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Favourite music from 2017

The year 2017 is marked by some fantastic musical releases. This year it was more difficult than usual to come up with only 10 favourite albums, and amongst those 10 albums it was difficult to say which ones I liked best. There are many albums that did not make my top-10 list but I also enjoyed quite a lot. Due to the sheer volume of releases by bands I already like I avoided opening up to new bands which I am more likely to dislike. I will start my review of the year with the albums I liked the least.

The initial reaction to Cannibal Corpse‘s new album was one of disappointment. After a couple of listens I started enjoying the album, but then quickly got tired of it. In my mind CC’s discography is organised in two periods, the Barnes and the Corpsegrinder period, and the latter is further broken down to the Owen period and the Barrett period. The Barnes period is my favourite, I consider it very distinct, and I think that his departure marked a huge stylistic change for CC. I think that Barnes’s way of singing, vocal patterns and lyrics defined to a large extent CC’s style. I never took the Corpsegrinder era too seriously, as I have always thought that the band became a bit cartoonish. This doesn’t mean that I don’t like CC post-Barnes. Both periods offer some excellent albums  (maybe with the exception of Gore obsessed). The current post-Owen era, is probably my least favourite, although I think all offerings are consistently good. The new album is enjoyable although the thrash approach to riffing and song structures that appeared in most recent releases is even more prominent now. It is also much less frenetic to their previous album (there’s not a single pure attack similar to “High velocity impact spatter”), and sonicaly, well lets just say Rutan is not my favourite producer. “Code of the slashers” has a cool slow section, but when it becomes fast it feels lazy to me. The structure, tempo changes, melodies and beating of “Shedding my human skin” represent the CC that I prefer. Other stand-out tracks include “Corpus delicti“, “In the midst of ruin”, “Destroyed without a trace” (great post-chorus blastbeat sections) and “Hideous ichor” (the intro riff is straight out of Kreator’s Coma of souls). Overall, it is a quite easy-listening album, and in a sense their least death metal album yet. Vallenfyre‘s Fear those who fear him has some really cool grinding songs (e.g. “Kill all your masters” and “Nihilist”), but in my opinion in lacking standout slow melancholic hymns. I listened to it a few times and I like it, but I would never compare it to the brilliance of their debut. Similarly, I liked Firespawn‘s sophomore album, although I don’t think I will ever consider it amazing, and I prefer their debut. Some songs I liked more than others (“The general’s creed”, “Full of hate” and “Serpent of the ocean” are my favourite), there are some nice melodies and Fredrik’s leads are enjoyable as usual, but I found the song structures and riffs forthcoming and repetitive, in many cases reminiscent of the simpler forms of early thrash. Warwound‘s Burning the blindfolds of bigots is an enjoyable hardcore-crust album made by members of Sacrilege and Discharge.

Moving on to albums I liked a bit more, Evocation‘s The shadow archetype kept me nice company for quite a while. I listened to the first couple of Evocation albums when they came out but I was not impressed. I didn’t bother with them again after that. However, recently I saw the new album on YouTube and the impressive cover art attracted me. I realise that it is a derivative album, but songs are well-written and well played, so I have enjoyed it. Evocation seem to have taken good elements from the two great traditions of Swedish death metal, mixing Entombed and At The Gates in equal measure. The main riff of “Modus operandi” and the drumming feels a bit too familiar (listen to At The Gates song “Unto others” – the riff before the break in the middle), but overall it is good. Blood Feast‘s The future state of wicked is a satisfying and entertaining old-school thrash album, full of catchy choruses, riffs that made me air-guitar, and cool vocal patterns. It could have easily been released in the mid-1980s. Broken Hope‘s Mutilated and assimilated is enjoyable, I listened to it quite a few times but I cannot say that I enjoyed it as much as the previous one. The input by the relatively new members is quite obvious as there are quite a few more “modern” elements. The end of “Malicious meatholes” is reminiscent of Atheist. Although I did not love this album I have no doubts that I will eventually revisit it and discover interesting things about it. On Swine plague, Dead Head offer excellent thrash in the vein of Slayer and Demolition Hammer. The band members are seasoned veterans and this album definitely surfaces in the disappointing swamp of new wave of traditional thrash bands. Kreator released an album that does not stray from the band’s post Violent revolution (2001) style, namely a more melodic and anthemic Coma of souls style of thrash. Although I am not a big fun of this style – and I wouldn’t expect Kreator to ever reach the heights of their 1985-1995 non-stop progress and brilliance – I do like all the albums of this period (Enemy of god (2005) and Phantom antichrist (2012) a bit less). I highly respect Mille and I definitely enjoy the riffs, vocals and speed of this album, but I could do without all the anthemic moments. Expulsion‘s Nightmare future E.P. is awesome and it stinks off Repulsion. Listening to Olivo’s uniquely insane compositions is a pleasure, and I cannot resist thinking how awesome it would be if he collaborated with the guys from Impaled. It is only an E.P. and it’s over really quickly, but what an awesome ride! Over the years Haemorrhage have evolved to one of the most recognisable and credible grindcore bands on this planet. On We are the gore they offer their well-known brand of awesome grindcore, albeit currently devoid of the sick carcass-inspired melodies of their gore-grind days. Their new album is catchy, like their previous full-length, with a good production and some surprising elements, such as the Dismember-sounding riff and the rock’n’roll solo on “Miss Phlebotomy”. “Intravenous molestation…” is a brief delicacy. The chorus of “Bathed in bile” could easily be in a Lock Up album. I liked it but I prefer their mid-90s – early 2000s period. Mastodon‘s Emperor of sand is in the vein of their previous two albums, that is, poppy, melodic, progressive, aggressive, sludgy and well-played metal. There are some songs that have stood out for me, including the fantastic “Ancient kingdom”, but also “Steambreather“, “Roots remain”, “Word to the wise”, the catchy “Show yourself”, and the very dynamic “Jaguar god“. I have enjoyed it quite a lot, but I will refrain from including it among my favourite albums this year because history has shown that I usually get bored with their albums after a while, and, additionally, there are so many other albums I enjoyed more. The Lurking Fear is another band in the long list of projects where established musicians join forces to pursue a shared musical vision. The main reason I became interested in them is due to the inclusion of Andreas Axelsson, one of the masterminds behind Edge of Sanity, and more recently Tormented. From the looks of it Tormented have folded and Andreas has moved on. Axelsson has written some of my favourite songs on the album, including “With death engraved in their bones”, “Upon black winds” (in which Axelsson shows off his talent of composing authentic old-school death metal), and “Tongued with fowl flames”. Two other really good songs on the album, however, turns out were not written by him. “The starving Gods of old” (my favourite on the album) and “Winged death” are two minor masterpieces, and Lindberg’s performance especially in the former is mind-blowing. The Slayer-esque beginning of “Tentacles of blackened horror” is cool. The blatant rip-offs from Autopsy are not impressive, especially since they’ve been done to death over the last 15 years or so. The lyrics are inspired by Lovecraft’s strange universe of abominations. The sound of Cthulhu snoring in-between songs is a good touch. My initial reaction to Suffocation‘s new album, …Of the dark light, was laden with disappointment. The production, the plastic drum sound, and the monotonous vocals alienated me and it took me a while to revisit the album for a second listen. To be honest my expectations were low, as a result of the lackluster listening experience associated with the previous two Suffocation albums. Just like with Pinnacle of bedlam (2013), I thought that Frank sounded disinterested and his voice was over-produced. Nevertheless, after a few more listens I started overcoming some of those elements that I found disappointing, and I realised that most of the riffing is excellent, and that overall I prefer this album to the previous two. “Return to the abyss” is a masterpiece in the true Suffocation style, with Hobbes’s manic riffing, twisted melodies and super-heavy break-downs on fire. In my book this song is inducted in the Hall of most awesome Suffocation tunes. Moreover, both in this song and in “Caught between two worlds” the band is trying a couple of things that could be considered novelties in the entrenched style of the band. The elements to which I am referring are the melancholic tremolo-picked riff in the last part of the latter, and the weird melody in the end of the former, which reminded me of the melody at the end of “Axeman” by Amebix. Another new element is the inclusion of Suffocation’s live-session-singer in some of the songs, which I think is a good move. Another problem that I have is that some changes lack cohesion. The ending of “The violation” is one example and the end of “The warmth within the dark” another; in both cases it feels like the song has ended before it resumes with a brief section that feels random. Incantation‘s Profane nexus is another high quality release by Incantation. In my opinion the sound is more primitive than on the previous album, and Alex Bouks’ absence is noticeable. I haven’t paid to much attention to it, and this relative absence of interest explains its position out of the top-10 list, but I suspect I will eventually love this album. Not many bands can write songs of the quality of “Incorporeal despair” and “Lus sepulcri”.

The following 10 albums are my favourite from this year. Between the second and the seventh albums in the list I cannot say with certainty which one I like the best, and the ordering has changed several times over the last few months. In my opinion they are all brilliant albums, reflecting a fantastic year in popular non-mainstream music.

1. Neocaesar – 11:11

Neocaesar’s debut is the undisputed album of the year. I cannot overstate how happy this release has made me. Neocaesar is a band composed of four ex-Sinister members. These are not any ex-Sinister members though. We’re talking about Mike, the absolute death metal vocalist who contributed some of the most breathtaking performances in three classic albums (Cross the Styx (1992), Diabolical summoning (1993), Hate (1995)), Bart, one of the absolute composers, who wrote unprecedented masterpieces for four classic albums (Diabolical summoning (1993), Hate (1995), Aggressive measures (1998), Creative killings (2000)), Erik, who sang on the magnificent Aggressive measures (1998), and Michel, who played bass on the classic Bastard saints E.P. (1996). Here, Erik plays the drums, and he is an absolute beast at that too! This album is unique and perfect from beginning to end. It contains eight astounding songs plus two dark instrumental pieces. The introductory instrumental song is dark and brooding; such a classy way to start an awesome album! Each song is craftily put together. Amazing melodies, spell-binding riffs, and infernal vocals by a truly genius vocalist. Bart moves within chord progressions that make every riff sound evil and monumental, and he has never strayed from this approach throughout his career. The way he combines different riffing techniques is also amazing; palm-muting, triplets, tremolo-picking, accented dissonant chords, are craftily used, each riff a genius combination of different techniques, to articulate unique sounding musical sentences. The production is awesome, the guitar and bass tones are fantastic, the drum sound is real (and, as opposed to Erik’s work with Warfather, his drumming here is fantastic and much more focused), and the contributions of all band members are equally audible. THIS is death metal. For a more detailed review of the album, please read this.

2. Desultory – Through aching aeons

After their remarkable comeback album in 2010, Counting our scars, I have been thirsting for new music by one of Sweden’s most awesome bands that defined melancholic death metal. It took seven years for new music to surface, I imagine due to day jobs and other non-music related responsibilities that non-mainstream musicians like the members of Desultory probably have. Through aching aeons feels like a fiercer Counting our scars, as there is a complete absence of entirely slow songs. Instead here we have more blasting sections, weirder riffs, less conventional song-structures, more frequent tempo changes, and a more growled approach to singing, in what might easily be Desultory’s best album. “Beneath the bleeding sky” is a monster, in a way similar to “This broken halo” in that it is a fast song full of awesome riffs, and has a very catchy melancholic chorus (the first time around followed by an emotive guitar solo). It is a song beautifully crafted, from the dark menacing first riff to the beautiful acoustic outro. This one along with “Divine blindness”, “Slither”, and “In this embrace”, are my favourite songs on the album, although every song has awesome things to offer. Generally, songs structures are complicated and, at times, might sound a bit incoherent but this can be a good thing; it means that the listener has to invest more time and effort connecting the various parts in order to perceive each song as a coherent whole. Johnsson’s manic style of drumming elevates the songs to a new level of awesomeness, although, in my opinion, the constant alterations between the kick-drum and the snare in leading the beat can get tiring. The band decided that this is their final album, and in a way it feels like they have come full circle. They will be sorely missed.

3. Propagandhi – Victory lap

Propagandhi’s previous masterpiece, Failed states (2012), had its own space in the best-of list of that year. Victory lap is another masterpiece in the classic Propagandhi tradition. Comparing it to their back-catalogue I would say that it is not much different to Failed states, but it is definitely less intense and heavy compared to Today’s empires… (2001), Potemkin… (2004), and Supporting caste (2008). The new album is mellower sonicaly, with lighter distortion, and some clean riffing (on “Lower order”, one of my favourite songs off the album). It is a beautiful album and it contains everything that is great about Propagandhi. The progressive instrumental end of “Cop out of frame” is sheer perfection, the refreshing speed and vocal pattern of “Letter to a young anus” are awesome, Todd’s classic depressing tunes and lyrics in “Nigredo” and “When all your fears collide” (the latter also including some intense hardcore moments) are extremely emotive, and the list goes on. I bet they got the riff in the middle of “Tartuffe”, a genius song, from Iron Maiden‘s last album (I’m thinking the intro riff of “When the river runs deep”). There’s really not much else to say about a band whose inspiration, but also kindness and love for each other and the world shine through their music. Listening to Propagandhi is humbling.

4. Rage – Seasons of the black

Having experienced the several ups-and-downs of Rage’s career over the 22 years I’ve been listening to them, I have grown skeptical of anything new by this seminal heavy metal band led by one of my all-time favorite song-writers, Peavy Wagner. Although I decided to attribute the dramatic deterioration of Rage’s sound to the compositional takeover by Victor Smolski, I cannot ignore that Peavy had something to do with it as well. Given that Rage’s beautiful previous album (i.e. The devil strikes again) is only one year old I was unsure whether Peavy and co., would be able to repeat the feat. I was then pleasantly surprised, as Seasons of the black is an album chock-full of excellent songs. I would have to say that Seasons and The devil are equally good. Overall, whilst The devil strikes again is reminiscent of the Black in mind-End of all days era, Seasons – even faster and even more melodic goes even further back to the Trapped-Ten years period. Peavy has come up with some of his best melodies ever, and I find hard to believe how Peavy’s potential to write this wonderful stuff was dormant for those last years with Smolski. Marcos has kept the riffing at a high level (check out the furious beginning of the album, the main riff of “Time will tell”, and the awesome guitar work on “Justify”), and his solos beautiful, to the point, and only when needed. The same goes for Lucky, whose drum patterns, awesomely executed fills, and perfectly situated double bass serve perfectly serve each song. “Time will tell” is perhaps the song that best represents Peavy’s unique style of song-writing; a true masterpiece with an unorthodox chorus typical of old Rage (Peavy makes me so happy…). The same goes for “All we know is not” (the first few seconds hint to “No sign of life” off Ten years in Rage), another frenzied headbanger in true Rage style with a genius chorus. “Septic bite” is another cool song that – for those who like comparisons – stinks off The missing link-era melodies (and that bass-drum count near the end). “Serpents in disguise” is an immaculately put together song, with a beautiful chord progression, chorus, and great pace. Another straightforward, super-heavy song with an infectious chorus, “Walk among the dead”, could have easily been in 10 years in Rage. “Justify” is another brilliant song, but the intro melody, in my opinion, feels a bit out-of-place in a Rage album (too anthemic). The last song is reminiscent of something that could be found in XIII or Soundchaser, and I like it but is my least favourite song on the album. This is the true Rage, insofar as Rage is Peavy’s band and his vision should be what guides songwriting. This album is a gift to all those Rage fans who loved the band in the early-mid 1990s.

5. Memoriam – For the fallen

The news of a new band by Karl Willetts, Andrew Whale, and Frank Healy was very welcome, as both Benediction and Bolt Thrower are unique and two of my all time favourite bands. I have to admit that when I found out that the main composer is Scott Fairfax, a younger musician lacking a noteworthy record in death metal songwriting, I kind of lost interest. All skepticism disappeared when I listened to the opening song, i.e. “Memoriam”, a wonderful song, I assume a memorial to Martin Kearns, with incredible lyrics and performance by Willetts. The second song, “War rages on” is an incredible assault on the senses. The  sample in the beginning is haunting, and the way it bleeds into the intro of the song is genius. The main riff is devastating, and paired with the massive drumming produce the sonic equivalent of an earthquake. I haven’t heard something that powerful in a long time. Each song deserves its own special mention because all of them are amazing. “Reduced to zero” is another massive epic, its different parts weaving a beautiful musical narrative. Whale’s off-beat playing during the first part of each verse is perfectly complementing the tension of the riff, and the double-bass during the second part is monumental. The more manic sections on songs like “Surrounded by death” and “Resistance” send chills down my spine, and the closer is another epic tour de force. It is worth noting that the chilling ending is narrated by Lynda Simpson from Sacrilege, a band to which both Bolt Thrower owe at least 50% of their sound! It is clear that even though our famous musicians are not the main composers, Whale’s awesome drum patterns and Karl’s unbelievable singing and lyrics make what those songs are. Without those two musicians, Scott’s songs wouldn’t have been what they are. A masterpiece.

6. Skyclad – Forward to the past

I cannot know if Satan’s reunion has something to do with the freshness and power of Skyclad’s new album, but that could be the case. Forward to the past feels like it’s been put out by a new band filled with the excitement and zest of youth. The thematic orientation of the album I guess plays on both the band’s interest in tradition (folk) but also on the tendency of the world to go backwards to scary things like nationalism (as opposed to cosmopolitanism) and fascism (as opposed to not being an utter piece of shit). The song move between the more traditional tunes (“The queen of the moors”, “Starstruck?“) and the more in your face thrashy tunes (“State of the union now”). The ballad titled “Words fail me” is a standout track. The beautiful (and literal) instrumental “Unresolved” (a song one might think was composed by Georgina and Steve, but is actually one of Dave’s compositions) is a nice break from the more up-tempo, festive atmosphere. Another song that stands out and is sure to become a live favourite is “The queen of the moors”, a catchy folk tune based on a poem by John Keats. “Change is coming” is another beautiful fast paced song, with awesome lyrics and infectious main riff and chorus. The only part of the album I disliked was “A heavy price to pay”, a song with fantastic music but lame lyrics. Overall, this is an inspired album that made me appreciate Skyclad even more, and urges me to discover the period after Prince of the poverty line (1994) which I have neglected. 

7. Morbid Angel – Kingdoms disdained

I was really looking forward to listening to the new Morbid Angel album, as it is a band that I’ve worshiped since the days of my youth and it’s never disappointed me. Up until Formulas fatal to the flesh (1998) Morbid Angel had been evolving, capturing the attention and colonising the imaginations of thousands of musicians and fans around the world. I remember that by the late 1990s I would discover a new Morbid Angel clone per week, and that included both new bands (e.g. Poland’s Devilyn, and Holland’s Centurion) and old bands (e.g. Poland’s Vader, and Canada’s Gorguts). In my opinion, the only one time Morbid Angel did not offer something terribly new was with Gateways to annihilation (2002). The new album continues down the same path that Trey went after Vincent left in the mid-1990s. After the two really good Warfather albums I was curious about what Tucker could contribute. As it turns out, Tucker gives astounding vocal performances on the new album and contributes some amazing music and lyrics too. Kingdoms disdained is a new unique addition to the Morbid Angel list of unique sounding albums. The album is extremely brutal and swampy, like FFTTF, although this time around Trey’s compositions are even more noisy and discordant, and the overall sound and production darker. I would imagine that for many people the loss of classical musicality of the classic Morbid Angel period (which includes the Covenant-sounding Heretic) will be missed, but this “new” approach still has things to offer. As usual there is a variety of structures and no two songs sound similar. In “Garden of disdain”, one of the more monolithic songs on the album, what stands out is the darkness evoked through Tucker’s infernal voice and the nuances of background noise. On the opposite end of the compositional spectrum, “Architect and iconoclast” is a complex, majestic, breathtaking song, at the moment my favourite on the album. The absolute genius end of “The pillars crumbling” can only be composed by Trey, and can only be heard in a Morbid Angel album. Songs like “From the hands of kings”, “For no master” and “The fall of idols” stand out for their sheer brutality and speed. “The righteous voice” is another relentlessly brutal song where at times the more classical musicality of Morbid Angel can be heard. “Paradigms warped” is a classic swampy monster of a song. The opener, “Little piles of arms”, is already a classic in my opinion; awe-inspiring vocal patterns, unique riffing, and complex structure.  Overall, this is another album from the master of the death metal art (Trey that is) that once again separates the leaders from the followers.

8. Lock Up – Demonization

I have said it before and I will say it again: Embury fell in the cauldron of riffs when he was a baby. The addition of Anton since the previous album has made Lock Up‘s sound a bit more thrashy; grindcore with a good dose of Slayer in the mix. Kevin Sharp’s inclusion is genius, as he contributes his rare brand of furious and insane vocals to the mix. The vocal patterns on “Void” sounds like something off Need to control (1994). Once again, those weathered grind craftsmen give lessons in fury and brutality. At times groovily uplifting (“Desolation architect”), at other times sluggishly heavy (“Demonization”), or moshingly mid-tempo (“Foul from the pure”, “Void”), or harcorely powerful (“The plague that stalks the darkness”), but mostly grindingly fast (“Secret parallel world”, “Locust“, “Demons raging”, etc.). I can say with conviction that this is a brilliant album.

9. Paradise Lost – Medusa

Paradise Lost has satisfied my need for excellent music album after album without fail for many years. The arrival of their new album, Medusa, did the same. This album feels even darker, slower, more brutal, and less melodic, reminiscent of Lost Paradise and Shades of god. The band suggested that it is reminiscent of Gothic, but I would disagree; nothing can ever come close to the style of Gothic. It was a one-off and I don’t think even Greg knew what he was doing when he created that masterpiece. Once again Nick makes heavy use of his growling vocals, and, as opposed to The plague within, he sounds confident. The only two songs where he predominantly uses his normal voice are the haunting “The longest winter” and the melancholic “Medusa”, maybe my favourite song on the album. “Fearless sky” is a long song that goes through various transformations, embracing different facets of Paradise Lost’s style. “Blood and chaos” is an instant hit, an extremely catchy song. “Until the grave” is another great song with a memorable chorus. “No passage for the dead” has some amazing dissonant moments reminiscent of the Shades of god era. “The longest winter” and “Gods of ancient” are two songs I am not particularly loving right now. In my opinion it would have been so much better if either of those songs were replaced by the magnificent “Shrines”, a bonus track I cannot believe was left out of the standard version 0f the album! Although this album feels at times a bit lazy to me, there are some real gems in there.

10. Immolation – Atonement

Immolation’s new album follows the well-trodden path that Immolation has paved over the decades. It is a unique and majestic style that doesn’t get boring. I have to admit that what distinguishes this album from the two previous ones, is the ridiculously heavy “Lower”. This song is really catchy, and relatively conventional, compared to Immolation’s usual unorthodox compositional style. Immolation is not known for its catchy songs, but, in my opinion, “Lower” is as close to writing one it can get with them (in the past they have come close with songs like “The weight of devotion” or “Dead to me”). I cannot have enough of this song! Of course there are numerous other great songs in this album, including “Fostering the divide”, “Above all”, “Epiphany” and another extremely catchy song, “Destructive currents”, whose tempo also reminds of Immolation’s earlier days. “When the jackals come” is another song that stands out, as it has this weird trill in one of the  main melodies, and a catchy chorus. Nothing terribly new here, but Immolation’s style is always welcome, and in my opinion the production and drum sound are not as annoying as in the previous two albums.



Propagandhi, intertextuality, and YouTube.

Propagandhi is one of my all-time favourite hardcore-punk bands, a band that constantly develops its style instead of resting on its laurels. They have proved themselves time and time again over their 25 years-long career. One of the things I really like about Propagandhi is that lyrically their songs are quite obscure. In some cases I find their lyrics relatively straightforward, but mostly I experience them as labyrinths of signifiers very difficult to navigate.

A classification I like, although I do find problematic at the same time, is the distinction between “readerly” and “writerly” texts. Barthes (1990) defines readerly texts as those that are there for passive consumption, whilst writerly texts are those meant for active consumption. The reason I am critical of the concept is because I am aware that lyrics I unproblematically decode are not “objectively” more straightforward, reactive, but rather deal with issues with which I happen to be familiar.

Nevertheless, I still think that the distinction between readerly and writerly texts is valuable. To the extent that there are forms and traditions that can be considered mainstream or hegemonic, and others that are counter-hegemonic, those two concepts have heuristic value. It could be argued that most of Propagandhi’s songs are writerly texts; their meanings are not immediately and unproblematically decipherable because they often deal with counter-hegemonic or non-mainstream topics. For this reason, they require dedication and cultural labour on behalf of the listener.

Indeed, I was recently reading the lyrics of “Rock for sustainable Capitalism” off their masterpiece titled Potemkin city limits (2005). It is clearly a song about the appropriation of underground protest music by the Capitalist music industry. The beginning of the song, however, eluded me completely; I had no idea what it was referring to. The same goes for another awesome song whose lyrics I happened to be reading one day, the song “Potemkin city limits” off Supporting caste (2009). The lyrics tell a story of oppression, escape, capture, and death, but the specifics of the story always eluded me.

Recently I found myself listening to “Rock for sustainable Capitalism” on YouTube. At some point I hovered over the comments section, and I came across a discussion that focused on the beginning of the song. Through this discussion I discovered that the song actually refers to Lars Frederiksen and the Bastards‘ song “To have and have not“. This discovery allowed me to appreciate the Propagandhi song even more, although I’ve been listening to it for 12 years. For the first time I appreciated the comedic element of Chris’s lyrics, and even now I find it hard to listen to the song without cracking up. I then looked for “Potemkin city limits” on YouTube. In this case, too, the mystery of the lyrics was quickly solved by reading the comments. The sad story of oppression and murder was about a pig that briefly escaped death in the abattoir and roamed free for months in the countryside, before it was eventually captured.

The YouTube user Tommy Lindberget informed the audience about Francis the pig.

“Rock for sustainable Capitalism” and “Potemkin city limits” are intertextual; they refer to other texts, and knowing those other texts reveals hidden meanings. One of the texts the former references is the Lars Frederiksen video clip. One of the texts “Potemkin city limits” references is a real-life text/urban legend of animal liberation, torture and murder. YouTube and music fans, in this case, work in unison forming an intertextual enabler (Fiske, 1991); YouTube gives the platform to music fans to produce commentary that reveals those hidden meanings that, in my case, were lying dormant in the song lyrics, waiting to be discovered.


Barthes, R. (1990) S/Z. London: Blackwell.

Fiske, J. (1991) ‘Moments of television: neither the text nor the audience’, in: Seiter, E. et al. (eds) Remote control: television, audiences and cultural power, London: Routledge, pp.56-78.

Is this where I came from? #8 Manic Street Preachers and Cross Stitched Eyes

In this the 8th installment in the “Is this where I came from?” series of posts I claim that a song by Manic Street Preachers, from an album that is considered to be a landmark in the history of alternative rock, influenced the contemporary crust/punk band Cross Stitched Eyes to write one of the stand-out tracks off their debut album.

manic street preachers - quartetManic Street Preachers – Ifwhiteamerica toldthetruth foroneday it’sworldwouldfallapart (1994)

This is the only album I have listened to from the Manics, as their devoted fans refer to them, and I can say that I do understand why someone can become obsessed with this band. First of all, judging by this album, this is a band that in spite of having enjoyed some widespread popularity (I distinctly remember being exposed to their music on popular music TV shows during the 1990s), it was not afraid to stray away from popular music conventions. Indeed, this album is chock full of musical ideas that can catch someone off guard. Each song requires from the listeners to be particularly attentive and active if they want to be part of the process of popular culture in which the band invites them. While listening to Nirvana or Smashing Pumpkins is undoubtedly a form of productive consumption, I would imagine that it is not as demanding as listening to the Manics. Based on my own musical background, I can relate to the Manics in different ways. This song starts with a jazzy riff that reminds of late 1980s Nomeansno. Shortly after that it moves on to a minimalist, dark, dissonant riff which repeats itself for several times and a beat that complements the dark vibe of the riff. The singer’s pitch, theatricality and use of vibrato are reminiscent of Jello Biafra. The song then goes through several other changes, including a happy bridge and chorus that anchor the song to more mainstream alternative rock music, before the band returns to the main dark and dissonant riff. This main riff is the one that influenced Cross Stitched Eyes. This album has definitely been influenced by Faith No More, and, in turn, has definitely influenced System Of A Down.

cseCross Stitched Eyes – End (2008)

I first listened to Cross Stitched Eyes back in 2008 when their debut album (Coranach) was released and I thought they were great. I didn’t think that they were particularly innovative, but it was obvious to me that they were music fans who had embodied their influences and craftily blended them in their own sound. These influences, I would imagine, include Amebix, The Cure, Motorhead, New Model Army,1980s crust music in general, and, as I suggest in this post, Manic Street Preachers. The song “End” which closes the album is one of the best songs in it and is driven by an awesome opening riff and drum beat, which are very similar to the arrangement around the main riff of “Ifwhiteamerica toldthetruth foroneday it’sworldwouldfallapart” (on the video that follows the song starts at 2:30).


In hindsight: great albums omitted 2010-2014

Since 2010 I have been writing a post at the end of each year accounting for each year’s music offerings. However, as it happens given financial, time-related and other constraints, many great albums often go unnoticed in time for each year’s recount. In this post I will mention some brilliant albums that deserved to be on the five lists that I compiled over the last five years, but were not. Before I get on with this task I will also mention some albums that I heard over the years and, although I would not include them in the best-of list I still enjoyed them a lot.

I consider Foo Fighters to be a very unreliable band. They have released an album that I consider to be a flawless masterpiece (One to one) and then a bunch of albums that I cannot listen to. Their 2012 album, Wasting Light, is an awesome album full of awesome tunes which at times flirt with grunge, at others with garage rock and hard rock. A song like “Dear Rosemary” could have easily been written by Nicke Andersson. Moving on, although not a fan of melodic technical death metal, Gorod‘s A perfect absolution (2012) is a pretty cool album. Fans of the genre will definitely appreciate some excellent riffs and structures that borrow a lot from post-Whisper Supremacy Cryptopsy and post-Goremageddon Aborted, Necrophagist, as well as Atheist, the forefathers of technical death metal. “Sailing into the earth” has some super inventive riffs. The more clean and shouted vocals still make me cringe, but overall this is a good album. Weapons to Hunt is the continuation of Infinited Hate, the band fronted by Aad from Sinister and the former guitarist of Sinister, a death metal genius, Ron. The album they released in 2012 titled Blessed in sin, is an old school death metal monolith, a bit more thrashier than both Sinister and Infinited Hate. Although I think it suffers production-wise (I cannot stand the sound of the drums), it is a great death metal album full of insane riffs that embody the trademark genius of Ron. Dark Tranquility‘s Construct (2013) is another album I eventually liked, but didn’t blow me away. Henriksson’s limited involvement in songwriting is quite apparent, as there is an almost complete lack of fast songs (with the exception of segments on the brilliant “Science of noise” and “Apathetic”). Nevertheless, DT is lucky to have several great songwriters and the result is a very emotional and dark album with some great tunes.

I will now move on to some albums that are marked by pure excellence, but, for various reasons, were left out of each year’s best-of lists:

phpThumb_generated_thumbnailjpg1. Danzig – Deth red sabaoth (2010)

Danzig’s Deth red sabaoth is quite a treat of an album. Although I have been a huge Misfits and Samhain fan for many years I never really got into Danzig’s solo band.  I liked his first album, although I have not listened to it for many years. Many of his other albums sounded boring to me back in the day, but if this album is even slightly representative of them I think I should revisit them. Darkness and heaviness are two things that are not stranger to Danzig, and this album is full of both. At times it reminds of Black Sabbath and Type O Negative, but a much deadlier and sicker version of both. Time has definitely taken its toll on Danzig’s voice, but his songwriting ability is still sublime. I like all of the songs on it, but particularly “Rebel spirits“, “On a wicked night“, “Deth red moon“, and “Left hand rise above“.

enfr2. Enforcer – Diamonds (2010)

Enforcer is probably the leading heavy/power metal band in Sweden’s expanding old-school heavy metal movement. Diamonds, their second album, is a pure masterpiece that I listened only recently and completely blew me away. While their debut album and their third one are closer to the Germanic interpretation of British heavy metal, reminiscent of the faster moments of Accept, Avenger, and early Rage, as well as US power metal, Diamonds is much more pure British heavy metal. On songs like the unbelievable “Katana“, “High roler” and “Diamonds”, the NWOBHM praise is crystal clear. From time to time other influences find their way into their beautiful musicality, such as early Queensryche (on “Running in menace”). On the faster songs the influence of other British bands, like Satan, is also apparent. Everything is perfect about this album; awesome, riffs, awesome choruses, awesome solos, and perfect playing ability by all band-members. An absolute masterpiece.

majes3. Immolation – Majesty and Decay (2010)

When this album came out in 2010 I was slightly disappointed, which is the reason why it was not included in that year’s best-of list. In hindsight, it should have definitely been included. At the time I felt that this album was quite stagnant and did not introduce anything new in the Immolation legacy. The introduction, as well as the fact that it had an instrumental piece near the end pissed me off because I always considered Immolation a no-bullshit kind of band, and I thought that all this filler crap were just gimmicks of lesser bands. I still always skip the intro and the instrumental piece. I also had an issue with the awful drum sound which unfortunately persisted in Immolation’s next album. Immolation always had this swampy and under-produced sound, which I think was very special and integral to their identity. Going from that to the fake triggered sound of this album was disappointing. However, the song-writing is excellent as always. Songs like “A glorious epoch“, “A token of malice“, “Divine code” and “The rapture of ghosts” are up there with the best songs in their career.

morbus-chron-sleepers-in-the-rift-cover4. Morbus Chron – Sleepers in the rift (2011)

The first Morbus Chron album is a masterpiece of Swedish death metal that stands proudly next to giants of the genre, like Entombed and Dismember. Having said that, the references one immediately gets are not necessarily Swedish death metal bands but those bands that Dismember and Entombed drew on back in the day, such as Autopsy and Death. Indeed, there are riffs directly lift off Autopsy’s first couple of albums. However, the manner in which these influences are woven in MC’s style is almost magical. The tempos are a bit more spasmodic and intense than any old Swedish death metal band, with the exception maybe of Afflicted. Robert’s singing is fascinating, he is a truly brilliant performer. I listened to this masterpiece a year after its release and it took me at least another year to find the vinyl version, which includes the brilliant “Obscuritas“, one of the most excellent songs of Swedish death metal.

AMON-Liar-in-Wait5. Amon – Liar in wait (2012)

I properly listened to Liar in wait a year after it was released and my initial contact with it was an awkward one. The song that opens the album is one that still I don’t consider representative of the rest of the songs, in fact I consider it to be the worst on the album. The rest of the songs are monuments of furious old school death metal, where one hyper-brutal riff follows the other without giving the listener any room to breathe. In one word, this album is relentless. The prevalent tempo is the blast-beat, with a few short slower passages and a few slayer-beat sections. The singer has some genuinely brutal vocals and the capacity to sing really fast, albeit the style is quite monotonous. The winning point of this record is definitely the purely astounding riffs. In many cases there is a certain quality to the riffs that is reminiscent of classical music and I often envision them being played by an orchestra. Some bring into mind Deicide‘s Legion, such as the opening riff of “Lash thy tongue and vomit lies” and the second riff of “Semblance of man”. The excellently harmonised manic riffs on “Eye of the infinite” and the riffmageddon on “Semblance of man” and the ABSOLUTELY MIND-BLOWING “Sentience and sapience” are jaw-dropping. The vinyl version comes with a great cover-art and a lyrics inner sleeve. I really hope they will release another album, ’cause this one is a masterpiece.

zt6. Tragedy – Darker days ahead (2012)

Tragedy’s latest album was a bit hard to digest and I have to admit that when it first came out it confused me. Having released three masterpieces of fast brutal hardcore – whereby the D-beat constituted the backbone of almost every melancholic and depressing melody which contributed to the establishment of their unique identity – the considerable slowing down of pace came as a surprise. In hindsight, this album is not that different. Anyone interested in Tragedy will instantly identify Tragedy’s distinctive attitude. It is not even that more miserable than the earlier albums. The main difference is the abandonment of the D-beat. I still find it a bit difficult to listen to, but every time I do I get chills down my spine. “Darker days ahead“, “Power fades” and “To earth like dust” must be some of the best songs ever written.

black7. Black Trip – Goin’ under (2013)

I listened to Black Trip at the end of 2014 and I couldn’t believe my ears. Heavy metal hasn’t been so awesome in decades. Black Trip is the brainchild of Peter Stjarnvind, a brilliant musician who has left his mark on pillars of Swedish metal, such as Entombed (Peter’s contributions among others include the awesome “What you need” and “Night for day“) and Merciless (Peter’s contributions include “Violent obsession” and “Fallen angels universe“). While Black Trip obviously stand on the shoulders of giants, they do so in an inspiring way. The songs of this album are reminiscent of early Iron Maiden (e.g. “No tomorrow“, “The bells”), Saxon and Thin Lizzy (e.g. “Goin Under“, “Radar“), Kiss (e.g. “Putting out the fire“), and Mercyful Fate (e.g. “Tvar Dabla“). The way these songs are being put together, however, is magical. Joseph Tholl is a genius singer/lyricist, Peter’s soulful solos are perfectly complemented by Sebastian’s furious leads, and all the energy is craftily captured and engineered by the competent hands of Fred Estby and Dolf De Borst in Gutterview studios, the new Mecca of Swedish hard rock and heavy metal. (*Some of the lyrics on the song “The bells” are taken from Edgar Allan Poe’s poem of the same name)

3803938. Imperial State Electric – Reptile brain music (2013)

The reason I did not listen to ISE’s latest album when it first came out is that I could not find the vinyl version, so I had to wait until the early 2014. Music-wise, I guess this album picks up where the previous one left off. Nicke has written some of his best tunes so far, like the contagious “More than enough of your love“, the bluesy “Faustian bargains“, the furious “Born again“, which brings into mind another tune Nicke wrote years ago, “I wanna touch” (Hellacopters). “Nothing like you said it would be” draws heavily on Kiss’s first album. One of the exciting things about this album is Nicke’s collaboration with Fred Estby in putting together the song “Dead things”, a dark and heavy song whose atmosphere is reminiscent of their previous collaboration in Necronaut on the song “The tower of death“. It is obviously a fascinating album, yet I can’t help but compare it to the previous two albums which, in my ears are much better. The main thing I disliked about this album is the lyrics, which, compared to the previous two albums, seem a bit rushed.

pentagram19. Pentagram Chile – The malefice (2013)

Pentagram is a band that has been mentioned as an influence by several bands that I worship, such as Napalm Death, Dismember and Entombed. I was also aware that Anton, who replaced Jesse in Lock Up, was Pentagram’s guitarist. That made me look them up a few years ago and I found a video of their awesome demos on YouTube. This album is officially their first ever and has new songs that could have been written in the late 1980s. The style is very similar to Anton’s main band, Criminal, although Pentagram is much less groovy. If anything, this album is extremely addictive, the way albums used to be in the past; full of catchy riffs, choruses and clever yet approachable arrangements. In that sense, what Pentagram do on this album is a lost art. While the vocals and lots of the arrangements are very brutal, the thrash elements are also strong on Pentagram’s sound. “The apparition“, a song that is meant to become a classic, is reminiscent of early Slayer on songs like “At dawn they sleep“. The German thrash influence can be seen on several songs, especially in “Arachnoid”, whose main riff sounds a lot like Kreator‘s “Terrible certainty“. In some ways lots of riffs on this album, like the riff that opens the album, sound a lot to me like Cannibal Corpse. Tomas Lindberg’s vocal contribution on “Sacrophobia” is pretty cool, while I thought that Schmier’s contribution on “Spontaneous combustion” was a hit and miss.


Awesome music in 2014

The end of the 2014 is closing in compelling me to account for all the awesome albums that were released during this time. Music-wise, 2014 has been one of the best years I can remember. Some excellent albums came from Sweden, but also from the Americas. It seems to me that every single band on earth released an album in 2014, and there are many which I would have liked to listen to properly but didn’t have the time (and were not a priority), such as the new Mayhem, Obituary, The Haunted, Triptykon and Septic Flesh. As usual I will start with the albums that I liked less and continue with the albums that have impressed me the most.

The reunited – and now defunct again – Massacre, featuring only two members of the classic line-up (Rozz and Butler) released an album, Back from beyond, which to my ears is an embarrassing shadow of their former selves. I listened to the new Judas Priest album a couple of times out of curiosity to see if there’s any creative spark left in the band, and I don’t think there is.

Vaitor offer yummy, albeit derivative, Thrash as it was played in the late 1980s.

Vaitor offer yummy, albeit derivative, Thrash as it was played in the late 1980s.

The old-thrash resurgence holds well in 2014 with lots of new bands that pay homage to 80s thrash bands, often with some really good results. My personal favorite release from this new wave of old school thrash is the album Deto-nacion by the Colombian band Vaitor. Vaitor’s style is often reminiscent of RDP (listen for example the chorus of the eponymous song) as well as Invocator. Another band that impressed me was Korzus from Brazil. Their album Legion is a high energy thrash attack in the vein of Sepultura, Demolition Hammer and Epidemic. On songs like “Time has come” and “Die alone”, apart from speed and a super-tight rhythm section one can also find some great melodic choruses. Executer‘s Helliday (an 80s band from Brazil that had disbanded and reunited a few years ago) sounds like a modern version of old Destruction. The vocals especially sound a lot like Schmier’s and riffs like on “No sense” are pure Eternal Devastation.

The Adolescents are primarily driven by Soto (second from right) and Reflex (second from left).

The Adolescents are primarily driven by Soto (second from right) and Reflex (second from left).

Moving on to California, The Adolescents released a cool album, only one year after their previous release. The new album, titled La vendetta, is similar in style to what they have been doing since The fastest kid alive; mid-tempo melodic punk with lyrical themes around government politics, corporate politics, friendship and everyday life. I think that side B is excellent, testifying that the Adolescents are still a punk force to be reckoned with. Listen to the beautiful “Rinse cycle“, “Nothing left to say”, “Sludge”, “Sanctuary…” and “Let it go“. Side A however, in my opinion, is not equally strong, although it has a few songs that I like.

The sophomore album by Vallenfyre is raw and cold.

The sophomore album by Vallenfyre is raw and cold.

Going back to the more extreme end of the metal spectrum, Vallenfyre, the band led by Gregor Mackintosh – one of the most important contemporary musicians in the world – released its second album this year titled Splinters. Although I consider it to be a very good album, with lots of awesome songs, I cannot deny that it is miles away from being the masterpiece the debut was. On this album, Gregor focused on the crust and grindcore elements of the debut and almost completely ignored the death metal elements. The two songs that are more in the traditional sludgy death metal vein – “Bereft” and “Splinters” – are indeed my favorite ones in the album. Note the excellent use of feedback on the more grinding songs. Behemoth also released a new album and although I stopped following them since after Thelema.6 – and everything I heard by them since I considered to be derivative and boring – I quite enjoyed the new album titled The satanist. Some of the songs are typical Behemoth, sounding exactly the same as anything after Satanica (i.e. a mix of Morbid Angel, Vader and Satyricon). Still one cannot deny the distinguishing features of Behemoth, such as Nergal’s infernal voice and their ability to create some chilling and majestic music. The eponymous song, for example, sends chills down my spine.

Nick Holmes of Paradise Lost (in the front) returning to his roots.

Nick Holmes of Paradise Lost (in the front) returning to his roots.

Another extreme metal band in which I lost interest since the early 2000s – after their first album – is Bloodbath. I gave their albums a listen over the years, but I always thought they sounded uninspired and forced. Their new album, Grand Morbid Funeral, however, sounds pretty cool and the addition of Nick Holmes definitely helps – I found his vocals much more genuine and honest than Akerfeldt’s. I thought that songs like “Famine of god’s word”, “Let the stillborn come to me”, “Beyond cremation” and “Total death exhumed” are pretty awesome, but I liked the rest much less. Misery Index released a cool album titled The killing gods which is very straightforwardly death metal compared to their previous releases. There are lots of simple fast-tremolo picked riffs lots of thrashy riffs, blast-beats, and some very powerful arrangements (check out the insane breaks in “Gallows humor”). However, I personally found it quite monotonous, although I’m pretty sure that most fans of extreme music would disagree with me. They also did a tremendous cover of Ministry’s “Thieves”. Sinister, in my opinion, lost part of their identity when Aad resurrected them and started singing and stopped playing the drums. Moreover, in the last couple of albums the line-up changed drastically and the identity of Sinister suffered even more. The post-apocalyptic servant, just like the previous album,  sounds like a common brutal death metal album. Only a couple of songs, like “The end of all that conquers”, sounds like old Sinister. Having said that, there are some great songs here and some mind-blowing riffs that give praise to the great ones of US death metal, such as Monstrosity and Cannibal Corpse (listen for example the beginning of “The macabre god”).

I will now move on to the 10 albums that I liked the most this past year. Four out of these 10 albums come from Sweden, five from the US and one from Brazil.

MorbusChron-Sweven-Cover1. Morbus Chron – Sweven

My favorite album from 2014 is Morbus Chron’s Sweven. I feel blessed to have lived the release of an album like this one. As I have said several times during the last year, Morbus Chron is the pride of contemporary Death metal. Their latest album is musical in the old sense of the word; that is, it has songs that are thought-through, coherent compositions, musical narratives, with an introduction, a story that musically unfolds in the main part of the song and a conclusion. The production of the album was craftily handled by none other than Fred Estby, a veteran of Swedish death metal. The result is a sound that is completely different from all the homogenised contemporary productions where everything sounds fake. Instead, here one can actually hear a band of people playing music, doing mistakes and being passionate, elements that I think are lost with modern productions. For a more detailed review of Sweven read here.

img-1023105-seculo-sinistro2. Ratos De Porao – Seculo sinistro

My second favorite album from 2014 comes fron Brazil. RDP is for hardcore what Napalm Death is for grindcore, what Slayer is for thrash, what Blind Guardian is for heavy metal; that is, a consistently awesome, if not the best, band. Gordo’s throat is one of the best in extreme music; he is a beast and he’s getting better with time. I have been a fan of RDP since the mid-90s and I was initially exposed to their Roadrunner thrash period. Over the years they gradually went back to their hardcore roots, without however ever dismissing their love for thrash. Although, the previous two RDP albums were brilliant and I did not think their perfection could be surpassed, I think that the new album might even be their best yet! This is a collaborative effort by all the band members. Everyone contributes in the writing process and the result is a monster of an album with scorching thrash riffs, D-beat worship and aggressive vocals and rhythm section. The pure energy of “Puta, Viagra e Corrupção”, probably my favorite song off the album (I cannot get used to how perfect the chorus is), the unique mix of hardcore and thrash on “Boiada pra Bandido” and “Viciado Digital”, the dissonant riffing and mosh-inducing mid-tempo of “Grande Bosta” and the head-on thrash attack of “Stress Pós-Traumático” and “Pra fazer Pobre Chorar” are simply mind-blowing! Sick album.

dagger3. The Dagger – The Dagger

My third favorite album from 2014 comes from Sweden. The new band by former Dismember musicians Fred Estby, David Blomqvist and Tobias Christiansson could be perceived as a nostalgia act; as music made by people who did not experience late-70s and early-80s heavy metal when it was born and who have a distorted, fabricated idea of what heavy metal used to be. This, however, would be an unfair judgement given that both Fred and David have always been heavy metal aficionados since the 1980s and even in their death metal days they drew on that tradition. I have to confess that I did not expect to be impressed by The Dagger. Traditional heavy metal took form within a specific historical – cultural, social, political and economic – context. Any effort to replicate this “feel” under different conditions is doomed to failure. However, seasoned metal musicians like Fred and David have embodied the principles of heavy metal. This old heavy metal logic in the present context resulted in an album that is great to listen to over and over again, just like old heavy metal, without however sounding old or like anything that could have been released back in the day. Jani Kataja, the singer, has a beautiful and flexible voice, that at times sounds like Dio and at others like Ian Gillan. There are certain songs where one can easily guess the influences, such as “Skygazer“, which resembles a lot Deep Purple and Rainbow. The beginning of “Ahead of you all” sounds like something Iron Maiden would come up with after the mid-80s. Some of the twin guitar harmonies also remind of Iron Maiden. However, lots of the music on The Dagger is much darker, bringing into mind the more doomy sects of the genre, and bands like Trouble and Candlemass. In any case, each song is better than the other. Some incredible moments include the awesome chorus and guitar harmonies of “Skygazer”, the bridge and chorus of “Ahead of you all“, the last section of “Electric dawn” (starting at 2:51), the driving pace, the melody halfway through and the chorus of “Dogs of warning“, the entire “Inside the monolithic dome” (which sounds ridiculously like Deep Purple’s “Pictures of home“) with its brilliant harmonies, chorus and sing-along melodies and the brilliant closing track “Dark cloud“, in which Jani gives a stunning performance and also has one of the best endings I have ever heard.

AtTheGatesAtWarWithReality4. At The Gates – At war with reality

At the gates’ comeback album is awesome. To be honest, I did not expect ATG to come up with something impressive. In the case of Carcass’s comeback last year, Bill Steer, the main songwriter, had abstained from extreme metal for two decades, and, in that sense, I expected him to be thirsty and full of ideas for some extreme music. In the case of ATG, though, I always thought that the Bjorler twins’ riffing ability reached saturation by the time The Haunted released One kill wonder. And, at the end of the day, I don’t think I was wrong. To my ears, there is not one single riff in the new album that can compete with the perfection of any riff off “Slaughter of the soul”. Furthermore, in terms of pushing the envelope they are not even close to what they achieved with the first two albums either. Nevertheless, even the worst ATG album is much better than the best effort of most bands. ATG are in a league of their own. The fact that I think that the new album cannot compete with the old ones doesn’t mean that I don’t love it. I consider most of the songs monumental. “Death and the labyrinth” is a perfectly crafted song, with a beautiful bridge reminiscent of The red in the sky is ours era. My three favorite songs off the new album are, “The book of sand“, “Order from chaos” and “The head of the Hydra“. The latter has some of the most beautiful riffs on the album (that trill on the main riff gives me goose bumps) and an awesome chorus. “The book of sand” is one of the most breathtaking songs they have ever recorded. In this song they repeat what they did in the past on songs like “The break of autumn” where they replace the electric orchestration of a theme with a clean rendition of the same theme. The final section off “The night eternal” is extremely beautiful and ends the album in a monumental manner. “Eater of gods” and “Upon pillars of dust” – the latter having a main riff that would make Exodus blush – could have been in the sophomore The Haunted album, although they are maybe a bit too dark for The Haunted. I thought that the second riff on “Eater of gods” was cringeworthy, and I’m really glad they only repeat it once throughout the song. Another thing that disappointed me was the production of the album; all the instruments are crammed together and the drums sounds fake.

entom5. Entombed A.D. – Back to the front

The first listen of the new Entombed album – after their official transformation to Entombed A.D. – left me unimpressed. The first thing I noticed was that no songs really stood out. However, I also noticed that Entombed haven’t been so coherent since Wolverine Blues. And although I have loved every single post-wolverine album, maybe with the exception of Uprising, I realised that I had indeed missed the stylistic consistency of the first three albums. With the second listen of the album, however, I started paying attention to the nuances and the beauty that can be found in simple and straight-forward death metal. For sure Entombed A.D. is nowhere close to being as extreme, groundbreaking and brilliant as the first three Entombed albums, but it is still pretty awesome. Slow songs like “Eternal woe” (maybe my favorite on the album) and “Soldier of no fortune” (fittingly ending the album like “Soldier of fortune” closes Deep Purple‘s Stormbringer) have a certain Clandestine vibe to them, which send chills down my spine. The opener “Kill to live” is a powerful song with a wicked main riff, genius tempo changes, melodies and solos, a true gem faithful to Entombed’s early death legacy. Other brilliant moments in the album include the break near the end of “Bait and bleed“, the chorus of “Second to none”, the atmospheric sections of “Bedlam attack” and overall the awesome arrangements on “Digitus medius”. Several songs follow a particular recipe, namely, they have a slow or mid-tempo start which then develops into a fast double-beat or d-beat. “Waiting for death” is a thrasher in the vein of Ritual Carnage or even late Infernal Majesty. The only bad thing about this album is the production/mix. Disappointingly, sometimes the lead guitar and other times the rhythm guitar are way too low in the mix, with the result of either some awesome melodies or some great riffs to be inaudible. Nevertheless, Back to the front remains highly addictive and satisfying, like only very few albums can be these days. Attention hordes!

incantion-dirges_of_elysium-600x6006. Incantation – Dirges of elysium

Incantation has been one of the founding monoliths of brutal death metal. Founding member John McEntee and long time partner in crime Kyle Severn have served the unholiest sects of extreme music without ever straying and following trends. Over the years many members have come and gone, but always, no matter who was in the band, they submitted their compositional style to the swampy, dark and dissonant mission that McEntee set on since the beginning. The last two albums saw the inclusion of Alex Bouks, who revamped Incantation’s style by adding some very memorable melodic passages. Unfortunately Alex left after the recording of this new album. Dirges is typical Incantation; brutal and blasphemous American death metal, shifting from sludgy sonic pessimism to intense grind. It starts majestically with a instrumental called “Dirges of elysium” and continues with a super fast “Debauchery“. “Bastion of a plagued soul” is another full-frontal attack with an excellent slow dissonant break followed by an incredible gloomy section that only Incantation can pull off. The intense and fast “Impalement of divinity” and the massive, swampy and ceremonial “Charnel grounds” can successfully summarise the character of this album. An excellent album by a consistently awesome and committed band.

Mastodon_-_once_more_'round_the_sun7. Mastodon – Once more around the sun

Mastodon is a band that I only started appreciating after I heard their mind-blowing fifth album, The hunter. The new album is just as perfect. It kicks off in a very dramatic way that reminded me of the first Tragedy album. Sanders is wailing through the opening song (“Tread lightly”), a majestic composition with some super heavy riffing towards the end. With certain songs, like “The motherload” and “High road”, Mastodon take an even more laid back approach to song-writing than in The Hunter. To be fair, even in the more melodic and straightforward songs, behind the simple melody the musicians are restless. With songs like the brilliant “Aunt Lisa” (which reminds of something off Faith No More‘s Angel Dust) and “Asleep in the deep” they fully explore progressive and technically proficient routes to composition and performance. In some cases I felt that Mastodon repeat themselves (for example compare the singing on songs like “Chimes at midnight” and “Feast your eyes”). In any case, this remains a brilliant album that invites the listener to explore its nuances for a long time after the first listen.

cannibal-corpse-a-skeletal-domain8. Cannibal Corpse – A skeletal domain

CC have rightfully earned their position as a death metal institution through a series of awesome albums in the early-mid 1990s. Over the years, however, I thought that they stalled and kept repeating themselves. Still, especially in albums like The wretched spawn and Kill, I thought that they kept a high quality of death metal musicianship. I found CC’s new album much more interesting than Torture. While in the latter the band sounded as if they were making a conscious effort to revisit past glories, in the new one they sound more free and in a more experimental mood. The new album has some typical CC “hit songs” with catchy choruses and vocal patterns, like “Kill or become” or “Vector of cruelty”. However, there are some pretty interesting arrangements and, of course, heavy doses of extreme brutality. The opening song is obliterating and the chorus of the eponymous song has one of the most excellent vocal patterns that Cannibal ever wrote. The more I listen to the album the more interesting stuff I discover and the  more I enjoy it! “The murderer’s pact” showcases Webster’s trademark sick melodies and “Vector of cruelty” is easily one of the most awesome mid-tempo songs in the CC roster (up there with “Sentenced to burn”, “Nothing left to mutilate” and “Slain”)! “Icepick lobotomy” is another masterpiece by Barrett with an awesome breakdown half-way through. “Asphyxiate to resuscitate” must be one of the most memorable songs CC ever wrote. All in all an awesome album.

tourni9. Autopsy – Tourniquets, hacksaws and graves

Tourniquets… is pretty awesome in the typical Autopsy way; sometimes swampy and sometimes fast, always creepy death metal with the sickest vocals possible. However, I like it much less than last year’s brilliant The headless ritual. I think that Cutler composed some extremely memorable and chilling songs, like the eponymous one, or “King of flesh ripped”, which are my favorite on the album. Two other songs I really liked, “Deep crimson dreaming” and “Burial” were composed by Reifert. Coralles contributed the crazy “Parasitic eye”, a typical Coralles composition, with a great intro-melody and a fast chorus. All in all, Tourniquets is a good album by musicians who know their craft well and are the undisputed leaders in this specific sub-genre of extreme metal.

rigor-mortis-cover10. Rigor Mortis – Slaves to the grave

The comeback, and I imagine last, Rigor Mortis album is both a reason to celebrate and mourn. The leading member of the band Mike Scaccia, tragically passed on during a Texas show two years ago. His awesome guitar work is present on this album nonetheless. This final offering is an awesome album worthy of their three masterpieces from the late 1980s – early 1990s. The line-up features all original members as appeared on the debut album. Slaves to the grave comes with an awesome cover. The musical recipe includes ridiculously fast tremolo picking, fast songs in the vein of “Contagious contamination” or “Shroud of gloom” (such as “Flesh for flies” and “Poltergeist”) and punk-influenced songs in the vein of “Throwback” (such as “Rain of ruin”) and pissed-off vocals. There is also an instrumental song titled “Sacramentum gladitorum” whose chord progression reminds of “The call of Ktulu”. It is always interesting to confirm what lasting impact Metallica had in the world of extreme music, given that so many bands have written instrumentals that use “The Call of Ktulu” as template. The introductory section of “The infected” reminded me of Iron Maiden. The only song that I don’t really like is the last song on the album. All the rest are delightful thrash anthems. I’d like to see any modern band trying to compose equally memorable and catchy thrash songs.

2014 playlist


Whatever happened to Pelle and Rasmus?

Classic Swedish death metal is readily associated with bands like Entombed, Dismember, Unleashed, Grave and maybe At The Gates. All these bands defined the genre in their own special way. Comecon is one of the bands that followed shortly after the big bang of Swedish death metal in the late 1980s – early 1990s but never became popular and, hence, its influence can by no means be considered definitive of the genre. Given the lack of a (real person) drummer and of live gigs it is not difficult to imagine why this band never became popular. Additionally, it cannot be denied that Comecon’s music was neither as brutal nor as technically proficient as the music of its contemporaries, and both brutality and technical proficiency have always been crucial parameters upon which death metal bands have been judged.Comecon_logo

However, I have always considered Comecon a unique and brilliant band. The masterminds behind the band were Rasmus Ekman (Guitar/Bass) and Pelle Ström (Guitar/Bass). Both played hardcore and thrash in various Swedish bands, including Agony, Omnitron and The Krixhjalters, before forming Comecon in 1989 (source: Encyclopedia Metallum). In Comecon, they enmeshed thrash and hardcore elements, such as the Ramones drum beat, D-beat and thrash riffing, with death metal elements, such as Blast-beats and fast tremolo picking riffs. As such, music-wise, Comecon were fast, intense and some of the songs had frequent breaks and rhythmic changes, just like most of death metal bands of the time. It is true that they also had more straightforward songs, created in line with the hardcore/punk compositional canon (for example, The dog days). What really set Comecon apart from their peers is not as much the style of music as the explicitly ideological lyrics, another element they shared with thrash and hardcore. Comecon were critical of capitalism and its European manifestation in the form of the EU, they were eager for resistance, anti-fascist, and, in the end, pessimistic about the future of humanity. However, as opposed to thrash and hardcore bands’ often childish and inconsistent revolutionary rhetoric, Comecon offered poetry that included serious and sophisticated socio-political critique.


From left to right: Petrov, Ekman, Ström and Green (the fake drummer). Note Ekman’s trademark attire and Petrov’s “I eat christians” t-shirt!

On each of their albums they recruited a different vocalist, L.G. Petrov (of Entombed fame) on the first one, Martin Van Drunen (Asphyx and Pestilence) on the second and Marc Grewe (Morgoth) on the final one. All three of them gave with Comecon some of the best performances of their careers; especially, Grewe and Van Drunen blow my mind! The style of the music also changed from album to album. Some of the more punk/hardcore elements of the first album (Megatrends in brutality – 1992) gave way to more death metal elements and emotion on the second one (Converging conspiracies – 1993). On the third album (Fable frolic – 1995) they shed lots of their speed in favour of a more dissonant, almost industrial sound.

In their life-span as a band, Rasmus and Pelle composed music that was at times heartfelt and compelling (listen to the magnificent Imploder, The whole world and Worms), at other times intense and devastating (Icons of urine, Wash away the filth, Slope, Bleed/Burn) and at other times dark, pessimistic and suffocating (Canvas of history). Their lyrics provided food for thought during my adolescence and influenced me artistically. Unfortunately, Comecon broke up, so the world never experienced the next incarnation of this great band. Pelle’s and Rasmus’ whereabouts after the demise of Comecon are unknown to me.

“Who opened the door for the democrator?

And how come he let in the market conquistadors?

Why is he acting as if he has something to hide?

The privilege of the stupid is to be taken for a ride.” (excerpt from Democrator)

“How many poor do we need to prosper?

How much starvation to make GNP rise?

Why are we sliding into hell when they’re pointing at heaven?

Let Europe recollect what must be done, with bourgeois lies.” (excerpt from Community)

“All over the world,

the carcasses of cultures drowned in civilisation.

Crawl over the world,

the carcasses of our cheap seductive virulent commodification.” (excerpt from Aerie)


Six songs about Johnny

A while ago I realised that I have come across the name “Johnny” in songs of many different artists. I started thinking about what is that which makes different people around the world named “Johnny” interesting to write about, or what makes “Johnny” a good name to give to the character of a song. The first thing I thought was that maybe “Johnny” happens to be a very common name, so maybe these musicians happened to know somebody named Johnny who was worth writing a song about. Then I also considered that there is something cultural about the name “Johnny”; some specific meaning attached to it in different cultural contexts that might explain why an artist would use this name in a song. My first assumption proved to be a plausible one, when it comes to the USA. It appears that “John” was the second most common male name in the 1990 census in the US (see Wikipedia entry here). However, it is much less common in other parts of the world. In the remaining of this post I will test all these assumptions against six songs about Johnny.

1. Reagan Youth – Degenerated

“Degenerated” is a brilliant song off Reagan Youth’s first collection of songs from the period 1980-1984. The song talks about Johnny whose life is consumed between doing drugs and watching TV; his identity is derived from being a “man”, a role which he performs through finding women to get laid. The song ends with the prediction that Johnny’s degenerate lifestyle will be reproduced through creating a family and having children. As mentioned earlier, the name “John” is pretty common in the US, where Reagan Youth came from, so it could be that Reagan Youth chose the name that came to mind first. Or maybe the song was written for somebody, among the many people named “John” is the US, whom they knew personally.

2. Dead Moon – Johnny’s got a gun

Dead Moon is and will always be the undisputed leader of garage rock, and this song is a testament to their awesomeness. While one might think that it is a direct reference to the anti-war book and movie “Johnny got his gun”, or a song about young soldiers ready to die for their country, it is actually a song about resistance to oppressive rule and the willingness to die in order to shake off the shackles of oppression. The aim of a title which is very similar to the book might be to juxtapose the folly of fighting for the interests of the elite with fighting against injustice and oppression; a bad violence, good violence thing…

3. Bob Marley and the Wailers – Johnny was

Another amazing song which talks about “Johnny” comes from Bob Marley’s album Rastaman vibration (1976). It talks about a man who was shot dead on the street. Maybe it was somebody that Rita Marley (Bob Marley’s wife), who wrote the song, knew. In the case of this song, however, the choice of the name “Johnny” is more likely to have a cultural explanation. For one thing, it could be reference to the book. Even if it is not a reference, it could be argued that to some extent, through such a popular novel and movie, the name “Johnny” was culturally constructed as a name that is associated with war, suffering and death. Stiff Little Fingers did a brilliant cover of this song on their debut album.

4. D.I. – Johnny’s got a problem

“Johnny’s got a problem” is a song off D.I.’s second full length album Horse bites, dog cries (1985).  Although it is a less remarkable song among the explosive “Youth in Asia” and “Hang ten in east Berlin” and the genius “Little land” and “Spiritual Law”, it is a very catchy sing-along tune, typical for Californian punk. It talks about a guy who is wasting his life and who does not care if he takes others down with him to satisfy his selfish aims. On the one hand, the lyric “we used to look up to you” suggests that this song was  probably written for somebody that the band knew personally. On the other hand, the lyric “Johnny after Johnny you’re all the same” could suggest that there is a negative connotation to the name “Johnny” itself.

5. Riot – Johnny’s back

“Johnny’s back” is one of the most beautiful songs off Riot’s Thundersteel album. In a typical heavy metal fashion, it is an apolitical song about a guy whose effort to leave his old life behind did not come to fruition, so he returns to his hometown where he used to be a “somebody”. The song is sang in first person, although none of the band’s members is named Johnny. Maybe it refers to a person the band knew. It could still be an autobiographical song with the specific pseudonym chosen either due to specific cultural significance or because it is very common a name.

6. Chuck Berry – Johnny B Goode

“Johnny B Goode” is an archetypal rock ‘n’ roll song by Chuck Berry. It talks about a African American country boy from Louisiana who was an awesome guitar player and was meant to be famous. It is a testament to the dreams of a young man who comes from a disadvantaged background and his desire to use the only resource available to him, his talent, to improve his social and economic position. According to Berry himself, the song is part autobiographical and was initially inspired by Berry’s piano player, Johnnie Johnnson. Berry has written 30 more songs around the Johnny B Goode character (check out the Wikipedia entry here).