ΜΝΗΜΟΣΥΝΟ

They say that the cemeteries are full of indispensable men. Still when true visionaries leave, the gap that's left behind is huge and difficult to be filled in the age of ever growing mediocrity.

Fuck you...

Under the skin

Paracletus is covering most of other music under its huge shadow but there are some other releases I've been listening recently and probably worth a mention.

Arckanum seem to get better with time and Sviga Læ sounds to my ears as the best record they recorded since their return with Antikosmos. The dark anti cosmic current manifests itself through a record based heavily on atmosphere and elements of melody that are more present on an Arckanum record than ever as much as I can recall.

Far from being anyone’s favorite band, Furze have always been worth checking out as their black metal has ever been capable of dragging attention whether because of its rawness or because of the fucked up aesthetics and execution. Reaper Subconscious Guide is Furze’s tribute to early Black Sabbath and this would not be a difficult thing to realize even if it wasn’t stated beforehand. Basically Furze are doing their thing using the musical aspects of doom metal as the foundation of their new work. It still sounds completely fucked up with chimes appearing out of nowhere and the vocals being the focal point. My favorite parts are those were the voice reminds me of a certain ‘mocking’ style that I have associated with some darkwave bands.

A record that I haven’t heard in ages yet I recently returned to, is Amen Corner’s Fall, Ascension, Domination. Coming from 1993 is one example more (if needed) of the wide sense the term black metal possessed in early 90s before the norwegians usurp it and lead it to degeneration. Dark and atmospheric Amen Corner paid attention to the lessons taught by Samael, Mortuary Drape and their compatriots Mystifier and their debut was a monument of dark, occult metal that is worthy of everyone’s attention even today.

Solefald have a new record out and my first impressions are positive. I haven’t heard it much until now, but so far I like it. I also didn’t pay any attention to the lyrical content but if the lyrics have to do with the title of the album (Norrøn Livskunst) I couldn’t care less about them, although the band’s approach to norse themes has always been miles away from the usual Viking bullshit. One way or the other, it still is contradictory for a band that is musically forward thinking, their lyrics to mention Odins and Vallhalas. All in all a good work but their debut remains unsurpassed in my book.

Some of the most noteworthy records of the year were delivered recently by Necrite, Sargeist, Electric Wizard and Essenz and hopefully I will have the chance to study them with the respect they deserve and elaborate on them in the future.

AMSG       

ΠΑΡΑΚΛΗΤΟΣ μέρος 2ον

One of the aspects that shape Deathspell Omega's fame is the inimitable style that they have shaped musically, lyrically or philosophically speaking. For the casual metal listener the ideal band is the one that makes him want to grab his guitar and form his own band. It is tough to listen to one of Deathspell Omega's second phase records yet to know that when you hold your guitar the best you can come up with, would be sub Darkthrone mimickery. The only consolation then is that you can always hope to get featured on fenriz’s blog. More often issues like these lead to the awakening of all the complex syndromes possible and furthermore to dismissing Deathspell Omega as pretentious, false and sell outs that ruined what they had achieved with their early bunch of splits and full lengths - which of course ‘happen’ to be sub Darkthrone mimickery, only better than the average.

Metal fans don’t like clever and complicated music or individuals. They need a clear target, that’s why they are suckers for ‘anti-whatever’ lyrics. DsO’s music is a maze that confuses them, the lyrics are mind blowing and their non image policy doesn’t fit the metal book of rules. The same applies at everything the band does. Plus how can one listen to Deathspell Omega while have a couple of beers?

There has been a period in my life that I stayed away from the underground after being completely burned out by my heavy involvement for a dozen of years. So from 1998 until 2006 I didn’t listen to a single note of black or death metal (which is the only metal for me). Then in the summer of 2006, as I was waiting for my flight from Athens to Glasgow, I happened to browse some cds at a record store at the airport. Much to my surprise I noticed the dark and terrifying cover of Monotheist. I didn’t even know that Celtic Frost where active again, I only knew that I had to buy this new record from my favourite band ever. Thus my abstention from music ended in the cruelest of ways, with the best record I heard in my entire life. A couple of months later I discovered Deathspell Omega’s Si Monumentum Requires, Circumspice and immediately ordered the cd. I still remember the day that I found the LP version of the album at an underground record store in Thessaloniki and the surprise on the clerk’s face when I bought it as he thought that no one in town would know of DsO. It might seem like an exaggeration but keep in mind that greece’s metal fans are among the most conservative imbeciles in the whole world. Here, Iron Maiden are still the most important band in the universe, Kreator are considered the epitome of thrash (old or modern) and power metal is all the average metal ape cares about.

Fast forward six years later and things are like this…Celtic Frost are no more but there is Triptykon that have recorded a monster that marks the new era and until now I thought it would be the best work of the year and possibly the new decade. Then there are Deathspell Omega that in the past years have seen the hype about them reach feverish levels. But the charisma of that band is that they have the ability to stand above and away such meaningless stuff and overcome their hype with their talent. Having perfected their uniqueness they come raging with the closing of a mammoth project and arguably the best record of the year and for me, possibly the best black metal record of all time.

Those that Satan hath blessed …

…have the talent to create monumental art in the era of shallowness and spiritual sterility. Paracletus stays along the lines of the madness and calculated chaos of Fas - Ite, Maledicti, in Ignem Aeternum adding the musicality of Si Monumentum Requires, Circumspice. It is always strange using terms as ‘musicality’ when referring to DsO as their art is largely based on destroying and re-synthesizing any widely known and used form of keys or tones or whatever musical norm. Then again this is a band full of contrasts and so is Paracletus. A-musical yet musical, free yet disciplined, bizarrely beautiful yet ultimately ugly this is a record where a myriad opposites collapse and create the black metal of the future.

Above all Deathspell Omega are messengers of the Truth and this is what they present. The Truth they bear comes naked, plain and raw. In a similar manner the band present an art form that is so pure that doesn’t need to hide behind tones of fuzz or distortion or whatever. There are times that the guitars sound like a piano, the bass comes on the front more often than ever and the drums are both creator and destroyer of rhythms.

On top of all those comes the inverse chanting of the Devil’s preacher. The words are more mumbled than properly pronounced. The french language has never sounded so threatening before…and there are many parts chanted or spoken in french. 

To dive deep into the madness of Paracletus is an unsettling and disturbing experience. No one can save you from the sudden fall that comes after its crescendos.

A record of 42 minutes seems like a brief one for Deathspell Omega…but these are 42 minutes of uneasiness and utter disturbance, 42 minutes of spiritual liberation, 42 minutes that pour salt on open wounds. I doubt there would be anyone that can live this experience in full, yet could stand even one minute more.

This is the evolution of black metal that I expected to happen but I couldn’t envision. What’s more remarkable is that I expected such a turn out of things, after maybe a decade or so. Yet it is here today.

All in all, Paracletus is the living and horrible (for some) proof that black metal is first and foremost a term that defines the distillation of dark feelings into music and stands above mere genre categorization. 

As for the lyrical-theosophical-philosophical aspect of the band, I hope to elaborate in the future if I ever have the courage to do so.

Satan-God-Man

The circle is complete…Silence    

ΠΑΡΑΚΛΗΤΟΣ μέρος 1ον

SHOCK AND AWE

Ghost of grace

To the Devil its due...

Arckanum - Sviga Lae
Ghost - Opus Eponymous
Weapon - From the Devil's Tomp
Serpent Noir - Sanguis XI
Electric Wizard - Black Masses

Shattered again

Triptykon - Shatter

EPs are an underrated and often misunderstood medium of communicating an artist's music. This should come as no surprise as most bands view EPs as a wastebasket were they get rid of undesirable songs, songs that are not on the same level as their usual work, songs that don't fit on full albums, songs that are different etc. One of the exceptions have always been Celtic Frost. They introduced themselves with two more than classic EPs showing that a short album can be a full experience when treated seriously. 

Triptykon couldn't be a different case. The band states from the beginning that Shatter should be treated as a piece that accompanies Eparistera Daimones and that makes sense. The title track is a melancholic and melodic track based on female vocals, I am the Twilight is a heavy and claustrophobic nightmare, while the ambience of Crucifixus works well in the context of the record. The point of including the Celtic Frost tracks is  debatable. Yet since they opted to do it, they do it in a majestic way to say the least. The two songs are heavier and better than ever...and these are songs written before 26 years or so.

Me, I will go for the complete sessions boxed set as this would reveal the full experience Triptykon have to offer.

Cromagnon - Orgasm

Experimental band that was active during late sixties and was way ahead of its time. Minimal, psychedelic, folk, noise, industrial rock from 1969. 

Some of those terms and styles had not been invented until even decades later.  Adding the horrific vocals that range from black metal shrieks to moaning, screaming and chanting we get an album that is frightening even by today's standards.  

Julian Cope noted on opening track Caledonia..." Now, when you stick the needle into the groove that is opener, "Caledonia", you'll immediately think you're listening to Einsturzende Neubaten gone black metal, then you'll realize you're WRONG and that there was no reference points such as that available in 1968." 

Absolutely correct. Today, in 2010 we have the reference points to describe Cromagnon's music. I can't even imagine the reaction of the listeners back in late sixties when confronted with the beast that is Orgasm. This is progressive and forward thinking music by definition.      

Seraphic Decay

Seraphic Decay was an american death metal (mostly) label in early nineties. It was relatively short lived but managed to have quality underground releases during its existence. The label released works (mostky 7'') by Rigor Mortis, Incantation, Mortician, Derketa, Disgrace, Agathocles, Disgrace, Xysma, and other underground bands between 1990 and 1992. Those are difficult to find today, they were sought after by collectors even back in the day.

Seraphicdecay.com is a site run by an obviously dedicated death metaller  and is a job well done. Streaming audio, photos, bios and all the information that is needed for all the label's releases. Not all the bands were great but this is not the point. The site is a great monument of a period that has been crucial for death metal. Seraphic Decay focused on the underground at the time when death metal started loosing orientation startled by the metal's mainstream lights. No wonder the label deteriorated by the time death metal became a completely lost cause somewhere in 1992. Death metal started loosing it from 1990 but 1991 for me marks the end of its golden era. Entombed were using Army of Lovers' singer for their Stranger Aeons video, MTV air play became a cause and even though there were excelent underground bands going on, the genre had lost its teeth. The momentum was lost once and for all. 

I realize that the underground status of a band or musician has become relative. What I didn't realize is when this has happened. Maybe it is the normal course of things as time passes, yesterday's underground to be today's mainstream but I still don't like it. Examples are plenty and one of them would be Steve DiGiorgio that started with Sadus and has worked since with legends like Autopsy, mainstream thrash bands like Testament, viking whatever bands like Vintersorg, hideous power metal bands like every power metal band on earth and Sebastian Bach!!!

Of course there's nothing to restrain an accomplished musician on certain music forms when he doesn't want to be restrained but a hired gun is light years away from a notable artist... and I like to view music as an artform.

East and West

The cultural differences between different regions of the world are today far less than many years before but in general they are still there. Globalization, the constant technological evolution, the mixing of cultures and people, political power games etc have played a great role in creating a homogenized global culture system but when one scratches the surface of the TV laden brainwashed today's world, the fundamental differences are still there. Signs of this fact can be found anywhere.

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The way the americans perceive black metal (at least today) is way different from the way europeans do. Actually the thing came to a point that often the music americans think of as black metal is no bm at all. Perhaps it is difficult for a country with a very recent and rootless cultural history to perceive forms of music that have a spiritual and cultural background that is rooted thousands of years back. The early americans wasted decades trying to systematically extinguish any source of the previously prevalent culture in their(?) soil. All these in order to conclude to today's civilization of the burger and coke. I realize that I am oversimplifying things but I think I am not altering the picture. 

So for most of the americans black metal is just another form of music, just a sequence of sounds (preferably the sounds of norwegian bands from early '90s) and all the rest be damned. Lyrics are irrelevant, the philosophical and spiritual background is considered unnecessary and so on. 

Of course not all people are the same and there are obviously individuals that are talented enough to break out of the norm. Such individuals have created remarkable art the last few years that has mistakenly been described as black metal. Using the basic sound of norwegian bands blended with hardcore which is mostly where those bands come from and an amazing urban aesthetic that passes from the lyrics to the overall aura of the music, they recorded some of the most amazing music I have ever heard. It is difficult to categorize it but none should care about categorizing great art.

Woe head towards that direction with Quietly, Undramatically but this is a record that leaves me puzzled. Their debut A Spell for the Death of Man was a masterfully crafted black metal record. This one adopts the urban ways described before plus some of those parts that most people call shoegaze and these are the parts I wholeheartedly hate and ruin a large part of the record. Someone wrote that the proper title for the album should be Quietly, Melodramatically and maybe it is dragging it to far but it is still indicative of the albums aura. No way the record is bad...it is maybe that I expected something different from a band that started playing what themselves described as 'raw, sloppy satanic black metal'. Six words from which only 'metal' applies to Woe today. On the other hand it's not the band's fault that I am seldom in the mood of listening to such music...and when I am, I go for Ludicra that are the undisputed kings of their kind.

And if I see another record with trees/branches/leaves/mountains on the cover I swear I am going to set a nice fire to the nearest forest.

Xasthur is far from being a band I like. Furthermore it isn't a band I usually think in relation with bands such the ones I described above. Yet the following video is very much in line with the urban and desolate feeling they incorporate. Plus it is very good.
 

From the West to the East

Three records I heard recently that had a certain eastern vibe and are worth mentioning (one of them actually deserves all the praise I can give)...

Weapon - From The Devil's Tomb

Weapon's second full album came as an apocalyptic shock devastating anything that dared stand on it's way, leaving only ashes behind. The fact that a band I followed closely for years and had great faith in their potential, managed to shock me with the extremely high quality of their new work is amazing. I have written before that I consider this the second best black metal record of the year, as I reserve the first position for Deathspell Omega but I think that even if DsO deliver a record of the caliber I expect, Weapon are going to give them a hard time. 

Drakonian Paradigm was an excellent record but it pales in comparison with the new one. It is brutal when needed, mystical at all times, calculated and precise but not mechanical. Furthermore there's an oriental occult aura prevalent throughout the whole album with eastern melodies that makes From the Devil's Tomb a poisonous elixir that should be approached with caution and mostly with the respect it deserves. The eastern influence is integrated in the music and doesn't act as a foreign part pretentiously added in the songs., leaving no chance to any of the  usual imbeciles to use the word 'folk' in relation to the album.So, this is one of the best  (true) black metal albums of the last ten years and a fine addition to the Devil's weaponry. Praise Satan.        

Birch Mountain - Silence Is Complete

Death metal from sweden with ties with an old swedish band called Egypt and it is not old school. The damned trees are on the cover again but I hope the two band members are there to burn them down so that complete silence is achieved.

The Egypt connection probably explains a lot about the eastern influence on the album that is omnipresent but again it is nicely integrated to the band's music and overall character so that it sounds perfectly natural. They don't overdo it with the speed which is a wise choice considering the atmosphere they want to create. All in all a very good record and one of the best 'modern' death metal jobs I have heard lately. I quote 'modern' so that no one will thing this is about one of those clinical and plastic abominations that pass as modern death metal. The album is available for free download by the band so all ye beggars can head over here.     

 

Melechesh - The Epigenesis

Melechesh for me have always been a band promising more than they delivered. As time passed and the promises were not fulfilled I learned to take what they were offering never asking for more. Nevertheless it is a pity when a band with potential restricts itself to just good works when they could make great or monumental records. The Epigenesis is not an exception. Ghouls Of Nineveh that starts the record is the best track on it. Founded on a robust slow paced rhythm it develops in a freeform manner that as the song progresses it sounds like a band jamming, free of the restrictions of certain genres of music. Those restrictions appear on the rest of the album when the band tries to match the thrash or black metal rules with the middle eastern/folk elements. When this fucking word ('folk' that is) appears it ruins my whole listening experience and unfortunately Melechesh are often approaching dangerously the borders of folk metal, a genre that I think is more of a caricature than a proper music style. I will always doubt the usefulness of folk interludes or instrumental songs, I will always be negative in the use of traditional instruments in black metal. I have to deal with the fucking bouzouki in my everyday life in this fuckholle that is my home. I don't need it in my black metal. 

All in all Melechesh once more didn't deliver what they promised and could. And I'm afraid this time my patience is almost over. I think they could benefit by studying what Weapon and Birch Mountain have done in order to incorporate the eastern element in their music effortlessly and naturally.       

AMSG