Chuck Schuldiner (May 13, 1967 – December 13, 2001)



Rest in peace, Chuck.

A passionate homage to 'The Father of Death Metal', by Andrew Oliver.
Everyone has at least one real defining moment in their life. One instance that comes out of nowhere and, whether it be subtle and cause gradual change, or abrupt in its delivery unto oneself, helps shape who you are for years to come, help makes you who you are. One moment that hits you from out of sight and makes you change gears completely, open your eyes, and assess your situation in a whole new light. 

Now, let me start by saying that when I was young, my exposure to music was limited to boring singer-songwriters, your James Taylors and John Denvers, etc. And, even being as young and impressionable as all children are, this music bored and annoyed me, therefore, leaving me to dismiss all music altogether as being frustratingly simple, and plain. In my house, it was all acoustic, all the time.

Then it happened. Out of the blue and completely unexpected as all of these moments tend to be. I was eleven years old at the time, and staying at my cousin’s house while my parents were away. My cousin always had some sort of program on his television playing music, but I never really paid any attention to it when I was over there, and my distaste for music had not yet changed, but on that day, my cousin actually made a point to call me into the room and show me what was on the T.V. What I saw was none other than Chuck Schuldiner himself, playing a live show with Death, shredding a solo on his sleek, sharp B.C. Rich Stealth. It was like nothing I had ever seen. A guitarist playing notes so high and so fast, and on an electric guitar that was slick and sexy, not some big hunk of hollow wood.

That moment, something clicked in my head. I wanted to do what this guy was doing. Playing this incredible fast music, so loud and distorted, and have it enjoyed by huge crowds of people while I did it. It was an epiphany, a revelation. I was to be a heavy metal guitarist. And it was all thanks to this man, whose name and identity, at the time, was unknown to me. So I went home, and got my hands on as much metal music as I could. CDs by Metal Church, Nuclear Assault, and Flotsam and Jetsam soon graced the shelves in my room. I had found a music that inspired and liberated me, and it was all thanks to that one video of Chuck playing his solo.

Eventually, and to no real surprise, I found out about the legendary Death metal band, and who Chuck Schuldiner was, the visceral lead guitarist and vocalist behind the first real Death metal band, the man who inspired me to take up guitar and join a band, both of which are activities that I am very active in to this day.

It’s true, in a very indirect way, Chuck Schuldiner changed the way my life was headed, but my life story is not what I’m aiming to write here, so I’ll expound upon myself no further. December 13 was the tenth anniversary of Chuck’s untimely death due to brain cancer, which he fought through violently to the bitter end, always continuing to write and play music for his fans, and for himself, but what I want to accomplish with this article is not to write yet another sad story about the death of Chuck Schuldiner, but rather, to focus on how great he was while he was still here. How important he was as a musician, as a vocalsist, a guitarist, and as a person as well. 

When Chuck formed Death, I’m sure he had no idea the influence he would have on Heavy metal, and really, on music as a whole, by inventing, unknowingly, one of the most infamous forms of music around still to this day. Many people, including myself, consider Death to be the first Death metal band. Some may say Possessed came first, but I disagree, and find them more on the Black/Thrash side of metal, but Death was the real deal as far as Death metal was concerned. Spear-headed by the young and talented Chuck, he created a debut album, Scream Bloody Gore, that was raw and visceral, taking influence from the early works of Metallica, Anvil, and Motorhead, and taking it ten steps further in the speed and aggression departments. It was like Thrash, but faster, like Black metal, but more raw (at the time), and with Chuck’s guttural growls, down-tuned riffs, and frantic, speedy solos, it was like nothing before it. 

Chuck had come from humble beginnings, taking these classic metal influences that he so loved, and wanting to add his own chapter to the book, with his own music, and in the process, created something entirely new and innovative, but of course, this music labeled Death metal, a label Chuck himself never liked, a name like Death, and campy, gory lyrics, the music, and the band themselves, were met with obvious scorn by those who didn’t listen, and didn’t understand what the band was trying to accomplish.

“I consider the name to definitely be just a name,” Chuck commented on the band name during an interview in 1991, shortly after the release of Human. “I wanted a name to describe the music. An extreme name for extreme music.” While he held this belief firm, he still garnered many stereotypes to the Heavy metal genre, but did his best to smash just as many or more than he attracted and created.

Chuck was a damn good musician and songwriter, as we all know, but he was just as good a person. He tried constantly to show the public that just because you’re a heavy metal musician, it does not also make you some Satan-worshipping delinquent who wants to kill babies and burn down churches (unless you’re a Black metal musician in Norway, that is). He was always trying to make people see deeper than just the name, to try and make people see that judging based on aesthetics is not the way to go.

“I’m a very positive person,” he said in an interview with MTV. “Towards life, towards friendship, towards love, towards, you know, all certain things that we’re made up as, as being human.”

It was always important to Chuck to believe music, not rumors (his own words, there), and tried to clear up the ever-popular negative connotations associated with his the type of music he played. His music, extreme as it was, was a positive outlet, a way for him to create art, and just because the lyrics are growled, and the guitars are fast and distorted, does that make it wrong? Chuck certainly didn’t think so, and he wanted to voice his opinion.

“I’m not satanic because I’m in a band called Death. I’m not a violent person or anything. I’m just a person who has a name of a band, and I’m trying to just make everything fit together, you know? It wouldn’t work having a band called Pink Flowers.”

“We did write gore lyrics, but it was more like kind of tongue-in-cheek, horror-movie type level. Nothing like encouraging people to go out and hurt themselves or anything stupid like that. It's pure fantasy-movie type, scary stuff.”

To make matters better for himself, after the release of Leprosy (1988),Spiritual Healing (1990), which even contained a controversial track on his stance on abortion, and of course, the album that launched Death into the spotlight, Human (1991).  Chuck began abandoning his humorously gratuitous and gory lyrics for the politically and morally charged verses on

But it Death wasn’t just evolving lyrically. Chuck was a creative genius, an artist who wanted his art to grow and change and evolve, not at all content with an interchangeable discography of boring musical consistency. With every passing album, the music started becoming more technical, “more musical,” as Paul Masvidal (former Death guitarist during Human and long-time Cynic guitarist) said in an interview. Riffs became more complex, and time signatures started getting crazier as Progressive influences started finding their way into Death’s music and Chuck’s songwriting. Intros and interludes were starting to be introduced, and melody was becoming more and more prevalent in the riffs and solos. 

By the time Symbolic was released in 1995, following the frantically technical and wildly melodic Individual Thought Patterns released in 1993, many thought Chuck had reached a creative and technical peak. His songwriting was superb, a perfect balance of extremity and melody, raw speed and memorable hooks, but despite the seemingly unbeatable brilliance of this release. Chuck kept writing, and kept evolving his music to new heights when he released his final album, and his most ambitious and progressive work to come, in 1998, The Sound of Perseverance, released a year before he was diagnosed with brain cancer on his 32nd birthday.

After initial treatment, Chuck was in recovery and looking good, but the cost of the operations were more than he and his family could afford, and they were put in massive debt, and they were, as a result of their financial issues, unable to continue the treatment that could have saved Chuck’s life. 

Now, I know I said that I wasn’t going to focus on the sad stuff here, but what, if any, positivity you can take from this is that, at the first notice that Chuck’s life was in danger, bands in the metal community, as well as bands like the Red Hot Chili Peppers began hosting massive fundraisers and benefits to raise money for Chuck and his family. 

In 2001, however, his cancer returned, and the chemo-therapy drug he was given weakened him greatly, and he soon took ill with pneumonia as well, leaving him dead on December 13, 2001, leaving behind him a legacy that can be matched by few others as musicians, and as people as well, for Chuck was not only striving to push himself musically, but was always trying to better the lives and conditions of his fellow musicians, disparaging the negative stereotypes placed upon them, and actively trying to encourage the idea of equality and that judgement was the real evil, not the music. 

While Chuck may be gone, we still have him here with us in the music that he created while he was alive. Even after his death, he continues to inspire people, such as myself and countless others with his music. Like so many before him, Chuck was an innovator, who was able to create so much in his short time here, to crush stereotypes and break boundaries never before crossed. 

This is how we should remember Chuck Schuldiner when we think of him. Not just as the raw and guttural frontman of the very first Death metal band, and not just as the Father of Death metal, but as a positive lover of friendship, love, and animals, someone who believed in the power of creativity and art. 

“Believe in music, not rumors.” That’s what he would be saying if he were still here, and while I’m sure, if you’re reading this, that you know who Chuck Schuldiner and Death is, and that you’re probably not someone who associates metal music with such negative stereotypes, maybe, in remembrance, of Chuck Schuldiner, you can help carry on what he tried to do until his dying day. Show this to your family, your friends, anyone who may look upon these musicians and artists in distaste, and show them that their judgment is skewed, that playing music that’s faster, more extreme, or different than what they’re used to hearing doesn’t make it bad or wrong or evil. Help them open their minds the way Chuck tried to get people to. 

Interview with Dale Roy (Canadian Assault Zine)


Canadian Assault Zine
Here is a new interview I have done with one of my longest and most trusted brothers within the metal underground. I remember ordering Dale's 1st issue way back in the mid 90's and was totally blown away by his knowledge and passion for metal music. This is a man that literally eats, sleeps and thinks metal 24 hrs. a day. 
Unfortunately I believe all his "printed" issues are long-sold-out. But Dale like so many of the fanzine editors moved their beloved zine to the internet and now you can read all the latest updates whenever you want 24 hrs. a day!! I will let Dale tell you more in the interview but Dale's main love lies within the old-school metal, black metal, death metal etc., but he reviews most everything sent if it fits his zine and tastes. And truthfully if you run a web-zine you know what I mean, but if you don't - with the new invention of "digital promos" the amount you recieve in one-week can become overwhelming pretty quickly... So if any bands, labels do write to Dale give him a little time to do a review before you start contacting him over and over. 
Patrick
(Originally published in Winter Torment Zine )


Metal hails brother! How is your starting out? For the readers who don't know you or your zine please introduce yourself.

Well I am a late 30s metalhead that has been wandering around in the UG scene for the last roughly 20 years. Before that I was just your average long haired young guy into all the more mainstream metal bands in the mid 80s like Venom, Deep Purple, Maiden, Priest, Metallica, Anthrax, Savatage, Saxon, Slayer, Hellhammer etc… These days I am a family man with two kids living up in the mountains of Northeastern PA. I enjoy being in the countryside like the area I grew up in Canada. I tried living in Philadelphia for a little over 4 years and decided I hated city life and hate having so many people around me all the time. I guess I am just a little anti-social and have a little hermit in me. I still run my longtime zine Canadian Assault, but I have a feeling you will be asking me more about that in the following questions. So at the risk of repeating myself too much, I will just leave it at that.


At what age were you were introduced to metal? Who were some of the first bands you listened to? Who are some bands that have recently caught your attention?


Ahhh I am not sure the exact age. But I guess the first say hard rock records I got into were probably around 7 years old with my older Sisters records (Trooper, Steve Miller Band, Queen etc…) and then metal around 9 or 10 years old. Some of the early metal bands were Twisted Sister, Kick Axe (Vices album), AC/DC, Black Sabbath, Judas Priest, Savatage, Rush, WASP, and Iron Maiden. Then I got my hands on a Hellhammer tape and more importantly for me “Black Metal” from Venom and I completely lost my mind and decided right then and there to devote my life to this music. You can imagine from that point (early to mid 80s time period) I quickly got into Sodom, Kreator, Exodus, Infernal Majesty, Metallica, Slayer, Razor. My infatuation with death metal and black metal followed in the late 80s/early 90s. Hmmm… I get so many bands to review these days and as soon as you find a good one, it is time to move on to the next band to review. So they often do not stick with me as much as the old classics. But I guess a few recent releases from bands like Deathbound (killer band!), Drakar, Mr. Death, Semen Datura, Angelholocuast, Axeslaughter plus the new albums from old favourites like Pandemonium, Maniac Butcher, Cianide and Root got my juices flowing and head banging. Just about every release from I Hate Records in Sweden is superb. Also look for this amazing band from the States by the name of Famine.


I know before you started CANADIAN ASSAULT fanzine you wrote for alot of other great underground zines. What was it that got you interested in writing for zines in the first place? Who were some of the zines you were a "writer" for?


Yes I wrote for some great fanzines for years (starting if memory serves around early 1993) before I started my own. Some of the zines I wrote for were The Sepulchral Voice (CAN), Growling Brutality (CAN), Eternal Darkness (US), Inner Source (US), Devourment Of Souls (Malaysia) and a few more. Well after I started to discover demo bands and ordered a few of their demos, they sent tons of paper flyers with the demo tapes. A bunch of those flyers were for fanzines. So I ordered a couple. Being in an isolated little mountain in Alberta, no one was into the shit I was into; I had no one to talk to about it. So the thought of having fanzines made by like minded people into the same stuff appealed to me. So much so after I read the first few, it was not just so I could read interviews with the bands or read reviews of new demos. But I actually became a fan of the fanzines themselves and especially the ones where the editors personality bled out on to the page. So I started collecting fanzines almost as heavily as new demos or new music. Eventually I wanted to do my part and be a part of that and also by printing my own zine I had a fanzine to trade to get everyone else’s zines. I guess the UG scene and being into fanzines is what inspired me to start my own fanzine. I had been writing for others for years, but I wanted to make my own mark and have a zine in which I controlled the content and everything. Because as you know especially back then I was a very opinionated metalhead and wanted to [spread] those opinions like the plague haha.

What gave you the idea to finally go from writing for other zines to doing your own zine? How did you come up with the name? It's a name of a VENOM 7 inch, correct? I remember back in the 90's VENOM was one of your favorite bands would you still consider them your favorite?


I guess I got carried away and answered the first part of this question above. The name is taken from one of the bands I have worshiped the most through the decades which is Venom. It is taken from their Assault series. Specifically of course their Mini-LP series, it goes without saying that was a Canadian only release. Actually when I first started working on it the name was going to be another Venom song title which is Die Hard. Then when I was working on issue 1, a certain European label changed their name to Die Hard records. So I went with choice number two - Canadian Assault. I also thought about Warhead as name, which is of course another Venom song title name but yet another little label started around that time and used that name as well. I figured if I chose Canadian Assault I narrowed down the chances greatly of anyone else ever taking the name on me haha. Venom are still one of my all-time favourites. Though I am really only talking about the earlier albums, the classic ones like 'Welcome To Hell' through to 'Possessed'.


I believe you had 10 "print" issues before going to the net. Is there any interview that sticks out as a favorite of yours? You have interviewed some great, legendary bands over the years, is there one band you have yet to interview that you would love to get the chance to interview?


Well only 9 print issues. Hmmm… To be honest I would probably lean towards no. I mean sure there are some great classic bands I never interviewed that I would have liked to. But at the same time it is weird but I do not feel almost worthy of interviewing them and on top of that they have this aura around them that is special to me. I have this fear that they will end up being ignorant assholes that do not give a shit about my interview and will forever taint my high opinion of them and enjoyment of their music as a result. I am probably just paranoid about that, but who wants to risk that. I worship those bands music and never want that to change from a bad experience.


What gave you the idea to go from the print zine in the direction of a web-zine? Are you happy with how things have progressed so far? What can people expect when they check out CANADIAN ASSAULT Web-zine?


Yeah I put a stop to the print zine due to the rapidly declining interests of people in print fanzines and the rising printing costs. It just became a bit of a money pit do properly. I mean who wants to go through all of that, spend all of that money on it. Then you just get Emails saying I would order it but I am getting lazy with the internet and just want all my interviews and reviews for free and more immediately online. I can not even be bothered to go to the post office any more, write a letter, put in money and then have to wait for it to come. That sort of message was coming constantly. Meanwhile I spent a bunch of money on print issues and a far greater amount than in the past was just sitting in boxes in my basement. I figured what the hell maybe I will save myself some money and try the online thing that everyone seems to want anyway. Well for the first year or two I just kind of missed the print zine thing. That is where my heart is. But after a while I started to adjust to it and I am now enjoying doing it and put more energy into it. I think it has progressed okay. I mean there are always more things that I had planned to add from past print issues that I just never seem to get around to. Having kids and family now you just always have or think of other shit you need to do when the times comes to do those extra frills. But I do update it pretty regularly. I get a little help from a great old friend like you Patrick to keep the new content flowing. I also recently added a video jukebox type of thing that plays killers songs and video from UG and classic metal bands with some promos of horror movies (one of my other big loves besides metal) mixed in. Something to listen to and/or watch when you come to the site.


I have said many times over the years but i'll say it again ha,ha. Your interviews and reviews are some of the most well-written, in-depth I've ever read. So I was curious when you start work on a interview or review how long does it usually take you to complete a interview or review?


Well you are too kind and I am not sure I can agree with that. You probably overrate my abilities. My fave thing back in the day was making my interviews long and taking some time on the questions to attempt to draw the interviewee into spilling more of himself into interviews than you usually see. Sometimes I was successful at it and other times not so much. Oh damn I am going to sound like a guy from a band talking about writing a new song. But honestly the time really differs a lot from interview to interview and review to review. Sometimes when I listen to a record to review, the words just do not come and I have to listen to it over and over or take a break and come back to it at a later time. Then some other reviews I hear them once or twice and words just flow right out and I can bang a few reviews out in a night type of thing. With interviews I sometimes get writers block with them or I am not happy with my questions and erase some of them and start from scratch. Also if you have personally been in contact with the band and know their history really well the questions seem to come really quickly. The other bands I often like their new release but do not know them or much about their history. If I want to make it a good interview I need to be careful and thorough on how I craft the questions. Also with bands like that I do my research. I read about them online, dig out fanzines with interviews with that band. If the band is really cool and patient I might pick their brain through Email a little before finalizing the questions to get ideas. But if the person being interviewed is not interested in putting effort into their interviews, then it flushes your work down the toilet and does not matter how much work you put into the questions.


If any bands or labels might be interested are you looking to work with any new bands or labels? What styles of metal do you support/cover within CANADIAN ASSAULT? How can interested bands or labels contact you?


Well I accept all metal or loosely related (punk/hardcore/hard rock) submissions. I make sure I review all hard copies sent on CD, so if you want a guaranteed review that is the way to do it. With the download mp3 links I do not review everything sent in or even close to it. I pick and choose and that includes bigger labels, small labels or demo bands. Feel free to send me the demo link, but no guarantee I will review every single thing. It gets to be too much doing it that way and starts to feel like an assembly line. Plus where do you draw the line with that stuff? You get some bands Emailing saying I have one or two songs up on Youtube or Facebook I want to you to review it. Well I am not going to review one or two songs and I need to download them so I can play them on my comp or mp3 player or put them on to a CD. I do not think that is asking too much, it does not really cost anything to make up mp3s and have it so you can download them. So with those loose rules in mind feel free to write me or submit something. I am always trying to support the scene and good bands.

You are like me and have been a part of the scene for twenty plus years (yikes we're old Dale what happened- Patrick) so I was curious of your opinion. How do you feel the scene has changed over the years? Do you think it has gotten better with all the progression and technology or worse? I know some who say/feel the scene is dead or dying, do you agree with this?


Yes Patrick we are old goats in this young mans scene haha. But that is a hard question. As much as old bastards like me and you miss the old days, I am sure we both utilize and enjoy certain aspects like the internet, Email etc… to our advantage. Maybe I am just getting old or too old school. But the camaraderie and brotherhood and feeling you are part of this special thing together seems like it is grossly lacking these days. The scene to me feels a little less close knit, a little less of the old spirit of wanting to help each other succeed whether it is a zine, a band or whatever. Now it is more of what can you do for me and how fast can you do it instead of how can I help you out brother attitude… I love that there are so many labels and bands these days but it feels like they are pulling in different directions and it is so hard to keep track of it all and so easy to get lost in the shuffle and more difficult to find and separate the good from the bad with the mass of releases. Too many bands that do not have [time] to develop their sound releasing demos before getting an album out. At the same time the internet and technology has made it easier for some smaller or unknown bands, labels etc… from countries like Peru or Malaysia or Mexico get their stuff out there to more die hard metalheads. I am moving with the times but sometimes I feel like I am a little left behind the times too if you know what I mean. My head is in the now, but my heart is stuck back in the 80s and early 90s at times. I know this is non-commital sounding but it both better and worse with technology but also less personal and more distant than it used to be. Like many or even most people feel more like contacts than friends if you know what I mean? The scene is not dead or dying, but it is changing I think all of us who were around for a while can agree with that.


In your eyes whay does the term "underground metal" mean to you?


It is so hard to put into words sometimes. So I will just throw out some words and terms that come to mind when I think of the UG. Things like brotherhood, music, support, sharing, tradings tapes / CDS / zines / mp3s, passion, adrenaline, live shows, reviews, interviews, writing letters & Emails etc… But I think above all it is the brotherhood and music shared on deeper level than the average persons love for music, it is a way life and not just a fun little hobby to dabble in on once in a while. A good friend from France who has done zines and was in a number of fairly well known bands and was my tape trader for many years said simply to me once “trading (music / zines) = the underground”.


Do you have any advice for anyone who is reading this is who is thinking of starting their own web or fanzine? In your eyes what makes a good zine?


Just make sure you really love it, that you are serious about doing it and know you will get joy or satisfaction doing it. Nothing helps kill the scene more than starting zines or bands, getting people attached to it and then you are just not that into and you go under practically over night. My advice is just Email or write a few people that have been doing it a long time and ask them for some advice personally. They will give you some tips and help you steer clear of the some of the easy mistakes to make and just tell you what is involved. Though I suppose these days with webzines especially there is less work and less risk that you have to put on the line. Maybe that is why they are usually not as good haha. That is coming from someone who does a webzine now. A good zine is one done by people who are dedicated and passionate for the music they cover and beyond that by people who are not afraid to expose themselves and put their personality into their writing and attitude.


Besides metal I know you have always tried to have some horror-movie reviews etc.. within CANADIAN ASSAULT (both the print and web-zine), so I was wondering what are some of your all-time favorite horror movies? What makes a good/enjoyable horror movie in your opinion?


Oh shit,yes, I love horror movies. It is a passion of mine for a long time. There are just so damn many I like. I will first list my fave of all time and that is the original Dawn Of The Dead by George A Romero from the last 70s (and yes I know some of his more recent movies are not that great to be kind). Some others would be Return of The Living Dead, The Evil Dead I & II, Phantasm I & II, The Beyond, Zombie, Exorcist, Deadbeat By Dawn, Roadkill, Silent Night Deadly Night, The Funhouse, Halloween I & II, Texas Chainsaw Massacre, I Drink Your Blood, The Last House on The Left, House on the Edge of The Park, John Carpenters The Thing, Scream, Maniac, City of The Living Dead, Videodrome, Day of The Dead, Night of The Living Dead, Re-Animator, Streetrash, The Shining… It is just endless really, I love so many of those old horror flicks the best. You might notice a leaning towards zombie flims, always loved them most. I also like old cult movies that may be considered horror movies by some not by others like The Lost Boys or Trick or Treat. But there are some newer ones that are great as well. I mean I just recently seen this Swedish (Norwegian,actually – ED) film called Trollhunter with subtitles and it was fucking killer! The new-ish Halloween themed movie Trick ‘r Treat was good stuff too. I am also just into a lot of what people call cult movies and /or exploitation movies.


I was wondering what you thought of all these "classic" (and some not-so classic ha,ha) movies (both horror,and other genres) being re-made all the time? Good idea, stupid ? Your opinion here.


It is mostly a stupid idea and much of the time they are doing a fairly lousy job of it. Which makes the idea go from not the best idea to a horrible idea in a hurry. Like you say they are remaking everything these days!! I mean even the shit only the real die hards even knew about and even stuff like old made for tv movies from the 70s and 80s are now being made into feature movies for the theater. Now and then they make some remakes that actually do a pretty good job of it; usually they take the story at least somewhat into a new or fresh direction than the original. I had trepidations about them remaking Dawn of The Dead back in 2004 (which seems to be the start of the constant remake craze) and of course it is not as good as that epic classic original movie. But surprisingly it was actually a good movie that I still watch from time to time. I know a lot of people are shitting on those Rob Zombie directed Halloween remakes. But yeah man it is almost getting silly, every time you think there is nothing else to remake they go ahead and find something else. I mean everything from Footloose to Amityville Horror to The Crazies to The Fog to A Nightmare on Elm Street to Deathrace 2000 to Taking of Pelham 123 to Conan to Fright Night to Planet of the Apes (twice!) and on and on and on. It is endless. They will not be happy until every movie that was not already a remake is made into a remake. It does not even have to have been a popular movie when the original came out haha.


Well my friend - thank you for taking the time to fill this interview out. Continued good luck to you and CANADIAN ASSAULT web-zine!! Do you have any final comments for the readers?


No, thank you for the support and the cool questions my metal brother! I would just like to thank anyone who I have been friends with in the UG scene or supported Canadian Assault even the smallest way. Keep checking the Assault site and we will keep bringing you the metal!


Black Oath 'The Third Aeon' review

BLACK OATH
'The Third Aeon'
(I Hate Records – CD / Horror Records - LP)

Italian doom metal and as any dedicated doom fan knows Italy is a place where doom has set down its roots deeply for many years. Immediately coming to mind are legends like Paul Chain and Death SS. I have spent many an hour listening to those two bands and Paul Chain in particular. The band is described as epic occult doom metal, and the bio cites early Candlemass as an influence for Black Oath and that is bang on. They borrow from that sound, but they do it well and put their own vibe or twist upon it. The Oath employ keyboards, something I am not always a fan of, but they are in general applied sparsely and kept lower in the mix so they really do sound like more of an accompaniment, and do not drown out the traditional instruments. The vocals are classic clean sung traditional doom style vocals, quite melodious and flowing, they fit the music well. Another influence that is springing to mind for me as I listen is the American group Solitude Aeturnus, and maybe a small touch of the almighty Trouble. 'The Third Aeon' is a promising debut album with moments of true brilliance, and a worthy addition to the traditional doom scene.
(Dale Roy) 
(Vinyl fiends are well advised to contact Horror Records, this album  is still available on both black and purple wax - ED)

The Wounded Kings 'In The Chapel Of The Black Hand'


THE WOUNDED KINGS
'In The Chapel Of The Black Hand'
(I Hate Records)
 
The Wounded Kings make a welcome return to the pages of Canadian Assault [As well as their debut in Dead Void Dreams! -ED]. I reviewed their last album 'The Shadow Over Atlantis' and was a fan of it. It is the quality we come to expect from I Hate Records. TWK are doom metal through and through, in the classic style and tone, drifting through the air like smoke, you can see it, taste it, smell it but it deftly seeps through your mind and your hands if you try to capture it. 'In The Chapel Of The Black Hand' is an extremely hypnotic expedition of the mind, but also an exploration of the soul. These are the deep, reflective thoughts and feelings that course through me while listening to this album. It is so difficult not to get lost in it all and I am not sure I even care to find my way back. Yeah bro this album just fucking does things to me that few bands can achieve to this level. On the last album I compared them to bands like Solitude Aeturnus, Candlemass, Spirit Caravan, Black Sabbath (not as rocking though but the melancholy aspects) and I think those still stand to give the reader just a basic outline. But The Wounded Kings now more than ever sound like they are starting to forge their own sound, no not so different than those others mentioned, but to the point where it simply sounds like The Wounded Kings. The vocals of Sharie Nyland much like the music are pretty are hypnotic, deep, with a soothing sound that is pretty spellbinding all on it’s own. They do not over use her vocals though, they are there when needed and appropriate, but can also disappear for long stretches as the instruments weave and intertwine their silky web. The production on here is understated as it should be, everything sounds perfect. I understand that band founder Steve Mills had to put together a whole new line up since the last record. That is amazing that they came out the other end of that experience sounding better than ever. Beyond recommended and one of best of the year!
(Dale Roy)
The Wounded Kings on ReverbNation


Memory Driven 'Animus' review


MEMORY DRIVEN
'Animus'
(I Hate Records)
 
Some doom coming out of Oklahoma via Sweden with I Hate Records. This is my first experience with Memory Driven. 'Animus' is a pretty diverse record and I would say not as accessible or as immediate as many of the bands on this label. It will probably take a few listens to really grasp what all is going on here. The more I listen to it though the less inclined I am to the doom tag that comes with the label reputation and is around the band. A reputation that I think in large part owes to the main creative force being Dennis Cornelius, who has been in bands like Place Of Skulls, Revelation, Doom Stone etc… But to be honest a lot of this record both musically and vocally probably has more to do with the early 90s grunge sound than it does with doom rock. Both musically and vocally I can hear some Alice In Chains, Pearl Jam and that type of music. I mean do not get me wrong these guys are great musicians and have some really interesting things going on in the music and I really can dig some of it. Maybe it just was so much of the opposite of what I was expecting that I just had a hard time really getting into 'Animus'. I really do not care much for the vocals either. I would say if you like some of the better stuff from the grunge days mixed with some doom rock type tendencies then you would most likely like Memory Driven. However for me it was just not my cup of tea, I gave it a good shot and listened to the record 4 or 5 times looking for stuff I liked. But ultimately the things I did not care for about Memory Driven outweighed that which I liked.
(Dale Roy) 

Children Of Technology 'It's Time To Face The Doomsday' review


CHILDREN OF TECHNOLOGY
'It’s Time To Face The Doomsday'
(Hells Headbangers)
 
I love crossover thrash bands. This particular one comes to us by way of Italy. Hells Headbangers have really been diversifying the bands they sign lately and in a good way. As can be expected with this style the songs are often on the short side and the album comes in at under 30 minutes. Goodness these fucking guys can rip, they hit you with those cool tumbling riffs that trundle forward quickly like a sweet motorcycle with timing problem in the overheating engine. Those killer riffs make me want to mosh and headbang like a raving lunatic. I also love those gruff and gutsy vocals that sound like the guy has been a life long smoker and heavy drinker. This shit is getting me nostalgic and wanting to reach for my Cryptic Slaughter, DRI, Tankard, SOD etc… The audio insanity of Children Of Technology fits right in perfectly. It is great to see bands like COT, Adrenicide, Short Sharp Shock keeping this style alive and well. Not only that but they want your beer, your bitches and think your teeth look silly inside your mouth, so spit them out! There are limited cassette and vinyl versions of this release, good luck searching them out.
(Dale Roy) 

Nocturnal Blood 'Devastated Graves - The Morbid Celebration' review


NOCTURNAL BLOOD
'Devastated Graves – The Morbid Celebration'
(Hells Headbangers)
 
Hells Headbangers pump out new releases like nobodies business. I am not sure sometimes how they even find the time away from releasing/promoting to scour the planet for so many good new bands to release. It is evident immediately to me that Nocturnal Blood worship at the feet of Blasphemy, Archgoat and the very early works of bands like Beherit, Sodom, Incantation and Bathory. I mean the very creepy and low-fi, old school production itself just absolutely smacks of Beherit and Blasphemy. I would suggest Nocturnal likely worked hard to get that sound on this recording. The atmosphere of the recording definitely helps create a very sinister classic early days of death and black metal sound. I guess one difference between Nocturnal Blood and some of the mentioned bands is they are fairly monotone and mostly unchanging from song to song and within each track itself. Something about that just draws me in and manages to keep me there. Not something that is essential by any means but devotees of some of the above bands mentioned will doubtlessly love this.
(Dale Roy)

Drunken Bastards 'Horns Of The Wasted' review


DRUNKEN BASTARDS
'Horns Of The Wasted' MCD
(Hells Headbangers)
 
Now how can you not get a kick out of a band with members who go by monikers like Gaylord Shemale, Bitchy Rockmore and Alcoholic Sperm?! They also claim they are “Too metal for punk and too punk for metal” – that sounds about right and also sounds like something I would like. I did not look at the running time but I would guess it barely hits the twenty minute mark. Drunken Bastards deliver like they promise, adult beverage soaked raunchy speed metal ala Cryptic Slaughter, Gang Green mixed with Agnostic Front and some crazy other bands that are on the tip of my tongue right now but will not come out. These boys just rage full speed ahead on every song with some nasty heavy riffs that are catchy and sound cool as hell with the rapid fire drums and gang shouted vocals back ups. Yeah I really dig this. But I have always dug bands like this. Some metal purists might not. How can you go wrong with song titles like “Drink With Satan”, “Baptized In Speed And Blood” and “Posercrusher”? These Hungarians are right twisted.
(Dale Roy)

Fyrnask 'Bluostar' review


FYRNASK
'Bluostar'
(Temple Of Torturous)

I like the layout of this album; it comes on a fold out cardboard case with the booklet in one pocket and the disc in the other. The layout is kind of stark, simplistic with classic landscapes and artwork that gives off a really melancholic wandering sort of feeling. It reflects the music itself quite well. This German band is another in a line of one man atmospheric and black metal bands. The hymns on 'Bluostar' are just that an atmospheric, again wandering forlorn and introspective music mixed with aggressive short bursts of all out early 90s style black metal. The vocals are pretty sparse at times, but I think the instrumentation is what is supposed to be on display front and centre. But you do get the yelled black metal rasps as well as hymn like chanting and the odd spoken word bit. Overall I really got into this and it took me on a mental journey with this project. It is so perfect the time I listen to this album as it is a dark, overcast morning where I live in the mountains, a heavy fog has been steadily rolling in off the mountain peaks. Yes this is the soundtrack for my environment and that is probably adding to my enjoyment. It is hard not to recommend this record. I think the only criticism I would offer is the depressive atmospheric mainstay and the transitions to the harsh black metal material could be married together a little smoother at times. But that is a small complaint on an otherwise recommended record all done by the hands and mind of one man. Impressive.
(Dale Roy) 

Falls Of Rauros 'The Light That Dwells In Rotten Wood' review

FALLS OF RAUROS
'The Light That Dwells In Rotten Wood'
(Bindrune Recordings)

I do not think I have ever heard black / viking / folk sort of epic metal this good from a North American band before. I was sure when I pressed play that I would find out Falls of Rauros were from somewhere in Scandinavia. So imagine my surprise when I investigate and find out this quality outfit hails from the mist swept forests of Maine. At times they make me think of one of my all time faves of this style Kampfar. Falls produce some grand mental landscapes and produce in me waves of introspective and mournful emotions. They interweave some heavy galloping parts with flowing folkish acoustic guitars displaying a dexterity that illustrates their mature song writing skill. I really enjoyed this but you probably have to be in a mellow, low key kind of mood and be willing to let yourself be carried away with the current. For me it is a fine counterpoint to put on against the hate and extremity that often fills much of my musical preference.
(Dale Roy)

Obsequiae 'Suspended In The Brume Of Eos'


OBSEQUIAE
'Suspended In The Brume Of Eos'
(Bindrune Recordings)
 
'Suspended in The Brume Of Eos' is the debut of this metal horde from Minneapolis, Minnesota. In my view, this is a strong first release for the band and it becomes quite apparent why Bindrune became interested in them. Bindrune are known for having fine tastes when it comes to melodic, epic and progressive sounding dark / black metal. They are a label that releases in quality and not quantity, Obsequiae continue the tradition. There are some wonderful twin guitar harmonies going on, as well as some fine acoustic work, yet it is always balanced structurally with a thought not towards making it just catchy, but rather towards mapping out a long and winding mental journey. They mix their dark metal sound with elements of heavy metal, black metal and medieval folkish strains, so nothing new there yet they do it more skilfully than most. Obsequiae create songs with it, not merely a patch work quilt of influences. The vocals are kept obscured in the back of the mix and at times are sparsely used, but decidedly they are decidedly of the style most often associated with black metal. The vocals are deployed in a somewhat accompaniment type fashion rather than being a focal point of their musical landscape. 'Suspended In The Brume Of Eos' is not just a collection of songs, but as I said earlier a journey which must be taken resulting in a wonderful album.
(Dale Roy) 

M.F.A.G.C.O.Q.D. 'Devolution' review


MINCING FURY AND GUTTURAL CLAMOUR OF QUEER DECAY
'Devolution'
(United Guttural Records)

Mincing Fury come at you like a screaming fireball of metal coming from the Czech Republic. The Czech is a country that longtime underground minions will recognize as a hotbed of grindcore / brutal death mix the last couple decades. It will also come as no surprise that 'Devolution' fits nicely into that description as well. You could even say they helped solidify that reputation as they have been mincing it up in the Czech scene for a decade now. I always find it a little hard to describe these releases. It is basically gurgling, toilet growling vocals, on top of spastic fast guitars intermingled with slower sections, always return to lightning fast blast beat insano drumming. Mixed in between all of this sickness are many crazy, off-beat samples. It is probably an acquired taste for some people. Especially those that like all their metal to refined, thought provoking, presented on over produced albums. You will not find that here at all. Personally though, I have always loved the lunacy and the break neck speed and resulting destruction left in its wake from this style. If you like that shit too, then check this out, by all means.
(Dale Roy) 

Volturyon 'Coordinated Mutilation' review


VOLTURYON
'Coordinated Mutilation'
(United Guttural Records)

Volturyon hit us up with their sophomore record and my first listening of this Swedish group. Maybe you are expecting some old Swedish death metal or perhaps the newer melodic Scandinavian sounds? You would be wrong on both counts. What 'Coordinated Mutilation' is all about is brutality and I am talking about brutality of the American kind. I think it would be fair to say Cannibal Corpse is a big influence on these guys and a template for their music. Sure it is derivative, but it is also executed quite well and Volturyon hit you with a barrage of barbwire wrapped riffs, some excellent drum work, the odd guitar soloing and caged bear adrenalized vocals. I enjoyed it. But let’s be honest this is really only for diehard fans of vicious American death metal made popular in the 90s. Then again if you are shopping the United Guttural catalog then you already worship this style of violent storm.
(Dale Roy) 

Nile 'Worship The Animal' review

NILE
'Worship The Animal 
(1994 - The Lost Recordings)'
 (Goomba Music)

As the first track "La Chant Du Cygre" kicks in, I'm treated to a few shocks right off the bat. A groove, melodic vocals and no blast-beating...

Now correct me if I'm wrong here, but as a non NILE enthusiast all I've ever heard from them is the likes of "Sacrifice Unto Sebek" and "Lashed To The Slave Stick" etc. Brutal walls of noise bathed in aggression, story telling lyrics and non stop blasting. In fact, I'd go as far to say that in my very limited knowledge of NILE, if I wouldn't of picked up this album and hit the play button, NILE would forever go down as "That crazy noise making band who blasts all the time". Now don't get me wrong, from a technical point of view etc NILE are a band of machines, but musically it never really seemed to click with me because I'm coming from a background of Pantera / Metallica.

Track 2 - "Worship The Animal" has rolled into my headphones. After the first almost Black Sabbath-esque riff it blasts into a slow heavy groove. Something I just really cannot explain. NILE...and space? Something magic is on this album.

Vocally the growling is aggressive if not a little lax in the execution. Should I take into account that this is 1994? Well then I think of Meshuggah and Pantera and think... not really. The melodic vocals aren't exactly top notch but they are good enough to get the job done and offer me a broader sense of reason to keep listening.

The last riff of "Worship The Animal" is very "5 Minutes Alone." (Comparing Nile to Pantera I hear you say? Check this album out,trust me)

Track 3 - "Nepenthe" drones through my headphones with a mood so thick it falls perfectly into the same street as "Seasons In The Abyss".

It quickly moves on from the slow dooming riffage to something much more jarring. The melodic vocals kick back in and again, Sanders is no singer, but it keeps me interested enough to press on.

The blasting starts, but it works. It feels appropriate in it's placement and accents the riff perfectly. It doesn't feel like Hammoura is blasting because he ran out of ideas.

After hearing the solos presented to me, I personally feel like they give off a sloppy mess feel to the tracks, which could of been avoided would Sanders of practiced a little more.

7:31 into "Nepenthe" we're treated to an almost orchestral / operatic type style with Sanders voice, he's growing on me. I feel like I shouldn't really be making exceptions. But his voice works for NILE, just plain and simple. It works.

Track 4 - "Surrounded by Fright" kicks in. Is this REALLY NILE? The sense of melody in the vocals has REALLY taken a level up and it reminds me of the feel you get from Haji's Kitchen's debut album. The song is pretty much all melodically sung and to be honest with you. I'm impressed. This reminds me of something vocally, that's it! Alice in Chains. Pantera and Alice in Chains being compared with Nile? I know... but seriously. Just seriously... around 3:30 into the track it takes a step up to a clearly Slayer influenced riff. "War Ensemble" comes to mind.

4:28 kicks in like a mule and I was expecting them to carry off the groove for a little longer, but the fact I'm even getting thoughts like this while listening to NILE is pretty awesome. The riff undercoats a solo which seems to be a lot more conscious of it's existence than the faster shredding ones. This solo has some character, some feel etc. The riff immediately after the solo is very southern. More Damageplan than Pantera but still, that should give you an idea.

I'm feeling pretty impressed with this early NILE stuff.

Track 5 - "Mecca" starts with drums beating out like a heart, then escalates into something more pacey. When it kicks in around 2 minutes in, this is so Alice in Chains / early Haji's Kitchen it's unreal. Musically it's a little more aggressive than the Alice counterpart but vocally you can relate in my opinion.

Hearing Sanders voice here just makes me think why the fuck didn't they keep this style? They'd be in my top 10 bands by now if they had.

It's a massive disappointment to hear how Nile sound now compared to this for me. This is like taking Iron Maiden and replacing Bruce with Corpsegrinder. Alright... maybe not THAT crazy, but still. I think they've lost something special comparing them to this.  

There are a few points on this album where the vocals move more into a demonic chant / talk, and it sounds cool. It's mixing a few different voices together and blending them into a ball of demonic communication.

6 minutes in I'm looking at the 9 minute mark and actually starting to miss the fact that this album is coming to a close. 5 tracks aren't much for an old "hidden tracks" record. But by God is this worth picking up. Looks like we found a gold mine here.

Production: 7 (It's good enough, but far from incredible)
Creativity: 8 (Blending Death Metal with Alice in Chains? Decent in my books)
Groove: 8 (It's got the groove in my opinion, makes you wanna move your head and pull stupid faces)

Overall: 8 
Surprising listen which will last me for a long time. Nile have gained respect from me for this. Well done boys!

(Joseph Parry)

 Nile

NunSlaughter 'Devils Congeries Vol.I' review

NUNSLAUGHTER Devils Congeries Vol. I Hells Headbangers By now everybody and his dog should know what NunSlaughter stands for...