MAY, 2009: Rock music has been an earthquake, a spasm of riots and mental turbulence across the world. It has been equal of all other musical forms in artistry and technique, ranging from ultra-brutality to the beautiful and angelic, from condensed punk statements to progressive operettas. To brighten and energize the pessimism of jaded listeners, we have collected artists who are young, fresh, obscure and antithetical to mediocrity. These are dangerous bands for various reasons, each one of them in their own way, but mostly because they challenge the status quo ideas on production and composition, the safe and easy way that the industry and the non-discriminating consumer would seek to homogenize them. This is not music to please everyone, not compromises, but phenomena in themselves. You're looking at stuff that never seems to make the front page. Terrorizer likes to meddle in cult black metal nowadays but RIDE FOR REVENGE would probably sound like Japanese noise to them. For the sewer punk of BILLY BAO you would have to scavenge local trash bins for dirty UG zines. Where would the delirious and spastic thrash of PULLING TEETH fit in the trendy pages of BWBK? The theosophy of CHARNEL WINDS on Blabbermouth? Commercial rock media is not on your side! As always, defying the flavor of the minute dooms bands to obscurity unless those who truly love their music loud and challenging gets out there and writes about them. These are terrorists of modern rock music - the cutting edge in the most murderous sense of the word.
2. BILLY BAO: Since his relocation from Lagos, Nigeria to Bilbao in the Basque County of Spain in 2004, Billy Bao has wasted no time attacking the complacency and hypocrisy of the human race. His vehicle? Some of the most jarring, discordant noise punk captured onto vinyl in recent memory. Gathering a collection of Basque County's most barbarous musical savages like drummer Alberto Lopez (LA SECTA, ATOM RHUMBA), and guitarists Mattin (SAKADA, LA GRIETA) and Xabier Erkizia (GUTARIKO BAT), Billy is determined to violate the eardrums and challenge the perceptions of fans and detractors worldwide. “I don't give a fuck about modern punk or metal music,” he explains. “I am not interested in craft or playing well. The guys - Mattin, Xabi and Alberto - are in charged of that. I am interested in ideas. It's easier to have an idea than to play an instrument.” Recorded in just two days, his latest album on Parts Unknown, “Dialectics of Shit” is an uber-abrasive collection of boredom-shattering feedback squeals, hypnotic record-skipping loops, and lumbering noise punk that at times puts even FLIPPER and KILSLUG to shame. “When I am talking about sabotage I do not only mean to do it on the streets, but also with the formats and frameworks that we work with; to sabotage our own expectations.” Bao says. “So if we are doing a vinyl we should explore and experiment with all the possibilities that it offers, to use it against the grain, for my punk has always been about attitude, I am disappointed with the world and I am going to express it in my own way.” Bao’s audio anarchy is certainly not subject to traditional distribution standards: The entire back-catalog has been handed over to bloggers for free downloading. His venomous views on agenda-party politics and capitalism are magnificently captured in tracks like “Drill City” and “Factory of Repression”, revealing a Michael Gira-like talent for capturing thoughts of true ugliness and transforming them into aggressive music. “I have been fucked and I will be fucked again,” Bao laments. “I cannot record this process, but I can express my desolation.”
From the first glimpses into the mind of evil on the split EP with TORTURIUM a few years ago, it was apparent that this wasn't going to be another standard norsecore-ish modern Finnish black metal act, but instead an exploration of ambient darkness in the vein of the most morbid BEHERIT rituals. "Starting up a black Metal project took me a long time, I always wanted it to be something special before releasing anything", says Harald who is not in any way a newcomer to black metal but has preferred to stay behind the scenes and operate the small cult label Bestial Burst. "The direction wasn't radical enough until the recordings of the split with TORTURIUM and the path found was a fruit of time, meditation and hard labor."
And the listener can hear that for sure. On the full-length albums "The King of Snakes" and "Wisdom of the Few", guitar is mostly relegated to a creepy background static hiss while the bass pounds the relentless rhythm alongside the unique drum performance which is part caveman black metal hammering, part voodoo rite from some forgotten civilization. Most important of all, the psycho-progressive layering and exploration of mood during the variably structured tracks is an inspiring statement in black metal which is constantly under a pressure to escape the boredom of mediocrity and renew itself. Harald concludes: "We have lots of unreleased material that will find it´s released form sooner or later and some of it will shock even those who know us well. We´d not be doing this to gain popularity, in fact we have probably made more enemies than friends with our art and we are very comfortable releasing our material ourselves or through our closest conspirators. It would be a mistake for the world to consider us hip."
Real music created by humans in 2009? Will miracles never cease?
Photo: www.johnpapa.ca
TO-MERA formed in 2005, and just one year later was signed by Candlelight Records, who released the band's debut album, "Transcendental." As MacLean explains, "The first album has a kind of dark, symphonic/gothic progressive metal vibe to it, with some cheeky jazz experimentation in it. It's very schizophrenic in nature and takes in pretty much all the subgenres of metal along the way."
For the band's second album, "Delusions," the band's efforts to bring everything together paid off in spades. "It was created from an even broader musical palette, and is more colorful in that respect, but at the same time is much heavier and musically more complex," said MacLean. "Then again, the music is noticeably more coherent, and although the jazz influence is still present, it fits better with the overall feel. At this time, our musical influences were expanded to take in math-metal bands such as MESHUGGAH and TEXTURES, prog groups such as PAIN OF SALVATION and anomalous instrumental jazz-rock bands such as THE DIXIE DREGS and THE PAT METHENY GROUP."
If that wasn't enough, prog fans everywhere will be pleased to know that TO-MERA is currently in the process of writing their next album. "The new music is so far the perfect blend of all our previous stylistic adventures, bringing in a few new influences along the way," said MacLean. "Rhythmically, it's more groovy; harmonically, it's more sophisticated… and yet overall it's probably more melodic and accessible (catchy, even?). The one potentially significant difference (at least so far) is that it has more of a positive and uplifting feel to it. I'm not saying it's "happy-clappy", but it's definitely got a bit more power and punch. As for when the world can expect to hear it, we're trying to get everyone's schedules together first, but work is proceeding apace and I expect the material shall be ready for recording by the end of the summer."
7. PULLING TEETH: While most of the hardcore & post-hardcore bands besiege the dogsite with lackluster, stultifying fare, Baltimore's PULLING TEETH never fails to grab out attention. Since their first solid lineup formation in 2006, the band toured relentlessly, dropping hyperactive thrash records like 2006's "Vicious Skin" and 2007's "Martyr Immortal". Their latest release on the Deathwish label, "Paranoid Delusions, Paradise Illusions" finds the Charm City bunch lashing out once again, this time determined to break every rule in the book. "The sounds on this record have definitely been with us for a long time," explains frontman Mike Riley. "But we've been working on ways in which to incorporate them into songs without feeling forced or completely out of left field. We hope that these songs come off feeling like a natural progression rather than an attempt at doing something completely different. That's not to say that there are no short/fast songs in our future, but we hope to find new ways to blend all of our influences into songs and albums that continue to force us to push our boundaries." Pushing boundaries is an understatement. Crunching metal riffs start, stop, and turn sideways. Tragic, clean guitar passages clash with burbling basslines and Moog pedals. Jagged Kerry King-approved leads dance over lurching MELVINS riffage, all culminating in the 6+ minute title track. "It's certainly new territory for us," says Riley. "It keeps things interesting. When we first started playing the song live, we'd always get comments from people like, 'I kept expecting the song to go in to a fast part but it never did.' I really like the tension happening in that song." Fans of the first two records should be intrigued - despite all the experimentation, the band hasn't lost it's ACCUSED-esque flavor for stunning artwork, dark lyrics, and adrenalized thrash attack. Plus, contributions from CHOWDER's Josh Hart and CONVERGE's Jacob Bannon add to the intrigue, so hit the link below and get yer pearlies yanked by Baltimore's finest.
"The energy a musical release holds within is directly proportional to the energy used in its making," he continues. "All great is built upon sorrow and in the case of art, it's the music that wants to be heard, not the composer. When we did our first demonstration "Stigma Prior Nefastum", there was an overwhelmingly strong feeling that what we were doing had to be done, whereas nowadays it's not the feeling that obliges us but the vows we have given to our very souls." The earliest demo recordings showed CHARNEL WINDS full of violent energy, using cutting fast riffs with distinctly Swedish-sounding melodies and a threatening, inhuman vocal attack. On the second demo "I.I.I." the band progressed into a clearly defined, calm visionary trance perfectly uniting the opposite principles of BURZUM-esque meditation and black thrash. Previews of the forthcoming full-length promise of an even wider musical sphere, a technically proficient occult metal genre inhabited by the likes of GOLDEN DAWN and ENOCHIAN CRESCENT, symphonically constructed with the aid of choral voices, sparkling lead guitars and apocalyptic ritual doom theatre. The concept is wrapped up by imagery inspired by theosophy, religions and metaphysical horror. "We had to crawl before we could walk", says Shu-Ananda about CHARNEL WINDS' development. "That is to say, besides the obvious element of our musical (or technical) improvement, our conception concerning black metal and the ideological and the spiritual standing points from where it flows into musical forms has evolved."
CHARNEL WINDS' superiority stems from an organic sense in arranging the material, a dreamy, journey-like intensity that proves it music that comes from the depths of the soul, not from an ulterior purpose to create black metal hype. Correspondingly Shu-Ananda points out: "Evil and death aren't the only concepts we are dealing with. We write about the nightside of nature, both human and cosmic, and it so happens that evil and death are quite essential parts of both. Especially evil in human nature or put simply, selfishness and death as in omnipresent change." Currently, beyond the possibilities of catching a live performance in Finland, grabbing one of the rare tapes through the underground or downloading the few online samples, chances to hear CHARNEL WINDS's art are alarmingly few. Shu-Ananda promises a turn for the better in this respect: "Our debut full-length "Der Teufelsbund" is currently in the works. As our second demo 'I.I.I.'delved on the subject of initiation by the means of solar formulae, 'Der Teufelsbund' perceives and interpreters the initiatory aspect through other heavenly bodies of our solar system and further explores the influence and presence of Satan in human and cosmic principles. We are currently rehearsing the material and will enter studio in the summer. In December 2008 we recorded the basis for a collaboration album called 'Two Serpents' with fellow cultists VERGE. After completing the writing of 'Der Teufelsbund', and since I made most of the lyrics for VERGE's novel work "Hatemagic", I sought a way to combine the issues we dealt with in both circles. This release too, you can expect from us in the near future."
"Stylistically, the band probably closest to us in a sense is HAMMERS OF MISFORTUNE if they had James Hetfield singing for them and flute instead of keyboards. But really, that's a stretch as we don't sound alike at all. As far as influences, JETHRO TULL obviously always comes up because of the flute. Steph B. (Stéphane Bellemare, lead vocals/flute) definitely is a big TULL fan. If I really had to cite a main influence, it would be the late Ricky Wilson of THE B-52's. He seemed to have a bizarre view of music that just appealed to me. The guitar work on their first two albums is just phenomenal. Not from a technical point of view, just the ideas." Although the band's debut recording came out four years ago, they've been plugging away since 1997. During that time, their highly original sound has kept them from finding a niche audience. While other bands would be discouraged by this, Vigeant sees things differently. "Success is relative," said Vigeant. "With MADKING LUDWIG, it's only about the music. Getting together to play is always about having fun. If it wasn't, I'd stop and do something else. The definition of success for me at this point would be to be able to put out albums that finance themselves. That would make me happy. But all that has nothing to do with the actual music, in my book. I'm playing music because I need to create. At the end of the day, I don't care so much if a song is original or not; what matters to me most is coming up with stuff that gives me goose bumps or makes me pump my fist when I finish playing the song."
Recently, MKL joined forces with John Brenner and Bland Hand Records (whose interview with us can be found here) and, as a result, "Seven Stairways" is now available for free download. But for a struggling indie band, why would they just give their album away? "I think there is a natural affinity between John and myself," said Vigeant. "We are the same age and our musical paths are eerily similar. And we both seem to have quite eclectic tastes. We're neighbors in a sense with our forums being hosted on Hellride Music, so our paths cross now and then. Having made the decision to not go back with our previous record company and release the album physically, it just seemed like a great way for us to get the album out there. With the current state of the music industry, I wanted to try a different method of passing our music along. Sure, we wouldn't be recouping any recording costs, but we viewed it as an investment in our future offerings. I came to realize, though, that by giving your product away, it's almost like you're devaluing it. Even if it's a quality production, with probably a bigger budget than most albums in the genre, I got the impression that it wasn't viewed by many as an actual album but as some demo project. Nevertheless, I am happy because we did get a somewhat viral effect and there have been several thousand downloads of the album through torrents and blogs, not counting what may have been downloaded directly through Bland Hand."
So what's next for MKL? "We've actively begun work on the third album," said Vigeant, "and although we have not set a target date yet, it would be nice to begin recording before the end of the year. We are toying with the idea of going EP by putting out three to five songs at a time or something of the sort and, as such, make more frequent releases. I'm not exactly sure what direction the next songs will take as it's never pre-planned, but if I were a betting man, I'd put some dough on them being a touch more metal and a touch more proggy. At the end of the day, who knows? It might be stoner jazz!"
10. ABYSSMAL SORROW: Despite the subgenre's 15-plus-year history, funeral doom metal doesn't have a very large following here in the States. With the arrival of Australia's ABYSSMAL SORROW, however, that may soon change. They're a mysterious outfit to say the least - they have yet to grant anyone an interview or even reveal their names… birth or otherwise. Even so, the band's home-grown entanglement of funeral doom and black metal is what makes them a danger to pretty much every other metal band out there. Having formed in 2006, they already have a self-titled EP and a full-length, "Lament," under their belts. While some metal albums are called the soundtrack to the Apocalypse, 2008's "Lament" is better described as the soundtrack to a deep freeze creeping up from the horizon, waiting to envelop the world in a humanity-ending ice age. "Dark, slow and heavy" doesn't even begin to describe this one. From the word "play," layers upon layers of guitars and keyboard coil around the listener's mind as agonizing black metal shrieks pierce through the listener's soul. Musically, they're a band that employs the established (lack of) speed necessary for their subgenre, yet they still manage to cram plenty of riffs and key signature changes to keep things interesting. And as with any proper funeral doom band, the goal is to wipe away any joy or hope in mankind the listener has left, if lyrics such as "The pale, cold skin opening / Releasing more than blood / Abysmal silence and misery (taken from "Bound In Lifeless Affliction")" or song titles such as "Cavernous Sorrow and Worthlessness" are any indication. Put it all together and what we have is an experience every bit as depressive as funeral doom mainstays such as SHAPE OF DESPAIR, yet with the primal insanity of the work of Varg Vikernes.
And did we mention that this band has only been around for three years? Well, it can only go uphill from here. And considering how quickly these guys work, it won't be too long before we see what the future holds for them. An interview, perhaps? Hey, a music journalist can dream, right?!
**The web version of this article can be found at www.peacedogman.com/csgdb09**