Previously On TSS:
Katatonia
The Fall Of Hearts I must be honest, and it pains me. Though I've been loyal to the Kata-kingdom (hell, I love them so much, I thought about not publishing this with fear that my honesty might be taken the wrong way), and though I've enjoyed the last couple of outings enough to call them GOOD, I feel that they have seemingly forgotten that less can be more. Case in point - the feelings of struggling, but pain-fueled-wisdom dripping from the simple and desolate turning-point record, Discouraged Ones, was left behind the minute drum virtuoso Daniel Liljekvist freed them from their drum dilemma (which was to either have Jonas pull double-duty, or have session guys like the multi-talented Dan Swano continue to hit the skins, whom I'd have loved to hear stay with them in another dimension), following their magnum opus, Tonight's Decision. That was an album of true introspection, with just enough exploration in the musical spectrum to keep it on the border of methodical intricacy. It was perfect. The following albums, while all gloriously masterful in their own right, went down the iffy road further and further of progressive flirtations and "we haven't tried this yet" territory, and to mixed results. They've never once put out anything bad, yet never seemed to reach the heartfelt magic of Tonight's Decision. And I blame prosperity. |
The Fall Of Hearts doesn't back off of the high production values, the thick tones, or progressive rock tendencies of recent years. One thing it does do is draw the listener into it's cinematic world by way of yearning lead melodies playing themes behind the structure more frequently to keep us grounded. This technique that they have proudly proclaimed was inspired by Paradise Lost directly, seems a lot more well-placed here than on most of their recent releases. The pillowy (what I personally feel is) overblown production they've come to embrace has been known to make even me - a huge fan - well...yawn. When the band brings out the clean guitar layers, backing orchestration, and hookless vocal melodies; it feels like one of those simultaneously relaxing AND depressing days home from school or work where the daylight shining through the cracks in the blinds is showing you all the dusting you need to do in your house as you lie in bed thinking about all the crap that's building up in your life as you lay dormant. You're still glad you get to relax for the moment in the life you have, but feel pretty lethargically bummed about the good times passed. Well, aside from some jarring Liljekvist-inspired drum fills from Daniel #2 (Daniel Moilanen) to keep us awake in all this soul-massaging, um...catatonia, it's Anders' lead themes that remind us that the bands methodical songwriting choices are the magical key that they still possess.
Vocalist, Jonas Renske, ever loyal to tasteful tones, also lets us be reminded of the sorcery a winning melody can weave, especially when he croons his way atop a memorable hook. The strategically placed note-runs he adds to the more emotional of lines still show that his restraint has brewed more talent and passion beneath the surface than he often lets on. This can also be said for the tight and flawless bass/drum interplay. Sounding like the band could break into a Yes/Rush/Dream Theater-esque foray of instrument noodling at any time, but don't, the instrumentalists show enough restraint and care with their songs to beg forgiveness for the loss of their intimacy and modest moping of olden days. The point of this is that while the production and layering can borderline on grandiose, it could be worse.
That last part of that sentence isn't something I enjoy saying about one of my most beloved troupes, but one only needs to look towards their dear friends, Opeth, to see where they COULD go to truly alienate us. They have never completely abandoned the roots of their successful morph in sound elicited on Discouraged Ones, and it's evident that they want us to realize this. However, even with our psyches constantly telling us "Yep, this is Katatonia!", no emotional memories and feelings of bittersweet nostalgia brim to the surface in the way of a tear or two (I know this has happened to me with their music many times), which is something about them I sadomasochistically miss. But adulthood tells me that this is a good thing in a few ways, as well. If you want to listen to the goodness of a familiar band, yet don't feel like becoming a slobbering mess, newer Katatonia is quality stuff. Maturity, folks...maturity is what I am trying to convey here. Maturity is a thing we both damn as well as praise upon its arrival...which I guess is what I've done here with this review.
The bottom line here is what I'd say is a great example of an old sound being embellished upon in more successful ways than previous attempts, yet still one that makes us hope the band will get more nostalgic on future efforts. I've grown comfortable with this album, and do greatly enjoy it on its own merits. The playing and placement of great melodies within admittedly good songwriting is refreshing. It has a vibe of greatness that lots of bands attempt but can't get right. Katatonia might have, but I'm still constantly making the mistake of missing something from a more innocent time. The question is - is that my fault, or the band's? Well, that's where the individual listener comes in. I've listed plenty of positives that are fact, and many negatives that are opinion. This IS Katatonia, and they are excellent at what they do. Perhaps, since I mentioned comfort, my days accompanied by this album will brew a factor of comfort to go with it that will give me a similarly bittersweet feeling as Tonight's Decision...or at least Last Fair Deal Gone Down. But not likely. Those albums are just ridiculously good.
Ahh...the curse of hitting a perfect stride at some point. You never seem to match the "glory days", and you keep getting some journalist waxing nostalgic like I've done incessantly here. Having the potential of "comfort album" with many listens or not, it's the fan's job as a listener to take this one in for its positives, give it time to grow, and save yourself all the emotional confusion that it's obvious I've had with it upon initial reception. The confusion, for me, might be over - opting to see maturity and instrumental mastery - but I know I'm going to need more time before I even come close to placing it on the pedestal I keep past albums on. I already love it enough to listen to it often, and even made sure to immediately purchase the limited digibook with an extra booklet adorned by autographs. (I framed that baby and put it on display!) If you love them as I do, and are willing to spend the time, the enjoyment is definitely there. Just don't get too nostalgic.
6/22/16
TTSNSN
Vocalist, Jonas Renske, ever loyal to tasteful tones, also lets us be reminded of the sorcery a winning melody can weave, especially when he croons his way atop a memorable hook. The strategically placed note-runs he adds to the more emotional of lines still show that his restraint has brewed more talent and passion beneath the surface than he often lets on. This can also be said for the tight and flawless bass/drum interplay. Sounding like the band could break into a Yes/Rush/Dream Theater-esque foray of instrument noodling at any time, but don't, the instrumentalists show enough restraint and care with their songs to beg forgiveness for the loss of their intimacy and modest moping of olden days. The point of this is that while the production and layering can borderline on grandiose, it could be worse.
That last part of that sentence isn't something I enjoy saying about one of my most beloved troupes, but one only needs to look towards their dear friends, Opeth, to see where they COULD go to truly alienate us. They have never completely abandoned the roots of their successful morph in sound elicited on Discouraged Ones, and it's evident that they want us to realize this. However, even with our psyches constantly telling us "Yep, this is Katatonia!", no emotional memories and feelings of bittersweet nostalgia brim to the surface in the way of a tear or two (I know this has happened to me with their music many times), which is something about them I sadomasochistically miss. But adulthood tells me that this is a good thing in a few ways, as well. If you want to listen to the goodness of a familiar band, yet don't feel like becoming a slobbering mess, newer Katatonia is quality stuff. Maturity, folks...maturity is what I am trying to convey here. Maturity is a thing we both damn as well as praise upon its arrival...which I guess is what I've done here with this review.
The bottom line here is what I'd say is a great example of an old sound being embellished upon in more successful ways than previous attempts, yet still one that makes us hope the band will get more nostalgic on future efforts. I've grown comfortable with this album, and do greatly enjoy it on its own merits. The playing and placement of great melodies within admittedly good songwriting is refreshing. It has a vibe of greatness that lots of bands attempt but can't get right. Katatonia might have, but I'm still constantly making the mistake of missing something from a more innocent time. The question is - is that my fault, or the band's? Well, that's where the individual listener comes in. I've listed plenty of positives that are fact, and many negatives that are opinion. This IS Katatonia, and they are excellent at what they do. Perhaps, since I mentioned comfort, my days accompanied by this album will brew a factor of comfort to go with it that will give me a similarly bittersweet feeling as Tonight's Decision...or at least Last Fair Deal Gone Down. But not likely. Those albums are just ridiculously good.
Ahh...the curse of hitting a perfect stride at some point. You never seem to match the "glory days", and you keep getting some journalist waxing nostalgic like I've done incessantly here. Having the potential of "comfort album" with many listens or not, it's the fan's job as a listener to take this one in for its positives, give it time to grow, and save yourself all the emotional confusion that it's obvious I've had with it upon initial reception. The confusion, for me, might be over - opting to see maturity and instrumental mastery - but I know I'm going to need more time before I even come close to placing it on the pedestal I keep past albums on. I already love it enough to listen to it often, and even made sure to immediately purchase the limited digibook with an extra booklet adorned by autographs. (I framed that baby and put it on display!) If you love them as I do, and are willing to spend the time, the enjoyment is definitely there. Just don't get too nostalgic.
6/22/16
TTSNSN
Sycamore3
Enemy Of The Sun
It's not every day I run into a situation like this album. I was sent a couple of mp3 albums of music that a friend of mine thought I'd enjoy, knowing my game is raw, underground black metal. I'm not only experienced in performing and recording the sort, but a big fan of music of its ilk, if done correctly and with passion and experience. You know, doing it as a taste rather than from lacking resources. That detriment is not even part of this equation. Most of all, I like an artist that can blend darkness with reverence for all kinds of obvious other influences that might not be as dark on their own. The types to show an obvious open mind will completely win me over. The first 2 albums I heard by this Californian horde were already like this, but still kept it cult (or "kvlt", if you wish), and very obviously influenced by the broader-thinkers of the Norwegian 2nd-Wave of black metal, most notably Emperor. The keys and focus on melody were a clear indication of intuitive, introspective, and forward-thinking blackness like Ihsahn and co., yet cruel and beautiful melodies reeking of the cold winds that bridge sorrow and hatred (not unlike Gorgoroth is so great at creating). So I acquired a 3rd release from the artist themselves. This time it was their newest work in promo digital form - Enemy Of The Sun.
It took only a few minutes before I realized the "forward-thinking" I mentioned was continuing, and somehow reshaping nearly the entire sound, but retaining the integrity, and even rawness (that many bands tend to give up on, as they progress) that I had so quickly grown to love about their sound, already. I felt a kinship of sorts, since I do similar music for my own catharsis, albeit in different ways. But, the mindset was similar enough so that I "got it" without having to try. This one had electronic elements carrying the black nuances afloat, as if on an electric pulse jolting through a strange and deadly mote, banking on the other side on some sort of military base or fortress. Us metalheads, in my experience and observation, can so easily imagine these things in our years of taking in the energies and aesthetics of the genre, that is - if prompted. That's why I went ahead and risked sounding cliche' and cheezy there, going ahead and letting my mind wander. That's what music like this makes me do, afterall.
So, the dark stronghold was before me, with blatant reverence for classic metal in the guitar and bass work, holding down and weaving through the electronics and futuristic, rhythmic backdrop, with familiar (yet not as typical as some), goblin-like screams, and powerful growls. And yet, I still never felt like it was less intimate or immediate as the usual raw black metal I listen to, or play, myself. However, It is not as raw of an album as some. There's actually quite a strong heaviness to it, borderlining on some very intimidating mid-90s death metal, at times. More than some hints of industrial are also present, for good measure. But it didn't compromise for me the black metal feeling, or intimacy, that my favorites in the rawer forms can pull off. That is where my mind complicated my own listening experience. This is an entity within the style that isn't content with just being one in a slew of many. Yet, it's not one that separates or cast itself out, either.
Comparisons could be made further than the ones I gave earlier in this review. Even bands I listen to daily, like Mysticum, or even Limbonic Art (two bands I've claimed influence from, as well). But Sycamore3 is not as detached from the ground as either of those tend to be. There's a rooting, a footing, even if it is shockingly neo-black in attitude. At times, even feelings of battlefields and ruins come to mind, but not the genre's more medieval staples, ...more of a mid-apocalyptic sci-fi, meeting occult incantations from a force-field-protected checkpoint.
If my rambling mind-picking seems needless, it might be. I tend to nail the point home a little too hard at times when my mind wanders. But that's the cool thing. This is music that makes you want to explore further; not just it, but your own imagination. And, to me, that's a sign of greatness.
3/19/16
TTSNSN
Enemy Of The Sun
It's not every day I run into a situation like this album. I was sent a couple of mp3 albums of music that a friend of mine thought I'd enjoy, knowing my game is raw, underground black metal. I'm not only experienced in performing and recording the sort, but a big fan of music of its ilk, if done correctly and with passion and experience. You know, doing it as a taste rather than from lacking resources. That detriment is not even part of this equation. Most of all, I like an artist that can blend darkness with reverence for all kinds of obvious other influences that might not be as dark on their own. The types to show an obvious open mind will completely win me over. The first 2 albums I heard by this Californian horde were already like this, but still kept it cult (or "kvlt", if you wish), and very obviously influenced by the broader-thinkers of the Norwegian 2nd-Wave of black metal, most notably Emperor. The keys and focus on melody were a clear indication of intuitive, introspective, and forward-thinking blackness like Ihsahn and co., yet cruel and beautiful melodies reeking of the cold winds that bridge sorrow and hatred (not unlike Gorgoroth is so great at creating). So I acquired a 3rd release from the artist themselves. This time it was their newest work in promo digital form - Enemy Of The Sun.
It took only a few minutes before I realized the "forward-thinking" I mentioned was continuing, and somehow reshaping nearly the entire sound, but retaining the integrity, and even rawness (that many bands tend to give up on, as they progress) that I had so quickly grown to love about their sound, already. I felt a kinship of sorts, since I do similar music for my own catharsis, albeit in different ways. But, the mindset was similar enough so that I "got it" without having to try. This one had electronic elements carrying the black nuances afloat, as if on an electric pulse jolting through a strange and deadly mote, banking on the other side on some sort of military base or fortress. Us metalheads, in my experience and observation, can so easily imagine these things in our years of taking in the energies and aesthetics of the genre, that is - if prompted. That's why I went ahead and risked sounding cliche' and cheezy there, going ahead and letting my mind wander. That's what music like this makes me do, afterall.
So, the dark stronghold was before me, with blatant reverence for classic metal in the guitar and bass work, holding down and weaving through the electronics and futuristic, rhythmic backdrop, with familiar (yet not as typical as some), goblin-like screams, and powerful growls. And yet, I still never felt like it was less intimate or immediate as the usual raw black metal I listen to, or play, myself. However, It is not as raw of an album as some. There's actually quite a strong heaviness to it, borderlining on some very intimidating mid-90s death metal, at times. More than some hints of industrial are also present, for good measure. But it didn't compromise for me the black metal feeling, or intimacy, that my favorites in the rawer forms can pull off. That is where my mind complicated my own listening experience. This is an entity within the style that isn't content with just being one in a slew of many. Yet, it's not one that separates or cast itself out, either.
Comparisons could be made further than the ones I gave earlier in this review. Even bands I listen to daily, like Mysticum, or even Limbonic Art (two bands I've claimed influence from, as well). But Sycamore3 is not as detached from the ground as either of those tend to be. There's a rooting, a footing, even if it is shockingly neo-black in attitude. At times, even feelings of battlefields and ruins come to mind, but not the genre's more medieval staples, ...more of a mid-apocalyptic sci-fi, meeting occult incantations from a force-field-protected checkpoint.
If my rambling mind-picking seems needless, it might be. I tend to nail the point home a little too hard at times when my mind wanders. But that's the cool thing. This is music that makes you want to explore further; not just it, but your own imagination. And, to me, that's a sign of greatness.
3/19/16
TTSNSN
Ecorche
Deep In The Ground This Philadelphia duo has a true personality of its own. Let me share with you a story, trying to not be too partial (I happen to know these guys now), yet still subjective in a situational way. I have been suffering a major re-injury to the nerve that has contributed greatly to my inability to perform scheduled work. This happens to be why this very 'zine is a quarterly. So, searching for adequate music to aid in my drowning out, killing-of-pain, and/or removing of myself from a severe reality, I attempted to share some extreme brutality with a close internet buddy (as he needed the same, but for more furious reasons). So the likes of Internal Suffering's Kataklysm-ic hyperblast death resembling the aforementioned Canadian legend's Houde-era early work was where we turned. It seemed less brutal than before, and I found myself at a junction of misguidance. This was what neither I, nor my friend needed. I put on this recent release by Ecorche, with their majestic, yet post-ruination, apocalyptic, electronic, gothic-industrial-tinged blackened metal, and found myself washed away. The artists in Ecorche know how to create another world, in which yours disappears, and theirs is absolute. This is a broken down factory, in a picturesque forest, combining the old ways of classic, gothic imagery, and mankind's destructive finality of industry. Opening with the blackest of the tracks on the disc, blasting with high-gain production and shrill screams, one is soon transported to a less chaotic, but no-less disturbing, upbeat corridor of darkness, where the panic and struggle of fighting for vitality subside, being replaced by hopelessness. Spoken word, samples, and a gothic-industrial tone to both the vocals and way the bass and riffs answer to the programming soon take precedence. But this is no techno in latex, false, dancey industrial I speak of. This is more a hint of the more sinister. This brings to mind Norway's Ancient's best moments colliding with My Life With The Thrill Kill Cult and meeting their new friend (foe?) - an entity dubbed "Ecorche". I say this as these guys aren't the sum of a cross of two mere bands. The release lets the music flow, and breathe, yet the air is caustic. There is a return to fury (as the opener suggested), but it's a release dominated by powerful, mid-paced shadows and revelations, with sinister snarls and villainous singing collide with mournful spoken-word to a backdrop of broken and still-fighting, jagged technology. The picturesque forest surrounding lingers around the industrialized factory, haunting - almost a memory - until you peer through the shards of glass where once were windows. Forgive my poetic tangent on a review, because I realize I'm here to inform and not make one have to decipher metaphor, but if you listen...you'll see. In closing, I really don't use a numeric rating system if I can help it. I choose releases to cover in these pages that I want to interest others in. That is, unless it's a god-awful atrocity, in which sometimes I can't help but lash out in journalistic anger. This release is far from that; quite the contrary. If you are a dark person in any way, or even have inclinations to be, "Deep In The Ground" is very worthy of your time. So much for impartiality. TTSNSN 7/30/15 |
Nihilistinen Barbaarisuus
The Child Must Die Just as having been praised before in these very pages for their last offering, what is to follow will be much of the same, if not much more. Nihilistinen Barbaarisuus' dark-yet-pleasantly orchestrated take on atmospheric black metal with heavy doses of founder Mika Mage's Finnish heritage in the form of lovingly-injected folk melody is in full force on their latest offering, "The Child Must Die". An immediately permeating infectiousness comes straight out at the listener, nearly-spiritually induced, as if the thoughts and emotions felt during the songwriting process are not only that of the band's, but yours as well. And by "infectious" I don't mean hooks here (not that there's none to be found, so don't get me wrong there), I mean a great desire to keep delving. It's an album you'll want to keep on for the duration. No tiresome moments even hint at happening, as the tight performances and carefully-chosen melodies and intensity of not only the performers themselves, but the perfectly clear, crisp, and somehow not shiny production delivers this material with a lustful flair. New vocalist Joel Thompson does a fantastic job at venomously and commandingly heralding the rhythmic narration of these seething black metal compositions, which once again hold a darkness, yet not as to come off as pretentiously evil or too fanatically derivative in nature. Not that I'm one to do song-by-song reviews of the material I cover anyway, but in this case, there really would be a futility to doing so. The album works as an effective arsenal of aspects working together to form a grandiose whole. There's much for traditional black metal fans to latch on to on "The Child Must Die" in the way of tremolo-picked riffs, rabid vocals, and tasteful usage of blasts, double kicks, and rhythms representative of the genre, but variation and finesse that is delivered impressively enough to win over even fans of much rawer material (like myself), as the presentation is close to pristine for this meticulously concocted collection of metal compositions. It just wouldn't sound right any other way. I'm keeping this review relatively short, as much can be said in carefully-chose grand statements. Nihilistinen Barbaarisuus have achieved a winner here, and one I know I'll continue to listen to often down the line. 10/2/15 TTSNSN |
Torii
Elabrynth Hailing from very close to where yours truly is from (this might make me a bit partial), Arkansas, artsy black metallers Torii bring the cerebral and darkly-engrossing goods on this latest release. The darkness I speak of is well enough in tact to please those "trve" black metal purists, yet the instrumentation and structuring is adventurous and thought-provoking enough to please those with a more progressive palette of tastes. There's a heavy dose of doominess and even spookiness to a good portion of the release, which - to me- tends to work very well, as many bands fall into a bit of boredom-inducing obscurity when attempting this feat. The mood here is absolutely satisfying to these seasoned ears, which I state as enthusiastically as possible. This isn't "hipster black metal" as hard as it seems like it should bring thoughts of this dreaded term. Besides, I never cared if someone would consider a black-tinged band "hipster" or not. To me, all it means is that there is a sort of border-jumping extra content that usually falls within the realm of the atmospheric. On Elabrynth, the "atmosphere" means sounds like streams and spoken word worked in between black-as-pitch notation, instead of heavily reverbed-out distortion or noise like a more militantly "kvlt" band would use to induce inclinations toward that very word. These differences from the usual second-waver project also work in Torii's favor where others fail. Largely responsible for the retained intensity and prophetically doomed tone is vocalist Eric May, who commandingly leads the proceedings with pure venom, over the obviously impassioned performance of multi-instrumentalist Bill Masino, respectively. While mainly consisting of black metal, the doom is brought in a caustic storm even more when May drops to a low death growl, and just when you think it's formidable enough, he drops even lower, with no signs of pretentiousness. It's actually quite intimidating and nightmarish, even without the usual crutch of overt vocal reverb. Another feat that I find highly impressive and not easy to achieve. And then Torii is back to their artful blackened delivery, with interlaced acoustic and unconventional structuring. This album is chocked full of what I've already described, and in closing I'll just say that if you are even remotely intrigued by what I've said here, do not hesitate to get this at their generously "name your price" cost on their Bandcamp. TTSNSN 9/16/15 |
Infy
A Mortal's Tear Being a fan of metal with saccharine melody and symphonics happens to be an area in my taste that is dominated by women. The argument that it's metal for "pansies" or what have you is immediately rebuked by me with statements of the opposite. "So I like having beautiful women sing sweet tunes to me." This counteracts any futile accusations from the style's detractors with implications that the naysayers are backward, and possibly "pansies" themselves if great compositions by that of Nightwish or Epica challenges their manhood. So, with that out of the way, I'd like to sing some tunes of my own, tunes of praise and awe toward the lovely Infy Snow, a relatively new addition to the bevy of siren-fronted melodic metal bands of this ilk. Not only was I impressed at first listen, but that "manhood" I speak of was pleasantly stimulated (oh, myyy) by the very appealing promo photos and videos (one with lots of CATS, which we all know are awesome and very METAL), along with Infy's sweet and sometimes commanding voice. The music presented here is not unlike that of more-known (for now) bands like Delain or Edenbridge, yet not as pop-flavored as the former, and with a much more impressive songwriting ability than the latter. The release has a strikingly gorgeous cover, perfectly representing the music contained. All instrumentation is handled by world-class metal musicians providing an apt backdrop to the soaring melodies and poignant lyrics delivered by Infy with passion and professionalism as if she had been doing this for much longer than her newcomer-status would imply. Songwriting and performance on all fronts here were enough to make me, a known representative of usually sicker metallic arts, buy the CD after listening to but a few songs. I now have yet another impending classic to reach for when I'm in the mood for some lighter metal with the siren-songs I so love when the mood is right for such ear-candy. I guarantee if this is a style that you even visit even seldomly that you'll see what I mean by all this gushing. Give in to your fawning side. This album is worth it. 9/24/15 TTSNSN |
Mythrias
Absolving The Treacherous Seeing as how I very recently reviewed Mythrias' last demo, let's get down to this one, shall we? Well, first off, we know already that I was highly impressed by their last offering, especially given that it was a demo. And the fact that they got to my "I dig this!" receptors while playing melodic death metal is a feat in itself. (We all know my tastes by now, and if you don't...well, I prefer death metal to be morbid and steeped in horror, and only seem to enjoy very early Gothenburg melodic death metal if any. It still had balls.) So, as for this official debut album. I can say it's a great improvement to an already great formula and way of performance. The latter is definitely the greatest improvement, as the band sounds invigorated and, well...*excited* to be themselves. No, this isn't a happy-go-lucky kind of excitement. I mean they proudly execute exactly what they set out to do, which is kick ass like the Gothenburg bands I mentioned earlier. And they do so very well. Not afraid to pummel as well as show off a little - but not into wanking territory - Absolving The Treacherous is a very welcome break from the habits of this reviewer's usual black metal and horrid/grotesque/ugly tastes. This might be ugly to a non-metal listener, but to a seasoned listener of metal's vast repertoir, it's a glistening gem in a sea of corpses, representing its surroundings enough by its presence, but adding a dose of beauty to the dismal scene. Now don't get me wrong, this has a darkness to it, which is nearly mandatory if something is to be featured in these pages. What I am proudly proclaiming here about these metal warriors is that they sound triumphant. They've won a war with life's horrors, and they aurally paint it into your psyche. So, if melodic death metal without too much fluff, with an aggressive execution, with great mid-range scream/growls that don't bring to mind the grossly, disgustingly over-saturation of "melodeath" bands that are merely shitty metalcore trying to tag themselves with the prestigious title of "METAL", but embodying metal in all its glory...if all this sounds good to you - give this up-and-coming underground metal band some support! 9/20/15 TTSNSN |
Deafheaven
New Bermuda Ah, "hipster black metal", dubbed so by anti-non-pvrists. Look, I'm a corpsepainted USBM practitioner, and at least 28 year metal veteran (been a fan since around 6 or 7); so my opinion here is going to be enforced, expecting whoever is reading this to take into consideration MY goddamn view of this. If being short-haired and poetically intelligent, while getting quite a bit of album sales, usually from The US or Canada, while showing obvious love for 90s alt-rock in the midst of blast beasts makes one a "hipster" in the oh-so-hard-to-be-accepted-within scene of trve kvlt black metal hordes, then I'm for it. Why? Because I'm for metal's FANS making their own metal concoctions. No, I certainly don't think they are as pure and ultimately METAL as say...Sarcofago or something like that, but does their music warrant a place in a "trve" black metallers discography? If you are talking about THIS guy, YES. I'm "trvly" a black metaller. And the only genres I find it legitimately justified to pick on when it comes to claims of being any kind of metal are "metalcore" and "deathcore" and those 2010s "post hardcore" Hot Topic Disney kids that call themselves metal. Why? Because those bands have a street-trash, mallrat, sportsy, ghetto, gangsta vibe; because their feel is the antithesis of what metal stands for. And HUGELY because 90% of these fuckers that claim "metal" don't own one fucking CD that is actually legitimate metal. They're bastards by choice. They don't even want to care where they come from. It's a race and competition in peers and trends within their own contemporary scene. They are thieves. BUT - bands like Deafheaven might not be as pvrely black metal as Mayhem. So. Fucking. What. We live in the internet age where people think their own voices are just as important as proven metal legends like Ihsahn, who has been getting hatefully dubbed "hipster" since he grew a beard and opted for glasses instead of contacts. Arrogant people have called bands like Deafheaven or any other alt-flavored bands with black-something included in their sound "hipster black metal". They're kinda right. However, at least hipsters that play some form of metal truly and (in way of being well-informed by collecting their records)...ARE metal fans. The people picking on these fanatical kids are also big-headed and big-mouthed enough that they have been calling THE TRUE MAYHEM "gayhem" lately, since Mayhem actually practice self-preservation nowadays, so they can continue to make music instead of...well...dying. So it really doesn't make a fuck to me like it all did when this shit began. These bands also combine vibes that work with metal, not against it. Folk and new age (Myrkur) have been accepted as compatible for a while now, but apparently GIRLS coming from an alternative rock scene aren't welcome to do so if black metal is in any way involved. Even with Kris "Garm" Rygg's help. (Apparently he's a "hipster" now, too...forget about his importance and achievements...) Grunge and nerdy alt-rock still have basis in rock, hearkening back to the creators of heavy music (Deep Purple, Sabbath, Zeppelin, Priest, etc.) as equally as they play a different genre, which warrants them justified accessibility to go metal a bit, if you ask me. Those kinds aren't the kinds of jocks or street-dwelling rich kids/pussies that would have picked on us longhairs in 1993 (and got their asses kicked in return). AND the "hipsters" don't claim to BE the sole incarnation of what metal is today (like these post-2000s "core" bands DO). These alt rock, grunge, indie, and/or...whatever...fans showing a love for black metal, to me, provides at least an interesting version of heavy music. Don't get me wrong, I prefer my metal pretty damn pure 99% of the time. But, at least I notice what's going on with an analytical mind. Deafheaven sounds like Smashing Pumpkins-meets-Krieg, to me. ...or something like that. Sonic Youth and Judas Iscariot? You get what I'm trying to get at, I'm sure. Hell, I happen to like Smashing Pumpkins and have heard them practice Judas Priest songs pre-set. They ARE (were?) metal fans. So their particular subgenre in this game of loud stuff is fine by me. And with the trancey, sometimes droney, trem-picked, passionate, as well as dark, world of black metal, it instrumentally makes enough sense to work with quite a few of alternative subgenre nuances. It also LITERALLY works, if analyzed by a songwriter that doesn't only play black metal. Yeah, I am implying I'm qualified to make such assessments. "New Bermuda" is a moody, dark and light, up and down, extreme metal record, drawing obvious influence from alternative rock. When they go blasty and screeched, at least they do so with skill. This obviously bothers a lot of people. I point and say "haha" like that Simpsons kid, because *half singing* SOMEONE'S TRVENESS IS FEELING THREATENED!!! Seriously. If you know how goddamn metal you are, these short-haired dudes pulling off black metal in a way that is executed quite well for a few moments, only to "wuss out" the next moment...really shouldn't bug you like metalcore JUSTIFIABLY bothers a metal vet like me (see my earlier reasoning) - then you need to check your own cred. And you also give way too much of a fuck, and - in my view - are LESS METAL for it. Yes. By at least accepting this album for what it is, as well as the preceding ones, is the metal thing to do. How, you ask? Because. You KNOW the assholes in the metal scene will give you lots of shit for not smearing it, and it doesn't bug you or make you question yourself. I must admit, them giving me shit DOES bother me, and I'm wrong for this. I've been listening to metal longer than most of them have been alive. But it bugs me only for and because of them, in that they are co-repping me to people I might end up caring about, and I have a lot of people that just expect me to flat-out HATE this stuff. THAT does bug me. (I'm trying to gain some apathy here...but principals prove to be a big deal to me.) I'm expected to hate it just because I'm supposed to. Well, fuck them and the ones making them think so. "New Bermuda" is a thought-provoking collection of alt-black metal, or "hipster black metal" if you wanna just use the words and take their negative power away. This album is well-written, precisely performed, and pretty fucking schizo. I admit that it's decent. Did my corpsepaint disappear? Yep. It does every other day or so, actually. I am sorry to tell you, I don't live in a spooky mansion, cave, or under a bridge...I don't actually drink real blood, and I'm usually clad in pajamas, since I'm lazy. But is all this non-metalness due to Deafheaven or any of these other legit metal albums produced by people that elitists won't accept? Hell no. Get over it. Every fucking one of us does something to be "untrve" every fucking day. 10/10/15 TTSNSN |
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(Note: In some externally linked content, I am also known as "Skarnek")
(Note: In some externally linked content, I am also known as "Skarnek")