Gothic Metal is more associated with the fantasy genre, so it is perhaps unsurprising that Fernando Ribeiro is not often asked about his political views. A recent post on Moonspell’swebsite, listed things the band hates, one of which was German Chancellor Angela Murkel. We asked Fernando if he hoped that Portugal follows in the footsteps of Greece regarding the deficit?
“Portugal has been in a crisis, the social democratic government have made things very hard here. It is very hard for musicians in Portugal. We pay the highest tax charges in Europe, our civil rights are being questioned, this government changed all the processes and we feel we are digging deeper into the trench between the very rich and poor. The IMF (The International Money Fund) has imposed all these measures on us which are making things more difficult here. There are not enough beds in hospitals and the government wasted the money on submarines to keep us and the Greek’s in debt. I hope we get a government that does what the Greeks are trying to do because this deficit is crippling us. We don’t want to be caught by these vultures anymore.”
Nothing like a sunny day to visit the bowels of the basement of Sound Controlfor somegrimy sludge and hardcore from a bunch of miscreants. First up today at the ungodly early hour of 4:30 PM are Bury’s own Pist who impress early on with their mixture of Eyehategod swagger and Mancunian grit. Guitarist John Nicholson churns out slabs of metallic blues while David Lee Rowlands shrieks manage to shake up the early goers.
Unfortunately Siege Mentality completely fail to capitalise on Pist’s momentum. The ex-Iron Witch mob trade in generic hardcore punk with plenty of spit but no polish. The quintet’s interchangeable throwaway compositions all follow the well-worn post Discharge hardcore punk template and are forgotten straight after they are aired.
Thankfully Tombstones get us back on track. Sticking to the tune low and play slow ethos the Norwegians win the audience back with their primordial slabs of noise ‘King Of Daze’ and a storming cover of Melvins classic ‘The Bit’ which have the audience eating out of their hands.
King Parrot are aptly named because they have plenty of squawk but so little of substance. Their performance ignites a decent size pit but the irritating screeching of vocalist Youngy is greatly off putting, as is his moronic stage banter and insistence on soaking the first couple of rows with water. Their warp speed racket sounds allows some to get their mosh on but the band come across as sexually repressed Neanderthals’ with no memorable songs to speak of.
Weedeater do not fuck around. These deranged Louisiana rednecks slam into their set with a frightening vigour. Dave “Dixie” Collins is a cross-eyed lunatic screeching out his lyrics while drummer Travis Owen slams his kit tossing his sticks around and kicks his high hat all while continuing to play without missing a beat. Numbers like ‘Weed Monkeys’ are impossible to resist such is their reckless delivery and visceral delivery. These trailer park titans came to throw down and impress with a watertight set of potent sonic hits which leaves the audience deliriously happy and hungry for another fix.
“We live a very intense life. Not just with the band, but keeping together families and things like that.” The deep, dulcet tones of Fernando Ribeiro are unmistakable, coated in this thick Portuguese accent, it is little wonder the forty year-old front man of Moonspell still attracts much attention from swooning nubiles. These days the Goth Metal lothario has a young son to raise which is perhaps a factor on the more mature direction Moonspell have adopted on new opus Extinct (Napalm Records). “We like to delve into the unknown. It is important to be creative when we feel inspired to do so. We had six months of touring left for Alpha Noir and Omega White, but we needed to write when we felt the need to express ourselves, to feed that hunger!”
One thing that immediately noticeable about Extinct is the concept is rooted in reality both on a global and personal scale. As Ribeiro explained, the concept came together relatively quickly. “We did not want to split our direction as we did on the preceding albums. The concept came out very early. I was thinking of extinction on a global scale which affects animals but also how human beings place a higher value on their own existence and will often sacrifice other species and the planet to serve our own selfish needs. Sonically, we have been influenced more by electronic music and used more clean vocals. It is a very desolate album.”
Extinct is indeed a dark affair, not least for the shocking image of a mutilated amputee which adorns the cover which is the work of Septicflesh bassist and frontman Spiros Antoniou a.k.a. Seth Siro Anton.“He worked on ‘Night Eternal’ for us.” Ribeiro mused on this comrade’s work. “We feel an affinity with Septic Flesh and look forward to touring with them this year. His work recalls that of Francis Bacon or Joel- Peter Witkin to me. ‘Extinct’ is an album about imperfections. That figure on the cover looks raped and mutilated but it is about the fear of what could happen and the damage that has been done. Amputee’s feel their limbs long after they have had them removed so it seemed to fit with the concept we had.”
In addition to its gruesome cover art, Extinct also has some of the most personal lyrics Fernando has ever penned. “Gothic metal has always been very fictional but we have gone through many changes in our lives. ‘The Future Is Dark’ is one song which exemplifies this. Jens and Pedro opened the studio up specially one night for me to do the vocals. It had been a difficult night at home for me and I wanted to get the lyrics on the track straight away.”
The track in question see’s Ribeiro addressing his son with the brooding chorus refrain ‘Without you there is no tomorrow’ it’s a touching moment. “Jens told me it was one of the best personal songs he ever recorded. He is a workaholic who never gave anyone a day off but he was a real team player and supportive of everything we did.”
Adding further depth to the seductive melodies on ‘Breathe (Until We Are No More)’ and ‘Medusalem’ is the use of a Turkish orchestra. “It was a big challenge to get them involved because they do not speak English nor I Turkish so we had to have a mediator in between! Portuguese music has always been influenced by the Arabic scales so we wanted to incorporate that. We didn’t go for these big Wagnerian arrangements most Metal bands use we wanted something more seductive.”
Another highlight is album closer ‘La Baphomette’, a track which sounds positively vaudevillian with its swing feel and elegant piano. “Our bass player Aires wrote this piece with the brass section but Pedro helped with the arrangement. When I listened to the melody I thought of Burlesque and Tom Waits – I love French poets like (Charles) Baudelaire. I was at the French quarter in New Orleans on our last tour and I wrote the lyrics about a burlesque dancer who evokes cosmic chaos. It is a very romantic song and a great way to end the album.”
Publicist UK are an intriguing combo which see Dave Witte (Discordance Axis, Municipal Waste drummer) joining forces with Revocation bassist Brett Bamberger and team up with Distant Correspondent’s David Obuchowski and former Fresh Kills mouthpiece Zachary Lipez.
It would be natural to expect pounding rhythms and adrenaline fuelled blasts, especially considering the rhythm section. Only that couldn’t be further from the agenda. Instead gothic post-punk is the order of the day, with the spectre of the late 70s looming largely over the two tracks present here. The sound of the band is decidedly British in its choice of influences, reeking of decaying Chameleons and Fields Of The Nephilim records. “I love it when you talk real politics!” Lipez pines like Andrew Eldritch reciting the works of Fredrik Engels.
Original Demo Recordings (Static Tension) is the kind of effort fans of recent death rock troubadours such as Beastmilk may lap up, although Publicist UK are more retrospective in their style and the reverb and treble heavy production; Spiralling melodies are interwoven amongst the effortless performance of Witte, who provides a solid backbone, largely sitting back to support the song. His pulsing sixteenths accenting every nuance of ‘Slow Dancing To This Bitter Earth’ while Lipez repeats the hypnotic mantra of a chorus over jangling riffs to great effect.
They also use the music as a platform to hit out at faux social rebellion. “Wave a red flag and decorate your handbag” snarls Lipez on the latter number, clearly using it to take a swipe at insincere political campaigners who do much complaining but little to change the systems in which they live.
Since this tempting morsel has been delivered, the group have taken up residence on Relapse Records and are working on a full length. Given the murky depths this release mines, it will be interesting to see if they can progress as strongly as they have started.
Since his departure from Gorgoroth, Einar “Kvitrafn” Selvik set about creating a project steeped in the heritage of Nordic spiritualism which swept away any preconceptions the scene may have had when this release reared its head back in 2009. The initial chapter in a trilogy of albums based on ancient the Elder Futhark; the oldest form of runic alphabet popularised by northern European tribes, Runaljod Gap Var Ginnunga(Indie) is a compdlling journey throughout its fifty two minute duration.
That an album which features no distorted guitar, drums or modern instrumentation of any kind could capture the imagination of so many metal fans seems curious on the surface, but the nocturnal nature of compositions such as ‘Thurs’, with its mouth harp and homemade percussion delicately embellished with gorgeous hardanger fiddle, creates an experience which transcends genre. The ethereal vocals of Linda Fay Hella are breath-taking, yet over-shadowed by the sinister shaman that is Kvitrafn’s former Gorgoroth colleague Gaahl, whose trance inducing chanting lures the lister into the primordial depths of pre-Christian Norway.
The most apparent aspect of Runaljod… is how authentic it is. Much of this can be attributed to the use of real recordings of wind and other atmospheric effects which Einar himself acquired, rather than relying on synths. Acts like Finland’s Nest may have a similar approach but this work has more in common with the dark ambient genre.
Able to shift mood from menacing to enchantingly beautiful, the album has many stand out moments but is most rewarding when experienced in a single sitting and its strength lies in retaining a uniquely Norse atmosphere throughout which allows these unique compositions to really stand out. The instrumentation here shows a remarkable sense of commitment to recreating the sounds of the early Norse tribes and throat singing, goat skull percussion instruments and all manner of curious items are employed here to great effect. Witness the foreboding ‘Thurs’, for proof.
A majestic journey into bygone times, Runaljod… is a stunning piece of work. This vinyl re-issue should only serve to whet the appetite of fans awaiting the forthcoming third chapter of this epic trilogy.
Leeds’ alt.Rockers Hawk Eyes have successfully married US Discord Records style with off-beat prog melodies to good effect. Everything Is Fine (Pledge/Red Vole) is the sound of the band putting their best foot forward and maturing into a more versatile outfit striving to rise to the top of the Brit-rock pack.
The former Chickenhawk have mastered the blend of pop melodies without sacrificing the deliciously punchy nature of their songs. The driving melodies of nineties post-hardcore are injected with a shot of sludge and mathrock passion to great effect. Angular riffs underpin soaring harmonies which give the likes of ‘The Ambassador’ an urgency reminiscent of At The Drive-In.
The exhilarating rush of ‘Die Trying’ with its soaring chorus is another highlight, a deceptively addictive earworm which embeds itself in your cerebral cortex with its catchy lyrics full of righteous determination. The air of confidence the band has gained is never more evident that on the bruising ‘I Never Lose’, which rides an urgent riff and another great chorus.
In the four years since their Ideas (Vinyl Junkie) opus, Hawk Eyes dogged approach to touring has clearly benefited them, honing their craft through touring with rock journeymen such as Therapy?. Their duel vocals are used to great effect and while the maverick spirit of acts like The Melvins hovers over this it never threatens to extinguish the rabid pop nous of tracks like ‘The Ballad Of Michael McGlue’ which flies high on a rousing call and response chorus which declares “I don’t think God is gonna change his mind”.
Gleefully delivering agitated alt rock wrapped in easily swallowed bubblegum melodies Everything Is Fine is a stirring collection which warrants several visits, and the songs flow superbly from one riotous track to the next making this an intoxicating adrenaline rush which you will want to experience frequently.
“Happiness is a risky business” they spit on ‘Terribly Quelled’; it may be one they have to get used to if they continue to progress in such promising fashion.
From The Very Depths (Spinefarm), the fourteenth entry in the Venom canon, sees Cronos and company delving into the roots of underground punk and heavy metal, resulting in some satisfyingly atavistic blasts of noise. No squeaky clean production values are present to water down or blight the impact of the crunchy thrash riffage and relentless aggression present here.
Cronos’ spiteful delivery on ‘Temptation’ exemplifies what Venom have always been about; a gritty, go for the throat approach which requires little deviation from their original blueprint of crust covered heavy metal. ‘The Death Of Rock N’ Roll’ sounds like recent Darkthrone covering Mötorhead and with only one number on the album exceeding the five minute mark, things are kept nice and concise, as is the rough-shot blast of first single ‘Long Haired Punks’. The tongue in cheek old school hokum may not work for actual black metal fans but these japing Geordies were never ‘grim’ or ‘kvlt’ to begin with; luckily Cronos appears aware of the ridiculousness of his lyrics as he barks on the former “Line up the Marshall stacks! We’re killing King Creole!” while axeman Rage churns out some pumping speed metal riffage. ‘Evil Law’ rides a crushing mid-paced ostinato but overt repetition certainly kills its momentum, and the wah injected ‘Smoke’ is a questionable entry.
At fourteen tracks, this opus feels fleshed out in places with the elaborate intros of ‘Eruptus’ and ‘Ouverture’ adding nothing to proceedings, but luckily the album adopts a ‘play it straight’ ethos and is, for the most part, shorn of the modern influences or ham-fisted experimentation which has made their recent outings rather ponderous.
Creating menacing vicious heavy metal is what Venom is about and any deviation from this simple formula feels unnatural and forced. All the elements of the bands classic sound has been recalled in what may be the current line up’s finest work since the late nineties, although if you are looking for material of a quality akin to Black Metal or Welcome To Hell (Neat) then you will be found wanting.
A decent, if unspectacular, entry that preaches to the converted.
The act of tagging a ‘post’ prefix onto an act which operates uninhibited by the confines of a single genre has become a label for both the fiercely exciting and the odiously pretentious.
Inspired by a 1st Century poem by a mysterious writer Lucretius, which “grazed the ideas of the universality of energy, atomism and rational thought over superstition and free love” apparently.
Rervm (Svart Records) could we have fallen into the pretentious category if it wasn’t for the beguiling nature of the material on offer. Drummer Otrebor also applies his trade in Black Metal act Botanist, but the scope here is much wider, encompassing Space Rock, ambient textures and the majestic and eerie vocals of co-conspirator Bezaelith.
The resulting six tracks weave a rich tapestry of ethereal beauty using Black Metal as the template to explore far more vast and expansive territories. The ambitious nature of such a bold enterprise could have seen the duo fall flat on their faces, yet listening to ‘Dicere Credas’ and ‘Mortalis’ there is rarely a lull in proceedings.
Fully comprehending the multifaceted concept of this grandiose collection is not essential to taking pleasure from the songs herein as these deeply emotive compositions are supported by an outstanding vocal performance which lures you into its vespertine grasp.
‘Miseras’ bedrock of visceral blastbeats seems an odd foundation on which to build cinematic ethereal textures, yet somehow the duo manage to make this make complete sense. Fashioning a rich tapestry of subtle melodies and haunting ambience, this album dares tread a ground where few heavy bands dare inhabit. “Oh wretched minds, oh blinded hearts” croons Bezaelith. This seductive chanteuse possesses an eerie ability to conjure transcendent beauty in a manner few, save Jex Thoth, are able to muster.
Lush arrangements are gracefully realised eloquently and make for stimulating listening with or without the highbrow concept behind it. The hypnotic voice of Bezaelith works wonders, conjuring many emotions on this esoteric journey into the beyond.
What could have been a grandiloquent and somewhat pompous affair, Rervm surpasses expectations with a truly mesmerising set of charismatic material full of soul and charm.
Having graciously postponed his pre-gig meal to conduct this interview Tomas Lindberg is remarkably warm throughout. Guitarist Anders Björler mentioned to GC downstairs that it was important to retain the essence of At The Gates. A statement the singer echoes. “The five of us have an identity together which has remained untouched. We love a lot of different music but we want to create within the framework of what At The Gates is so we are able to stay true but also move forward.”
At the top of the interview Tomas touched upon the benefit of playing in other bands in helping the members think about team work. Considering all the other outfits he and his colleagues are involved with (Disfear, Paradise Lost and The Haunted to name just a few) can we expect much in terms of touring?
“Logistically it is tricky but we have great agents. Vallenfyre have another drummer who can step in for them and I am no longer in Lock Up, there is no bad blood! Only good stuff. We all have our other jobs too. We all have Google calendar and book well in advance. Even if Martin has an Agrimonia gig in a squat somewhere in Germany we will work around that! We are still all very normal people and we don’t want to lose that grounded feeling. We don’t have to do this (At The Gates) to pay the rent. I think that has always helped and meant we have never had to water down our music.”
A teacher at Gothenburg University, Lindberg’s lyrical output is theoretically grounded and highly conceptual. Certainly far more highbrow than the standard death metal lyrics. “I enjoy delving into concepts and became more reflective when I started teaching. I have become more reflective as a person which I think also benefits how I work within the band.”
These comments will come as a pleasant surprise too many fans who (often wrongly) assume that musicians will earn oodles of cash from package tours and possess bank balances which are only matched by the size of the musicians’ egos. Lindberg charmingly recalls a recording Lock Up material with producer Russ Russell. “When I was recording with that band we used the beer metronome! I was singing ahead of the beat and a couple of beers helped me relax and record the vocals. That works well for punk and grind stuff but for At The Gates it requires a lot of focus! These days before gigs I have one glass of wine and just the alcohol free beer. I sing from the belly and the chest so I have to pace myself now over an eighteen song set!”
The much imitated and ballyhooed Slaughter Of The Soul (Earache) is an album dear to fans of the Gothenburg scene and American Metalcore scene alike, while proud of what his group have achieved Lindberg is keen to move on and progress with his music. “People talk about Slaughter… in those terms but it was a bit of a one dimensional, only aggressive record with similar songs stylistically. ‘Terminal Spirit Disease’ was moving in a different direction until things happened in our lives and we made a more pissed off record. This album is almost picking up from where ‘Terminal…’ was going. A darker more melancholic place.”
…And so we continue with our countdown of the Official Ghost Cult Top 50 Metal releases of 2014 by bringing you Albums 15 to 11. As we get closer the top, the sheer unadulterated quality of the albums covered is astounding, and every one of our Top 20 should proudly sit in your collection already. And if it doesn’t, you should get investigating immediately…
15. GODFLESH – A World Lit Only By Fire (Avalanche)
Joining the growing list of bands who have returned from a leave of recording absence in style, Justin Broadrick resumes where he left off thirteen years ago, delivering dissonant, nihilistic, industrial cold post-metal. Innovators and leaders to a previous generation of bands, Godflesh returns with metallic precision and destructive poundings.
“The crushing landscapes of Streetcleaner (Earache) are recalled in the merciless dehumanised beats yet the harshness of the eight string guitar has taken this unforgiving creation an even blacker more disturbing feel. The momentum never lags throughout this fearsome monolith feeling urgent and vital throughout. It may be their first full length in thirteen years but every fibre of the bands DNA has mutated into an even more virulent strain of post-Sabbath paranoia whose icy claws cannot be escaped.”
Extreme doom has never been in a healthier or more prolific state, and is a scene with a surfeit of reeking repugnancy spread over a growing horde of performers. Oozing themselves to the very peak of the sludge mountain is Chicago’s Indian, with a release that tests the very limits of just how hideous a piece of music can be and still be appreciated. Essential art, manifested as abhorrent compositions.
“Over the course of 39 harrowing minutes, Indian attempt to batter the listener into submission with a ceaseless barrage of spiky sludge riffs that aren’t afraid to repeat themselves to make their point well and truly felt, percussion that hits as hard as a drunken preacher taking his belt to a cowering sinner, horrible harsh droning noises that sound like a possessed radio broadcasting live from Chernobyl, and all topped off with Will Lindsay’s throat-shredding howls and screeches.”
On Heritage, Mikael Åkerfeldt led his Swedes away from a technical Death Metal past towards the Prog Rock light. With Pale Communion, transition completed, he perfects the marriage of Opeth and their new slant, constructing a beautiful, reflective, warm and overwhelmingly natural album that speaks in an altered, more progressively refined tongue to the previous voices of Opeth.
“Fast forward three years and Pale Communion is, in many ways a continuation of such a direction, but one that see’s Mikael’s uncompromising view drawing more clearly into focus. Harking back again to the late 60s and early 70s this eleventh studio opus features fluid dexterous drum patterns, moody distorted organ work and another all clean and highly proficient performance in the vocal department. Where Heritage felt somewhat disjointed on occasion Pale Communion is richly woven into a tapestry of ornate and complex elements rather than flitting from one genre to the next.”
Like one of their own dark, weighty epics, Yob’s career is slowly unfurling, opening out as expansive riffs draw out of the dark, and slab-heavy tones meld Post and Doom Metal. Yob’s previous two albums, in particular, have been preparation for this career defining opus, where the permutations of delicate beauty and unsubtle heavyweight guitars are woven skilfully.
“Clearing the Path to Ascend begins by showing a return to the inventive aspects of …Cessation with a gently repetitive chords, and mellifluous tones riding a colossal riffs that move with the speed of a tortoise. All four tracks far exceed the ten-minute mark yet none here exceed their welcome. Combining the best aspects of the band’s aforementioned last albums this is a perfect blend of weight, hostility, melody and ecstasy, and will need many plays to yield its full array of splendour.”
While predecessor Path of Totality (fortunately not a dub-step album, like Korn’s of the same name)) was a great album in its own right, it is in 2014 that songwriter Mike Hill, backed by a crystalline production by Erik Rutan, has finalised the blueprint of how to merge granite flecked post-Metal with rusted Black Metal, bathing us all in cold, exacting, current, intelligent and hostile extreme music, where the caustic overwhelms.
“Savage Gold, the third album from Brooklyn quartet Tombs, is certainly no easy listen. Since their debut release Winter Hours in 2009, the band have attempted to show just how black and post-metal should go together and once again stand head and shoulders above the competition, for Savage Gold is a triumph in visceral aggression and brooding atmospherics.”
