Death Metal Underground Newsletter 12/26-1/5
Death Metal Underground
Newsletter
12/26-1/5
Because Metal Is Art
War Master – Blood Dawn
War Master attempt to create
a new form of the classic death metal and grindcore that defined
the underground metal period. Taking their name from a Bolt
Thrower song, the band might be expected to sound like that
august act, but the truth is more nuanced. War Master make a
language of their own from pieces of the past.
This language can be confusing because many of these pieces of the past are recognizable, although never entire songs, so that War Master tend to pair an old riff archetype with a new riff of their own creation, or use song structure or aesthetic ideas but apply them with new forms. As a result, parts of this are immediately recognizable and it takes some moments to mentally integrate the past with the current version of the same form.
This language can be confusing because many of these pieces of the past are recognizable, although never entire songs, so that War Master tend to pair an old riff archetype with a new riff of their own creation, or use song structure or aesthetic ideas but apply them with new forms. As a result, parts of this are immediately recognizable and it takes some moments to mentally integrate the past with the current version of the same form.
Carbonized – Demo Collection
The Swedish grindcore band
Carbonized came from an era when metal was still defining
itself, and grew up alongside the more intense death metal acts
which were putting Sweden on the map. Carbonized remains
somewhat less known because the band embraced weirdness and
unconventionality in everything it did, which makes for great
art but not a conveniently wrapped-up listening experience.
Through three classic albums — For the Security, Disharmonization, and Screaming Machines — Carbonized put its mark on the death metal and grindcore underground by using outrageous technique and converting ideas from other genres into their metal equivalents. While in too “raw” of a form on the Carbonized releases, these ideas were picked up by other bands in more easily digestible forms and thus made their way into the core of those genres.
Through three classic albums — For the Security, Disharmonization, and Screaming Machines — Carbonized put its mark on the death metal and grindcore underground by using outrageous technique and converting ideas from other genres into their metal equivalents. While in too “raw” of a form on the Carbonized releases, these ideas were picked up by other bands in more easily digestible forms and thus made their way into the core of those genres.
Instrumental metal: an idea whose time has come
When Burzum released Hvis
Lyset Tar Oss in 1994, underground metal was forever split. This
album featured longer songs where concept was closely
intertwined with song structure, and riff shape defined by mood.
It both made undone past paradigms and raised the bar.
After that point, black metal and death metal deflated. The initial rise of ideas created in reaction to outrage at a dying civilization was gone, and nothing else propelled the genre forward, so it fell into self-imitation based on outward traits. Further, few bands could handle the raised bar, so it was “explained away” in social circles and the music tended toward the more primitive, not less.
After that point, black metal and death metal deflated. The initial rise of ideas created in reaction to outrage at a dying civilization was gone, and nothing else propelled the genre forward, so it fell into self-imitation based on outward traits. Further, few bands could handle the raised bar, so it was “explained away” in social circles and the music tended toward the more primitive, not less.
Lethal Prayer – Spiritual Decay
I used to move around a lot
when I was a young adult (perhaps I still am young compared to
some of the other more seasoned writers at DMU). Shortly before
I moved to Tampa, Florida I was acquainted with a band from
Pennsylvania called Lethal Prayer, which was like a mixture of
Acheron and Incantation influences with a Dissection-esque
undertone. Lead guitarist Belial Koblak also relocated to Tampa
and gave me CDs of each of his projects. I grew keen to Lethal
Prayer because of the era that it was from and the mentality
that’s behind it.
Spiritual Decay was self-released in 1996 by Koblak’s Decaying Filth Music which issued most of his recordings and demos. The album comprises straightforward early 1990s death metal with competent musicianship. Koblak makes good use of his classical influences to present interesting ideas which might’ve been unorthodox in the death metal period when Spiritual Decay was released.
Spiritual Decay was self-released in 1996 by Koblak’s Decaying Filth Music which issued most of his recordings and demos. The album comprises straightforward early 1990s death metal with competent musicianship. Koblak makes good use of his classical influences to present interesting ideas which might’ve been unorthodox in the death metal period when Spiritual Decay was released.
Codex Obscurum – Issue Three
The third edition of
contemporary old school print zine Codex Obscurum brings vast
improvements to this already-promising zine. Under the guidance
of editor Kevin Ord, Codex Obscurum has improved its
readability, positioned its content for an in-depth view of the
metal scene, become more consistent about its most important
sections and added experimental content that expands what we
think of metal zines.
Remember the first doom metal bonanza
Does anyone remember Morgion?
They had a reunion a few years ago, and it seemed to peak
interest for a month and then vanish. That’s a far cry from how
it was in the late 1990s when Morgion was considered the future
of metal.
Morgion was atmospheric heavy metal styled doom metal, or basically Black Sabbathy stuff with a little death metal technique and a lot of keyboards. Death metal had just burnt out, and the labels needed something new to fire out the cannons. As a result, the first doom metal boom was born.
This boom died of course because the real public discovered black metal exactly five years past its point of relevance, and suddenly it was quite popular and everyone had to have a black metal band. But before that, the labels and magazines had been casting about for something to call the future. No one wants to admit the best days are behind, but for all things, the day comes when that is true.
Morgion was atmospheric heavy metal styled doom metal, or basically Black Sabbathy stuff with a little death metal technique and a lot of keyboards. Death metal had just burnt out, and the labels needed something new to fire out the cannons. As a result, the first doom metal boom was born.
This boom died of course because the real public discovered black metal exactly five years past its point of relevance, and suddenly it was quite popular and everyone had to have a black metal band. But before that, the labels and magazines had been casting about for something to call the future. No one wants to admit the best days are behind, but for all things, the day comes when that is true.
Death Metal Epic I: The Inverted Katabasis by Dean Swinford
The intersection of death
metal and fiction has so far remained fairly murky. Part of this
is because writing fiction about death metal is hard and has a
tiny audience, where writing fiction that mimics death metal is
downright impossible and will send us all scurrying back to our
Lovecraft and Poe.
However, Dr. Dean Swinford has given this one a shot with his book Death Metal Epic I: The Inverted Katabasis. In occult circles, the term katabasis takes on a new meaning of a descent into hell or an occult world beneath this one. Death Metal Epic I: The Inverted Katabasis describes an early 1990s death metaller dealing with the collapse of his technical melodic Tampa death metal band, and his rebirth first through an alternate musical avenue, and next through his induction into the extreme black metal underworld.
However, Dr. Dean Swinford has given this one a shot with his book Death Metal Epic I: The Inverted Katabasis. In occult circles, the term katabasis takes on a new meaning of a descent into hell or an occult world beneath this one. Death Metal Epic I: The Inverted Katabasis describes an early 1990s death metaller dealing with the collapse of his technical melodic Tampa death metal band, and his rebirth first through an alternate musical avenue, and next through his induction into the extreme black metal underworld.
Is rock ‘n’ roll assimilating metal?
Metal interviews are like
connecting violent minds to an amplifier. The musician is given
a chance to speak plainly, and rewarded for saying something
outlandish enough to make a headline. It’s like pouring gasoline
on a fire.
Much as “in vino veritas” describes how drunk people often accidentally blurt out the truth, interviews often get the essential thoughts out of musicians. Tired, often doing multiple interviews in a day, musicians are apt to cut to the chase. Further, since they’ve been working that part of the brain that makes language, they’re often at their clearest several interviews into the process.
Thus it’s not sensible to either discount interviews, or to wholly accept them without being critical. But recent comments by Nominon drummer Per Karlsson highlight why metal interviews will always be popular — the offhanded, casual and yet direct blurting of truth...
Much as “in vino veritas” describes how drunk people often accidentally blurt out the truth, interviews often get the essential thoughts out of musicians. Tired, often doing multiple interviews in a day, musicians are apt to cut to the chase. Further, since they’ve been working that part of the brain that makes language, they’re often at their clearest several interviews into the process.
Thus it’s not sensible to either discount interviews, or to wholly accept them without being critical. But recent comments by Nominon drummer Per Karlsson highlight why metal interviews will always be popular — the offhanded, casual and yet direct blurting of truth...
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Subvert the dominant paradigm, don't be a solipsist.