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Chronicles of Chaos Issue 080
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CHRONICLES OF CHAOS e-Zine, December 7, 2004, Issue #80
http://www.ChroniclesOfChaos.com
Co-Editor / Founder: Gino Filicetti
Co-Editor / Contributor: Pedro Azevedo
Contributor: Brian Meloon
Contributor: Paul Schwarz
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Matthias Noll
Contributor: Alvin Wee
Contributor: Chris Flaaten
Contributor: Quentin Kalis
Contributor: Xander Hoose
Contributor: Adam Lineker
Contributor: James Montague
Contributor: Jackie Smit
Neophyte: James Slone
Neophyte: Todd DePalma
The individual writers can be reached by e-mail at
firstname.lastname@ChroniclesOfChaos.com.
(e.g. Gino.Filicetti@ChroniclesOfChaos.com).
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #80 Contents, 12/7/2004
-----------------------------
* Chats
-- Anthrax: Weathering the Storms (And Coming Out Smiling)
-- Marduk: The Plague Rages On
-- Behemoth: Keeping It Real
-- The Amenta: The Thunder Down Under
* Albums
-- 8th Sin - _Sinners Inc._
-- Acheron - _Rebirth: Metamorphosing Into Godhood_
-- Agnostic Front - _Another Voice_
-- Amon Amarth - _Fate of Norns_
-- Anaal Nathrakh - _Domine Non Es Dignus_
-- Anthrax - _The Greater of Two Evils_
-- Arch Enemy - _Dead Eyes See No Future_
-- Cruachan - _Pagan_
-- Cult of Catharsis / Opus Forgotten -
_Lord of the Gallows_ / _Unleash the Fury_
-- Dark Tranquillity - _Exposures: In Retrospect and Denial_
-- Enslaved - _Isa_
-- Imperial Empire - _The 3rd War_
-- Marduk - _Plague Angel_
-- Mechanical Poet - _Woodland Prattlers_
-- Nattefrost - _Blood and Vomit_
-- Nokturnal Mortum - _Twilightfall_
-- Omnium Gatherum - _Years in Waste_
-- Shape of Despair - _Illusion's Play_
-- The Axis of Perdition -
_Physical Illucinations in the Sewer of Xuchilbara (The Red God)_
-- The Crown - _Crowned Unholy_
-- The Soundbyte - _Rivers of Broken Glass_
-- Thee Maldoror Kollective - _A Clockwork Highway_
-- Vampire Mooose - _Vampire Mooose_
-- Void of Silence - _Human Antithesis_
-- Woods of Ypres - _Pursuit of the Sun & Allure of the Earth_
* Rants
-- Doom Metal: The Gentle Art of Making Misery
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WEATHERING THE STORMS (AND COMING OUT SMILING)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Scott Ian of Anthrax
by: Jackie Smit
At first glance, Anthrax founding member, guitarist and chief
songwriter Scott Ian cuts a distinctly dissimilar figure to the
Bermuda-short wearing blockhead of the mid-'80s. This is a man whose
eyes tell tales of a road travelled that has had more inclines,
twists, turns and slippery slopes than most dare to dream of, and
almost remarkably considering the disposable nature of music in our
day and age, is still going strong and still burning with the hunger
of a young upstart dead-set to earn his stripes amidst some fairly
gnarly competition. It's this attitude, however, that has seen
Anthrax not only survive the untimely dissolution of key business
arrangements, the rise and fall of nu-metal and a whole lot more to
spare, but it's also been the driving force that sees the band
still capable of maintaining an absolutely rabid fanbase, while
consistently drawing fresh blood into the fold so that they might too
discover what so many of us were weaned on. In that respect, the
latest offering from Camp Anthrax, _The Greater of Two Evils_, which
sees the band re-record a veritable diapason of classic tunes, might
serve as a perfect introduction to fresh, unsuspecting ears. Says
Scott about the record:
Scott Ian: It came from the idea that we were going to do a box set
this year to commemorate twenty years of _Fistful of
Metal_ being out, and once we started gathering all of our
ideas together we realised that we would have needed to
start planning everything for this box set about four
years ago. There literally was so much stuff that we would
have wanted to include, and just the time that it was
going to take to make this happen... One of the ideas came
from a discussion from where you would play a show and
someone would come up to you and say: "Well, why didn't
you play this song or that song?" So out of that came the
idea to put all the songs from the first five albums on
the website and have people vote -- not that it would
actually solve the problem, because we would still have to
put every song in our catalogue on to please everybody.
But just as a cool thing, we thought for the box set we
would put those songs up, have the fans vote, and then we
would have a disc where we record a bunch of the old song
that the fans picked. Because we aren't going to do the
box set at this point, we just figured that we'd take that
idea and still do that, so that's where it came from.
CoC: In listening to the finished product, do you ever find yourself
comparing them to the earlier recordings?
SI: I don't compare it at all. You can't compare it because it's two
completely different things -- different times, different people.
You know, we're different musicians now as players -- it's just
completely different. That's the point of it. These songs
recorded now are exactly as you would hear them if you came to
see us live tonight. That was the idea that we had going in. We
weren't trying to remake anything, we weren't trying to reinvent
the original studio versions. We just set up our gear and we
played the songs live and we recorded seventeen tracks in two
days. That was it -- done. This was a representation of what the
songs sound like live. It's a live album recorded in the studio.
CoC: Have Joey Belladonna or Neil Turbin heard any of the tracks on
_The Greater of Two Evils_, or given you any input on how the
material sounds?
SI: Not that I know of. We didn't have any input from them, and I
don't know whether they've heard it yet or not. I actually don't
know how they would have unless someone sent them a promo copy or
something.
CoC: You guys never wondered whether they would take this record the
wrong way -- you know, perhaps seeing it as an insult to their
work?
SI: I don't care. Truthfully -- why would it matter? They don't have
a say, so... But I would find it odd if they had anything
negative to say. I couldn't imagine them being negative about it
-- that would really seem weird to me.
CoC: Speaking of Joey, care to shed any light on why the Belladonna /
Bush tour never happened?
SI: Joey decided not to do it -- simple as that. You'd have to ask
him his reasons for doing that. We were really disappointed,
because we felt like we were going to do something really cool
and special that had never been done before, and then he pulled
himself out of the mix. I mean, we ended doing the tour ourselves
anyway, and had a great time. And that's where things started
again for me, anyway. I look back at that tour in 2000 and I
think that's where it all finally started to turn back around for
us after all the late '90s crap. But anyway, you know -- there's
a part of me that wishes we would have done it, just to satiate
my curiosity and just to see what it would have sounded like and
what people would have thought. Then there's another part of me
that's glad we didn't do it, because we really didn't need to do
it. I'll probably always be curious, and who knows, maybe someday
it will happen, unless Van Halen beats us to the punch, and I
don't see that happening.
CoC: He never gave you any sort of hint about his reasons behind not
wanting to do the tour?
SI: We were told things, but it's not fair for me to speculate or put
words in his mouth.
CoC: And you don't have any more contact with him?
SI: I haven't spoken to him since 2000.
CoC: I remember talking to John [Bush] last year about the troubles
that befell Anthrax during the late '90s, and now that the band
is on track once again, what do you have to say about the last
five to six years of your career?
SI: Well, like I said, beginning of 2000 is when things really
started to flip around for us and you could tell that things had
changed. In 1998 we released _Volume 8_, and everything was going
really well for six months, and that's when the label we were on
at the time [Ignition Records] went out of business. So six
months into this project, we had a record that had just sold 100
000 copies in the States and we were about to hit with a second
single which was going to be "Crush", and then right before
Christmas our manager calls us up and says that the label is
going out of business, we don't have any more distribution -- the
record is done, and we have to go and find a new deal. And it was
like "What the fuck?" We thought everything was great going into
the project after getting away from Elektra on the _Stomp 442_
record -- which had already been a nightmare unto itself -- and
then everything was set up for _Volume 8_, it was going great and
then a rug gets pulled out from under us. The record company goes
out of business -- what the fuck is that? So basically, '99 was
just a lost year. We were fucked and we trying to find a new deal
and then we did that tour in the beginning of 2000, and we did
another one in the summer of 2000 and then toward the end of the
year we started writing, and then in 2001 was when we were
supposed to go and do the Priest tour, and then 9/11 happened, so
that got postponed. So we finished writing the record and then we
went into the studio at the end of 2001 and actually started
recording. We did the Priest tour in the States at the beginning
of 2002, finished _We've Come For You All_, and next thing you
know we where back here in the UK supporting Motorhead; the album
comes out in March 2003, and here I am sitting in front of you
eighteen months later. It's been the best eighteen months of our
lives, and the last record enabled us to get to the point where
we're even better than we were before. Things have really started
to go back up and with _We've Come For You All_ we actually had a
label that did its job for us, which really isn't too much to ask
for. And it actually worked this time, and obviously the support
we've had has been the best, so yeah... That's about all I can
say about that.
CoC: Looking back at those difficult times, did you ever think that
Anthrax might be on the verge of extinction?
SI: Well, it was never going to go away. We were never going to quit
because something bad had happened in the music business. That's
just frustration for me and it just causes me to fight even
harder. You know, the song "Refuse to Be Denied" on the last
record -- that's where that title came from. After all that shit
had happened at the end of the '90s, I remember writing that on a
piece of paper and I had that stuck up in a room at my house for
a year, so that every day I would see it. Admittedly that's not
what the song is about, but that's where the title came from. My
attitude was like there's no way that anyone is going to ever
stop me from doing this unless I decide that I don't want to do
it anymore. I refuse to have any outside source, outside of
anyone who is not physically inside this band, to ever have an
effect on what do or what we don't do, because that's the way
it's been since day one. And as frustrating as it is, you have to
overcome those fucking obstacles -- and that's what makes us as
strong a band as we are. There's a lot of bands that never even
made it out of the '80s, because they couldn't overcome those
fucking low times and couldn't deal with stuff and get over the
hump or whatever you want to call it. That's something that I
would never let stand in my way or in the way of this band, and
that's just how I am in all walks of life. It's just the way it
has to be.
CoC: If you look back at your time with Anthrax going back to the
'80s and the early days, is there anything you wish you had done
differently?
SI: No. That's another thing I have never done, look back at our
career. I will when I'm 75 years old or something, but I always
go forward. It's all about what I'm doing today, what we're doing
tomorrow, what we're doing next year or whatever. We've always
been very good at being able to plan out x-amount of time in
advance. You set those goals, you make those plans and you make
it happen. That's how it's always been with this band. I always
compare this band to a shark, because a Great White shark can't
live in captivity, it has to be constantly free and moving or it
dies. And basically that's how I feel about this band -- we
always need to be moving forward. I don't need to sit around and
reminisce -- I've experienced all that and it's all inside me. I
have plenty of time in my life to sit around and do that when I'm
not actually experiencing it. I'm right in the thick of it now.
CoC: So let's talk about S.O.D. for a second, if I may. A lot of news
sources was quoting some really harsh comments from Billy after
you guys had brought out _Bigger Than the Devil_. Care to
comment on the reason for this bust-up?
SI: There was no bust-up. S.O.D.... you know, you can talk to all
four members of S.O.D. and they'll give you a different answer on
their opinion of what S.O.D. is, and that is because S.O.D. was
never a band. Billy might give you a completely different answer
to what I just did, but I look at it this way: Billy might be the
mouthpiece for S.O.D., but I invented S.O.D.; I drew the mascot
on a piece of paper, I wrote the first ten songs, and then I
called Lilker up and we wrote the next ten songs, and we asked
Billy to sing on the record. S.O.D. was never a band and there's
never been something to bust up. It's something that was a
project and it remains an on-going entity, but it was never meant
to be a band that makes records and then tours and then makes
another record. It was never supposed to have that kind of
baggage. The fact that we even made _Bigger Than the Devil_ was a
complete fluke in that sense. It's just something that was only
ever supposed to be for complete and absolute fun without any of
the things that being in a band entails -- without any of the
business; without any of that. We were able to create this thing
with _Speak English or Die_ that operated completely outside of
the music -- it was the exact opposite of the way things are
supposed to be done. And that was the point of it. Making that
album was a complete reaction to doing _Spreading the Disease_,
because we had spent six months in the studio, because we had a
producer who was being paid by the day, so the longer he took the
more money he made. I wrote that S.O.D. album during that time
and then we recorded and mixed that record in three days, and it
enabled me to call Carl Canedy and tell him that we'd done the
album in that amount of time and it sounded pretty fucking good,
and that with _Spreading the Disease_ he had ripped us off. That
was the whole idea with S.O.D.: it was supposed to exist outside
of the normal. Billy, I think, had different ideas: he would have
loved for the band to more of a permanent thing. He would have
loved to have made more records, done more touring or whatever.
Everyone who has ever been in S.O.D. have always had their eyes
open, though. Charlie and I obviously have our priorities, and
Lilker has always had his -- whether it was Brutal Truth or
Nuclear Assault --, and that's just the way it is. Billy and I
have an interesting relationship: we're more like brothers than
anything else. Sometimes you could not like each other, but
you're still brothers, you know? That's our relationship in a
nutshell.
CoC: Scott, let's talk politics. You're known as being a fairly
outspoken dude, so what do you make of the outcome of the US
elections? Are you planning on joining the outflow of US
citizens to Canada anytime soon?
SI: It's so funny, you know, because I voted Kerry, but this
reactionary thing where people want to move to Canada... It's
good, you know, because there's too many people in this fucking
country anyway. They got a lot of room up there. That to me is
just fucking sheer stupidity, but the people that think that way
can go ahead. I don't need to live somewhere cold, that's why I
moved to California fifteen years ago. If I was going to move
anywhere, I'd move somewhere beautiful like Tuscany -- what the
fuck are you going to move to Canada for? There's nothing wrong
with Canada, but just because George Bush won you want to move
out? I'm obviously disappointed. I'm a very optimistic person in
general and I believed in what Kerry was saying. I'm not a
Republican and I'm not a Democrat; I'm a human being who bases my
voting for a candidate on what that candidate says on issues that
affect me and that affect the world, and it doesn't matter to me
what party they represent. I voted for Kerry because I truly
believe that the administration that's in power right now is not
good for the world and I truly believed that Kerry's change was
necessary -- not even just for the United States, but also from a
global point of view, which I think I get because we're always
touring. I'm not one of those people who think "Fuck what's going
on in the rest of the world, it only matters what goes on in
America -- we shouldn't let the world decide who becomes our next
president!" Well, maybe we should. Anyway, Kerry was not the most
inspiring candidate in the world and I think that the problem is
only going to get worse going into 2008, because what I see
happening is that it's not even going to matter anymore who the
candidates are -- people are just going to start voting along
party lines and it won't matter who's running. Republicans will
only vote for a Republican and Democrats will only vote for a
Democrat, and it wouldn't even matter if it were the second
coming of fucking Abraham Lincoln. It could be the greatest guy
in the world, but people are only going to vote for the party. I
truly believe that Kerry was the better candidate -- uninspiring
as he was. It's amazing to me that more people didn't see that
and people who live in the Republican state just didn't seem to
care. They just went: "Fuck all that, fuck that shit -- we're
voting for George Bush." Why? "We don't know; we're voting for
Bush." I heard so much of that in the last year -- I have friends
who are Republicans and you can get into some crazy fucking
arguments with them about this shit and no one can ever really
tell me why. Let's take Billy Milano for example. Billy is a huge
Bush supporter, and I won't even argue with him over stuff like
that, simply because I don't feel like getting yelled at. I would
never try and change Billy's opinion, but the fact of the matter
is that Billy is a musician and he lives a lifestyle and
expresses himself in certain ways that if it were up to the
administration that he supports, they would censor everything he
had to say, and they wouldn't even let him make records. Fuck,
half the music that comes out these days would not be allowed if
the Bush administration had their way, and if they were able to
just keep going on in the way they're going on with taking away
personal freedoms. I posed that question to a lot of people and
particularly to a lot of my friends who are Republicans -- you're
life style is 180 degrees opposite to what they condone and what
they're getting at. How the fuck could you vote for this guy? And
if they really have their way, you wouldn't be sitting in this
bar right now talking to me. And these people are like:
"Whatever, fuck that shit -- George Bush!" You can't get an
answer. It's become this fucking robotic thing where people will
only vote along party lines and I don't see how that's going to
change unless they change how presidents are voted for in
America. But I'm not going to move to Canada. <laughs>
CoC: Do you think that's just a matter of party-line politics that
cost John Kerry the election, or do you think that he dropped
the ball elsewhere as well?
SI: No, I don't really think he dropped the ball, personally. I
don't. Like I said, he wasn't out there, all fire and brimstone
winning people over with his amazing personality -- he's no Bill
Clinton. Bill Clinton knew how to win over an audience. Bill
Clinton came in 1992 against George Bush Sr., who should have won
a second term realistically. Incumbents should usually win a
second term, and Clinton came in and just knocked the shit out of
a guy who had a huge personality and knew how to talk to an
audience. Kerry was no Bill Clinton. Clinton could have come in
2004 and if he were allowed to run again, he probably would have
won. I know this might sound crazy, but truthfully not 2008, but
2012 I won't be surprised if you're looking at President
Schwarzenegger, because that law about having to be born in the
United States will get changed, and that is someone who is
capable of winning hearts and minds. He has charisma and a big
personality, whether or not he's a good politician -- which is an
oxymoron to me anyway. He might be a Republican, but I actually
morally agree with him on most things. He believes that a woman
has the right to choose whether or not she wants to have a baby.
He's way more moderate than anyone in the Bush administration,
that's for sure. In California, he certainly wasn't out there
yelling for Bush, because California is such a Democratic state.
He probably felt like he couldn't be out there being pro-George
Bush because he would end up losing support next time round.
CoC: Well, one thing that in my opinion really threw Kerry out of
contention was the way in which he handled the appearance of the
most recent Usama Bin Laden video message. Rather than actually
take the Republicans to task about the fact that such a video
could even exist in the first place, he seemed to just ignore
it, which in turn didn't do much for his credibility in terms of
how voraciously he would seek to protect America.
SI: He came on and said that he'd hunt down and kill the terrorists,
but certainly not to the extent that Bush had been doing. But Al
Qaeda and Bin Laden -- you know, for those guys Bush is the ideal
president, because he's like the poster boy for Al Qaeda
recruitment at the moment. Kerry comes in and all of a sudden
people are going to be like "Well, he doesn't seem so bad, he's
not like that fucking asshole from Texas." I mean, with the Bush
administration -- if they had their way, you wouldn't be able to
release metal records. The Republican administration wants to
shut you up and I would fight to the death for something like
that.
CoC: So, Scott, what's next on the cards for Anthrax -- when are you
guys going to start working on the follow-up to _We've Come For
You All_?
SI: January is when we'll get together and start writing and see
where the train takes us. I'm sure we'll be in the studio at some
point during the year and hopefully have the new album out by the
end of 2005. I have some ideas, which are mostly just riffs being
sung into my cellphone, so things are pretty much in the
stem-cell stage right now.
CoC: Last question: after all this time that you've been doing
Anthrax, what's still left for you to conquer?
SI: We want to play Download next year. <laughs> Just kidding. For me
this is all about the career, you know? It's been my goal and my
driving force. I love doing this, I love being in a band -- and
the day that it stops being fun, then it will end. I can say that
it will end the day that all five of us can look each other in
the eye and say that it was fucking great and walk away from it
happy. But until then, I love doing this -- this is my life and
my goal is to continue what we're doing and to continue doing
things our own way and call our own shots.
CoC: Speaking of Download -- this is something I've always wanted ask
your opinion on: Metallica bring out _St Anger_ and claim that
they're returning to their roots, yet they take Linkin Park,
Limp Bizkit and Deftones on tour with them. I've always wondered
why they don't put their money where their mouths are and take
Anthrax or Death Angel or someone on the road with them instead.
What are your thoughts on that?
SI: Ask Lars. I can't answer that -- he is the one who calls the
shots and he'd probably never answer your question even if you
had the opportunity to ask him. Believe me, if Metallica called
us up and asked us out on the road with them, we'd do it without
hesitation.
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T H E P L A G U E R A G E S O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Morgan Steinmeyer Håkansson of Marduk
by: Jackie Smit
Before _Plague Angel_, there was very little that one could say about
Marduk that anybody with an elementary knowledge of the extreme
underground didn't already know. Fourteen year veterans of the genre,
Marduk have been tagged as one-trick ponies on several occasions
during their illustrious career -- their detractors eager to thumb
their noses in the direction of the band's liberal use of speed in
their über-dark assault. But no more, as _Plague Angel_ ushers in a
new era of songwriting maturity and misanthropic efficiency for
the Swedish quartet that is bound to silence even the biggest
disbelievers. I recently had the pleasure of a telephone conversation
with a very excited Morgan Steinmeyer Håkansson to discuss matters
pertaining to the new record, black metal as a whole and a number of
things beside.
CoC: Leading into the recording of _Plague Angel_, Marduk went
through some line-up changes. First of all, you brought in
Mortuus to replace Legion on vocals, and then you had your
bassist, B War, leave the band as well. What sort of effect did
this have on the eventual outcome of the new record?
Morgan Steinmeyer Håkansson: Well, the effect was really positive, I
think. First of all, we brought the
vocalist in to replace Legion, and he
brings a new dimension to the music,
because he uses his voice as more of
an instrument and a vehicle than most
vocalists, and that helps us do more mad
and more morbid stuff. He also shows
more devotion and more passion for the
lyrical concept than Legion did, so we
work together better as a unit. He wrote
two songs worth of lyrics for the new
album, and then I wrote the rest and
he rearranged them, which is really
fine with me, you know? It works well.
And when it comes to our bass player,
getting Devo [Andersson] back -- he used
to be our guitar player between '92 and
'94.
CoC: He played on the first two albums, right?
MSH: Yeah, and having him back a decade later; he's more focused and
both he and Mortuus are driving forces in the band. Even our
drummer, Emil [Dragutinovic], stepped up to the plate and wrote
like three or four songs completely by himself for the new
album. Everybody is taking part in the process now, and that's
fine with me, if everyone wants to be driving forces in the band
and everybody is working toward the same goal.
CoC: So more than anything, _Plague Angel_ is more of a band effort
than anything you've done previously?
MSH: At first it was mostly me and drummer, because the vocalist came
in kind of late, but he worked a lot on the vocal arrangement
and things like that. With the next album, we'll have even more
time for the vocals and for all things like that, so we'll put
even more work into everything.
CoC: The key aspect of _Plague Angel_ that stands out for me is how
much more mature the band comes across in terms of songwriting.
MSH: Yeah, but I also think that the production makes a difference,
because we recorded in the same studio between 1996 and 2000
with Peter Tagtgren -- and of course it was very good to work
with him, and when I listen to _World Funeral_, I'm still very
satisfied with the album. But I do think that it sounded a
little bit too digital and clean for the music, and this time
when we wrote the new material we decided that we wanted
different production, and we felt that as we had had the line-up
changes, we would also change studio. So for _Plague Angel_ we
made sure that the production was more rusty -- more black and
white, you know?
CoC: The other thing about _Plague Angel_ is that it's a more mature
sounding album, but it's also much more aggressive.
MSH: It is more aggressive and in-your-face, because we want
everything to reflect the idea of the band -- music, lyrics,
layout; we want it all to be one.
CoC: Legion's departure obviously left you guys in a bit of a
quandary at first, and you ended up having to cancel some of
your appearances on the Blackest of the Black tour. What's the
story behind his decision to quit the band?
MSH: It's the same thing for both him and B War: people change. He
was in the band for over eight and a half years and B War was in
the band for twelve, and they have family and kids and just
couldn't be 100% loyal to the band and maintain the level of
focus and dedication that the band requires. So they had to step
down, because it doesn't work that way with this band. You have
to be with us 100%, because it takes a lot of time and energy.
There are no bad feelings between any of us or any shit like
that -- we're still friends, or whatever you want to call it. We
talk once in a while, but we don't really hang out. But it was
just a natural thing to happen to this band.
CoC: So, in retrospect, you think it's all been for the best?
MSH: Yeah, absolutely.
CoC: Speaking of Blackest of the Black -- this is similar to what I
have asked a lot of the bands that were on that tour, but how
did the connection between yourselves and Glenn Danzig start?
MSH: Well, we've always been big fans of Glenn Danzig, so it was
really cool to be able to play on the tour. We were on tour in
the States in 2001 and we were backstage one evening when our
tour manager came in and said that Glenn Danzig wanted to meet
us, and we were like: "Are you sure?" We didn't think he was
actually being serious. Then he came back a few minutes later
and said that Glenn was in the bar and that he wanted to meet
us, and I thought to give him a copy of our latest album, but he
said that he already had it. So I was like: "What?" Anyway, I
got his phone number and we stayed in contact and became really
good friends. We share a lot of views, and I don't know -- I get
along with him really fine. He's one of the most dedicated
people I have ever met in the music business. He's so loyal to
what he's doing and he never lets anybody fuck with him, and he
does what he wants to do, and I really respect that. He is one
of maybe three or four musicians that I have met that I actually
respect. We've had many offers to go back to the States, but we
have many problems with papers going over there right now; but
we did the European shows with him and it was fantastic. I heard
so many stories about how people get treated by him, but I had
no bad experience. It was the best ever to be able to tour with
a bigger band like that, you know, and Glenn was just like:
"Marduk are my boys -- they want anything, you help them." So we
had a really good time, we share a lot of ideas and we'll tour
together in future.
CoC: So what was it like playing those tours, because clearly there
are a few major fundamental differences in Marduk's music when
compared to the stuff Danzig does?
MSH: Well, some people of course didn't like what we do -- I think
we're a little too extreme for them, but it was cool. I think
it's great when bands that share a similar devotion to things
and get different crowds together so that each can appreciate
what the other is doing, you know? It's great that he brings out
bands and exposes people to darker and heavier stuff. Some
people were standing staring at us like we had just landed in a
UFO or something, wondering what the hell we were, but we had a
lot of our own fans at shows as well, and it was a good
experience.
CoC: Have you toyed with the idea of touring with any other non-black
metal bands in future?
MSH: I wouldn't mind that at all. I mean, I'd love to play with a
band like Slayer for example, because people that like them that
maybe haven't heard about us, could possibly still appreciate
what we are doing. A lot of black metal bands don't like to tour
with bands like that, but it doesn't bother us, because at the
end of the day we are still doing what we do and we are a fist
in the face that would love to play for different audiences.
CoC: This is something that I've actually always respected about you
guys -- in the sense that you are one of the few bands to have
started in the early '90s to still actually have the same
attitude and the same approach to music.
MSH: We don't compromise -- that's what we're about. We have changed
labels because we don't want to compromise, and now we have
started our own, because we don't want anyone telling us what to
do. I could never let anyone interfere with this band, because
it means too much to me.
CoC: At the same time you continue to become more popular and I'm
sure that _Plague Angel_ will help that along even further.
MSH: We're satisfied with it and we hope to take it to an even higher
level on the next one.
CoC: If you had to comment on the state of black metal in 2004, how
does the scene compare to when you got into it initially?
MSH: Of course it has grown tremendously. When we started out, there
was no talk of going out on tour or something like that. It has
changed and it has grown and grown -- some of it is positive and
some of it is negative. It's positive that you can bring the
message to more people and get your music out to a wider
audience, but it also means that the concept has become very
watered down. People are always referring to whatever band as
being "black metal", and when you read an advertisement and you
see the words "black metal" and then you see someone sitting
with an umbrella and a painted tear on their face, looking
depressed -- that's not black metal for me. I don't care,
really. We do what we do -- that means something to me -- and I
don't care what anyone else is doing.
CoC: What is it about black metal that still makes it so attractive
to fourteen years on in your career?
MSH: For me it's extreme metal with Satanic ground values -- that's
how I would describe it. Sometimes you hear a band that people
are calling a black metal band because it has screechy vocals.
To me it's more of a philosophy, and the thought behind the
music more than how it actually sounds.
CoC: In terms of new bands coming out and potentially one day picking
up where Marduk leaves off, have you heard anything that has
impressed you yet?
MSH: I haven't heard many bands that I really like. I heard a few,
for example Deathspell Omega from France, and I like a Swedish
band between called Watain. Those are the bands I heard that I
actually like. Apart from that, I cannot really think of very
much that I've heard lately. I don't really go out and try and
discover anything new either -- I prefer to be on my own and
listen to other types of music.
CoC: So what's spinning in your CD player right now?
MSH: I listen to what I regard as the best black and death metal, for
example right now I'm listening to a lot of early Morbid
Angel stuff. _Altars of Madness_ and _Domination_ still remain
very powerful and very heavy. I also like dark and powerful
industrial music, I like classical music -- I like everything
that I can find that has a soul. For example, I like two bands
who are actually very Christian, but are still a lot darker than
many so- called black metal bands: Sixteen Horsepower and Woven
Hand.
CoC: Never heard them.
MSH: Oh my God, you should really check them out -- they're really
dark and really Christian, but still extremely fascinating. I'm
going to see them live on Sunday; it's really bizarre music. I
like anything that can really paint pictures in my mind.
CoC: With _Plague Angel_ -- if someone were to come up to you and say
that they weren't a fan of Marduk before, what would you tell em
ththey'd find on this record that would change their mind?
MSH: It depends on what a person is looking for. It's hard for me to
say, actually. I always try and take the band to the next level
with every album, and if someone likes extreme music, then they
should like this record -- it definitely has something for
everyone. It's heavy, it's fast, it's dark -- it's everything an
extreme metal album should be. In terms of lyrics -- this new
album deals with plagues in all its different forms. Death and
war, those are things that fascinate me, and I feel far more
motivated to write music about things like that than about
sitting in the wood feeling depressed, looking into a lake and
thinking about trolls. Those things mean nothing to me. Death
and war puts music into my head. An historical event like the
city of Warsaw being blown to pieces puts music in my head, and
I'm not saying what's right or wrong -- I'm just reflecting on
those events and the way it occurred. I consider myself to be a
vehicle for my creativity.
CoC: Marduk has been catching some flack for the World War II
references since _Panzer Division Marduk_.
MSH: Yeah, absolutely, but I don't care. I do this to satisfy myself,
and if people don't like it or want to censor me -- that's why I
have my own label, so that I can do what I want. It's annoying
that people would criticize a band for having German language in
the song title, even if we've sung things in French or Turkish
or Russian or whatever. But what can you say? Humans will always
be sheep in that respect. This is an art form, and I'm not
saying that people should interpret it in any particular way.
CoC: Last question, Morgan: nine albums into your career, having
achieved quite a lot for a band in the underground, what remains
the biggest driving force in this band?
MSH: I don't know, because every time I finish an album, I already
have a vision for the next one in my head. Right now I'm working
on three lyrics for the next album, and I'm starting to have
some musical ideas. That's the driving force: so long as I have
that vision that makes me want to create music and go one step
ahead, and as long as I have that driving force, I will be doing
this.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
K E E P I N G I T R E A L
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Nergal of Behemoth
by: Jackie Smit
There's times when it can be a truly surreal thing being a music
journalist. Take the following scenario example: I'm sitting in the
famous World's End pub in London's Camden Town, sharing a beer with
Nergal of Poland's current heavyweight death metal champs, Behemoth.
In just a few short minutes following our interview, he will reappear
on the downstairs Underworld stage, evoking all manner of hellish
malarkey, but for now he is simply Nergal -- absolute gentleman and
avid music fan -- and he is about to investigate a certain extreme
music magazine's review of his band's latest effort, _Demigod_. The
verdict, as it turns out, is somewhat disappointing -- but this
particular publication's lack of enthusiasm is quite possibly the
only strain of negativity currently headed in the direction the
rising juggernaut, who since releasing their latest album have tasted
everything from overwhelmingly positive press, to mammoth industry
buzz and sold-out performances, to a sojourn in their country's
domestic top 20. A supremely confident Nergal is nonplussed however:
Nergal: Well, I see Behemoth as one of the most hard-working bands on
the planet, that's for sure. And it's good to see the new
album doing well. What can I say? We did our best, you know?
We didn't let any bullshit through this time -- it's just the
most brutal riffing, the best lyrics I could write... We did
our best, and I think that people really appreciate it when
they see a band that pays so much attention to every single
detail of their work.
CoC: Attention to detail is something that definitely stands out on
this album for me as well. Something I mentioned in my review as
well; _Demigod_ for me, was the album where Behemoth was either
going to be promoted to the ranks of Morbid Angel and Nile or
stay in the second tier of death metal, and as far as I'm
concerned I feel like you have definitely succeeded in doing so.
What is your opinion on that?
N: <laughs> Give me a few months and I'll be able to answer that
question. This tour that we're on right now is going to be the
first test, and we're going to see how it goes. I'm an optimistic
guy and I like to think it's going to be that way, and all the
signs point to it happening. But I can't really say; I can't
foresee the future. Many people have told us that this album is
going to see us get much bigger and that the critics are really
into it, and of course that makes me happy. But I'm really here to
make good music, and I'm beyond all the competition. My thoughts
are in the future -- the next album, maybe. I already have some
titles in my mind, how we should sound in the future; things like
that. For the media and the support so far, I'm thankful, but
let's wait and see.
CoC: What did you want to achieve when you set out to write and
record _Demigod_?
N: Well, with _Zos Kia Cultus_ and _Thelema.6_, I had huge
expectations. I was thinking that we were going to top ourselves
and that we were going to blow everyone away. And by contrast this
album was so simple. I came back from the Six Feet Under tour -- a
two month tour -- and I found myself in a really, really shitty
situation. I don't want to go into any details, but I was just so
pissed and so angry and it was like "Fuck it, I am just going to
concentrate on making music." The band is my family. This music is
my life. This is the reason I live and breathe, so I am going to
give it everything and just do the best songs that I can do. And
that's what I did -- I wrote songs. I wanted to have melodies, I
wanted to have nice solos, and the most fucking extreme music I
could come up with -- fucking blasting, yet really technical. And
I just did it -- nothing else. I was pissed. This album for me has
a very "fuck you" attitude to it. It's very arrogant. It's very
strong. Just go through the lyrics for this album and you'll know
what I've been through, and you'll know what I'm about. This band
has never been as strong as it is nowadays, because we have
nothing left to lose.
CoC: It does strike me as a case of bringing out the big guns, so to
speak, in your decision to hire Daniel Bergstrand to mix and
produce the album for you. What was the thinking behind that?
N: We wanted to have a name. I was tired of doing everything myself.
I've always had the last word in production and stuff like that; I
just felt that we needed somebody else from the outside to get
involved in things, and to help us get to where we needed to be.
Mixing is essential, you know? You can put together a pretty good
album from some shitty rehearsal tapes with good mixing. We spent
two and a half months just tracking everything for this album, so
it was a really solid recording, but we had no idea what we needed
to do in order to avoid repeating ourselves. That was something
that I was really afraid of. Of course, we also didn't really have
much money, but we just though "Fuck that -- we'll sell our houses
and our cars to make the album that we want to make." Luckily we
didn't have to do that, because the label eventually gave us the
money that we needed to make the album, but that was the
commitment. I was willing to do that. I just wanted to achieve my
goal and get a new sound for Behemoth. _Thelema.6_ was different,
_Zos Kia Cultus_ was different, and I just did not want this album
to sound too equal to those two. I wanted _Demigod_ to be much
better -- to be the next step up, you know? Daniel did a great
job. I'm happy and we'll work with him again in the future. This
album is just so attacking -- it's like a blow to the head. For me
_Zos Kia Cultus_ was almost a little laid back; a little mellow --
it had a lazy sound. I like it, but with this album we wanted
something fast and aggressive.
CoC: One of the things that you're relatively well-known for is the
tremendous amount of research and preparation that you go into
while you're writing the lyrics for the album. Talk to me about
the background to _Demigod_.
N: Well, there's an Old Testament touch to this album, because we
deal with themes like the nephilim mythos for example. That kind
of thing hasn't ever really been explored by a lot of metal bands.
And that's the way I've always tried to do this -- I mean, we have
a fairly consistent theme running through all our music, but at
the same time I don't want to re-explore the same theories and the
same ideas again and again. On this album we set out to find new
things that we felt would be good for us to sing about. And I like
the imagery of the Old Testament. With all our albums we have very
specific imagery. _Zos Kia Cultus_ has this kind of iconic figure
that introduced you to the record on the cover. This album just
naturally turned out the way it did -- there's a lot of ancient
Christian references and images that are used on the record, and
us being anti-Christian, still have a connection to that stuff. So
we took that on board and decided to take it a step further. We
brought in the Aramaic writing on the front cover and further
explored the connections between ancient Christianity and other
pagan cultures in our lyrics. It's all about contrast for me, you
know what I mean? I'm pretty sure that we'll always have anti-
religious themes running through our music, but I think that we do
it in a really intelligent way. We approach our lyrics and our
themes in a very philosophic way and I think that makes us a
really multi-dimensional band. I also think that we are very real
and true in the way that we come across and that we bring our
point across.
CoC: In what way do you see yourself as being a contradiction toward
a lot of the pretenders in the scene at the moment?
N: Well, it would be arrogant to compare Behemoth to specific bands.
I think that I'm very real in my feelings and I can take the anger
that I feel and I can look at my own work and know that I may not
be the best at this or that, but when you put it all together, and
you put us on stage, there's a lot of energy and we're a good
quality band. On the other hand, there are a million bands out
there who just fucking shred -- they're just so tight and they
have an awesome sound and... So what? So fucking what? I don't
want to compare Behemoth to Venom, because Venom couldn't play at
all -- they couldn't handle their instruments -- but I love them.
They're one of the most important bands on this planet, because
they were real. And that's how I see Behemoth. Whatever a band
does has to be sincere and it has to be real, or you'll just know
it. No matter how well you play and how nice you are on stage and
how great your sound is, that band is still gonna suck. These days
I judge it by experience. I can listen to an album and it takes me
one minute and I'll be like "No, fuck it." I don't need to spend
hours and hours analysing stuff.
CoC: What forms the basis for your criteria when you're judging a
band in that sense?
N: I don't know -- it's instinct. When I see a girl that I might want
to do something with, I just know it. I don't even have to talk to
her. Then on the other side of the street there's another girl
walking who is maybe even more beautiful, but she just doesn't do
it for me: she's completely unattractive to me. I don't really
know how to say it other than to say that things like that just
happen. We have so many people coming to us at shows who say: "I
never really liked you on the album, but I've just seen the show
and you look so real and so serious on stage." And I truly think
that we convince people by our live shows and what we put out when
we're on stage is just real -- there's no bullshit.
CoC: So what do you think is most important then -- Behemoth on CD or
on stage?
N: I've asked myself that question several times, and I think it
depends on one's mood, you know? It's almost like two different
bands, in a way. We are very technical and detailed on albums, but
on stage we go for energy. We never try to play songs that we feel
might be too complicated to play live -- we want to go all-out to
get the crowd as energetic as possible. I don't really have any
interest in seeing someone standing on stage, masturbating on
their guitar. Fuck that. We make mistakes when we play --
sometimes I go for a long time without even playing! You just get
so lost in the moment of being on stage. It's a moving experience.
It's part of the show. It's part of the trance and that comes from
the energy that moves between the stage and the audience.
CoC: Behemoth was part of the "Blackest of the Black" tour a few
years ago, and obviously there you're playing a show where a
band like Danzig is headlining and where you're presenting
yourself to a much different audience than you'd normally do.
How did your spot on the tour come about first of all?
N: Well, I met Glenn [Danzig] in Berlin for the first time, and I'm a
huge Danzig fan, so I brought him a copy of _Zos Kia Cultus_ and a
T- shirt. And I thought that the guy would be fucking big, so I
brought him an XXL, only to find out that he wears medium. So he
was like: "No problem, thank you very much", and I told him about
my band and said to him that it was extreme music and that he had
probably never heard of us. I mean, he is a fan of Roy Orbison!
So, I didn't think that he'd like it, but I am very influenced by
what he does, so I just wanted to give him a copy of the album and
pay my respects. Then he was like: "You know what? If I like your
album, I'm going to invite you to a festival I'm organizing called
"Blackest of the Black"." And I just thought whatever, you know.
So a few months later, we were in the US and our agent called us
up and let us know that he had something big for us -- the
"Blackest of the Black" tour! I just went: "Fuck yeah! Let's go
for it." Before the tour started, actually, we played in LA and
Glenn showed up came to check us out, and he was just listening to
the music and checking us out. He came backstage afterwards and he
was just fucking great, and really friendly. So we went to
"Blackest of the Black" and the response was great. I mean, the
whole experience still leaves me speechless.
CoC: So, since you've started Behemoth in the early '90s, what has
been the highlight in your career so far?
N: Well, I think that the highlight of our existence is yet to come.
I don't like analysing the past, you know -- I just look for more;
I look ahead. I'll never go: "Oh look, we've done so much, we're
so experienced." I always think about what else we could do and
what's next for us and that we need to work harder. You know,
we're touring with Krisiun right now, and when I see these guys
every night I just think that on the next album, we'll have to
double our efforts. We can never stop -- we always need to move
ahead and just fucking keep conquering, and pushing the limits and
just see how far we can take things.
CoC: What are your hopes for the new album?
N: We've already gained so much in the recording of this new album.
It sounds good, you know, so from now on, we'll be doing things
abroad and we'll only be using professional guys to produce the
album. This is how I see it: _Demigod_ opened new artistic doors
for us, because it made us realise what can be achieved. And I'll
say this: if people like the new album, then they're going to like
the next album as well. I just want to keep going in this
direction -- just getting better and better; more technical, more
brutal. It would be cool if we could raise our commercial profile,
but the way it is right now is fine. We can make our living out of
music and that's great. Let me tell you something: on this tour so
far we've played four dates, and we've already sold like 250
shirts. It's never been that crazy for us. I don't know what else
to say. We'll talk in two years when we've finished the next album
and see what happens.
CoC: It's going to be hard to top _Demigod_ though...
N: <laughs> I've heard that since we did _Pandaemonic Incantations_.
Then we did _Thelema.6_ and everyone said that we'd never be
better. Then we did _Zos Kia Cultus_. Give me two years, and I'll
bring out an album that's better than _Demigod_.
CoC: Nergal, I'd like to finish off this interview with one question:
what is it that you love about metal?
N: <pauses> Well, metal is energy, man. You'll see it on stage
tonight. I fucking live for it. And I'm not a typical metalhead.
When I'm in the street, I don't look like a typical metalhead. But
it's an energy. I love to be on stage, and I love feeling that
energy. Metal is life. It's all about life. Pop music is about
fucking, right? Then hip-hop is about how bad the world is and how
poor people are. Metal is about all of that and more. Find any
other music genre that will give you so much stimulation... It's
fucking excellent. It's freedom. Do I sound like Manowar? <laughs>
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
T H E T H U N D E R D O W N U N D E R
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Ethion of The Amenta
by: Jackie Smit
It's an arguable point and likely to be a bone of contention among a
fair few metal acolytes, but the lineage of extreme m
usic in
Australia can be traced all the way back to AC/DC -- a band whose
influence stretches over several decades and at the very least got a
fair few aspiring metalheads started on their road of discovery. And
while in the subsequent years, those who were formed in the wake of
AC/DC's renown haven't always been quite as salubrious as the
gloriously cacophonous din that Angus Young and his cohorts kicked
up so many years ago, the 21st century has thus far seen the
Australian metal underground ready to explode like the proverbial
Mount Vesuvius, with bands like Alchemist and Destroyer 666 sharing
refreshingly unique interpretations on extreme music for the next
decade. But perhaps most impressive of all has been The Amenta's
_Occasus_ -- a debut which, as I stated in my review thereof on this
very website, is not only one of the best albums to be unleashed this
year, but quite possibly one of the most evolutionary stride to hit
death metal since the release of Nile's _Amongst the Catacombs of
Nephren Ka_. I recently had the pleasure of speaking to one of The
Amenta's chief engineers, who rang me from his home in Australia in
the small hours of a Monday morning.
CoC: Ethion, I hope that the ungodly timing of this interview hasn't
forced you to curtail any social activities?
Ethion: <laughs> Absolutely not. I've been in bed, sleeping and
getting ready for work tomorrow, so it's all good. I didn't
cancel any of your midday activities?
CoC: Not at all. I wanted to ask you first of all: how did the deal
with Listenable come about, because from the bio on your website
I saw that apparently Chronicles of Chaos had a hand in setting
the wheels in motion?
E: Yeah, absolutely. We actually sent out about 70 or 80 promos for
_Mictlan_, our mini-album, to different zines and things like
that. We sent one to Chronicles of Chaos and one of your guys
[David Rocher] got in touch with us and mentioned that he had
spoken to some of the people at Listenable about us, and they had
said that they couldn't guarantee anything, but that they'd want
to have a listen to it. So we sent a CD out to them and they got
in touch with us and said that they were really interested. We
prepared some demos for a few more songs that we had been working
on and that would eventually become _Occasus_, and from there it
just kind of evolved into a deal. We tied it up around last year
-- we were talking to them for a while -- but eventually
everything got set up and that's how everything came about.
CoC: Did you speak to any other labels prior to this?
E: We sent out _Mictlan_ to a couple of other labels toward the
middle of 2003, but no one was as enthusiastic or seemed to be
on the same page as Listenable was. There were a couple of
other labels that expressed interest, but I guess we went
with Listenable because of their reputation and because of the
dedication they show towards their bands. Also, there's a million
and one horror stories you hear about labels and how they treat
bands. Listenable definitely seemed to be the most honest and
definitely the one with the best reputation as far as that was
concerned. That was a really big factor for us.
CoC: They also happen to have Immolation on their roster...
E: <laughs> Yeah, that was a big thing for us as well. They're a big
influence, and it's a good thing to be able to run around and tell
everyone that we're on the same label as Immolation. That
definitely sealed the deal for us.
CoC: The reason I asked you about labels is because there's a really
strong underground scene in Australia right now, but often one
hears stories about bands having difficulty getting deals
because of the geographic limitations that artists in your
position obviously have. Did you experience that with The Amenta
at all?
E: I imagine from a label's point of view that when you sign a band
from Australia there's certain logistical things you need to take
into consideration. It's easier for a label to be based in Europe
and to take on a European band, if you know what I mean. I think
to counteract that though, you have the curiosity factor that the
US and Europe have got toward the Australian scene. I think that
we definitely have a really unique flavour out here, so for as
many bad points as there are, there are one or more good points
canceling that out, you know. Australian extreme music definitely
has its own identity and I think that's a factor that counts in
the favour of bands like us.
CoC: So tell me a little bit about the Australian scene. What's
support like for local bands out there?
E: Because all the cities are so far apart, it tends to be a case of
a lot of bands sticking to the city where they're from. Melbourne
and Sydney for example are about 800 kilometres apart, and in
between those cities there's very little scope for other shows. So
scenes tend to be based in the bigger cities and they don't really
intermingle. Of course, that's much different to the impression
one gets in Europe. What you also find is that each city has a
really strong identity, like Melbourne which has a really strong
black and thrash scene with bands like Destroyer 666 and so on.
Then in Sydney they're more caught up in a modern death metal
style. So, each city has its own scene, but then the bands that
make it will move up to an interstate level, if you know what I
mean, where they're touring nationally. Bands like Destroyer 666,
Alchemist, Nazgul are all really big players in the scene.
CoC: How many people could you expect would turn up if you guys were
to play a local show?
E: At a guess, I'd say anything from 150 to 250. We're very new on
the scene. For the bigger bands in Sydney you could get anywhere
from 250 to 400 people for a show.
CoC: I know you all played in different bands before, but how did The
Amenta eventually get together?
E: Well, I had been working with a couple of the guys in different
bands before this, and for quite a few years we were actually
working on songs for The Amenta; just working and reworking the
songs and doing stuff in our little home studios. I didn't really
have all that much to do with the Australian scene, to be honest.
But anyway, we just gradually developed into The Amenta and like
all other bands we've gone through our fair share of line-up
changes to get to the point we are today.
CoC: Off and on, how long have you all been working on the material
that's on _Occasus_?
E: Some of the stuff we've had on this album, I had with me when I
was sixteen. But really, from the point where we first sat down as
a band, I'd say probably two years that we've been working on that
material. Probably a bit longer, but then there's things like
line- up changes that slow things down. And it's quite an
evolution when you get someone new into the band; a lot of things
change, you know?
CoC: How do you guys go about writing music -- is The Amenta a
completely democratic band, do you jam on stuff together?
E: We are very technology-based, which I think really comes out in
our music. We don't write a lot in the conventional sense, like
where we would go to a rehearsal room and jam until a song
magically appears. Everything we've done... We're all quite
knowledgeable in the computer recording front, which I think
shaped our sound a lot. Everybody brings in riffs and stuff like
that, but it's always a question of how we can model or mangle
something until it becomes something new, or how we can take our
influences and put like a new spin on them. So we might chop up a
guitar riff on the computer or something, or our keyboard player
might tell us that he has found a new sound by plugging his
keyboard into a new distortion pedal or something like that.
Things like that tend to result in a new part of a song, which
tends to create itself, if you know what I mean. We take things
like that and experiment together, and that's how things come
about.
CoC: With _Occasus_ one can hear that a lot of the album was recorded
digitally, but tell me more about how you guys went about doing
the record.
E: Initially we decided that we'd spend a fair bit of our recording
budget on the drum tracks; so we went to a studio called Q Studios
in Sydney, we tracked all the drums there, took it away to our
home studios, and then took things further from there. Basically,
I was working very little at the time, as were some of the other
guys in the band, because we decided that we wanted to be able to
focus on completing the album as much as possible. So we'd get
together every day and just add things like guitars and vocals to
the drum tracks and try new things and see how it turns out.
CoC: So a lot of what one hears on _Occasus_ was done at home?
E: Yeah, everything except the drums. Essentially we got to the point
where we just felt like we couldn't take things any further. The
process took about five months, starting in January this year.
When we were done we took it to our engineer, we started mixing
the thing and we spent six days doing that, letting him shape the
sound as much as he could, and just put his perspective on
everything, which ultimately led to the album sounding the way it
did.
CoC: The five months you mentioned; are we talking two to three hours
of work a day, or was this a full-time deal?
E: Well, just the nature of how I work -- I work weekends -- meant
that this was a full-time job for us for that time. I work
weekends, as do a lot of other guys in bands, so we'd spend Monday
to Friday just pottering around in the studio, recording and re-
recording songs and just, as I said, taking everything as far as
we possibly could. It was quite intense, for sure.
CoC: That's quite a long time to be working on an album, particularly
when you consider that a lot of bigger acts sometimes don't even
spend half that much.
E: Yeah. For us it was a blessing and a curse, because probably a few
things we did, we didn't really have to do. When you spend that
long on a record, you tend to risk over-analyzing things, so when
you have that much time on your hands, you might end up being just
as destructive as you are creative. In the end, it was definitely
quite a lot of work, as you say, but I think we did get the most
out of what we had. I mean, everyone's performance -- we had
nothing left to give, if I can put it that way.
CoC: Now, the drums -- I'm sure you get this from a lot of people,
but to what extent did you enhance the drums in terms of
triggering, etc.?
E: Everything barring the toms and the cymbals was triggered. We
replaced the kick drums and the snare drum sounds completely. The
snare drums were a blend of the actual sound in the room, as well
as the ambient sound picked up by the recording microphones. That
was quite a complex thing to do, particularly because of the speed
at which some of the songs are played. In terms of performance,
our drummer is definitely one of the best in the country, if not
in the world. And we get a lot of questions about this, but I can
assure you that the performance is real and that he can play the
stuff on the album.
CoC: I've actually had a few debates with people about whether or not
you use a drum machine.
E: If you're listening really closely, you can hear when a real snare
of tom is being played, I think. But it's quite a bone of
contention on a lot of websites and a lot of message boards, which
is quite entertaining.
CoC: _Occasus_ has a very consistent theme that runs through the
record and also throughout the visual aspect of the band. Could
you explain a bit more about this?
E: The theme is essentially about how religions and philosophy act as
a mind-control for society in terms of giving people a crutch and
not giving them reason to question anything that they're presented
with. They're happy to work nine to five in something they're not
passionate about in their lives, because they feel that at the end
of their time, they're going to be presented with this grand
reward that makes everything worthwhile. Obviously our opinion, if
you read our lyrics, is that you're presented with this short
amount of time on earth and then you die. Society, and especially
Western society, has been trained and conditioned not to question,
and so the whole album's underlying message is to think for
yourself and to reject anything like that -- be it Christianity,
Satanism, Islam or anything that would affect how you act and how
you behave -- because you've been brought up to believe in certain
things. It's got a lot to do with taking back individual thought
rather than following herd mentality.
CoC: Talk me through some of the lyrical influences you had for
_Occasus_, because a lot of your lyrics are very visceral and
you refer to a lot of mythological imagery.
E: We didn't want to present anything on _Occasus_ as being just this
basic cut and dried thing. If you were to take the time to look at
the lyrics to the album, I would hope that you'd see that the
lyrics aren't just stories: they're metaphors that use comparison
to point toward what we're saying. The lyrics look at how, for
example, certain older cultures viewed religion, and how their
society's thoughts were shaped and how people were being trained
in how to act and how to live their lives. And we run those
metaphors and comparisons through a variety of different eras, so
for example you have a song like "Mictlan" that looks at certain
Aztec mythology, through to a song like "Zero" that takes a very
modern approach. That's essentially what we wanted to do. We
wanted to take a holistic look at how various cultures and
societies have affected human behaviour and thought throughout the
years until now.
CoC: Given how densely layered the material on _Occasus_ is, it must
be a phenomenal task recreating that on stage. How do you go
about doing this?
E: A lot of it comes down to the samples and effect on the keyboards
and we've been working more and more toward being able to recreate
the album in its entirety on stage, using a lot of computer
technology and things like that. It's quite interesting and it's
quite complex, but it's something we can definitely do.
CoC: What does the future hold for The Amenta? Can we expect to see
you guys in Europe or in the rest of the world anytime soon?
E: Well that is something that is definitely on the cards, and it's
our biggest aim at the moment, because we know that we need to get
over there and we need to show people what we can do. So hopefully
in the next twelve months we'll definitely be in Europe and
hopefully even the US touring.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_, _, __, _,_ _, _ _,
/ \ | |_) | | |\/| (_
|~| | , |_) | | | | , )
~ ~ ~~~ ~ `~' ~ ~ ~
Scoring: 10 out of 10 -- A masterpiece indeed
9 out of 10 -- Highly recommended
7 out of 10 -- Has some redeeming qualities
5 out of 10 -- You are treading in dangerous waters
3 out of 10 -- Nothing here worth looking into
0 out of 10 -- An atrocious album, avoid at all costs!
8th Sin - _Sinners Inc._ (Black Lodge, 2004)
by: Jackie Smit (3 out of 10)
There has to be some sort of explanation for why so many one-time
stalwarts in black metal have cast off their bullet-belts and spiked
wrist-bands in favour of effeminate make-up and bondage wear. Dimmu
Borgir's Nagash was one of the first to lead the contrived exodus
with The Kovenant, and more recently members of Swordmaster and
Dissection joined eyelined forces in the Deathstars. Problem is that
however infrequently, these aforementioned acts do actually have
their moments. 8th Sin, on the other hand, does not. In fact,
_Sinners Inc._ is at best execrable, and at worst a lesson in
sonic torture the likes of which would have the current United
States governmental administration crying pre-emptive strike. Most
shockingly, this atrocity is the work of one-time black metal bad boy
It. Notwithstanding the fact that the erstwhile voice of such
anti-social denizens as Abruptum and Ophthalamia has neither the
capacity nor the sheer soaring ability to pull this style off at any
point during the record, _Sinners Inc._ runs the gamut of damn near
every cliché in the gothic rock handbook, and does so to such an
unpalatable and tawdry extent that it could potentially serve to lend
the final dash of brevity to the claim that It may be one of the most
twisted, scary individuals to enter the music industry.
Contact: http://www.8thsin.biz
Acheron - _Rebirth: Metamorphosing Into Godhood_
by: Todd DePalma (6.5 out of 10) (Black Lotus Records, 2003)
Acheron returns with their sixth full-length record, topping a career
spanning over a decade. With six tracks (sans intros) that are not
likely to usher in new converts, the band nevertheless delivers an
effectively blunt sermon of what else: vampires, misogyny and devil
worship. My version also contains a slipcase cover with more tasteful
artwork than the cartoonish ritual splattered on the album's booklet;
a sort of ode to the classic film "Rosemary's Baby", this painting is
used for the inner sleeve as well, but I guess the band just couldn't
resist a self portrait of themselves with a cherubic Anti-Christ
halfway spat out the snatch of some big-boobed blonde caricature
metal babe. But I digress...
Featuring a far less symphonic sound than 1999's _Those Who Have
Risen_ (and no Peter Gilmore, which also means no more of the cheesy
intros that are, depending on your tastes, one of the band's more
charming qualities.) _Rebirth_ is the biggest sounding album the band
has ever put out. There is no hollow bridging off verses by way of
the pseudo gothic keyboards tending to wash out most of what is
heavy; instead the album begins with a Morbid Angel style intro of
distortion and overlaid vocal tracks that leads into the rolling
barrage of "Church of One".
Being stripped down to a three piece is immediately beneficial as the
band's old-school, somewhat laic riffs are performed with much
fiercer calculation juxtaposed against guitarist Michael Estes'
liquid sweeps (for more contrast see Acheron's _Xomaly_ MCD featuring
several songs from this album recorded with keys). The opener and
proceeding track "Xomaly" are some of the most monstrously epic and
well produced songs the band has ever conjured (witness the ugly and
victorious simplicity of "Church's" post solo verse four minutes in),
and speaking of the latter track, Kyle Severn has never sounded more
like Bill Ward in his life. Other tracks like "The Kindred", "Bow
Before Me" and "Betrayed (A Broken Pact)" showcase more doom and
groove, tending to drag at around 7-8 minutes a piece, but are
quality enough to keep this album from trailing off completely like
the hilariously bad and robotic monologue Vincent Crowley delivers on
"A Long Time Ago" or the closing waste of "The 9th Gate" -- a grating
nine minute exhibition of what sounds like a singing wine glass?
Though warning signs of the end have appeared with the recent release
of both a "Best of" and tribute album, _Rebirth_ is a large
improvement over the band's previous output and their strongest since
ninety-four's _Lex Talionis_. There is nothing groundbreaking here,
but the band has certainly proven to have outlasted their Floridian
contemporaries who now rely on either the sheer worthlessness or fame
begotten from previous albums and large press campaigns to prop up
their latest mediocre works.
"...If I am wrong I will surely be damned" - Acheron, "Church of One"
Contact: http://acheron666.com
Agnostic Front - _Another Voice_ (Nuclear Blast, 2004)
by: Jackie Smit (9 out of 10)
Damned if somebody didn't light a fire under these guys. Those
expecting another collection of anthemic sing-alongs in the vein of
recent 'Gnostic efforts like _Dead Yuppies_ and _Riot, Riot Upstart_
may as well prepare themselves for a rude awakening beforehand, as
_Another Voice_ pulls no punches, following the same brutal road as
the often-imitated, never-bettered _One Voice_. Given the lethal
handle of good, old fashioned hardcore and boorish, in-your-face
metal that is stuck so effectively to tracks like "Pure", "Peace",
and the incendiary "Casualty of the Times", the recruitment of
Hatebreed's Jamie Jasta to oversee production of the album has to be
seen as a masterstroke, but in truth the entire band is on form for
the duration. Roger Miret spits out acid-laced diatribes like "Fuck
you and everything you ever said about me / I despise you and I'll
never show you mercy", like he's about to be let loose on a murderous
rampage, while Vinnie Stigma and particularly new drummer Steve Gallo
keep it ultra-tight on the instrumental side of things. Let's just
hope that it doesn't take the band twelve more years to create
another oh-so-perfectly executed outburst of aggression.
Contact: http://www.afnyhc.com
Amon Amarth - _Fate of Norns_ (Metal Blade, 2004)
by: Pedro Azevedo (8 out of 10)
A fiery red 'n' yellow front cover -- yes, it's another Amon Amarth
album! Truth be told, this time they varied the motif somewhat,
although they still didn't give up on linking _Fate of Norns_ pretty
strongly to their previous albums' imagery. Having included a bonus
disc with old demo tracks on the limited edition of their previous
album, _Versus the World_, Amon Amarth have now provided the metal
market with another big limited edition digipak, this time featuring
the flavour of the year (and probably the next few year's too): a
bonus live DVD.
The album itself is one of those predictable affairs if you already
know the band; an album that that will neither seriously disappoint
existing fans nor win any former disbelievers over. Much like other
recent efforts, the band displays a mixture of controlled aggression
and what I like to call a post-battle mood on _FoN_. The material is
not as fast as on some older albums, retaining those trademark riffs
but applying them to mostly mid-paced rhythmic structures instead --
it actually gets doomy at times, like it already did on _Versus the
World_. There really isn't much else to say about _Fate of Norns_;
some may feel they already have enough Amon Amarth in their
collection because they're not really going anywhere new with their
music -- but on the other hand, the metallic appeal of their Swedish
death metal remains vivid, and they have lost none of their skill.
This is simply another collection of very good songs within the same
specific style as usual.
If you happen to catch one of the DVD-enhanced editions, you'll be
treated to a gig filmed at a small venue in Iceland. The sound is
plain old stereo, and the filming is very simple throughout, but at
least the band do not disappoint: drumming, guitar playing and vocal
performance all get high marks, and there's a good atmosphere about
the whole thing. Still, this is no full DVD release: do not expect
any great audio or video here. It's a nice bonus if you can get it,
but not fundamental -- I'd wager it won't be too long before Amon
Amarth have a full DVD release of their own, and they certainly
deserve it.
[Quentin Kalis: "Although not a horrible album, _FoN_ borders on the
repetitive, which is not helped by the near-constant sluggish pace
sustained throughout the album. There are a number of noteworthy
moments on this album, but not nearly enough for _FoN_ to be
considered as a worthy successor to _Versus the World_. Nonetheless,
this album is still above average, but comes closer to that mark
than anything else released by Amon Amarth."]
Contact: http://www.amonamarth.com
Anaal Nathrakh - _Domine Non Es Dignus_ (Season of Mist, 2004)
by: Pedro Azevedo (8 out of 10)
"If you want a picture of the future, imagine a boot stamping on a
human face... forever."
This George Orwell quote at the beginning of third track "Do Not
Speak" provides no indication of what happens about one minute into
the song: Anaal Nathrakh doing a melodic chorus with clean vocals a
la Emperor and a King Diamond-ish shriek at the end. True enough, the
album opens up with a typically necro intro in the shape of the
evocatively titled "I Wish I Could Vomit Blood on You... People" and
the ripping black metal of "The Oblivion Gene". However, by then the
Anaal Nathrakh connoisseur will have already noticed the vast changes
in production, instrumental subtlety (including the occasional guitar
solo), and even the debut of a (very quick) human drummer in place of
their traditional drum machine.
Next up is "Procreation of the Wretched", which returns to more
recognizable Anaal Nathrakh territory in spite of the line-up and
production changes -- but still there seems to be a much greater
concern with technical detail than before. There may be another King
Diamond hint or two to be found, but AN's traditional insane screamed
vocals definitely suit the music. The track also happens to be damn
good, much like its predecessors. The strange beginning of next track
"To Err Is Human, To Dream -- Futile" hints at another trip into the
unexpected however, and indeed a couple of minutes into the track we
get some sort of Eastern-like influences, which are never again heard
on the record. The second half of the album presents another good
collection of tracks, but revolves around pretty much the same
elements; it's enjoyable if you like the rest of the album, but
doesn't bring any significant novelties into the mix.
Anyone who knows Anaal Nathrakh from _The Codex Necro_ will likely be
left wondering what happened to the band in order to cause such deep
changes. Whatever it was, the results are mixed: some new elements
work very well (e.g., improved guitar work, human drumming), while
others are detrimental (e.g., decrease in savagery, some of the clean
vocals). _Domine Non Es Dignus_ takes a lot of getting used to if you
really like old Anaal Nathrakh, but it can become a rather cracking
album. My interest tends to dissipate somewhat after the first few
tracks, and I miss the sheer extremity and viciousness of _The Codex
Necro_; but there is no taking away from the quality of _Domine Non
Es Dignus_. Anaal Nathrakh have created an album that may well launch
them into much greater notoriety in the future -- something that
those who have accompanied the band since their inception would have
found hard to believe... until now.
Contact: http://www.anaal-nathrakh.tk
Anthrax - _The Greater of Two Evils_ (Nuclear Blast, 2004)
by: Jackie Smit (6.5 out of 10)
This must have seemed like a winning idea in theory: book a few days
in the studio and ride the wave of the current thrash metal
renaissance by re-recording a glut of venerated classics, giving fans
the opportunity to hear these songs in a modernised state, and maybe
-- just maybe -- pocketing a few bucks in the process. Trouble is
that a only a couple of months ago, Anthrax released a live album
[_Music of Mass Destruction_] which for all intents and purposes
fills the role of _The Greater of Two Evils_ in a far more energetic
and convincing manner. It's not like the music on this record is
under par by any means -- no matter how surprisingly gormless John
Bush sounds on "Among the Living", you can't argue against the
continued appeal and fervour of "Caught in a Mosh" and "Deathrider".
But even though these songs prove that Anthrax can still kick ass and
take names with the best of them, they make a piss-poor case for
anyone other than the obsessive completist to go out and buy this
record.
Contact: http://www.anthrax.com
Arch Enemy - _Dead Eyes See No Future_ (Century Media, 2004)
by: Jackie Smit (5 out of 10)
Maybe I'm just being cynical, but I have a hard time seeing the point
in this release. A singular, already available studio outtake ("Dead
Eyes See No Future"), a few adequately recorded live tracks and a
clutch of fairly by-the-numbers covers (all packaged at the price of
a regular full-length) doth not a cause for celebration make -- even
if like me, you did actually quite enjoy _Anthems of Rebellion_. From
a purely musical point of view, this effort is certainly passable:
the sneering, downtuned reinterpretation of Megadeth's "Symphony of
Destruction" is definitely interesting, if not the most wholly
inventive cover you'll hear in 2004. But putting aside the band's
skyrocketing popularity for a moment, there is very little about this
that doesn't scream "blatant cash-in".
Contact: http://www.archenemy.net
Cruachan - _Pagan_ (Karmageddon Media, 2004)
by: Quentin Kalis (7.5 out of 10)
I've always had a soft spot for Cruachan, even if few of my
associates can understand my appreciation for this Irish band. But as
can be seen by the relatively modest rating above, this is not their
strongest album -- the weakest in their career to date.
First the negatives: there are two re-recordings of old songs; one
that first appeared on the debut album, _Tuatha na Gael_ ("The Fall
of Gondolin") and another that initially surfaced on their 1997
promo ("Erinsong"). "The Fall of Gondolin" is the third song to
be resurrected off _TnG_; as such this re-recording is utterly
predictable and boring. Admittedly, the 1997 promo is hard to obtain;
however the songs contained on the promo have long since been
included as bonus tracks on the re-release of _TnG_ and thus easily
obtainable.
No less than four instrumentals can be found on this thirteen track
CD. Instrumentals are not necessarily filler material; but only one
doesn't sound like a desperate attempt to extend the playing length.
There is also the obligatory Cruachan version of a traditional Irish
song. Unlike the evocative "Brian Boru", this one sounds like little
more than some guitars backing the performance of a pub song.
Another song from the 1997 promo, "The Return" returns (excuse the
pun) in the form of a pilfered riff clumsily and inexplicably
incorporated into "Viking Slayer". "The Return" is Cruachan in
classic form and it would have been far more acceptable as
a re-recording than the inclusion of the comparatively mundane
"Erinsong". Despite this, "Viking Slayer" is still enjoyable, even if
less than inspired.
On the positive side, songs such as "Pagan" and "1000 Years" show
Cruachan doing what they do best: performing an endearing mix of
Bathory inspired riffs (though gradually heading towards more heavy
metal territory) combined with Irish/Celtic folk instruments. Songs
such as the above are comparable to the best that they have to offer.
When compared to _Folklore_ (their previous album), this definitely
feels inferior. There are fewer catchy melodies and fewer catchy
songs. Those songs that I enjoy, such as "Pagan" and "Ard Ri Na
Heirann", have received extensive play -- but unlike _Folklore_, I
hardly ever play the full CD. Those who enjoyed _The Middle Kingdom_
or _Folklore_ will find a few moments to savour -- but those who
hated the aforementioned albums need not bother with _Pagan_, as it
will in all likelihood be hated for the exact same reasons as
_Folklore_.
Cult of Catharsis / Opus Forgotten -
_Lord of the Gallows_ / _Unleash the Fury_
by: Alvin Wee (6 out of 10) (Aftermath Music, 2004)
Cult of Catharsis start off with a refreshing mix of styles,
melding grandiose, doom-laced passages with an oddly complementary
Gothenburg-thrash demeanor. While coming across as passé at first
listen, especially coming after the recent melodic-death boom, the
tracks begin to assert themselves after a few spins. Well-executed
rock 'n' riff fests like the second track "Blade of the Prowler"
become strangely infectious when played at volume, even if they reek
of previous work by Swordmaster or more recent Impaled Nazarene.
Not a bad five tracks, but unfortunately overshadowed (in terms of
originality at least) by the distinctive style of Opus Forgotten.
Taking a base of DM-infused Norse brutality, OF add a liberal dose of
solo violin to their black metal chaos, tingeing their sound with an
intruiging -- if not entirely comfortable -- incongruency. It's hard
to decide if the violin is boon or bane to their otherwise
run-of-the-mill compositions. At times, it charges the music with a
dazzling urgency, but at its worst, clashes miserably and disrupts
the momentum of perfectly good guitar passages. Nevertheless, the
seven tracks are entertaining enough, and moments of brilliance
suggest the band's potential with some practice and a little
compositional maturity.
Contact: http://www.aftermath-music.com
Dark Tranquillity - _Exposures: In Retrospect and Denial_
by: Quentin Kalis (8 out of 10) (Century Media, 2004)
_E:IRaD_ is a double CD set celebrating some fifteen years of
existence, and is composed of rare songs and a live concert, split
between disc one and disc two respectively. The live concert is the
same one that was recorded in Poland for the _Live Damage_ DVD, and
is more than adequately covered in an earlier review of the DVD --
therefore I will not waste time on the live disc and will focus
exclusively on the rarities disc. The rarities disc can be divided
into two sections: the first section is composed primarily of
unreleased songs from the recording sessions for the last three
studio albums, while the second section consists of the entire
_Trail of Life Decayed_ and _A Moonclad Reflection_ demos -- both
remastered.
The rarities are a rather mixed bag -- they are, after all, songs
rejected for inclusion on a full-length for some or other reason. Of
much greater interest are the _Trail of life Decayed_ and _A Moonclad
Reflection_ EPs. Both were extremely limited releases on vinyl, and
these re-mastered versions are the first time that they have been
committed to plastic. These tracks are pretty good, but inferior to
just about every song on _Skydancer_. Nonetheless, I'm surprised that
they weren't used on _Skydancer_ or included as bonus tracks
somewhere before now, as they are nowhere near that bad. Judging from
the track list, there appear to be no songs which gained a limited
release in-between the demos and _Projector_; it is a significant
gap, covering what many regard as their golden period. It's hard to
believe that there are no demos, rehearsals or covers from this
period which could have been included.
I realise that considerably little has been said about the music in
this review. But when a compilation of this nature is concerned, it
is largely the nature, not the quality of the songs included that is
of primary importance; unlike similar commemorative releases from My
Dying Bride and Darkthrone, this CD set contains absolutely zero
widely available songs and that counts for a lot in my book.
Contact: http://www.darktranquillity.com
Enslaved - _Isa_ (Tabu Recordings, 2004)
by: Pedro Azevedo (8.5 out of 10)
After the less impressive _Mardraum_ and _Monumension_ albums, the
opening track of last year's _Below the Lights_, "As Fire Swept Clean
the Earth", was unexpectedly and overwhelmingly excellent -- it would
turn out to be the album's finest moment, but to my ears _BtL_ still
marked a return to form for Enslaved.
It was therefore with a great deal of anticipation that I first spun
_Isa_, wondering whether its start could match its predecessor's, and
even whether the entire album might be as great as that particular
song. As it turned out, the first track was just an anonymous ambient
intro -- quite the anti-climax. When "Lunar Force" did begin, it
proved to be a rather different affair; an excellent track, but not
quite as great. "Lunar Force" does not dwarf the rest of the album by
comparison however, contrarily to what happened on _Below the Lights_
to a considerable extent. There may not be anything as good on _Isa_
as the aforementioned "As Fire Swept Clean the Earth", but overall it
is more cohesive and more consistently enjoyable than _Below the
Lights_.
Enslaved seem to have regained focus after 2001's rather
disappointing _Monumension_, and this last couple of albums easily
surpass anything they have done since 1999's _Blodhemn_. Tracks like
"Lunar Force", "Isa" and "Return to Yggdrasil" rank among Enslaved's
finest, and that should say a lot. Without having had to backtrack or
stop experimenting, Enslaved seem to have been able to select less
discordant elements for their music: it remains blackened as well as
progressive, and retains a majestic Viking feeling, but this time the
whole thing does not clash with unnecessary psychedelic explorations.
The black metal rasps are still very good, and the clean vocals are
very inspired. While more than adept instrumentally, the album does
not need to go into excessive technicality to make its point.
Similarly, the level of aggression in the music seems to almost
regulate itself, rather than coming across as forced in some parts or
lacking in others. The music sounds mature and self-assured, which is
something that started to become apparent on _Below the Lights_. On
_Isa_, Enslaved occasionally sound more like Borknagar than I would
have thought possible a couple of years ago; but it would be unfair
to imply any loss of identity or the following of someone else's
path. Enslaved are clearly still doing their very own thing, and
doing it very well indeed.
Contact: http://www.enslaved.no
Imperial Empire - _The 3rd War_ (Independent, 2004)
by: Pedro Azevedo (7.5 out of 10)
Wasting not even a second, one-man death metal machine Imperial
Empire (a.k.a. Lee Wollenschlaeger) immediately opens hostilities on
_The 3rd War_. Though assembled in South Africa, the album has an
American death metal feel to it -- the guitar work and vocals leave
no room for doubt in that matter, while the rhythm section is led by
a well employed (and usually fast) drum machine. The album apparently
aims to provide an enjoyable listen above all, with no pretension of
being revolutionary or becoming the new landmark in some kind of
extremity. This purpose has been achieved, and with great tracks like
"My Claim" and "My Majesty", _The 3rd War_ is quite possibly the best
independent release to have come my way this year -- not to mention
an impressively cohesive effort from a single individual. However, in
order to really progress, the project seems to need a different kind
of studio and resources compared to what _The 3rd War_ and its
predecessor _The Second Coming_ had. Nevertheless, this is another
very solid death metal effort -- all the more impressive when
you consider that this is an independent release put together
single-handedly. That a label should take notice and sign Imperial
Empire seems obvious: with better technical means at his disposal and
perhaps a human drummer, Wollenschlaeger would then have all the
elements in place to potentially come up with one hell of an album.
Marduk - _Plague Angel_ (Regain Records, 2004)
by: Jackie Smit (8.5 out of 10)
So this is it: Marduk, fourteen years and nine albums into a career
that in this writer's opinion has teetered between mediocre and
overrated. Yet there's something different about _Plague Angel_, a
sense that the band has at long last managed to reach that previously
unattainable level where they are able to consolidate their greatest
assets and do away with that which held them back. Hard as it
may be to believe, boys and girls, _Plague Angel_ is the sound
of Marduk growing up, even though on first impression it isn't
exactly a drastic stylistic departure from the breakneck blasting of
_World Funeral_ or _Panzer Division Marduk_. Hell, there's enough
misanthropic venom coursing through "The Hangman of Prague" and
"Throne of Rats" to power small cities. Likewise, the introduction of
the infinitely superior Mortuus to the vocalist's podium proves to be
a boon for the band in every respect, and while it's highly debatable
whether or not Marduk are -- as their press release claims -- the
only true black metal band around, _Plague Angel_ is definitely one
of the best releases of its kind this year so far.
Contact: http://www.marduk.nu
Mechanical Poet - _Woodland Prattlers_ (Aural Music, 2004)
by: Pedro Azevedo (6 out of 10)
Mechanical Poet from Russia throw a lot of elements and influences
into their mix of traditional, symphonic and progressive metal. A
very theatrical release, _Woodland Prattlers_ reportedly comes with a
twenty page comic book that illustrates the concept behind the album
(my promo copy doesn't have one, so I won't comment on that). There
are significant hints of Danny Elfman soundtracks in the classical
elements that Mechanical Poet merge into their metal; if that tickles
your curiosity, then you should probably give _Woodland Prattlers_ a
shot. Clearly a lot of work has gone into the album, and it is a
worthy effort that offers plenty to be discovered. It requires a very
high tolerance to all sorts of sweet melodies, clean vocals and
harmless fantasy themes, though -- not my thing, but still a good
piece of work within the band's chosen style.
Contact: http://www.auralmusic.com
Nattefrost - _Blood and Vomit_ (Season of Mist, 2004)
by: Quentin Kalis (4 out of 10)
When it comes to solo albums released by Norwegian black metal
veterans, the end result invariably leaves a lot to be desired.
Satyr (Satyricon vocalist), Fenriz (Darkthrone drummer) and Gaahl
(Gorgoroth vocalist) produced extremely patchy albums under the aegis
of their respective Wongraven, Isengard and Gaahlskagg monikers.
In his contribution to this lineage, Carpathian Forest vocalist
Nattefrost doesn't deviate from the pattern established by his
predecessors in delivering a rather mediocre solo album.
Musically, it is strongly based in old school black metal. The music
is defined by an abrasive guitar sound played with old school punkish
simplicity and complemented by distorted and harsh vocals. The lyrics
are ridiculous; lines such as "Swallow my cum bitch" and "Shut up
bitch, I'm in command" sound as if they were lifted from an amateur
S&M video. Carpathian Forest can hardly be said to represent the
intellectual side of black metal in the sense Emperor or Ulver did,
but even this is several steps lower than any of their paeans to
deviant sex.
"Nattefrost Takes a Piss", which should be understood in its most
literal sense, lowers the tone even further, something I didn't think
was possible. Defenders of Nattefrost will probably point out that he
was just having fun, that this CD shouldn't be taken seriously. This
is a spurious argument; a solo album / side project should be an
opportunity for an artist to explore a musical facet neither possible
nor desirable under the banner of their main band, not as an excuse
to serve poorly conceived and executed bouts of onanistic excess.
To sum up: the lyrics are juvenile; the music is over simplistic and
will cease to be of any interest after a couple of months. If this
album didn't have the name of a black metal veteran attached to it, I
seriously doubt Season of Mist would even have looked at it.
Nokturnal Mortum - _Twilightfall_ (Oriana, 2004)
by: Quentin Kalis (7.5 out of 10)
_Twilightfall_ is the re-release of Nokturnal Mortum's 1995 demo,
which was originally released only on cassette format. This
re-release follows reissues of all their full-lengths and a reissue
of _Return of the Dragon Lord_ / _Marble Moon_ and will be followed
with a double CD "rarities / best of" compilation shortly. One
can only hope that the next step will be the release of their
long-awaited full-length -- which will be their first since 1999's
_Nechrist_. I'm tempted to consider this rash of reissues a cash in,
except that Oriana is far too small for this to be considered a cash
in. In addition, given that Oriana is headed by vocalist Knjaz
Varggoth, a more nuanced interpretation is that this process of
reissuing virtually every note recorded by Nokturnal Mortum can be
more accurately considered as a labour of love (one look at the
beautifully redesigned CD booklet for _Nechrist_ should serve as
sufficient proof) than as a desperate money grabbing venture.
The _Twilightfall_ reissue is the latest stage of this process. The
music has been remastered and is, surprisingly enough, romanticised
doom metal in the vein of early My Dying Bride or Anathema. Granted,
this is hardly going to give _Turn Loose the Swans_ a run for its
money, but for a first demo by a band who obviously had not
found their sound, this is far from shabby. There are sufficient
similarities with later material for this to be recognisable as
Nokturnal Mortum; in particular, the guitar sound and leads display
noticeable similarities with later albums, especially _Lunar Poetry_.
Varggoth's vocals are recognisable for the most part, except for when
he performs (competent, but otherwise unassuming) death growls. Folk
elements, an important component of later songs, are also featured;
however, it is a more conventional and familiar folk style that is
embraced rather than the Slavonic folk tendencies that pepper their
newer material.
If, like me, you are a fan of the band or are interested in the
origins of one of the underground giants, then you will want to hear
this no matter what. For those unfamiliar with the band, this is the
worst CD to serve as an introduction.
Omnium Gatherum - _Years in Waste_ (Nuclear Blast, 2004)
by: Jackie Smit (7 out of 10)
It's been a year of ups and downs for melodic death metal. On one
hand there have been sterling releases by Wintersun and Insomnium --
proving that a few simple twists on what has become an increasingly
tired blueprint can still create some very memorable metal moments.
Unfortunately the reverse has also been true, and never more so than
in the case of acts like Mercenary, who with _11 Dreams_ delved
into realms of mediocrity not seen since Mystic Circle inflicted
_Damien_ on the music world. _Years in Waste_ is Omnium Gatherum's
third full-length effort (their first for Nuclear Blast) and falls
squarely in the middle of these two polar opposites. Hinting at the
progressive, sci-fi-tinted sound of Nocturnus (circa _Thresholds_) on
more than one occasion, the Finns entertain in fits and starts. By
turns, _YiW_ is challenging and inventive ("The Fall Went Right
Through Here"), and by others exasperatingly average ("No Moon & No
Queen"), but ultimately the over-saturation of the melodeath scene,
and a host of superior acts, hardly helps to elevate _Years in Waste_
to the stratosphere of essential listening.
Contact: http://www.omniumgatherum.org
Shape of Despair - _Illusion's Play_ (Spinefarm, 2004)
by: Pedro Azevedo (8.5 out of 10)
It's never easy to come up with a suitable follow-up to a great
album, and Shape of Despair's second effort _Angels of Distress_ was
just that. Its successor, _Illusion's Play_, starts things off in
typically laid back fashion with a lengthy instrumental intro, as if
Shape of Despair are in no rush to prove anything to the listener.
When second track "Still-motion" begins, the band utilizes a softer
than usual mixture of clean-sung male and female vocals -- Pasi
Koskinen (formerly of Amorphis) and Natalie Koskinen, respectively.
(I have no idea as to whether the two are related.) The male/female
vocal interplay remains tasteful and well done whenever it is used.
Pasi's deep death vox finally surface after a few more minutes, with
lead guitarist extraordinaire Tomi Ullgren (Rapture, Thy Serpent)
providing an excellent emotional backdrop with his slow guitar lines.
The track finishes with a long minimalist keyboard section, again
displaying an unwillingness from the band to rush proceedings (though
at nearly seven minutes in length, I tend to skip it).
"Entwined in Misery" resumes the album in typical Shape of Despair
(nearly?) funeral doom style, and in fine form too. The music
emanates a feeling of disillusionment and sorrow, but retains an
exquisite beauty -- again mainly thanks to Ullgren's guitar work.
Some of Jarno Salomaa's synths fail to convince me, but they do not
significantly harm the music, and this turns out to be one of the
best doom metal songs I've heard this year. Helped by acoustic guitar
and much better synth work, the next track, "Curse Life", keeps
things interesting. "Fragile Emptiness" and the title track finish
the hour-long effort with aplomb in a similar vein.
Overall _Illusion's Play_ is a worthy follow-up to _Angels of
Distress_, and although it may not cause as much of an impact, it
should still satisfy fans of the band. _Illusion's Play_ helps prove
once again that Finnish doom is still going strong, and that Shape of
Despair are one of its greatest exponents.
Contact: http://www.shapeofdespair.tk
The Axis of Perdition -
_Physical Illucinations in the Sewer of Xuchilbara (The Red God)_
by: Pedro Azevedo (6 out of 10) (Code666, 2004)
On this half-hour EP, The Axis of Perdition indulge in mixing
a greater amount of dark ambient with the hyperblast blackened
metal of _The Ichneumon Method (And Less Welcome Techniques)_. The
rhythm machine driven black noise is still somewhat reminiscent of
countrymates Anaal Nathrakh's less polished days, with often abstract
vocals on top. The production is relatively lo-fi, which favours the
ambient side of things but detracts somewhat from the metallic
sections. The dark ambient passages are well integrated into the
music, and the first couple of tracks are quite interesting.
Unfortunately the rest of the EP is let down by a lack of driving,
memorable riffs and passages, which means the listener is left with
some reasonably interesting but not very playable tracks. Granted,
The Axis of Perdition probably tried to do just that, creating an
uncomfortable and extreme listening experience; but this EP is unable
to provide worthwhile material throughout. Nevertheless, even though
_Physical Illucinations..._ fails to live up to its potential, I'll
still be waiting for the next full-length.
Contact: http://www.code666.net
The Crown - _Crowned Unholy_ (Metal Blade, 2004)
by: Pedro Azevedo (5 out of 10)
2001: charismatic frontman and founding member Johan Lindstrand
leaves The Crown after the release of _Deathrace King_, saying he
cannot endure any more touring. The band hire legendary vocalist
Tomas Lindberg (formerly of At the Gates, among many others) to
replace him, stating in interviews that Lindberg was the only
acceptable option for them and that the band would have otherwise
been forced to split up.
2002: _Crowned in Terror_ is released with Lindberg on vocals. After
some touring, Lindberg leaves the band. Bassist Magnus Olsfelt
allegedly points Tomas' different drinking habits as the reason
(getting drunk before the show rather than afterwards and becoming
impossible to deal with when in said state) and is quoted as saying
that this was also what led to the demise of At the Gates. Lindstrand
returns to the fold.
2003: _Possessed 13_ comes out, featuring Lindstrand back on vocal
duties.
2004: Plans are put in place for partially re-recording the
Lindberg-led, Lindstrand-less album _Crowned in Terror_. The
Crown split up, citing problems caused by unprofessional touring
arrangements as the main reason behind their decision.
And so we arrive at _Crowned Unholy_. Johan Lindstrand has recorded
vocal tracks of his own for each and every song (including a solo
performance on "Death Metal Holocaust", where he had previously
participated in a duet with Lindberg), Magnus Osfelt has redone his
bass tracks and Janne Saarenpää his drums -- only the original guitar
lines have been kept intact. The whole thing has been remastered and
packaged together with a bonus DVD featuring a gig in Germany.
When comparing the two versions, what stands out is that the drum
sound has been considerably improved, the guitar sound has been
tweaked into something that sounds more like _Possessed 13_ (whether
that should also count as an improvement depends on your taste) and
the vocals are Lindstrand's rather than Lindberg's. While this last
item is also ultimately a matter of preference, it is undeniable that
Lindstrand is the recognizable voice of The Crown, and as such
comparing the two performances is somewhat pointless -- in my case, I
was quite satisfied with Lindberg's, but Lindstrand's voice certainly
sounds more natural for The Crown. Lindstrand's interpretation of the
_Crowned in Terror_ material includes a rather cringeworthy clean
sung chorus on "The Speed of Darkness" -- why they did that is beyond
me, but it gives me strange flashes of The Crown turning into bloody
Soilwork if they had kept going. Apart from this, the overall sound
is superior to the original version (the beefier guitars will please
most fans, and the drums are certainly better), and the album
obviously retains the riffs and songs that made _Crowned in Terror_ a
damn good album, as well as those that meant it wasn't the band's
most inspired effort overall.
The live DVD was recorded in 2003 -- that's after Lindstrand rejoined
the band, but before _Possessed 13_ was recorded. The Crown are
playing a gig in what seems to be a small venue in Karlsruhe,
Germany. The sound (plain stereo) is average for a live recording,
and the visuals are kept basic throughout. The band delivers a fairly
good performance overall, with impeccable drumming, tight rhythm
guitar, variable melodic details and somewhat underwhelming vocals
and stage presence.
I'm left wondering exactly what made The Crown want to take the
highly unusual path that led to _Crowned Unholy_. It couldn't have
been an excuse to include the shabby bonus live DVD, because there's
supposed to be a full DVD release in the works. If it's down to
ensuring a back catalog with Lindstrand singing on every album (the
"true line-up"), then I find it peculiar, considering Lindberg's
performance can hardly be faulted. If, on the other hand, this
re-recording stems from the band feeling the original sound wasn't
good enough (which they amply state on the liner notes), then that
may be more justifiable; but I'm still unsure it is sufficient,
unless Metal Blade are willing to offer a refund to everybody who
bought the original defective(?) product.
Maybe all of this together adds up to enough to turn _Crowned Unholy_
into something credible; but that will likely remain a point of
contention for fans to discuss heatedly for some time -- and since I
have a hunch Metal Blade believe there's no such thing as bad
publicity, they'll probably be quite pleased by that. Overall,
_Crowned Unholy_ may be worth it for fans who already own the
original but dislike its sound, and it's definitely worthwhile for
those who do not own _Crowned in Terror_. However, I can't value the
tepid bonus DVD much when a dedicated DVD is about to come out, and
although the album sounds better than the admittedly faulty original,
I don't see how that justifies paying for the album all over again.
Much as this reeks of cash-in from Metal Blade, I'll still give it a
5 overall, taking into account the slight value it does offer to fans
and the fact that there's also some people who don't own _CiT_.
Contact: http://www.thecrownonline.com
The Soundbyte - _Rivers of Broken Glass_ (Amaranth, 2004)
by: Pedro Azevedo (7.5 out of 10)
Trond Engum, best known for his guitar work and songwriting in The
3rd and the Mortal, apparently recorded this solo effort over a
period of two months spent on a boat, somewhere in the North Sea. The
Soundbyte is made up of mellow electric guitar and strings, drums and
bass, male and female vocals, brass, keyboards and programming.
Despite the presence of female vocals, there isn't much for old The
3rd and the Mortal fans here: the music is far from the realms of
metal, and the focus is more on low-key gothic male vocals. Most of
the songs relate to the suggestive album title, _Rivers of Broken
Glass_; though not overly dark by extreme metal standards, the
feeling Trond Engum managed to create using mainstream sounds comes
across as quite refreshing and effective. Forget the annoyingly
upbeat "Waiting" -- it only serves to mark the beginning of the
second half of the album, with such interesting tracks as "The Line",
the atmospheric "Reflections of Broken Glass", "The Dark" and the
female-sung "Til Ungdommen". This isn't to say there is nothing of
interest in the first half of the album, but I tend to find the
generally darker tone and compositions of the second half much more
enjoyable. If you feel like embarking on a cold voyage outside the
realm of metal, then I would advise seeking _Rivers of Broken Glass_.
Contact: http://www.thesoundbyte.com
Thee Maldoror Kollective - _A Clockwork Highway_ (Code666, 2004)
by: Pedro Azevedo (4 out of 10)
The rather repetitive, tepid opening track does not bode well for _A
Clockwork Highway_, and unfortunately the album turns out to be
unable to shake those problems. There's a bit of a Red Harvest kind
of industrial metal to Thee Maldoror Kollective's sound, coupled with
a myriad of electronic and ambient elements. The results vary
considerably between tracks, and even within each s
ong; think a more
electronic, less blackened and rather bland variation of Dodheimsgard
on their brilliant _666 International_. If you like electronica and
tribal rhythms, then you may well enjoy this more than I did; however
don't rely on the mostly simplistic riffs to save the day. A lot of
speech samples are also used, but a cohesive whole is not achieved.
This isn't to say there aren't some good passages; but they end up
buried and lost in a nearly hour-long album where most of the time
there isn't much to keep you interested. After some line-up changes,
it seems to me Thee Maldoror Kollective are presently working with a
variety of ideas, but still need time to consolidate them much
further.
Contact: http://www.code666.net
Vampire Mooose - _Vampire Mooose_ (Rotten Records, 2004)
by: Todd DePalma (2 out of 10)
It is problematic that a band calling itself "Vampire Moose" excels
at so much unintentional comedy. This St. Louis gang of four prove to
be capable musicians (a fact put forth more noticeably by their
drummer); however their record label's boast that this album is
"anything but the same old metal thing" dooms Vampire Moose not only
as a band plundering the tired formula of metalcore, but one
surrounded by delusion about it as well. In short: there is nothing
new here, and what does work is so disconnected from the rest of the
crap that it seems almost pointless to mention.
The first track opens with a brief drum intro that evolves like
pebble on a hill, slowing building a steady rhythm that cues in a
thin wave of guitar distortion and tense bass played tightly; leading
in for about a minute before their conditions are amplified and
transformed into a chugging, simplistic verse that unifies all the
instruments into a precise machine, slamming open and shut like a
steel door, though it is probably the band's casket lid. What follows
for the rest of the album is more of the same, no doubt taken to new
levels ("of what?" is the key question...) as Vampire Moose employs a
variety of desperate clichés in search of anything that could
possibly hold its audience's attention (without being too daring, of
course). Rapping over Meshuggah riffs may be "new" in a sense, but
it's typical faux profundity that has about the same novel appeal as
green ketchup.
Another confused aspect of this band's approach is their touting of
artists like Tool and Tori Amos as influences, which needs to be
addressed partly as a problem of logic: the characteristics of your
favorite artists do not necessarily manifest in any substantial
amount of your own works produced. There is more Pantera and Drowning
Pool at work in the macho slamming and low-end vocal wheezing of
tracks like "Eye of the Knorm" than anything. And speaking of
shameless plugging for attention, I might as well pass along the
marketing point to you readers that star of "Evil Dead" and bearer of
a mighty chin Bruce Campbell appears in one track, though he exists
as nothing more than an onanistic coup for the band and won't amuse
you in the slightest.
Closing out this album is "Khali Ma", a fifteen minute track which
labors on for a third of its time before coming into a beautifully
acoustic instrumental played in classical style over the sound of
rainfall. This soft melody is easily the most evocative music on this
disc, and after everything else I'm able to report at least one
surprise, however fleeting.
Contact: http://www.vampiremooose.com
Void of Silence - _Human Antithesis_ (Code666, 2004)
by: Pedro Azevedo (8.5 out of 10)
My interest was most certainly piqued when I heard that Primordial
vocalist Alan Nemtheanga would be teaming up with Italian apocalyptic
doomsters Void of Silence for the follow-up to _Criteria ov 666_. It
was therefore with high hopes that I first spun _Human Antithesis_,
and the opening spoken lyrics seemed to confirm there was much in
common between Nemtheanga and VoS: "This is where the dream ends /
Where the soul of every man and woman is broken / Where you carry
your crippled children in hope of salvation / And you will lay them
down to die, for salvation does not come / And the worth you have
placed upon your life is finally revealed as nothing".
One cannot fault Nemtheanga for lack of effort, in the sense that his
performance is up to par with what he's done with Primordial. However
the music itself is quite different, much slower and full of various
elements creeping in and out of the soundscape. Most of the time his
vocals are still well suited to what is going on in the music (which
is the case throughout the excellent twenty minute title track, for
instance), but on a couple of occasions he oversings some passages in
a way that would have sounded more appropriate on a Primordial album.
Still, his mixture of solemn, morose and wrathful vocals remains as
talented as anyone who likes Primordial would expect. It is therefore
one of the strongest elements in _Human Antithesis_, and a definite
improvement over the vocals on the last album.
Meanwhile, Void of Silence continue to prove adept at creating very
good apocalyptic doom, with plenty of subtle ambient touches and well
incorporated keyboards. There is a great concern with ambient
elements that is prevalent throughout the record; it is something the
band do very well, and it helps elevate the album further away from
anonimity. The interludes linking the main songs provide the most
evident examples of this penchant, but VoS do not stop there, and it
gives the album a more cohesive feeling. There is a great solemnity
and desolation in their sound, a kind of decayed grandeur.
Sometimes one gets the feeling that this hour-long album could have
been a few minutes shorter, that some less inspired bits might have
been condensed or left out for the benefit of the rest; but _Human
Antithesis_ still plays very well, and firmly places Void of Silence
among the best of 2004's doom metal.
Contact: http://www.voidofsilence.com
Woods of Ypres - _Pursuit of the Sun & Allure of the Earth_
by: Todd DePalma (4 out of 10) (Krankenhaus Records, 2004)
Much has changed for Canada's Woods of Ypres since 2002's _Against
All Seasons_ was released and showered with praise for its blend of
melodic black metal with a pensive doom quality. In the time that
followed various complications grew to the band being put on hold,
and as other members eventually left, Woods of Ypres was shaved down
to its backbone: founder/drummer David Gold, who according to the
liner notes has written and performed everything for this full-length
release with the exception of keyboards played by Jessica Ross.
_Pursuit of the Sun..._ is a concept album of ten tracks that the
artist recommends to stay with from start to finish upon the first
listen. These new recordings reflect a definite sharpening of vision
dubbed "Summer Black Metal" -- but while this latest categorical tag
may raise a few eyebrows, it is ultimately unconvincing. In fact,
there is little here to connect with black metal as a genre -- save
the occasionally aggressive passage that resembles the demo material,
though now wrapped in a more separate atmosphere, leaving the phrase
a kind of shallow enterprising. On the upside, it can be said that
this new sound more adequately matches the lyrics, which continue to
convey Woods of Ypres' sentimentalist philosophy, and though there
are noticeably strong influences throughout, the music may be coming
more appropriately into its own. That aside, I found difficulty in
keeping to Gold's instruction.
Performance wise, almost every bit this album, from ringing nylon to
rumbling bass, is performed with a high quality of musicianship, and
easily noticeable due to the unclouded production standards. Only the
vocals are distracting in terms of actual execution, but they
eventually work to impede on _Pursuits_ attractiveness. It's safe to
say that once you're within the range of the album's fifth track
(already 25 minutes in) you will be impressed enough to go on or be
almost excruciatingly bored by these iterate ballads.
The formulaic path that each song continues off on consists of
acoustic interludes that enter with the echoes of rustling distortion
in tow, tailing the dreamy, golden aesthetic of those slowly
pondering notes. "The Looming of Dust in the Dark" and "The Will to
Give" capture this slow building atmosphere of personal reflection
perfectly, and with a more forceful tone than anything else that
follows, with the latter track having an anthemic, nearly power metal
feel. The essence of this music is not dark, but moody and blue. The
vocals which propel this narrative predominantly dwell in the lower
pitch of monotonous Vintersorg worship and sound straining as well as
occasionally off key. The theme here seems to be a miscue of
judgment, not absence of skill -- Gold is capable of singing clean,
but sounds much more convincing when screaming or growling, and no
matter what part of the writing process has called for the former to
be used in its excess, it exposes him as overextended. Similar in
this respect is the album's constant falling back on the garish
effect of the acoustic guitar -- strumming pretty, hopeful verses
that fade in every five minutes or so, in one case following a
session of Immortal-esque storm blasting ("Dragged Across a Forest
Floor"). There's a disingenuous quality at play here, not for the
mere pairing of these generally polar voices, and not because these
more subtle moments of introspection are perhaps beautiful, but
because they are a cliché of "beautiful".
At the heart of _Pursuit of the Sun..._ is an episodic statement of
will in the face of severed relationships, but it's apparent
sincerity becomes a cloying, dull expression of torrid metaphors. At
over an hour's length, the album provides a handful of interesting
tracks that may find an ear with fans of the band's demo; however,
this new sound will most likely find more of connection among those
already enjoying similar projects like Agalloch and Opeth.
Contact: http://www.woodsofypres.ca
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DOOM METAL: THE GENTLE ART OF MAKING MISERY
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Pedro Azevedo
About This Article
~~~~~~~~~~~~~~~~~~
In trying to assemble my thoughts on doom metal and shape the result
roughly as a guide, I had to touch upon the genre's history,
definition and categories. However, please keep the following in
mind: this is not meant to cover every last band and event in doom
metal history; the influence I indicate certain bands or styles may
have had on other bands or styles is simply deductive rather than
factual; this article does not aim to unambiguously define doom metal
or rigidly categorise its bands; and my own analysis of some of the
psychology behind doom metal is entirely based on experience, rather
than any formal knowledge of said science.
Since this article focuses on doom metal, I couldn't resist writing
this negative introductory paragraph -- something along the lines of
a tired old "abandon all hope, ye who enter here". Indeed, in
collecting these thoughts I have only tried to combine my experience
in doom metal (which is of course influenced by personal taste) with
some reflection and a bit of historical information. Hopefully it
will help some of you discover a rich new genre, further explore some
of its more secluded areas or just ponder on its peculiarities. While
writing this I've had to go back to old records I hadn't played in
years, as well as look into bands and subgenres I knew less about;
and that turned out to be a reward in itself. Thanks to everyone who
helped in any way.
What and Why
~~~~~~~~~~~~
Doom metal is a style of heavy or extreme metal music most safely
characterized by its depressiveness, which can be conveyed in a
number of ways: while the music is often slow and minimalist, it can
be extremely heavy and ugly as well as more melodic and sorrowful.
This is about as close to a generic definition as I'm willing to go
for the benefit of newbies -- anyone with a reasonable grasp of the
genre surely understands the inherent variety caused by the more
avantgarde bands as well as various partial fusions with other
genres. One can just as easily find a slow doom/death album as a
melodic, clean sung one; a somewhat noise-based, much less melodic
approach is not uncommon, and a mix of black and doom metal is not
unheard of either.
Given these first few lines about what doom metal sounds like, I was
initially going to write an introduction describing how I first
encountered doom metal many moons ago, and how the music has affected
my life and so on; but I won't, because none of you would care. No,
not a single one of you cold-hearted people would give a damn. So
I'll just go sit alone in my corner, thinking about life and the
state of this bleak world and listening to some doom metal -- and you
can write this damn article yourselves if you want.
Joking aside, the paragraph above tries to illustrate what I think
truly separates doom from every other metal genre: when done right,
it is by far the most personal, introspective and individual of them
all. With this I don't mean to raise doom above other genres, or call
it more profound or distinctive than the others. All I mean by this
is that people can headbang and fist-pump together to death or thrash
metal, they can try black magic and pull grim faces together with
black metal, they can air-guitar and croon together to heavy or
progressive metal... but a good doom metal album is something you
take along when you want to be by yourself, when you need some
isolation. While this can also be achieved with other genres and
entirely depends on the taste of each individual, I think that
contrary to other genres, this is what doom metal was truly created
for. Or in the context of the less serious kind of treatment I just
gave the other genres, doom metal is made for those beings that are
overly sensitive and depressed, and aren't doing anything about it.
This last isn't necessarily any more or less useful an outlet
than any of the other stereotyped behaviours I described above.
When one is feeling low, help can come from a large variety
of sources: adrenaline-pumping aggression, misanthropic spite and
soaring melodies are just a few possibilities. So why am I separating
doom metal from the pack here? Because it is arguably the only metal
genre that actively provides a source of depression for the listener.
And nobody wants that when they're feeling great, so why would anyone
want it when they're in the mire, right? Well, wrong, at least
judging by the fact that doom metal keeps selling records and has
done so reasonably constantly while bigger selling metal genres kept
going around in rollercoaster rides of popularity.
Doom metal is very unlikely to ever truly become the flavour of the
day, but what hampers its growth to a global scale is precisely what
keeps it alive: it doesn't try to sell itself; it doesn't try to
offer you what you want, it offers you what it -is-. Of course
it would be deeply naïve to believe doom to be the one pure,
uncommercial genre in the middle of a bunch of sell-outs; with
neither extreme being true, the reasoning behind that conclusion
stems from what I wrote about providing directly uplifting and
reinvigorating music that people want to hear (even in the case of
black metal at its core) versus providing a further dampener to their
spirits, such as doom metal does.
In the interestingly-named LifePositive.com website, one of the
suggested solutions to help one "come out of the blues" was to
"accept the mood, enter into it fully by listening to sad music and
gradually change it to light, pleasant tunes". (They also suggest
that you should "lock yourself in a room and laugh loudly for half an
hour", but I won't go into that sort of discussion.) On the Mental
Health Info website at MindInfo.co.uk, it is flatly stated that
"sometimes if you're feeling low, it's tempting to play slow sad
music, but this will make you feel worse. An uplifting tune or
cheerful song can instantly improve your energy levels and your
emotional well being."
So if these websites are right, then how do you sell misery to
people? Well, I won't try to make any general statements like the
last one above, but I can safely state from personal experience that
not everyone is negatively affected by sad music, and not everyone's
spirits improve by way of music that is supposed to be directly
uplifting in nature. The way to go for those must therefore be a bit
more winding and narrow, through a wretched path that may -- or may
not -- lead to a better place. In other, less dramatic words, this is
usually either through doom metal or the darkest shades of the genres
mentioned before. And while for some people doom metal is strangely
uplifting, for others the arguably unparalleled torrent of emotion --
melodically or crushingly conveyed -- that can pour from it is
enjoyable even on a good day, rather than depressive as it might be
for the majority.
There may be an interesting parallel to be drawn between this
situation and SAD (Seasonal Affective Disorder). SAD, according to
the NOSAD.com website, "is a type of winter depression which affects
millions of people (...), caused by a biochemical imbalance in the
hypothalamus due to the shortening of daylight hours and the lack of
sunlight". The article also devotes a whole sentence to briefly
explain that "in summer SAD, symptoms may be related to excessive
heat rather than light". While some people may not be affected at
all, most are expected to fell some lowering of spirits during the
Winter months, even if only slightly; those who actually like those
dreary months -better- than the happy seasons can be expected to be a
tiny minority. Similarly, I have little doubt that the minority of
people who will truly enjoy doom metal will also prefer the colors of
Autumn to those of Summer, grey clouds to bright sun. Whether or not
this would be due to the aforementioned biological reasons is beyond
me, but perhaps the rationale behind the seasonal and musical
situations isn't very different.
Bjørn Grinde, in an article published in the Nordic Journal of Music
Therapy (online version at www.hisf.no/njmt), discusses music in
which "particular passages can generate the intense pleasurable
experience described as a chill, a thrill, or a shiver". It may come
as a surprise, but according to the article, "research suggests that
chills are evoked more often by sad music than by happy music". "At
least in Western culture, sadness is thought of as a negative
feeling, yet we flock to movies known to make us cry. Both visual art
and music offer us the possibility of taking gratification from
sorrow without having to undergo the bereavement that normally
precedes this feeling."
I happened to finish reading Philip K. Dick's "Do Androids Dream of
Electric Sheep?" during the writing of this article. In this book,
the author portrays a world where humans are distinguished from
highly developed androids by the former's capacity for empathy, which
the latter lack. Humans devoted to Mercerism frequently used a device
called an empathy box, which allowed them to empathise with each
other in their struggle to ascend an interminable hill infested by
invisible enemies. From this perspective, the doom metal album may be
some listeners' empathy box -- they all share their successes and
failures in that doomed ascent, and empathy makes the whole stronger.
For some people, perhaps empathy with the feelings being eloquently
portrayed on a doom metal album can provide a more uplifting and
enjoyable experience than other genres.
Whichever way you look at it, there is a certain uniqueness to doom
metal. This doesn't imply that other genres lack their own unique
characteristics; but I personally find the idiosyncrasies of doom
metal to be the most endearing of all metal genres.
Who, Where and When
~~~~~~~~~~~~~~~~~~~
Most people point to the early work of Black Sabbath (England),
during the first half of the '70s, as the starting point for doom
metal. Indeed their self-titled debut (1970) marked the beginning of
a series of albums that would become fundamental for heavy metal and
doom in particular, due to their dark and brooding nature, which was
unlike anything else at the time. Revolutionary and unique, these
albums would pave the way for others like Pentagram, Trouble and
Saint Vitus (all from the USA) to make their mark in the '80s.
These bands would remain active well into the '90s, much like
Candlemass (Sweden), who decisively helped shape "doom metal" with
their landmark _Epicus Doomicus Metallicus_ (1986) -- an album that
brought a sense of the classical to doom for the first time, coupled
with emotional vocals and strong, tortured riffs. Candlemass would
finish the decade strongly with new vocalist Messiah Marcolin and
albums such as 1987's _Nightfall_, and they would enter the '90s as
possibly the biggest doom metal band in existence.
Doom metal became an established genre, and from the early '90s
onwards it started to branch out in a number of directions -- to the
extent that the first few years of that decade, perhaps as far as its
midpoint, were fundamental in shaping the vast landscape of what doom
metal is today. The '70s and '80s saw the establishment of a base for
the genre, while the '90s witnessed the growth of a number of
separate branches of doom metal and its crossover with other genres,
greatly expanding its sonic and emotional spectrum.
As the '90s started, the classic doom metal branch kept going --
bands including Solitude Aeturnus, Penance, While Heaven Wept (all
from the USA) and Solstice (England) deserve to be mentioned as some
of its leading forces throughout the decade. The aforementioned
Trouble, Saint Vitus and Candlemass also continued to produce albums
and remained as heavyweights in the genre.
To this date the United States continue to be arguably the most
fertile ground for this original version of the doom metal genre, as
well as for sludge and stoner doom outfits -- less melodic than the
European doom styles, examples can be found in Crowbar and Sleep's
ponderous music respectively. The Sabbath influence can also be found
in other heavily distorted and more primitive works, such as those of
Khanate (USA), Teeth of Lions Rule the Divine (USA/UK), Iron Monkey
(UK) and Church of Misery (Japan). Do not expect any poetic
reflections or finesse here; it's all as ugly and bleak as they
perceive this world to be.
England was the first to produce extremely slow and distorted
derivations of doom, however, with the early works of Cathedral
becoming instrumental for the busy decade that was just beginning
when they released _In Memoriam_ (1990) and _Forest of Equilibrium_
(1991). Though greatly influenced by the '80's major doom acts, these
albums also contained an element of death metal: vocalist Lee
Dorrian's (ex-Napalm Death) death-like vocals were one of Cathedral's
distinguishing characteristics at this stage.
Meanwhile, also in England, the early works of the Peaceville trio of
British doom saw the bleak light of day: Paradise Lost with _Gothic_
(1991) and _Shades of God_ (1992); My Dying Bride with their
_Symphonaire Infernus Et Spera Empyrium_ EP (1991) and _As the Flower
Withers_ (1992); and Anathema with their _Crestfallen_ EP (1992) and
_Serenades_ (1993). In this initial stage of their careers, these
bands also focused on a fusion of doom and death metal, with a
variable amount of usually heartbreaking melody and anguish thrown
in. Great amounts of these elements were used in the case of My Dying
Bride and Anathema, who became pioneers in the inclusion of darkly
romantic elements in their brand of doom metal. A considerable dose
of classical art, which had previously been used only occasionally,
started to make its way into doom metal much more frequently at this
stage, becoming a prevalent feature of some of its subgenres.
These three bands have since followed very distinct paths. Paradise
Lost, formerly a straightforward death metal band on their debut
album, dropped the death metal side of their doom/death and injected
some heavy metal into their sound for a few albums. They then left
doom metal and veered strongly towards a more commercial approach. My
Dying Bride famously incorporated a violin and piano player into the
band as well as some clean vocals, creating landmark doom albums in
the mid-'90s such as _Turn Loose the Swans_ (1993) and the clean-sung
_The Angel and the Dark River_ (1995). My Dying Bride are quite
possibly the most successful doom metal band still active today. As
for Anathema, they too made the change to clean vocals, although in
their case this was a complete departure from death vox; their sound
became lighter and presently features a considerable Pink Floyd
influence.
The early work of the aforementioned doom/death bands paved the way
for several others to follow, including the lovelorn Celestial
Season (Holland), Novembers Doom (USA), Mourning Beloveth (Ireland),
Saturnus (Denmark), Desire (Portugal), Paramaecium (Australia) and
Lacrimas Profundere (Germany). Indeed the first half of the '90s saw
some feverish activity in this darkly romantic subgenre, which
eventually led to a trend of duelling death and female vox, as
typified by Theatre of Tragedy (Norway) with their self-titled debut
(1995). This album helped spawn a large number of sugarcoated doom
metal acts that popped up within a relatively short time of each
other, temporarily drowning out pioneers such as The 3rd and the
Mortal (Norway) and The Gathering (Holland), who had practically
created female-led doom metal with the Norwegians' _Tears Laid in
Earth_ (1995) and the Dutch band's _Mandylion_ (1995) -- records that
have nevertheless withstood the test of time.
As if to further illustrate the multiple faces of doom metal, another
one of the most influential '90s bands followed a somewhat different
set of rules. Like Candlemass, they hailed from Sweden; but the
desperately sad melodies and agonizing shrieks of 1993's _Dance of
December Souls_ set Katatonia apart from its peers. An intense and
spontaneous album, _Dance of December Souls_ showed a different way
to approach depressive, doomy metal, and Katatonia were not about to
conform to any standards: 1996's bleak _Brave Murder Day_ proved just
that, with the band developing their riffing style and again creating
a different -- but very doomy -- record. Katatonia have since moved
on to a more ear-friendly, song-oriented (though still emotional)
approach, and have continuously been an influence to several bands
throughout their career -- their first couple of albums likely had
considerable influence on bands such as Empyrium (Germany) and
Rapture (Finland).
But the birth of doom/death in the early '90s also helped enable some
more extreme branches to develop. Perhaps the most important of these
is the mid-'90s funeral doom of bands such as one-album wonders
Thergothon, the somewhat more prolific Skepticism, Unholy and lately
Shape of Despair (all four from Finland), as well as Esoteric
(England). While shedding most or all of British doom's romantic
elements, these bands have taken the atmospheric side of the genre to
new levels: the music is usually extremely slow, bass-heavy and
repetitive, sometimes nearly to the point of becoming hypnotic.
Depending on the band, one can also find elements such as church
organ, violin, ambient touches and mostly secondary female vocals.
While some, like the aforementioned quintet, took a turn for funeral
doom, others such as Evoken and Morgion (both from the USA) worked
instead on an extreme side of doom/death -- the latter have moved
into more tranquil territory recently, with Evoken emerging as the
leading force in their style.
Tangentially, a grey area begun to develop where different kinds of
black and doom metal elements touched. What I call black/doom (also
known as "suicidal black metal") is characterized by black metal
sound fused with doom metal feeling and a mix of both genres'
aesthetics. Compared to doom/death, there is usually relatively
little musical input from doom metal, although there are some
exceptions. More importantly, black metal's traditional fury and
aggression are partially or even entirely replaced by a more pensive
or despairing -- even suicidal -- mood that is more akin to doom
metal than to the work of the originators of black metal back in the
'80s.
One of the most notable examples can be found in black metal's own
Burzum (Norway). The track "Det Som En Gang Var" (1994) was built
from their raw black metal, but mixed with droning, repetitive, bleak
atmospheric qualities and a certain sense of despair; this all gave
it a different feeling from what black metal was (and still is)
renowned for. 1996's _Filosofem_ would prove that "Det Som En Gang
Var" wasn't simply a one-off experiment, as most of the album (all of
its metal tracks except the more uptempo "Jesus' Tod") shared that
song's characteristics to a considerable extent -- in fact, the music
was often slower and at least equally doomy. _Filosofem_ remains as
one of the prime examples of its kind, and while Burzum's departure
from all things metal following that album is well documented, so is
the influence that their old albums have had on other bands.
A few more names rose in the mid-'90s to develop the black/doom metal
crossover: the suicidal Bethlehem (Germany) with a three-album series
that began with 1994's _Dark Metal_; the more epic and melodic In the
Woods... (Norway) with 1995's _Heart of the Ages_ (they then dropped
the black metal component); and the gothic derangement of Deinonychus
(Holland), who released a series of albums that begun with 1995's
_The Silence of December_. This black/doom crossover, or grey
area, is presently developing rapidly, with bands including Nortt
(Denmark), Shining (Sweden), Forgotten Tomb (Italy), Xasthur and
Leviathan (both from the USA) rising to the forefront. Strictly
speaking, most of these bands cannot be said to play doom metal
(their style is usually described as "suicidal black metal") or
anything that sounds much like it, and as such won't be mentioned in
the fundamental album list below; but the feeling they all share to
some extent certainly makes them relevant to anyone exploring the
doom metal genre.
Never the most fashionable of genres, doom metal nonetheless enjoys a
considerable number of dedicated followers. Looking to the future,
one should perhaps consider the past first: it doesn't take much of a
visionary to realize that doom metal will probably never be a hugely
popular genre, but even that will remain as another one of its
endearing qualities.
A Selection of Fundamental Doom Metal Albums
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The following is a personal selection of brief reviews of albums you
might do well to procure should you want to (further) investigate
what this genre is all about. Although I tried to keep this
collection varied, some subgenres may be missing. Above all, my aim
here was to provide a good representation of the various aspects of
doom metal, all quality albums, and if possible of some historical
interest -- the latter not having been an overriding criteria, as
there are only two pre-'90s albums in the list. There is only one
album reviewed per band; as such, some albums might have had a right
to their own entry based purely on their quality, but ended up simply
mentioned under a somehow more relevant release from the same band.
Black Sabbath - _Black Sabbath_ (Warner, 1970)
Here is where it all started, and I can only imagine the impact that
the eponymous album opener must have had following all the musical
happiness of the '60s. I'm not about to write the umpteenth _Black
Sabbath_ review ever -- so suffice to say that the massive black
cloud that this album must have placed over unsuspecting heads all
over the world is something that no other band may ever be able to
repeat to the same extent, such was the change of spirit it signified
within the musical world.
Candlemass - _Epicus Doomicus Metallicus_ (Black Dragon, 1986)
Album opener "Solitude", with its desperate lyrics and vocals and
unforgettable guitar line, remains one of the best known doom metal
songs ever. It also marked the beginning of Candlemass's hugely
influential career, which would be continued especially during the
following three albums -- which featured the renowned Messiah
Marcolin in place of _Epicus Doomicus Metallicus_ vocalist Johan
Lanquist. One of the most influential albums in forming doom metal,
_Epicus Doomicus Metallicus_ combines much of what would become genre
trademarks in the years to come, including the characteristic
drumming style and the ponderous but melodic guitar work. Candlemass
were also responsible for bringing classical elements into doom metal
in a number of ways, something that again would be vastly influential
in the following decade. In stark contrast with all the heavy metal
frenzy of its time, _EDM_ showed different musical objectives and
quietly but decisively helped carve a path for doom metal against all
trends.
Cathedral - _Forest of Equilibrium_ (Earache, 1991)
One can never know for sure, but I would hazard a guess that
Cathedral's miserable mixture of death and traditional doom metal on
_Forest of Equilibrium_ had considerable influence in the development
of British doom -- which bands such as My Dying Bride, Anathema and
Paradise Lost cemented as one of the major doom metal movements
during the '90s. You probably wouldn't tell by the album opener, but
second track "Ebony Tears" should wipe away all doubt. Vocalist Lee
Dorrian, formerly of Napalm Death fame, brought tortured, half-sung
death vox to the deeply depressed doom metal sound he created with
fellow founder Mark Griffiths. At a time when death metal was on the
rise, and bands like Paradise Lost still dabbled with said genre,
_Forest of Equilibrium_ helped sow the seeds for doom/death as we
know it today.
Paradise Lost - _Gothic_ (Peaceville, 1991)
Paradise Lost were the ones who first fully utilized orchestral
elements in their doom metal sound, namely on their second album,
1991's _Gothic_. Orchestral bombast and sumptuous female choirs were
added to their doom/death metal, creating a mix previously unheard of
-- not only did they tread new paths with their mixture of
doom and death metal (carried from their 1990 death metal debut
_Lost Paradise_), they also added a massive new symphonic element.
Although a relatively brief album and the only one of its kind in
PL's discography, _Gothic_ remains a landmark of great vision and
influence in the doom metal scene -- not to mention some damn good
music.
Katatonia - _Dance of December Souls_ (No Fashion, 1993)
How a band as young as Katatonia were when they recorded _Dance of
December Souls_ could produce a record as affecting as this I won't
try to fathom; but this was an album that could sink its velvet
thorns into one's heart and leave an indelible mark. _Dance of
December Souls_ condensed an immeasurable sorrow in its music; be it
the melodies, the despairing vocals or the curiously spontaneous
drumming, somehow its arguably disparate elements formed a classic
album that not many people will remain indifferent to -- most likely
either they'll love it or hate it. After the _For Funerals to
Come..._ EP, Katatonia released _Brave Murder Day_ (1996) with Opeth
vocalist Mikael Akerfeldt; this bleak, less dramatic album also
remains a classic in its own right. Katatonia have since opted for
clean vocals and chorus-oriented song structures, in a nearly
complete departure from their days of old that only retains some of
the original feeling -- and from that period, _Last Fair Deal Gone
Down_ (2001) is also a mandatory album.
My Dying Bride - _Turn Loose the Swans_ (Peaceville, 1993)
From personal experience, if a worldwide poll was conducted to
determine the popular opinion on which was the best doom metal album
of the '90s, _Turn Loose the Swans_ would be my pick as most likely
winner (not to mention my own choice). While its predecessor, My
Dying Bride's full-length debut _As the Flower Withers_, may have
been a fundamental step in getting here, _Turn Loose the Swans_ was
the real crowning achievement in this darkly romantic doom/death
genre. The riffing is simply monstrous, the violin and keyboard
unique at the time and to this date unrivalled in its brilliant
integration with the music. Intelligent drumming and a superb mix of
raw, tortured clean singing and mighty death vox complete this
collection of lengthy songs that never cease to amaze even after all
these years. MDB would temporarily abandon death vocals to create its
successor _The Angel and the Dark River_ (1995), a landmark in its
own right; lately _The Dreadful Hours_ (2001) and the live album _The
Voice of the Wretched_ (2002) also constitute outstanding additions
to MDB's lengthy discography.
The 3rd and the Mortal - _Tears Laid in Earth_
(Voices of Wonder, 1995)
This was the first, and also one of the few real doom metal albums
with female vocals. It was released at a time when the girl 'n' grunt
acts of the mid-to-late '90s had yet to be devised -- though that was
soon to happen, and would become a popular subgenre for the next few
years thanks to the likes of Theatre of Tragedy. Lengthy, atmospheric
and solemn, this successor to the equally outstanding _Sorrow_ EP
(1994) is a delicate album; not one that falls for the easy melody,
the frequent chorus, or what would become the trendy goth influences.
The emotional, angelic vocals of Kari Rueslatten became virtually
legendary in the second half of the '90s (she was replaced by
Ann-Mari Edvardsen immediately after this album), while the doomy,
dreamy guitar lines (both electric and acoustic) helped shape the
music into something of a gem. With their new vocalist, The 3rd and
the Mortal departed the doom metal genre, and while still active to
this day, they now appeal to a mostly different audience.
Anathema - _The Silent Enigma_ (Peaceville, 1995)
_The Silent Enigma_'s predecessor _Serenades_ (1993) and successor
_Eternity_ (1996) also rank as two of my favourite doom metal albums
ever, and remain fundamental in their own right. The lovelorn dirges
of _Serenades_, led by singer Darren White, and the similarly
emotional but somewhat Pink Floydian _Eternity_, where current singer
Vincent Cavanagh first explored his clean vocals, deserve a place in
any doom metal collection. Yet _The Silent Enigma_ is perhaps
Anathema's most distinctive accomplishment, in the sense that it
captures Anathema at a point where their music was not only
incredibly emotional, but also delivered with great intensity. This
doesn't mean the mellower efforts that followed are less worthy, but
there is no escaping the classic status of songs like "The Silent
Enigma", "Shroud of Frost" or album closer "A Dying Wish". While
showing the band in the middle of a massive transition, _The Silent
Enigma_ is a hugely inspired album, with a superb combination of
atmosphere, emotion and riffs.
Skepticism - _Lead and Aether_ (Red Stream, 1998)
Before Skepticism could unleash their debut _Stormcrowfleet_ in 1995,
Thergothon released their only album, _Streams From the Heavens_, in
1994 -- both following each band's early '90s demos. These two
releases, though underproduced by today's standards, would set many
of the defining characteristics of the funeral doom subgenre.
However, it wasn't until 1998 that Skepticism released their second
album, _Lead and Aether_, and for the first time fully realized the
potential of this subgenre -- one that is sometimes confused with the
more extreme side of doom/death purveyed by bands such as Evoken.
Crawling pace, downtuned guitars, ponderous drumming, church organs
and cavernous death vox formed the backbone of this album, which has
the sort of ethereal ambient quality that helps separate funeral doom
from doom/death. Music this extreme definitely isn't for everyone;
and while this statement might also apply to much of what's being
reviewed here, it is at its most certain in funeral doom. For most
people this is just boring and repetitive, but for connoisseurs, its
barren, hypnotic soundscapes provide a precious desert to lose
themselves in. Currently funeral doom is quite active, though always
in a relatively underground sense compared to some other subgenres;
Skepticism themselves have only recently released another landmark
album, 2003's _Farmakon_, which is about as fundamental as _Lead and
Aether_.
Sleep - _Jerusalem_ (Dream Catcher, 1999)
While European bands seem more inclined for melodic elements,
emotional touches and other embellishments, others such as Sleep,
from the USA, opt for a stripped-down approach that entails
distortion, snail-like pace, massive soundwaves, and a lethargy that
pins you to the ground like you're experiencing tenfold gravity.
There's nowhere to hold on to -- everything is barren and bereft of
life. _Jerusalem_ is comprised of only one track, over one hour of
dope-ridden sludge doom; it follows Sleep's early '90s couple of
albums and represents this particular subgenre like no other I've
heard.
Evoken - _Quietus_ (Avantgarde, 2001)
Somewhere between doom/death and funeral doom lie Evoken, creating a
monstrous sonic force that constitutes one of the main exponents of
present day doom metal. While not necessarily pioneers, Evoken have
been part of the doom metal since the mid-'90s, and had already
impressed with 1998's _Embrace the Emptiness_. _Quietus_ is the most
recent doom metal album I have picked for this list, and indeed I
regard it as the best example of the genre to have been released
since anywhere near the turn of the millennium -- much as others like
My Dying Bride's _The Dreadful Hours_, Shape of Despair's _Angels of
Distress_, Skepticism's _Farmakon_ or Mourning Beloveth's _The Sullen
Sulcus_ are also superb records in their own right. Evoken's approach
to doom metal is an unrelenting, uncompromising one; their crushingly
heavy, but subtly refined dirges bear a great emotional charge, and
the result can be staggering. Extreme doom/death remains one of the
most thriving doom metal subgenres today, mainly thanks to bands such
as these.
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W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Pedro Azevedo's Top 5
1. Enslaved - _Isa_
2. Behemoth - _Demigod_
3. Amon Amarth - _Fate of Norns_
4. Anaal Nathrakh - _Domine Non Es Dignus_
5. Pig Destroyer - _Terrifyer_
Brian Meloon's Top 5
1. Sieges Even - _Steps_
2. Ancient Wisdom - _...And the Physical Shape of Light Bled_
3. Coroner - _Mental Vortex_
4. Descendents - _Liveage_
5. Virgin Black - _Sombre Romantic_
Alvin Wee's Top 5
1. Astriaal - _Renascent Misanthropy_
2. Woods of Ypres - _Pursuit of the Sun..._
3. Jag Panzer - _Casting the Stones_
4. Mysticum - _Lost Masters of the Universe_
5. Draugar - _Weathering the Curse_
Quentin Kalis' Top 5
1. Gontyna Kry - _Welowie_
2. Nokturnal Mortum - _Return of the Vampire Lord_ / _Marble Moon_
3. Impaled Nazarene - _All That You Fear_
4. Cruachan - _Tuatha na Gael_
5. Cruachan - _Pagan_
Jackie Smit's Top 5
1. Usurper - _Cryptobeast_
2. Darkthrone - _Sardonic Wrath_
3. Marduk - _Plague Angel_
4. Lamb of God - _New American Gospel_
5. Agnostic Front - _Another Voice_
Todd DePalma's Top 5
1. Sepultura - _Beneath the Remains_
2. Drudkh - _Autumn Aurora_
3. Disincarnate - _Dreams of the Carrion Kind_ (remastered)
4. Kyuss - _Welcome to Sky Valley_
5. Sonic Youth - _Sonic Nurse_
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Web Site: http://www.ChroniclesOfChaos.com
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address by e-mailing us at:
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a FREE monthly magazine electronically
distributed worldwide via the Internet. Seemingly endless interviews,
album reviews and concert reviews encompass the pages of Chronicles
of Chaos. Chronicles of Chaos stringently emphasizes all varieties of
chaotic music ranging from black and death metal to electronic/noise
to dark, doom and ambient forms. Chronicles of Chaos is dedicated
to the underground and as such we feature demo reviews from all indie
bands who send us material, as well as interviews with a select
number of independent acts.
HOW TO SUBSCRIBE
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You may subscribe to Chronicles of Chaos at any time by sending an
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End Chronicles of Chaos, Issue #80
All contents copyright (c) 1995-2004 by individual creators of
included work. All rights reserved.
All opinions expressed herein are those of the individuals
expressing them, and do not necessarily reflect the views of anyone
else.
