by Chris Wheeler | Mar 3, 2014 | Articles Divers/Primeurs/Annonces, Chroniques, Entrevue
Friday, February 28th, 2014
Coming off a highly successful debut album in 2011, “In the Flesh” and a pulverizing live DVD last year, visual artist Nader Sadek, has once again seen the future of his band and is set on turning heads this year! Pushing the boundaries of extreme Metal further, guitarist Rune Eriksen (AVI INFERI, TWILIGHT OF THE GODS, AURA NOIR, ex-MAYHEM) and brainchild of the band, Nader Sadek (ex-visual art director of MAYHEM live performances) sat down with me at a Montreal apartment to discuss the future of NADER SADEK and the intricacies behind this enigmatic troupe!
_______________________________________
How has the recording been going thus far?
Nader Sadek: Well, for the time being, the material is being jammed. Once finished, the drums will be recorded followed by the guitars and then bass and vocals. Sometimes the vocals can be done before the bass.
Rune Eriksen: The songs are flowing well! Flo Mounier (drummer for Cryptopsy) is extremely capable and his style fits perfectly. His drumming is quite progressive and even jazzy. Plus, the chemistry is right, which is essential in composing these songs. We’re focusing on the third or fourth song now.
Sadek: The reason why I sought these talented musicians out was due to their originality. Some bands are content in rehashing old ideas, but I’ve never seen the point in that. All music comes from some source and it’s important to expose yourself to different styles of music and bring those varying ideas into something new and fresh.
What are some of the similarities/differences between “In the Flesh” and the new material?
Eriksen: One of the more obvious differences comes from the fact that (now ex-vocalist) Steve Tucker (WARFATHER, ex-NILE, ex-MORBID ANGEL) wrote some of the music on the album. Now, the songs take things further, including more brutality and atmosphere. There is definitely a different approach while diversifying the music naturally. As Nader was saying, rehashing old ideas isn’t for me either. The new songs will entertain on every level!
Sadek: When I started with my own art and more specifically, visual art, I wanted to spice things up. “In the Flesh” was written in 2006 and between 2008-2009, and at that time I brought in Rune who had his song ideas. These would then need to be compatible with Steve’s. Now, the writing process is freer and incorporates an independent sound.
Why did you decide to record in Montreal?
Sadek: Flo has a monster drum kit with sponsors all around the world and there’s just too much to move. Besides Cryptopsy have all their gear here, so it’s easier for us to come to him.
Who are the principle writers this time around?
Eriksen: We jammed the songs out in one week last year, kind of like playing tennis, the ideas are shot back and forth and they came naturally. Later, I’ll bring some ideas home, send out the demos that are complete and then get back together with the guys and jam them out again until they’re finished.
Sadek: Well for the new stuff, I’m actually writing the lyrics and most of the singing patterns as well, although I’m not singing. Plus, I’ll contribute some riffs here and there but that’s not to say I’m a composer. On “Nigredo in Necromance”, I wrote the song from start to finish. Rune added harmonies while Flo handled the drums. Still, though, Rune is the principle songwriter and will always be. Writing a riff isn’t like writing a complete song.
For NADER SADEK, what are the pressures in recording that “infamous” second album?
Sadek: I don’t think there are any pressures, actually. The first record was my own project and the next one won’t likely be under the same name. Thankfully the members got along. Don’t forget, it was an art project so I was lucky to see the chemistry between Rune and Flo. The new name will be revealed in due time.
How has the departure of Steve Tucker affected the band now?
Sadek: Steve was in the biggest Death Metal band ever. I thought that what he brought to the table was a little “Morbid Angel-y”, which is a bit limiting. Still, he has a great voice but we want to branch out more. The new material really has a different sound, particularly moving away from songs like “Sulffer”.
What are the realities of being in a band with members spread across the globe?
Eriksen: A lot of money and plane tickets (laughs)! We have the Internet and lots of ways to stay in touch and communicate ideas. The world keeps getting smaller and smaller. There’s no problem.
Sadek: I’m the one who puts things together, so it is stressful. In 2013, we were only able to physically get together in February. It’s great if we could manage to see each other twice a year due to such busy schedules. The logistics can take a lot of time, but when it works, it’s amazing!
Are there any developments in being signed to a label?
Sadek: We only spoken to one label, but we may decide to do something else. We can’t talk about it for now (smiling). All I can tell you is that there will be a new way of releasing an album. We’re waiting for news.
Reviews for the live DVD, “Living Flesh” gave the band a reputation for being a formidable live act. Why do you think NADER SADEK is so effective live?
Nader: The people I chose for this project, I chose for good reasons. All are really great players. Recording is one thing, but when you’re in the presence of seasoned musicians, there’s no way of avoiding it, it all comes across very easily on stage.
Where do you see NADER SADEK in the current state of extreme Metal?
Sadek: Personally, I continue to make cover art, merchandise and masks; stuff I think is cool. Bandwise, the music brings a whole new level of exposure from within; to spread our wings, so to speak. There are new songs, live shows and a third video coming out while the music’s being recorded and doesn’t feature Steve. This project was never meant to be thought of as a “band”, per say. However, It’s no longer such. “In the Flesh” relied on my work and fascination with humanity exhuming “rot” and turning it into raw energy. Petroleum is like dead ooze being used to sustain life. If you see it as a morality play, petroleum should be left alone in the ground. Everything contains petroleum. It’s a “ghost” that we’re abusing and is a part of our everyday lives. It was never meant to be a “warning”, but a simple fact. The next step for this band won’t feature anything like that, though.
Well, for wanton fans in search of deeper meaning to their Death Metal lyrics, only time will tell where Nader Sadek plans to veer his musical art/vision. Fans only need to be patient and approach with an open mind and headbangin’ spirit!!! Nader Sadek’s 2013 live DVD, “Living Flesh” is available now along with their debut album, “In the Flesh”, released independently.
by Chris Wheeler | Fév 17, 2014 | Critiques, Critiques d'Albums
Vociferian
« Iscariot Gospel »
VOCI Records
2013
Since their inception in 1998, France’s VOCIFERIAN has released four albums of unrelenting Black Metal that would have any devotee salivating at their unholiness! After relocating to Belgium, fans can finally enjoy a compilation including a split with now fellow countrymen, GOATHOLOCAUST and all three mini-albums in one package!
Coming off the collaboration with the Belgians in Maître Bouc, VOCIFERIAN firmly display its penchant for unhinged, dirty sounding Black Metal with an uncompromising attitude. The « old school » sound/musical direction is clearly heard on Mother Regression which segues into more chaotic territory in Piss Stained Shroud. Unpolished and militant, the song exudes an evil propelled by the vocal styling of sole member, Lord Genocide, whose guttural growl contrasts the rasp of most modern-day Black Metal vocalists. A straight ahead assault is characteristic of most of the songs, save for Pride of the Unholy Path, a slow moving and sinister piece before moving into a familiar frenzy; foreshadowing material to come.
Enter 2005 and Universal Hate Decades Ultimatum sees Lord Genocide clearly on his game, releasing a better, crisper sounding ep with songs such as « May the Holocaust Appease Thy God and Angelskeletons Cathedrals which draws similarities to Norways, AETERNUS, especially after a production overhaul. In addition, the album displays a more focused direction in song writing and sees some thinking « outside the box », particularly on Esse Dyoboli et Infecta et Inficiencia Annimas, the final cut and clear highlight!
2009’s On Angelbones Blood Altarized, VOCIFERIAN pulls out all the stops and unleashes all out war in a blistering barrage of blasting chaos that straddles the line between Black and Death Metal. Vicious Baptism in Exaltation of Bestiality perfectly demonstrates this juxtaposition. Continuing the deepest of vocal snares, Lord Genocide pens songs of a much shorter length; getting in and getting out with little in the way of finesse or relief as heard on Sadolocaust Ejaskullation Ritual, a cut seething with deliberate mayhem! What is noticeable about this EP compared to earlier efforts are the guitar riffs which are well crafted and purposeful. If there is one sole criticism here, it’s the overall similarity of the songs themselves. Consisting of mainly blast beats and furious riffing, the EP comes and goes with no real highs or lows. The variation of Universal Hate Decades Ultimatum is utterly void here as VOCIFERIAN decimates without letting go of the gas, a characteristic heard again on last year’s Horns of Armageddon EP as well.
Ultimately, VOCIFERIAN’s legacy will be one of uncompromising Blackened Death Metal, rife with venom and bitterly unforgiving. Beginning with humble beginnings, Lord Genocide has steadily released some harrowing collections and as time has passed, fans are greeted with more and more precise song writing and concise execution! For fans wanting to explore the journey this man has made since the 2000 demo, Preludium to Massacre, this compilation is great listening; a fascinating listen and one that foresees much more to come!
Standout Tracks: Devotional Crusade ov Exkommunication, Nuclearfrost Strike, Part II, Esse Dyoboli et Infecta et Inficiencia Annimas, Seraphinslaves Anal-Hellxecution, Panzerphomet (bonus track to be included in a 4-way split later this year)
8/10
Chris
by Chris Wheeler | Fév 14, 2014 | Critiques, Critiques d'Albums
One
« Con-Text »
Unsigned/Independent
2014
Hailing from Vancouver, British Columbia, ONE emerges as an oddity in the realm of extreme, underground Metal. Initially beginning his musical career in 2011, mastermind and sole member, Iain Twiddy, juxtaposes elements of depressive Black Metal with Death Metal and Progressive leanings as well, resulting in a fascinating listen where the songs take unpredictable turns on this year’s first official release, Con-Text. Lyrically pervasive, much of Con-Text focuses on self-realization, one’s role in the universe and the conflict within one’s own psyche. Musically, the songs enthrallingly veer back and forth from lo-fi, depressive Black Metal, similar to Xasthur, to technically progressive Death Metal, which pervades the majority of Con-Text. « Bore to the Soul of an Array of Doubt » and « The Unsettling Neutral » both reveal the depressive side to Twiddy’s musical vision while songs, « Apollo/Dionysus« , « Crimeless Victim » and « You Will Lose » dazzle with whirlwind progressive guitar touches.
What is curious about « Con-Text » is the duality of both styles which co-exist therein. Vocally, the Black Metal songs venture into “static –y” noise, not dissimilar to speaking through a phone, while the Prog styled Death tunes explore a deeper growl. In addition, ONE certainly maintains a solid affinity for the latter on songs, « Ever Becoming » and « Atom-O- Sphere« , which encapsulate a dissonant, dirty, unpolished aural hue, characteristic of the songs overall.
For a debut album, « Con-Text » is an album that will certainly require repeated listens as the ideas aren’t immediate or « easy ». A curiosity in itself, « Con-Text » sways back and forth from two completely different underground styles which may leave one to question if the Blackish tones could’ve been left for another one of Twiddy’s musical outlets? Still, said record never becomes tired or trite, but rather challenges the listener and virtually comes out of « left field ».
Standout Tracks: Apollo/Dionysus, The Unsettling Neutral, Ever Becoming
8/10
Chris
by Chris Wheeler | Fév 10, 2014 | Critiques, Critiques d'Albums
Svarthaueg
« Drakonsk Magi«
Obscure Abhorrence Productions
2013
Since their inception in 2005, Norway’s SVARTHAUEG have steadily risen up the ranks of Black Metal’s elite with their debut EP, « Ritual« , in 2012 and now an album complete with relentless fury in « Drakonsk Magi« . Featuring the vocal talents of Adramelech, also in DODSFALL, the band firmly has both feet in the blackened abyss of traditional Black Metal, played with passion and malice! Don’t expect a subtle intro. that gracefully leads into the bulk of the album. No, « Astral Path to the Realms of Death » decimates immediately as thundering drums and rapid riffing wreak havoc upon the listener’s sensibilities. Grandiose and unforgiving, the tune epitomizes the overall vitriol of the album and even includes vocal variation akin to ex-Keep of Kalessin’s Thebon, during the « cleaner » passages. « Balam« , « Black Goddess« , « Enter Chaos » and « A Hymn to the Ancient Spirits » all maintain a raw energy that initially hits hard before slowing the pace to a catchy headbanging drive, especially on the latter. While the songs play to the strengths of mid-nineties « True Norwegian Black Metal« , other numbers do play outside the box. « Evoke » begins with a slow militaristic drum momentum as feedback creepily rises in volume to explode in full on tremolo guitar mayhem. Album closer, « Ritual VII » displays a great amount of crunch and menace, enough to satisfy fans looking for something a bit different from the norm. Upon first listen, the album appears to run the gamut of fast paced, conventional Black Metal but it may take repeated spins to really notice the finer nuances of the album. Though, « Drakonsk Magi » may not propel SVARTHAUEG into the upper echelons of commercial viability (aka. SATYRICON’s « Satyricon« ), it IS nice to know that newer bands can keep the flame alive of what made Black Metal so appealing in the first place!
Standout Tracks: Black Goddess, Evoke, A Hymn to the Ancient Spirits
7.5/10
Chris
by Chris Wheeler | Fév 6, 2014 | Critiques, Critiques de Shows
DARK TRANQUILLITY with Special Guests, SANGUINE GLACIALIS, EXMORTUS and OMNIUM GATHERUM Foufounes Électriques, 87 Rue Sainte-Catherine Est, Montréal, QC, Wednesday, February 5th, 2014
As the crowd gathered hungrily in line awaiting the evening’s celebration of Scandinavian Metal, news had hit the ground that the night would evidently start later as snowy weather delayed the bands at the border. No matter, as seemingly no one was in a hurry to leave before seeing fan favorite, DARK TRANQUILLITY decimate the venue!
Bringing a palpable energy to the event, Montreal’s SANGUINE GLACIALIS stormed the stage with an unwavering brand of symphonic Metal, combining melody with carnival-esque drama. Trading vocal duties, soprano/keyboadrist, Maude Théberge and bassist/growler, Mishamusha Totofski implored much enthusiasm and passion which initially may have had some scratching their heads. Off kilter rhythms and subtle Baroque-style keys helped in cementing the notion that the band know their musical theory and know how to apply it to the context of « Metal« . Not exactly bearing the traditional hallmarks of the evening’s main event, the audience banged their heads to the unconventional, unique and hypnotizing working of SANGUINE GLACIALIS, a band deserving of more exposure.
Switching gears completely, California’s EXMORTUS proved that Thrash Metal is very much alive and not merely a resurgence of old, tired tricks! A seasoned live act, the foursome attacked their instruments like famished lions, playing riffs that Germany’s SODOM would be proud to have recorded. Never a respite from the raw force by which they play, the crowd lapped it up as periodic feedback gave way to a « thrasher’s paradise »; bodies slammed into one another as all members headbanged through the set, even drummer Mario Mortus who could have broken his own neck! Shouts of, « Hey, Hey, Hey » rung out as wild, untamed solos cut through the P.A.! A harrowing experience and one Montreal won’t soon forget.
Continuing on the high intensity of the American’s, Finland’s OMNIUM GATHERUM were next to prove that even melodic Death Metal can have the venue in full-blown chaos! Positively surprised by the reception, singer, Jukka Pelkonin, smiled his way through « Sonic Sign« , « The Unknowing » and set closer, « Nail » (among others) as the floor trembled beneath mesmerized onlookers. Fantastic stage presence was seemingly easy for the Finns as all members traded spots on stage to « mingle » with the first row. Stage divers and an extremely full circle pit left the band vowing to return. Suomi Finalnd!
The band everyone was eager to bow in adoration, DARK TRANQUILLITY, exploded onto stage to massive applause as singer Mikael Stanne gyrated to every note and lyric resulting in extended hands and horns held high. Not content to remain statuesque, Stanne and co. joyously play all corners of the stage, making sure everyone was onboard…and they were. Surprisingly absent from the performance was the deep intonation of a bass guitar, but with the wall of sound made by the two guitars and the keys, the sound was full and clear, albeit with minor feedback squeals periodically. « Monochromatic Stains« , « Lost to Apathy« , « Punish My Heaven » and « ThereIn » all bore the makings of a band in their element and in their prime, spanning a near career discography of hits! If one thing’s for sure, if anyone can implore the crowd to stay well beyond the expected time of completion, Sweden’s DARK TRANQUILLITY can, and they did….
Chris
