Cryptopsy - Once Was Not - 2005

So I remember the day that I was sitting there thinking about metal subgenres and I realized that I didn't know a single fucking back I could say was just straight up death metal.  It gets so goddamn crazy with all these genre-specific variations.  I thought, what about Beneath the Massacre?  Nope, technical death metal.  Decapitated?  The same.  Nile?  Tech death (although I've come to revise my opinion and say just straight death).  Opeth?  Prog death.  Gojira?  The same.  Every goddamn band is technical psychadelic progressive melodic blackened pornogride sludge trancecore.  What.  The.  Fuck.  This is my favorite genre of music, right?

Sure, you can say bands like Death and Deicide are the original death metal bands, and I agree, they are; but the problem with that is that the sound has changed so much since then, a lot of listeners consider them "old school" death metal.  So I was at a loss.  If someone asked me what death metal sounded like, I'd say I have no fucking clue.

The Revolutionary War if the redcoats had nukes?

Then, on a whim in San Luis Obispo, visiting a friend, we went to a record store and I swiped some plastic money I didn't have for Cryptopsy's Once Was Not.  I listened to it and I thought, this is it.  This is death metal.

What's great about Once Was Not isn't overwhelming level of technicality, even though that's part of it.  It's not the traditional violent lyricism, because honestly, this album is tame compared to bands like Cannibal Corpse.  It's the sheer chaos of the album.  It's that the drummer is just beating the shit out of his fucking drums.  It's Lord Worm's glorious, hyperventilating dog-bark vocals.  It's the constant dissonance of the tremolo-picking guitars.  It's that the whole album just screams "fuck you" at everyone.

Once Was Not doesn't carry that overproduced, mechanically perfected and produced sound that identifies tech death like Beneath the Massacre.  Nah, they have that old school Death and Morbid Angel sound, unrefined but immensely talented, combined with the development of death metal over the years.

Before people start bitching (yeah, I know, nobody's gonna bitch cause nobody reads this blog - fuck off), yeah, I know that Cryptopsy's earlier albums are pretty fucking good too.  I love None So Vile too, but due to lyrical content, that albums a lot less accessible.  I don't mind listening to violence, but usually gleeful disembowelment done slowly as to torture is towards the bottom of my musical content desires.  Once Was Not was a different direction for Lord Worm, focusing a bit more on politics and human nature instead of rape and murder.  A step in the right direction, if you ask me.

The album offers a lot of variety, too, for a chaotic death metal album.  There are relatively melodic break downs, like the random acoustic sweep picking in "In the Kingdom Where Everything Dies, the Sky is Mortal," and there are some blisteringly clever guitar lines, like in my favorite track "Carrionshine."  There's a lovely, corny "string" intro to "Angelskingarden" (AWESOME track name, Nathan Explosion would be jealous), and there's even a terrible jazz intro.  Seriously.  "Keeping the Cadaver Dogs Busy."

Lets be honest here.  This album would be nothing without Lord Worm.  The musicians in Cryptopsy are some brutal musicians, but I've heard their newer album.  It's straight up metalcore.  I mean, whatever; if that's your genre, I don't care - I've been known to rock the fuck out to some Chimaira - but jesus christ knows that's not death metal.  Lord Worm adds that old school edge with the chaotic, unrelenting energy that you can't avoid if you're barking like a dog on stage.

And...well, Lord Worm also left metal to teach english to second language learners in Canada.  Helping others if fucking metal, and if you don't think so, you can go play in Angels and Airwaves.

So yeah, I fucking love this album.  Listen if you feel like listening to something unpolished, where you can tell every track was laid out with the musicians downing beers and breaking shit in the soundroom. Don't listen if you want something produced, perfectly mixed, or if you don't like Lord Worm's vocals. Also, if you don't like Lord Worm's vocals...well, I heard Travis Barker is looking for a bitch to carry his cymbal stands around...

Vociferance - Abscission of Light (2010)

After reviewing ChaotH with Unexpect, I think I might do an album series dedicated wholly to metal bands that don't mix out the bass.  Seriously, just watch an episode of Metalocalypse.  The bass is always a joke - but maybe just because it's being played by Murderface.

Vociferance, making 22 feel too
old for metal since 2010.  Assholes.

Remember that blog full of free metal that brought Deadsquad?  Well, there's tons of good shit on there, one band of which is Rhode Island-based Vociferance.  Vociferance's debut album, Abscission of Light, is great technical death metal.  It's not overwhelmingly technical like a Beneath the Massacre album, but it's clever, and it tries some interesting, new stuff.  And, it makes good use of a tremolo bar, which I can never complain at.  Also, these motherfuckers were 18 and 19 when they recorded this shit, so every old person out there that wants to get in the metal scene that can't play this well yet (i.e. me), go sell your guitar on ebay.

Abscission of Light starts off with a minute and half intro that sounds like it's done with a $40 cassio keyboard, but it's not a bad effect, and it's got a bit of a middle eastern vibe to it.  Then with a nice bass slide, we're into a lovely metal intro to probably the most memorable song on the album, "The Wrath of Sutekh" (more Egyptian themes for you Nile fans), which is the track that uses that lovely whammy bar.  Lots of squealies, lots of chugga chuggas, and lots of short sweep breaks, showing the guitarists' prowess.  Fun shit.

Probably the funniest moment of the album, though, is towards the end of "Betrayal at Sea," the title of which already makes me think it's gonna be an Alestorm song.  The track plods along at a pleasant 7/4 most of the song, not too hard to bob your head to initially but much more aggro in the chorus line.  The song is just good until you hit about 2:45, when the lovely breakdown starts.  Now, I'm not a breakdown-holic like all the metalcore kids, but follow it for a minute and at 3:04, you have a lovely, weird, out of place modern jazz breakdown for like thirty seconds, leaving all the br00tal metal heads wondering how the fuck someone tricked them into listening to weird ass jazz.  Tell me that shit isn't awesome.

My biggest complaint with the album is that it drags on a bit.  Really, it's a pretty straightforward formula once they get into the meat of the song - chugga chugga chugga, sudden short sweep riff, repeat.  But if you get over that, there's some really interesting and experimental stuff.  Take, for example, the sweep riff at 0:48 in "In Chambers They Decay;" the guitarist is not just sweeping major and minor arpeggios, he's sweeping all sorts of weird fucking chords.  Combine that originality with the really clever chord progressions throughout different tracks that allow for an accessible melody line without losing the dissonance of good death metal, and you have a recipe for some badass metal.  They integrate their chugs with lots of tremolo picking, and have a nice layering of low death growls and high pitched, raspy barks, adding variety and making them sound nice and evil.

Honestly?  It's a fucking good album.  It's better than a lot of people out there with record deals (*cough Travis Barker cough*), and they recorded this shit themselves.  The producing is fantastic, the mix is better than most metal albums I've heard ever, you can hear the bass, and the songwriting is original.  AND, it was given away for free.  Fuck yeah, Vociferance, if you tour in SoCal, I'll be knocking bitches over in your pit all night.

Download (via Death Metal Invasion)

Gojira - Terra Incognita (2001)

I'm making a habit of reviewing old albums, apparently.  So the review is 11 years late - well this album has been fucking brilliant for eleven years then.

If you haven't heard of Gojira, then let me let you in on a bit about them: Gojira is a French progressive death metal band whose themes center around environmentalism and saving the goddamn whales.  They're very heavily involved with Sea Shepherd, an organization founded to save the whales, and formerly had a ship named after them.  Now, I know what you're probably thinking - that doesn't sound br00tal at all.  Well you're wrong.  Very wrong.

Is that Vin Diesel?

Terra Incognita is HEAVY.  There's really no other word to describe it.  They don't have that chaotic, thrash-derived fury you hear in standard, run of the mill death metal, but they aren't slowing down too much to be considered a doom metal band either.  The group is distinctively death metal...but definitely progressive.  The guitars chug with the weight of a thousand bricks slamming incessantly into your face, and their screams vary from a guttural growl to that ripping, almost black metal scream.  They even throw some "clean" (albeit distressed) vocals in there for good measure.

But, honestly, the heaviness isn't what makes Gojira one of those bands that causes metalheads within a 10 mile radius to spontaneously start headbanging.  No, it's the cleanliness of the album and the song structure.  Case and point, take my favorite track from the album, and my favorite Gojira track of all time: "Lizard Skin."  Hear those guitar gallops at 1:20?  The kick isn't echoing those.  The drummer is running 16ths beneath the sixtuplet gallop rhythm of the lead and rhythm, which means in order for that rhythm not to get lost entirely, it needs to be clean as FUCK.  This is a testament to the guitarists' skill and sound choice, as their distortion is scooped enough to keep the chug and rip of the highs without sounding like a bad pop metalcore band.  But seriously.  Listen to any song, and what you'll hear is notes, all in the right fucking place.  Things aren't out of time, and if they are, like the tremolo line from "Blow Me Away (Niverse)," it's still not out of time - it's like that on purpose.

Woah, my bad Venetian Snares...just
put the baseball bat down...

The song structure of Terra Incognita is something to be amazed at as well.  They use pretty damn simple riffs.  If you're a competent guitarist with some decent tremolo chops, you can play every song on the album, but as you play each part by itself, you realize that every instrument needs the others to sound amazing.  Alone?  Annoying, simple, boring lines.  Together?  Masterpiece.  That's musicianship and songwriting, not some guy in his basement with a drum machine.

To top it off, Terra Incognita has something else going for it that us metalheads aren't used to: a terrifying, eerie message.  I'm not an environmentalist, but I can't help but wonder what Gojira is all worked up about when I listen to tracks like "1990 Quatrillions De Tonnes;" it's like something out of a nightmare, pretty, dark, clean electric lines with screams of dozens of people, apparently in pain as vocals.  Seriously, it's more terrifying than the most brutal Dying Fetus album I've heard.  If this is what dying whales sound like, I'm never eating another delicious, juicy whale steak ever again.

Farewell, my juicy, delicious
whale steak

Overall?  Check it out if you like prog.  Check it out if you like heavy shit.  But don't check it out if you're looking for the next Cryptopsy, cause you'll be disappointed - Terra Incognita is a patient album of tracks that take time to develop and carry something more than the instant gratification of blast beats and sweep-picked diminished chords.


And in case you want to know what I'm talking about, "1990 Quatrillions De Tonnes" will fuck you up here.

Dead Squad - Horror Vision (2009)

So a few years ago, a friend of mine decided that he was going to delete all the music he had gained through pirating in an expression of support to the musicians, and in a weekend, went from an iTunes library of something like 70GB to almost nothing.  I know, I thought he was crazy too, but I had to respect the man for choosing his stance and sticking to it.  Anyways, after he deleted all his copyrighted music, he started going through metal relapses and in desperation, found a website dedicated to posting free metal albums (with the permission of the artists).  It's called Death Metal Invasion, and it's in the link tab - check it out.

Proper Metal Logo: can't read it for shit.

Anyways, while he was digging around in this blog, he came across the album Horror Vision by Indonesia-based death metal band Dead Squad.  Now apparently, Indonesia has a pretty big underground metal scene.  I guess it makes sense that I wouldn't know a lot about it in California (hence, underground), and so we didn't think much about this album when we started listening.  But after a couple long drives to Amoeba Records in Hollywood listening to Horror Vision, I realized I really liked the album.  And I didn't just like it; I started comparing my other albums to it.  Because it's that good.

Horror Vision is a fast, brutal gem of an album; clocking in at just over a half hour, it's short, and it jams a whole lot of awesome shit into that short span of time.  The first track, "Pasukan Mati," begins with a massively dramatic and corny synth intro echoic of black metal, which would be too much if the synth showed up again before the last song, but it doesn't, so it's badass.  Then you're slammed into the song itself, characterized by a catchy tremolo-picked melody line that will get stuck in your head all day.

Remind anyone else of Pan's Labyrinth? 

Their drummer (I couldn't bring myself to fight through broken english band descriptions to figure out his name) really does a great job at following the guitar and basslines without losing brutality, and the guy has some decent chops at least - his blasts are fast and, more importantly, in time, which is more than we can say about Travis Barker.  The guitar lines are busy, harmonized, and alternate nicely between powerful chugs and badass lead riffs, with a speckling of technically impressive guitar solos.  The vocals have been the point of contest in other reviews I have read - the singer definitely lacks the guttural growl of most death metal, instead vying for a vocal style that sounds more similar to metalcore, a trait which I'm sure will turn many death metal fans away.  But, if you give it a chance, the vocal style really matches the musical style; despite lacking the guttural element of death growls, the vocals are still raspier and more harsh than, say, Chimaira's or August Burns Red's vocal styles (thank god).

Speaking of metalcore vocal styles, Horror Vision definitely has some hardcore influences.  The bands use of breakdowns is quite similar to those of many run-of-the-mill "[verb] the [noun]" metalcore bands, but what sets Dead Squad apart from metalcore in my book is their tasteful use of breakdowns.  They rarely slow down to the intensely slow drag common in metalcore breakdowns, and they use drastic tempo changes only to contrast with the speed and ferocity of the rest of the album.

There are a couple highlight of the album that stand out as particularly impressive.  "Manufaktur Replika Baptis" has a fun jazz breakdown in the first half of the song, which, while it isn't very good jazz, provides a nice contrast for the rest of the song.  And, "Dominasi Belati" has a great breakdown-ish section with pinch harmonics that will make your hair stand on end (and to those out there that have this misconception that pinch harmonics are "hardcore" and not metal: get your head out of your ass, listen to a fucking Nile song, and then go fuck yourself).

Overall?  Fun album.  Especially for something being given away for free.  And, this is comparing Dead Squad to other signed death metal names - compared to the recording quality and musical quality of most free metal, Horror Vision is a gem amongst asswipes.

Download

Fleshgod Apocalypse - Agony (2011)

So, all the metalheads came from somewhere; we all had a gateway band that acted as our proverbial serpent of Eden.  For me, that band was Nightwish, and as a result, I've seemed to tend towards music that incorporates orchestral elements.  But lets be honest.  Nightwish might technically be metal, but power metal is too corny to be brutal, and once you go brutal, there's not really any going back.  Don't get me wrong, I love some good battle metal, as long as it draws on the Icelandic and Nordic traditions of battle, not that bullshit French chivalric tradition.

But that's why there are albums like Italian technical death metal band Fleshgod Apocalypse's 2011 masterpiece, Agony.  I never, and I mean never, thought that something using orchestral instrumentation could be so fucking brutal.  Now, for the Nightwish fans out there, don't go into this album expecting nine minute concertos or oboe and bassoon duets ("Ghost Love Score" anyone?).  The genius of Agony isn't the complexity of the orchestral arrangement, but the perfect fusion that the score has with the traditional metal instrumentation.  Throughout (almost) every track, between Paoli's neckbreaking blasts  and Trionfera's facemelting solos, there is a present orchestral line woven into the musical infrastructure.

Metal album or tentacle porn?
You decide!

Speaking of neckbreaking blasts and facemelting solos, lets just take a minute to recognize these musicians for their feats of creativity, and in Paoli's case, endurance.  Watch a video of the man: those snare strokes are all Moellar technique, no flappy fingers or garage black metal unintentional decrescendo blasts - the fucker could probably blast on pillows.  Or Travis Barker's face.  Actually I wouldn't mind seeing a video of that.  

The guitar solos of Agony echo the dichotomy that the rest of the album strives for: melody with brutality. Whether it's the scale grinding in "The Violation," the sweeps of "The Hypocrisy," or the brilliant tap riff from my favorite track, "The Deceit," the melodic element clearly is favored in lieu of atonal tritonic arpeggios up and down the fretboard.  Although, given the technicality of the album, I have no doubt that they could do either.

In an expression of what I can only imagine is the band deciding to tell the world "fuck yeah we're that awesome," the album concludes with the title track "Agony," following in the tradition of their previous album Mafia.  "Agony" is a solo piano piece whose dark intensity mirrors that of the rest of the album with a decidedly Rachmaninoffian taste.  The brilliance of this last piece is the manner in which it captures the tone of the whole album in such an accessible medium - seriously, show this song to your grandma, and she'll probably ask you for the song (if she knows what a CD is).  


Agony isn't perfect; the seamless transition between tracks, while exceptionally badass between "The Deceit" and "The Violation," tends to run the songs together, making the album seem more like one really long, brutal eargasm.  This isn't necessarily a bad thing, but when you want to show your friend that sick guitar solo and you've been through every song on the album twice already, it can get old.  Rossi's high pitched waily bits can be a little trying at first as well, but I found that after some time, I grew to enjoy them.  


Now, if you're not sold on the album yet, here's the kicker: Fleshgod Apocalypse can do this shit LIVE too.  I had the opportunity to see them open for Decapitated at the Fox Theatre in Hollywood, and I don't know what I expected, but it sure as fuck wasn't five Italian motherfuckers in black shredded tuxedos and corpse paint chugging Jack Daniels like clergymen.  Even though the orchestration was all done through recording and synths, the performance was musically tight and, as far as I could tell, flawless - though my observational skills were somewhat hindered by furious headbanging.  Oh well, what can you do?

\m/ first

First post of \m/ blog.  You can call the it Horns since \m/ is kind of hard to pronounce.

\m/ is going to be primarily be a review site.  There's a shit ton of metal review sites, I know.  Fortunately, I don't care.  I'll also post links to articles I find interesting or talk about bands in general.  Occasionally, I might go into some of the philosophy of metal too.  You just never know.

The inspiration for this blog came from two things: 1) A desire to subject you, the reader, to my opinions, and more importantly, 2) A general lack of Nile reviews on every other metal blog.  Therefore, I bring to you: Those Whom the Gods Detest.

Gaze upon its beauty

Have you listened to Nile before?  If you haven't, you should.  In fact, you really shouldn't consider yourself a Death Metal fan until you have listened to Nile.

Nile's sixth studio alum, Those Whom the Gods Detest takes the over-the-top excess paramount to death metal to its ideal culmination.  Seriously.  George Kollias returns for his third album with Nile running doublekicks so fast that Travis Barker's balls retracted back into his vagina.  Sanders' guitar solos don't drop panties, they incinerate them.  And he plays on a goddamn double neck guitar.

In all seriousness, Those Whom the Gods Detest may be the finest piece of work Nile has ever put out.  "Kafir" slams you with an eerie Middle Eastern vocal line to compliment Kollias' unrelenting blasts and a catchy riff that leaves all listeners chanting "there is no God."  "Those Whom the Gods Detest" fuses haunting Middle Eastern folk elements with speed and brutality reminiscent of "Cast Down the Heretic."  The terrifying, plodding "4th Arra of Dagon" sounds just like what I imagine the soundtrack to human sacrifices would be.  And the solos...oh my god, the solos!

Take an opportunity and listen.  If you like Death Metal, then you'll like Nile.  And if you like Nile, you'll love this album.  Sanders and Kollias really take their craft to the next level, smelting musicality and taste without losing the tasteless, brutal wave of sound that is death metal.