Wednesday, July 15, 2015
Zines are out there and alive in the underground. It's interesting the quality differences between them not in terms of layout but in terms of actual quality of content. Chronicles, out of Norway, for me, really just destroys the whole idea that "everything can be found on the internet." The content available in this zine is huge in a small, quick to read issue. I applaud Steinar on his efforts here. This first issue is a must have for those looking to delve deep into the histories of the bands present: Ares Kingdom, Pentagram (Chile), Patrons of the Rotting Gate, Blood Mortized, Sol Negro, and Audiopain. There's a lot of other neat things in here though which round out the issue in a way only a fanzine would allow.
The interviews elicit responses from the artists through usage of defined and specific questions that indicate a high level of familiarity on the part of Steinar. For example, asking Chuck Keller specific questions on his relationship with Quorthorn or in depth questions on the themes and imagery of Pentagram's newest release. It all creates an aura of reading something set aside for those that are seeking out more than what you will find in press releases, interviews in mainstream zines, or online in forums.
Also scattered through the zines are quotations about random subjects from older zines. Steinar is clearly an aficionado of the fanzine world. These appear under the title "Truth Be Told." There are a lot of good quotes some that stand out to me: "Black Metal is not really supposed to be a very deep and intellectual form of music..." or "Poland is not too big of a country so too many churches couldn't be burnt." There are also scans of older advertisements and classified ads such as Celtic Frost looking for a drummer, the hilarious Moon Rites interview from a 1997 Norwegian zine, and also some interesting excerpts from a Metallica interview circa 1984-ish.
This is a fanzine fan's zine mostly and for fans of the bands present... it's a must-own. It delivers in the interviews and in the additional filler content. I sincerely hope that Steinar is on his way to finishing up a second issue because this first issue of Chronicles is gold.
Monday, July 13, 2015
Why does a band's image matter? Well, why does a peacock have enormous feathers?
A key part of signalling theory is how much the signal costs the sender. Cost means any cost, not just money. Some examples: the healthier a person is, the more attractive they seem; a really conspicuous looking peacock is probably really good at avoiding predators; and an unopened bottle of water with recognizable logo is safer to pick up off the ground and drink than one that has "Dave's Water" crudely scribbled on the side. All of these signals cost the sender something, either biologically or economically, and each communicates information.
Everyone has different musical tastes, but these principles still hold true. Bands signal potential listeners (economically, sellers and buyers.) Individuals recognize non-musical signals that communicate information about music. Every aspect of an artist or band's aesthetics, from the name, to album art, and down to the style of the logo tells you something. All of these things cost the band the time of designing them or paying someone else to. To make things simple, assume economical rational behavior: bands want to maximize their sales and buyers want to listen to the best music possible.
"But I only care about the music, man."
|Don't care about image?|
Great. Now drink this.
All aesthetics matter though. How do we know that Kidz Bop - 23 isn't the best metal album ever, what about 24? If only the music matters then how come no one in the metal has even bothered to address these two specific and highly advertised albums? The answer is that the words "Kidz" and "Bop" are telling us something about the music style without us even having to listen to it. In the same way that you probably don't know what a poison dart frog tastes like but know not to eat it, you know you won't listen to these two albums. Aesthetics matter to everyone on one level or another, even if some people won't admit it.
Signaling Music Style
Walk into a record shop and what do you see people doing? They are flipping through material left and right to see what is there. They filter through the materials and visual cues tell them what might be interesting. There are also contextual clues like word-of-mouth or music showing up on some cool website. But even then, the information about a band had to initially come from somewhere. You can argue that in the digital age, people can sample everything, but no one actually samples everything. There is too much out there, and the first things we usually learn about music is are context, the title, artwork, or musician name. These all indicate what kind of music you may end up hearing.
So back to the theoretical record shop. If someone walked in, put a gun to your head and said "put all of the metal music in this burlap sack" are you going to reply "sorry man, I haven't heard every album in here and can't just a band just by their image?" No, you are going to do your best and make the best guesses you can based on your experience. While no one is holding a gun to your head to find metal, the setup is similar (but less dramatic). You want to find new good music and won't do a perfect job at that. As part of that process, aesthetic signals can point you towards metal or a sub-style of metal. It's almost a waste of time so say it, because inevitably someone will misunderstand the nuance, but imperfect signals are all part of the theory.
Below are four relatively obscure bands and the only information I'm providing about them is album art with a logo, the band name, and the title of the work.
Guess the genre:
|Top Row: Mortido - I: Kvlt ov Hate; Rampage - Demo MMIX|
Bottom Row: Anexxe Unsung Hero?; Fluid Mind - Demo 1
Signals About Quality
Let's take this out of theory for a moment and see how things work in the real world. Record labels probably have the most at stake when listening to and finding new music. This isn't just the money that can be made by finding the next great upcoming band, but the cost of listening to a boatload of music submissions. As a metal fan, you also have costs associated with music: a limited amount of time to listen to it, and limited money to purchase it.
Have you ever read what record labels look for in submissions? Rules often include: competent logo, no CD-Rs, a band biography, band photo, and press-kits. These rules exist in part because these are high-cost signals. When a band has professional aesthetics it tells the record labels that the band put in a lot of time or money into the project. This doesn't necessarily make the music good, but the cost of the signal shows devotion and seriousness. The hope is that bands that show more devotion and seriousness will be better bands. Even though what's "good" is subjective, it's not a huge logical leap.
Image matters so much, that three major metal records labels all suggest including band photos with demo submissions:
Let's get even more concrete. Here are some examples how of aesthetic signals influenced Orion, who runs the Contaminated Tones Label, in some reviews:
Antistasis - Ritual of Ancients Demo Review
"As I am apt to criticize, CDr demos are usually poor representations of a band and, for just a little more money and effort, can be improved significantly. At least Antistasis made an attempt here to give some sort of artwork with the release - a sticker stuck on the case acts as a front cover and another decal on the disc offers some artwork there. It's a small effort but at least shows a band trying in some sort. A lack of any information on the song titles or band members or general additional information hurts though."Metal Law - Lawbreaker
"The album cover is basically all you need to see to know precisely what the album is going to sound like."
Have you ever seen one of those flies with the yellow and black stripes on them? From an evolutionary standpoint, other animals are supposed to think they are bees because they look like bees. If they live around you, you'll notice that they also act like bees. The problem is though, they're fakes. In biology this is called Batesian mimicry, some weak animal pretending to be a dangerous one.
|On the left we have a very venomous Coral Snake, On the right, a harmless Milk Snake|
Does music have Batesian mimicry? This is basically what people believe posers to be, taking metal's imagery and aesthetics but not having any of the venom to back it up. Because strengths and weaknesses are largely subjective and based on experiences, people will often get the gut feeling that some band is pretending to be something it isn't.
Personally, I like to assume people usually have genuine motives. Rather than metal fans being elitists or plagued by frauds, I view these sentiments as the direct result of asymmetrical information and imperfect signaling rather than getting into morality. Still, if you are an eagle with a taste for snake meat, you probably don't like the Milk Snake making things harder for you.
Tuesday, July 7, 2015
Daemonarchia’s debut EP Nocturnal Lust is seriously addicting because it has that wonderfully riffy Finnish black metal sound. The Horna cover makes it obvious that the band isn’t shy with their influences, but the well structured mid-tempo songs show that Daemonarchia isn’t just a shadow of past bands. Still, the music is fairly straightforward - tremolo picked rhythm guitar, sometimes with a slightly sugary lead on top, and songs interspersed with bursts of heavier rhythmic riffing. No surprises, nothing fancy, just good old-fashioned black metal.
Cliched name aside, the band immediately shows off their talent and good sense. A tastefully quick intro track leads into the eponymous track “Nocturnal Lust,” which together with “Lycanthropic Rites” make for the EP’s high points. These songs are especially interesting because of how exceptionally dynamic they feel. Daemonarchia’s strength is being able to repeat riffs in a song by introducing an idea, developing it, and ultimately returning back to it. Although half the tracks follow this pattern and the other half aren’t far off, the fact that so many of the songs are so memorable is proof enough that the band isn’t using the structure as a crutch.
Daemonarchia are contenders, using a narrow tool set to achieve a wide range (“My Inner Realm” even channels a hint of Emperor.) This is easily a top EP for the year 2015. In keeping with the music as a whole, the drums and vocals don’t jump out at you - but both are clear in the mix and you wouldn’t call them anything less than good. They sway with musical changes like corks on waves. With only 24 minutes of original music, the EP feels complete, but you’ll still end up empathizing with the menacing figure in the artwork and lust for more.
Thursday, July 2, 2015
This album has black metal guitar and vocal tones absolutely nailed down. Akhlys’ strengths on The Dreaming I, should be familiar to anyone familiar with Nightbringer (Naas Alcameth does vocals and guitars for both bands) but the approach here feels more methodical and has a stronger emphasis on ambient sections that add a dark and palatial atmosphere. A really important part of the riffing style is how the full range of the guitar is utilized so well. It’s to the point where on The Dreaming I, Akhlys makes other bands look like they all use five string guitars.
As much as it’s fun to be a champion for the idea that all bands have a unique identity, you can’t quite escape the impression that Akhlys and Nightbringer’s share the same orbit. Sure, there is a swing towards ambiance, but if you were to compare it to how 1349’s Hellfire measures up against 1349’s Demonoir (or between Carpathian Forest and Nattefrost), it would easily be less than half the difference. Obviously Akhlys’ style leans more towards the symphonic side of black metal. But the synths have such a feather light touch that it ends up not being a huge point of difference.
It all works in Akhlys’ favor though because the hard-edged vocals and guitars stay in focus, while the synths and drums tactfully garnish them. Ambient sections are used to control pacing rather than just being filler. The percussion in particular is a great part of the album, even without ever jumping too much into the foreground. Devoid of any ostentation but not stripped down to essentials, there is plenty of rhythmic presence to keep things moving along. Imagine a big burly bartender ejecting a drunk while never laying a hand on anyone or causing a scene - effective and strong, but discreet.
At the album’s heart are the guitars and vocals. The guitar tone sounds like the strings are made out of diamond-infused platinum and dipped in icy spring water that feeds into the fountain of youth. Just listen to “Consummation.” The simple high-register melody there is perhaps the strongest part of the album, due in large part to the incredible tone. Vocals here are also extremely intense, and they have ridiculous sustain. Naas Alcamet shoves more air across his vocal cords than ought to be possible. In fact, if you were to cut open his thoracic cavity you’d find that instead of a normal set of organs that everything was just lungs. What's also really great about these vocals is how despite their often high pitch, they lack that irritating squeaking overtone that often creeps into high pitch black metal.
For anyone that shies away from symphonic black metal for being too soft, The Dreaming I is a great workaround. It shows that you can simultaneously have a ton of atmosphere without taming any heaviness or violence. Tonally though, this is absolutely top of the line.