industry trends, or seeking to improve fan credentials. Listening to an album can be an auditory, visual, olfactic, and tactile experience, that brings people in connection with their personal biography (past experiences, old habits, childhood memories) and the broader culture (links with other bands, cultural events, the transformation of culture).

References

Barthes, R. (1984) Image, music, text. London: Fontana Press.

De Certeau, M. (1984) The practice of everyday life. Berkley: University of California Press.

Fiske, J. (1989) Understanding popular culture. London: Unwin Hyman.

Savage, M. (2017) “UK vinyl sales reach 25-year high”, (Online: http://www.bbc.co.uk/news/entertainment-arts-38487837)

Zenerian, E. (2018) “‘Doing-Listening with Deranged’s ‘Struck by a murderous siege’: An auto-ethnography of death metal vinyl consumption”, Metal Music Studies, 4:1 [Forthcoming]



Is this where I came from? #10 Dean Koontz and Autopsy

This series of posts has traditionally been about obscure examples of musical intertextuality across genres. I have so far discussed several examples of riffs, melodies and song structures traveling through time and space; from 1970s English Hard rock to 1990s Swedish Death metal (#5), from 1980s Irish Shoegaze to 1990s US Progressive metal (#3), from 1990s Welsh Alternative rock to 2000s German punk (#8), and others. In this, the 10th installment, I will do something slightly different. I will focus on song lyrics (as I have done in the past in a post on H.P. Lovecraft) and I will hypothesise that Autopsy got the idea for the song “Dead” from a section of Dean Koontz’s book The eyes of darkness.

dean_koontz-1Dean Koontz – The eyes of darkness (1981)

For a long time I considered Koontz a horror/mystery writer who was good, but by no means of the order of Clive Barker or even Stephen King. That opinion changed when I read the absolutely fascinating Phantoms (1983), a book whose plot is amazing, the different avenues that the plot follows and the crossroads on which these avenues meet is mind-blowing, and it is quite gruesome as well. The eyes of darkness is a book that was definitely enjoyable, but nowhere near as good as Phantoms. It is about a mother who tries to solve the mystery around her son’s death. I will not go into more detail because the plot is irrelevant to the aim of this post. What is relevant to this post is a description of the protagonist’s dead son on page 6:

“Torn and crushed in a bus accident with fourteen other little boys, just one victim of a larger tragedy. Battered beyond recognition. Dead.

Cold.

Decaying.

In a coffin.

Under the ground.

Forever.”

14c-autopsy-bandAutopsy – Dead (1991)

Mental funeral is an unprecedented masterpiece, and my all-time favourite Autopsy album. The song Dead is a strange song, in that its lyrics are just 10 words, morbidly narrated (and written) by Chris Reifert, on top of a gruesome riff. The melody preceding and then following the narration proved to be an extremely influential one in the death metal genre, with countless bands imitating it (you can hear the similarity on Entombed‘s “Somewhat peculiar“). The muddy composition, the singing style and the lyrics make it one of the most memorable and creepy songs in one of the most memorable and creepy albums of all time. The lyrics/theme are almost identical to the short text by Dean Koontz:

“Dead.

Stiff and cold.

In your box.

To decay.

Dead.”



Awesome music in the year 2016

another year, another bunch of awesome albums that give life in this unbelievably shitty world some value. Once again, limiting my favourite albums of 2016 to a list of 10 choices proved a very difficult task, and I already regret leaving some albums out. There are a few bands whose new albums I didn’t get to listen to, such as Imperial State Electric and Disharmonic Orchestra, whose new albums I have yet to find at a reasonable price, Asphyx and Sodom, whose albums I did not bother listening to in their entirety after listening to a couple of songs, and The Adolescents, whose new album I just discovered. I will start my review of the year with albums I wasn’t impressed by.

bombs-of-hades_2014aBombs of Hades is a band I discovered because they did a split-EP with the awesome Tormented. I liked bits off their new album titled Death mask replica, but after having listened to it a few times I stopped wanting to listen to it again. I may have had a different opinion of Interment‘s new album, Scent of the buried, had it come out in the early 1990s. Maybe if it had come out back then I wouldn’t have thought that their music is a bad imitation of Entombed (“Chalice of death” is one of the most blatant rip-offs I’ve ever heard) and Dismember. But something tells me that even if the date on the back of this album was 1991 I would still consider it well-played, albeit uninspired, Swedish death metal. Protector‘s comeback album titled Cursed and coronated is sporting an awesome cover artwork. The music is not a big departure from their old sound, that is, fast but very repetitive thrash-death, but not as brutal as in the past. I personally think that their albums Golem (1988) and A shedding of skin (1991) achieved all there was to be 256_artistachieved. Abbath‘s debut album sounds unsurprisingly like post-Blizzard beasts (1997) Immortal, that is, brutal black metal with razor-sharp riffs and blastbeats, but also cold, Amebix-inspired, melancholic hymns. I think that Abbath has a unique song-writing style and his songs are always enjoyable. One of the most devastating cuts is “Endless“, whose main riff is reminiscent of Massacra’s “Apocalyptic warriors“. Another cool song is “Ashes of the damned”, whilst “Winterbane” is a good mid-tempo song. However, the main riff off the latter, as well as the second riff off “Fenrir hunts”, is reminiscent of dozens of other riffs Abbath has written in the past. Feeling that I have listened to this same album several times since the mid 90s I got tired of it quickly. Sorcery released a new album, titled Garden of bones. I liked some of the songs, and I listened the album a few times when it first came out, but got tired of it very quickly. The vocals are, in my opinion, the highlight of the album, and if Morgoth are ever in need of a singer descendthey should definitely turn to Ola Malmstrom for help. The new album by the Descendents kept me company for a few days. The style is consistent throughout the album, true to the melodic and poppy hardcore that characterise Californian punk, but far from the crazy and inventive structures and melodies of their debut. Just like with everything this band did after their groundbreaking debut, I quickly lost interest. Dark Tranquillity is an all-time favourite band, but I don’t like all their albums. Just like the last couple of albums they released, the new one had some songs I liked. I don’t think I can get over the cheesy keyboards, and the ideas that come with having a keyboard player whose influences probably come from dance music.

Some of the albums that I enjoyed, but didn’t make my top-10 list are the following: Insision released an album after many years. I first listened to them in 2002 on the awesome split-lp they did with Inveracity. Their brutal death metal is not ground-breaking but it definitely is enjoyable. destro I stopped following Destruction shortly after their comeback in the early 2000s. Although I was never a big fan, their new album titled Under attack has some awesome trademark riffs that are instantly recognisable Destruction riffs (check out the awesome “Pathogenic“, “Second to none”), and some excellent songs, like the intense and peculiar “Elegant pigs“. Slaughterday is a band that, as the name suggests, pay tribute with their music to Autopsy. Their new album (Laws of the occult) is really good. The songs are a bit too lengthy for my taste, the vocals a bit too monotonous and the riffs and melodies a bit too stolen from Autopsy, but still is a well executed and enjoyable death metal album. Testament is another cult band that I was never a fan of. The only moment in their long career that grabbed me was their album with Lombardo, the brutal The gathering. The new album, however, has some songs that are very addictive, such as the beautifully structured “The pale king“, and the rapid “The number game” and “Centuries of suffering“. Overall, there’s high quality of songwriting and execution. Deranged‘s derangnew album (Struck by a murderous siege) is an album I enjoyed quite a lot. I’ve always considered Deranged the Swedish equivalent of Cannibal Corpse, with all their Squeaky riffs and low guttural vocals, and unique drum style. With the exception of The redlight murder case (2008) I haven’t enjoyed much of their output since after III (1999). Overall I would say that this one is a very good album that sits comfortably in their 1998-2001 period. It is full of trademark catchy riffs and arrangements, good vocals, and very good production. I found some of the songs a bit too long-winded for my taste. Nevertheless, songs like “Reverent decomposition” and “The frail illusion of osteology” are instant classics! This new album made me want to revisit their post-Plainfield cemetery period. Finally, Megadeth‘s new album (Dystopia) is a good return to form. Mustaine keeps the level of riff-making to an extremely high standard, and his ability to construct songs is undeniable. With the exception of two or three songs (“Post American world”, “Conquer or die” and “Last dying wish”) I consider Dystopia maybe the best album they have released since Youthanasia (1994). Songs like “Dystopia”, “Fatal illusion“, “Death from within”, “Look who’s talking“, are pure pleasure. I cannot deny that the exposure of Mustaine’s political views on the media over many years ruined his image for me, and that has affected how I perceive his artistic output. These days I focus on the music and ignore the lyrics.

The following are my 10 favourite albums from 2016, albums that have offered countless hours of entertainment or cultivation and I anticipate will continue to do so in the future:

Diamond-Head-self-titled-cover1. Diamond Head – S/T

I’d like to start this review with a disclaimer: any NWOBHM best-of list that does not include Diamond Head’s debut, Lightning to the nations (1980), is absolutely devoid of any credibility. Their first three albums are personal all-time favourites, and Brian Tatler and Sean Harris constitute one of the best musical collaborations of all time.

The new album is clearly a throwback album – an obvious effort to tap into the sound that made Diamond Head an iconic band over the years. The new singer, Rasmus Bom Andersen, has obviously studied Sean’s style and mode of contribution to DH’s sound, and he is doing an awesome job imitating it. There are songs that sound like they came straight out of the debut, like the phenomenal “Shout at the devil”, “Diamonds”, “Speed” – which reminds of “The prince” – or the rapid “Wizard sleeve”, which is pure Deep Purple (first mark II era). Other orchestrations and melodies are reminiscent of the more progressive and atmospheric style of Canterbury (1983), like “Silence”, “All the reasons you live”, and some sections of “Bones”. “Blood on my hands”, a tremendous slow, bluesy song that could easily be on Borrowed time (1982) and in which Rasmus gives an amazing performance, is perhaps my favourite song on the album. There are some excellent orchestrations, the guitar and bass tones are excellent and the production is perfect. The annoying thing about the vinyl version is that the song “Diamonds” is inexplicably excluded from the vinyl and is included instead on a “bonus” 7inch. Overall, this is an album that has provided so far countless hours of entertainment. Brian and Rasmus emerge as an awesome compositional duet. It’s worth noting that Duncan Scott (the band’s original drummer) has a couple of song-writing credits.

28784218742. Metallica – Hardwired to Self-Destruct

Metallica is one of those few bands whose output cannot be judged with a simple “I like it” or “I don’t like it”. My opinion regarding the songs on this new album have changed a dozen times since it came out. At first I only liked a few songs (i.e. “Hardwired“, “Atlas rise”, “Moth into flame“, “Halo on fire”) but, overall, I found each song to be a bricolage of incoherent ideas.  The songs I thought were more coherent and resembled “songs” in the conventional sense, were the ones that I liked less (i.e. “Now that we’re dead”, “Dream no more”, “Am I savage?”). Compared to Death Magnetic (2008), an album that I loved and continue to love since the first listen, I initially found this album to be disappointing. Hardwired, in my opinion, lacked in two departments: choruses, and thrashy riffs.

At the same time, I found myself strangely drawn to the various ideas albeit incoherent, so I kept on listening. “Here comes revenge” gradually became one of my favourite songs on the album, and I quickly surrendered myself to the infectious groove of riffs and vocal melodies reminiscent of the And justice-Black album era on super-heavy songs like “Confusion“. Some of the heavy, slower riffs on Hardwired are super exciting, James’s vocal melodies are beautiful, and the Californian-punk vibe of the faster songs/sections (“Hardwired”, “Moth into flame”, “Spit out the bone”) is refreshing. It definitely is an album that grows on you, and the unconventional structures and melodies have something to do with that. For example, the craftily put together chorus of “Confusion” (and how it’s resolved with the line ‘my life, the war that never ends’), sends chills down my spine. The same goes for the end of “Dream no more”, a masterpiece whose heavy chorus and lyrical theme allude to “The thing that should not be”. I also thought that the lyrics are really good overall, especially compared to the poor quality of the lyrics in Death Magnetic, and there are moments that remind me of the awesomeness of old Metallica (one of my favourite moments is the verse after the first chorus of “Here comes revenge”). After many listens I think that Hardwired is a beautiful album, chock full of awesome songs that only Hetfield and Ulrich can come up with. My favourite songs would be “Dream no more”, “Confusion”, “Here comes revenge”, “Moth into flame” and “Am I savage?”.

93166-rage-first-studio-making-of-for-the-devil-strikes-again-revealed-11201373. Rage – The Devil Strikes Again

Peavy has always been among my favourite singer-songwriters. I always thought that his genius burned brighter than the sun between 1988 and 1996. During that period he was the driving force behind eight of the most brilliant albums of all time. With XIII (1998) however, and thenceforward, I thought that the elements that made Rage a unique band increasingly faded. The final nail in the coffin for this band, in my opinion, was the compositional take-over by Victor Smolski. While Smolski is an undisputedly awesome guitarist, in my opinion he was a horrendous song-writer. Unity (2002) was the last album I liked from Rage, and even on that album the songs I liked the most were three brilliant compositions by Peavy (“Insanity”, “World of pain”, “Seven deadly sins”). It turns out that Peavy himself stopped being happy with the situation and last year decided to re-assemble his band.

The result is a return to the Rage that I love and an album that sits nicely in the 1994-1996 period of Rage. It kicks off in a style similar to Black in mind, with a devastating song, the homonymous one. Whilst the riffs themselves are not on par with what Peavy, Manni, Chris and Spiros came up with back in the day, the songwriting itself is brilliant. Overall, the guitar playing in this album reminds a lot of Spiros’s playing, especially the heavy use of palm muted hitting of individual notes of chords. Peavy’s distinctive vocal melodies make the difference. His brilliance shines through gems like “The dark side of the sun”, where his vocal melody on top of a typical Slayer-ish riff makes this song one of the best in Rage’s career. Another song I love is “Ocean full of tears”, a song that is very craftily put together; Peavy’s vocal pattern on the pre-chorus is magnificent, and the way the fast double-bass kicks in during the chorus and the way it juxtaposes the contained energy of the palm-muted guitar riff are genius. The slowest song on the album, “Times of darkness”, is a dark and gloomy small masterpiece, with awesome vocal melodies and chorus. The choruses in some cases are quite formulaic (such as on songs like “Deaf, dumb and blind” and “Requiem”) and lack the adventurous spirit of old Rage. The opening riff of “Final curtain” is reminiscent of Megadeth‘s “Disconnect”, but it’s an incredible song, with a beautiful chorus, an awesome middle section and guitar solo, and ending. Among the bonus tracks, “Into the fire” is mesmerising, and I cannot believe that it is excluded from one version of this album (thankfully not the vinyl version). Overall, this is an album that made me really happy and stands proudly next to this band’s masterpieces. From recent interviews I’ve seen with the band – and the thanx lists in the album – Peavy appears to be really happy with his new music partners, and Marcos and Lucky are aware of the huge privilege they have of playing next to one of the greatest songwriters of our time. I hope they stay together and create another great album when they’re ready.

a1231087888_104. Temisto – S/T

Since Morbus Chron’s sad break-up I have been keeping an eye out for any new undertakings by Robert Andersson and Edde Aftonfalk. This search led to the discovery of Temisto back in May of this year. According to the Metal Archives, Robert sung for this band at some point, so as soon as I found out I instantly looked it up. My curiosity was rewarded greatly. This is Temisto’s debut, and although Robert is not participating in it, he did co-produce it. If it didn’t have the awesome production that it does have, the aesthetics of this album reminds of the mid-1980s when underground extreme metal was one big category, and the lines between Thrash, Death, and Black metal, by today’s standards, were blurry. If I had to pin Temisto’s sound down more specifically, the following albums instantly come to mind: Necrosis (2004) and Discipline (2001) by Cadaver, Neverending destiny (1990) by Agressor, Horrified (1989) by Repulsion and Sweven (2013) by Morbus Chron. Another, maybe more accurate description would be that this album sounds as if Morbus Chron  decided to play like Repulsion. The up-tempo moments on this album are as furious as Horrified‘s, and Necrosis‘ (or even Discipline‘s) moments of utter madness. The furious pace and vocal patterns on songs like “Succubus” and “Descent into madness” are pure Repulsion. Especially the latter song is a masterpiece of unrestrained brutality. The intro of “Temple of the damned”, another furious masterpiece, draws on a riffing style made popular by Slayer on “Postmortem”, and used extensively by bands like  Immortal. The weird riff played halfway through the song could have been found in Internecine‘s Book of lambs (2001) (for example “Ceremonies of deceit“). The slow and mid-tempo songs, especially instrumental songs like the beautiful “Demiurge”, remind of Sweven‘s dissonant and more melancholic moments. However, the instant association I made with Sweven is unfair, as any album that is compared to it (an unprecedented death metal masterpiece), is doomed to come off looking bad. The song-structures and the narratives in some cases are simple; songs like “Abyssal depths” lead nowhere, their structure reflecting the nihilistic attitude of old-school black metal, devoid of any emotions, and simultaneously devoid of any twists and interesting sections that abound in most of the other songs in this album. Still, this is an extremely intense and fascinating album that has provided me with endless hours of listening pleasure.

600x6005. Brujeria – Pocho Aztlan

Brujeria is a band for which I have mixed feelings. On the one hand, I find it impossible to resist their unique brand of grindcore-death. On the other hand, I realise that their appeal, in my case at least, stems from how their music reflects an extremely aggressive type of masculinity and femininity that I reject, yet I find “exotic” because I get to experience it from a safe distance. Anyway, my expectations for this release were not very high. Cazares and Herrera, both of whom had a big influence on Brujeria’s sound, are no longer part of the band, and since Shane Embury’s compositional loyalty lies with Napalm Death I imagined that he wouldn’t have much to contribute here. This album was therefore a pleasant surprise, as it has some awesome songs in the familiar style of Brujeria. Pocho Aztlan provides more evidence in support of the hypothesis that Embury fell in the cauldron of magic riffs when he was a kid. Most of the songs are composed by him. The combination of his trademark riffs and melodies and Juan Brujo’s insane performance have once more created something unique. Some of the songs on the album have appeared in various other formats in the last few years, such as E.P.s and compilation albums. As a result different songs are recorded under a different configuration of musicians. Erlandsson’s drum-playing can clearly be heard on songs like “No aceptan imitaciones“, and Barker’s hyper fast rolls on songs like “Satongo”. Overall, the style is very reminiscent of Brujerismo (2000). However, in my opinion, Pocho Aztlan is even better than Brujerismo, albeit without something as awesome as the two stand-out songs of the latter, i.e. “Pititis te invoco” and “Division de Norte”. Some new elements, such as the ritualistic chants on the homonymous song and “Angel de la frontera”, are adding to the quality of mystery and horror of Brujeria’s music. Songs that in my opinion stand out include “Pocho aztlan”, an awesome tune composed by Patrick Jensen, “Profecia del Anticristo”, composed by Jeff Walker, “No aceptan imitaciones”, “Isla de la fantasia”, and “Plata o plomo”, composed by Embury.

1000x10006. Entombed A.D. – Dead Dawn

The new Entombed A.D. album is awesome. “Old-school” Swedish death metal has been making a comeback for more than 10 years now, and this trend has accelerated in the last few years. Nevertheless, Entombed A.D. still have, in my opinion, an important advantage over all those new (e.g. Entrails), and newly reformed (e.g. Internment, Sorcery), bands. The advantage stems from three facts: firstly, although the songwriters of Entombed A.D. are far from being original members, they probably feel the duty to preserve the Entombed legacy. This obligation guides to some degree their song-writing practices; secondly, Olle and Nico have been in the band enough time (playing the old Entombed songs) to have embodied to some extent, and according to their interpretation, the essence of Entombed’s sound; thirdly, LG is an original member and a unique singer. These three elements make Entombed A.D., in my opinion, better than most other bands which try to reproduce what bands like Entombed, Dismember, and Grave did back in the early 1990s.

I enjoyed Dead dawn a lot. I thought it was a bit more varied than Back to the front, which had several songs that seem to follow the same recipe, that is, mid-tempo start leading up to a fast-double beat or D-beat chorus. Dead dawn has some slightly unusual doom-laden songs, like “Hubris fall”, mid-tempo groovier tracks, like “Down to Mars to ride”, and some fast Slayer-beat tunes with fast tremolo picking, like the excellent “Midas in reverse” and “Black survival”. The influence of old Entombed is obvious on songs like “Dead dawn“, reminiscent of songs like “Evilyn” off Clandestine (1991), or “Total death”, a brilliant song reminiscent of the perfection of “Serpent speech” off Hollowman (1993). The main problem I have with this release is the guitar tone, which I dislike, and the production overall; I think that these choices are not doing justice to the music, and I imagine the same songs with the sound of Clandestine or Wolverine blues would be super. All in all, it is an album that I have enjoyed a lot and, although my interest has recently waned a bit, I think that I will be coming back to it frequently.

mercylesspatheticdivinitycd7. Mercyless – Pathetic Divinity

The melodies and structures in the new offering by Mercyless explore the lost art of grim, mysterious and dissonant death metal of early 1990s Morbid Angel and Immolation, but with a much larger dose of European thrash and melody, not unlike Aggressor‘s Medieval Rites (1999). A good example would be the song “How deep is your hate” whose heavy and dissonant riffing is interrupted by a beautiful instrumental section near the end. The main riff of “Pathetic divinity” reeks off Morbid Angel, and it is super awesome and memorable. The interesting structure of songs like the aforementioned and “A representation of darkness”, or the hooks of songs like “Left to rot” and “My name is legion“, are sure to keep old-school death metalers grinning with satisfaction. “Eucharistic adoration” is another stand-out song, with an impressive sonic attack after the mid-tempo intro. The vocals are simply amazing, and quite reminiscent of Morgoth. However, I also found the vocal patterns throughout the album to be a bit repetitive. Another element that I dislike is the drum sound which is quite fake and drags down – especially the grinding parts – the impetus of the riffing. The only two songs that left me unimpressed are “Christianist” and “Liturgiae”.

5505538. Brutality – Sea of Ignorance

Brutality is a band that I’ve known and listened for decades, yet never fell in love with. The new album showcases a band that seems frozen in time; it could have easily come out in 1993. It is an album completely untouched by styles that emerged in the broader metal genre the last 23 years. The singer has always been the big asset of this band, and he is indeed doing a great job on this new album. His voice is as brutal and furious as ever. Each song is a good mix of noisy grind, but also melancholic melodies. “48 to 52” is a phenomenal song, and one of my very favourite songs of 2016 overall. The chorus is extremely catchy, the slow melancholic solo section and the grind explosion are insane. “Brutally beheaded” and “End of days” are two other of my favourite songs (the vocals on the latter are insane). “Tribute” is the most thrashy song on the album, and has some pretty cheesy lyrics, as it is full of old extreme metal band references (similar to what Entombed did with “Masters of death” and Tormented with “Reversed funeral”). Initially I did not pay attention to the Bathory cover, as it represents a period in Bathory’s career that I never liked. I now think that it is a brilliant cover, successfully capturing the mystery of the original whilst adding Brutality’s brutality. Overall, I would say that Sea of ignorance is a great album and my favourite one from them.

Cauldron_In-Ruin9. Cauldron – In Ruin

Canada’s Cauldron is another relatively new band that looks nostalgically back at 1980s heavy metal. I am very happy that I found out about this band, as this album offered countless hours of musical enjoyment. They play nondescript old-school heavy metal, and definitely they don’t offer anything terribly new, but the songs they compose are brilliant. Songs like “Burning at both ends” are driving and exciting; songs like “Hold your fire” have a rare epic quality. The choruses are absolutely infectious and the guitar solos are inspired. It took me a while to get used to the vocals, which are unusual for a heavy metal band, in that they are a bit asthmatic. My first impression was that of a band that could not find a singer, ending up with one of the other members handling the vocals as a last resort. Nevertheless, this gives Cauldron a somewhat distinctive sound, and in any case, the songwriting is so good that the vocals don’t pose a problem in the end.

64610. Dark Funeral – Where Shadows Forever Reign

I have never been a huge fan of black metal, although over the years there have been albums that I have loved and respected from the broad body of works that could be characterised as black metal. Dark Funeral made their own contribution to black metal early on with their extremely fast and majestic take on the genre. I haven’t listened to them for ages, and the last album I bought was Diabolis interium (2001) when it came out. Their new album blew me away and stayed in my mp3 player for months. “The eternal eclipse” is hands down one of their best songs, on par with “When angels forever die” (1996), “Shadows over Transylvania” (1996) and “Hail murder” (2001). Slower songs like “As I ascend” and “Temple of Ahriman” are equally brilliant. Every single song is really good and catchy, overall a fine example of mid-1990s black metal. I can imagine that being mentioned by Justin Bieber is something that can destroy a black metal band’s credibility, and probably Dark Funeral were bummed out when it happened. I only wish he had mentioned some other Black metal bands that take themselves much more seriously and would make them lose their sleep forever, such as Mayhem or Burzum.

2016 PLAYLIST



Is this where I came from? #9 Running Wild and Unleashed

For the 9th installment of the “Is this where I came from?” series of posts I decided to revisit Unleashed, one of my all-time favourite death metal bands. In the first installment of this series of posts I demonstrated how Unleashed were influenced by Black Sabbath to compose one of their absolute masterpieces, namely “Shadows in the deep”. But, lets face it, who hasn’t been influenced by Black Sabbath? In this post I argue that Fredrik Folkare, Unleashed’s main composer since Hell’s unleashed (2002), was influenced by Running Wild, one of the pioneers of German heavy/power metal.

running-wild6Running Wild – Beggar’s night (1987)

Running Wild is a band I never got into, even though I was exposed to them during my formative heavy metal years – at the same time I fell in love with other power metal bands such as Rage, Helloween, Scanner, and Gamma Ray. My favourite album from them is probably Death or glory (1989), and I never really listen to any of their other albums. However, over the years I have come to appreciate the influence their heavy tremolo-picked riffs and epic attitude might have had on the emerging death metal scene of the late 1980s. “Beggar’s night” is a song off the Under jolly roger album released in 1987. The intro riff is patterned around slow tremolo picking. It starts with open string picking on the high E string. The two other notes that are being repeated throughout the riff-pattern are C and B on the 8th and 7th frets on the same string. Each one of the two sections of the riff has a slightly different ending. After the riff is played once, the power chords come in on top of it, following an E, G, A, G, F#, E progression, giving the song an epic feel.

unleashedwackenUnleashed – Winterland (2004)

Unleashed’s Sworn allegiance album starts majestically with this song written by Fredrik Folkare. The opening riff of this song, which re-appears on the chorus, is very impressive, and it is reminiscent of the opening riff of “Beggar’s night”. There are clear differences between the two riffs, but there are also some obvious similarities. Just like in the case of “Beggar’s night”, “Winterland” involves slow tremolo picking on an open string. In this case it starts with open string picking on the G string. The other two main notes in the first section of the riff-pattern are again on the 8th and 7th frets of the same string, in this case E flat and D. The chord progression played on top of this riff is G, A, A#, F#, A, A#, G, in a similar way as in “Beggar’s night”. When the drums come in, however, the same chord progression is played differently as the power chords give way to tremolo-picked individual notes, giving the backing riff a more “death metal feel”.



We will remember them…but for what?

Every year on November 11, and the period leading up to this date, many people around the UK participate in various rituals that aim to commemorate all those soldiers who have sacrificed themselves “fighting for freedom”. The most common ritual of memorial day is wearing the red poppy, a red paper flower, as a symbol of remembrance.

One of the bands that have written songs partially in remembrance of those who died in wars is the British death metal band Bolt Thrower, and the songs I have in mind are “For victory”, off their album For victory (1994), and “Granite wall”, off their album Those once loyal (2005). The opening verse of “Granite wall”, for example, says:

Those that fell today shall be,

in solemn sculpture cast,

always held in reverence,

in memory of the past.

The last two verses of “For victory”, an unbelievable, hauntingly beautiful song, are taken from Binyon’s poem “For the fallen”:

They shall grow not old,

as we that are left grow old,

age shall not weary them,

nor the years condemn,

at the going down of the sun and in the morning,

we will remember them.

These two albums happen to be my favourite Bolt Thrower albums, which I also consider two of the best death metal albums ever made. Bolt Thrower is a band whose lyrical themes revolve almost exclusively around the topic of war. However, they most certainly do not glorify war. On the contrary, they are critical of it and view it as a scourge of humanity, the root of most pain and suffering in our world. When it comes to those two songs, however, I disagree with them because I disagree with what we are supposed to remember. Bolt Thrower seem to omit something from their narrative.

Each person who wears the red poppy participates in a particular discourse. Wearing a poppy has come to signify “gratitude towards those who died so we can be free”. However, this is only part of what happens in wars. This particular framing ignores the fact that soldiers die to protect the political and economic elites’ wealth and power. Soldiers are primarily sent to protect the ruling elites of each nation-state. The political and economic elites do not fight in any wars. Instead they send armies of soldiers to fight for them. Those soldiers come from the dispossessed strata of each society, and they become soldiers because they are forced to become soldiers, directly or indirectly. The status quo can force people to become soldiers by leaving them no other options for earning their livelihood. It can also force them to become soldiers by inculcating in them the idea of patriotism. Patriotism is the fantasy that one is part of such a thing as a “nation” which is exceptional and sacred.

Neither the soldiers of a country on the defensive nor the soldiers of a country on the offensive benefit from war. Both armies are tools in the hands of the political and economic elites in each country. In the end of the war, regardless of who wins or loses, both armies are left in misery. The army of the winning country – the part of the army that survives that is – as well as all those in the lower ranks of society who now secured their “freedom” do not change their destiny. They continue to be part of a system where they are exploited (through exploitative labour, precarious lives, and false needs) while the ruling classes continue “freely” to exploit them.

So, when I listen to those songs by Bolt Thrower, or Satan‘s “Cenotaph” off their brilliant come-back album Life sentence (2013), I do not disagree with their desire to pay tribute to those who died. But I disagree with their failure to acknowledge that those soldiers entered wars that were waged among the ruling classes of different nation-states, who used soldiers for their own benefit. I therefore think that if people want to pay their respects to those who died, they should invent a new ritual that acknowledges that “we will remember all those who were sent to their deaths by the ruling elites of different nation-states who either started wars to increase their wealth and power, or entered wars to guard their wealth and power”. This is a ritual I would not mind participating in.