Atheist

Your Music Cricket has tossed around the name Atheist a few times before. With their first new album out in seventeen years, this is a great opportunity to praise one of the most influential and interesting bands in progressive death metal. For fans of the genre Atheist needs no introduction, but for the rest of you, let’s dig in some history. Atheist belongs to the Florida scene, including Death and Cynic, that took cues from San Francisco Bay Area Thrashers Slayer, and combined it with the dexterous velocity of Tampa Bay bands like Morbid Angel and Deicide. Atheist further incorporated jazz and progressive elements to create a unique blend of aggressive riffs, syncopated time signature shifts, and incredibly inventive leads. Those leads and solos were courtesy of guitarist Rand Burkey, while the main riffs tended to come from Kelly Shaefer, who also offered hoarse shrieks – rather than the usual death grunts and growls. However, credit is also due to bassist Roger Patterson not only for his impressively complex rhythmic patterns, but also for inspiring many of the songs’ riffs. Among the founding members, in addition to Shaefer and Patterson, there’s drummer Steve Flynn to round up the swinging rhythm sections with more technical talent.

After several demos in the later ’80s, Atheist’s debut album, Piece of Time, was first released in Europe in 1989, and only half a year later in the U.S. With songs between no more than two-and-a-half to four-and-a-half minutes, Atheist here crams in a remarkable mass of shifts and turns, whirlwind riffs, and blistering solos. Lyrically there is more than just the standard metal fare of doom, death, destruction and damnation. Songs deal with the meaning of life and death, the transmigration of the soul, evangelist propaganda, political hypocrisy, and social commentary. Atheist took technical proficiency to an even higher level on their sophomore output, Unquestionable Presence (1991). Although the songs are on average barely half a minute longer, they were somehow able to include even more progressive, jazzy, and latin elements, more baffling riffs, more tempo changes and more time signatures. Unquestionably a classic presence in the progressive/technical death metal genre. Sadly, by the time of its release Roger Patterson had died in a touring bus accident eerily similar to the death of Metallica’s Cliff Burton.

The band returned with their most variegated album Elements (1993), with Tony Choy now performing bass guitar duties. A third guitarist, Frank Emmi, was brought in to share lead responsibilities with Burkey, while Flynn was replaced by Josh Greenbaum. The complex progressive, jazzy, and latin elements take yet greater pride of place on this effort, without losing too much in brutal aggression. Perhaps less intriguing or fitting are a few shorter, atmospheric interludes, and even a samba piece. To these ears the album would have done better without them. The mains tracks, about half a minute longer again than on the previous outing, though, remain personal favorites. Elements was written and recorded in just forty days to fulfill contractual obligations, after which Atheist disbanded. Tony Choy, meanwhile, performed with death metal acts Cynic and Pestilence, while Kelly Shaefer went on to form the more rock-oriented Neurotica. And that, fans had to accept, was it for Atheist.

Rumors of reunions started floating in the new millennium, getting more serious by 2005/6. Fans met the news no doubt with equal anticipation as trepidation – for the chance of disappointment was great. Shaefer, Burkey, Choy and Flynn did regroup for live performances, and after a few more years and some line-up changes later, Atheist released their first new album since 1993 earlier this month, entitled Jupiter. At the opening riff, the first things that comes to mind is tech-death/math-core acts like Ion Dissonance, or, dare I mention the name? The Dillinger Escape Plan. In hardly over half an hour, Jupiter nonetheless packs a terrific punch of ravaging riffs, swirling leads, and rhythmic madness that spells Atheist for the new millennium! By the second track you’ve already forgotten that this is a come-back album. The production is crisp and clean, and allows each instrument to breathe its asphyxiating last breath throughout. The lead parts, now courtesy of Chris Baker and Jonathan Thompson, remain as impressively progressive as before. Choy, alas, chose to give priority to his successful venture into latin pop, while Burkey was prevented from participating due to legal issues. At any rate, this Cricket is mighty pleased that Atheist is back in business!

Arsis (reappraisal)

It’s high time for a reappraisal of Arsis’ last few albums. Upon first hearing Starve for the Devil earlier this year I was rather harshly critical. After repeat listening, though, I have to admit that several of the tracks have started to grow on me. To be true, Arsis set the bar extremely high with their debut full-length A Celebration of Guilt (2004). The album’s opening track, “The Face of My Innocence,” grabs you with the most malicious riff, a celebration of the guilty pleasures of the flesh. Other favorites include “Maddening Disdain” and “The Sadistic Motives behind Bereavement Letters.” This is a technical/melodic death metal feast of triumphantly blazing shredding, melodically scorching leads and remorselessly hammering drums. And take into account that at this point the band was merely a duo consisting of multi-instrumentalist Jim Malone and drummer Mike van Dyne. The band immediately gave the Scandinavian melodic metal scene a run for its money. Of note, too, is that the lyrics deal with scorn and deceit, hurt and hatred, and death wishes that come with broken relations – that is to say, not the usual death metal fare. The album closes on another high note, the head banging “Wholly Night.”

Despite this enthusiastic praise, it’s the title track of their subsequent EP (2005), “A Diamond for Disease,” that remains Arsis’ magnum opus. That song (written as a score for NYC’s Ballet Deviare – no joke) is a flawless fusion of progressive composition, thrashing riffs, technical shredding, melodic leads, interlocking harmonies, intricate tempo shifts, propulsive percussion and pummeling drums, and clocks in at just under thirteen minutes. Think of Iron Maiden, Metallica, Megadeth, Death (ca. Symbolic), Carcass (ca. Heartwork), At the Gates and Arch Enemy blended effortlessly together. To complete the EP, we also get a thrashing rendition of Alice Cooper’s “Roses on White Lace,” as well as “The Promise of Never,” something of a companion piece, not only to the other two songs, but also to the previous album, although it’s actually a remake of an earlier demo track.

Not to be outdone by its predecessor, United in Regret (2006) dives headlong into a breakneck riff. The title track offers savagely punishing riffs and a blistering solo. “Lust Before the Maggot’s Conquest” has everything in speed, complexity and dissonance that I want of Arsis. But the most outstanding song for me is “The Things You Said,” one of Arsis best, with its hurt vocals and its long, searing lines soaring high above the percussive eruptions of volcanic drums. The regret and loss, deceit and pain, hate and vengeance of a broken relationship are the subjects on this album. Their next effort, We Are the Nightmare (2008), opens with a deceptively quiet passage, before busting out in full fury of the whirling title track. The album boasts the usual highly technical lead flurries and rolling drum blasts, fist-pounding brutality, and Gothenburg melodies. All these elements, to me, come together best midway in “Overthrown,” while “Servants of the Night” is a great, kicking and screaming mosher. Lyrical themes on this outing include the frustrations of disenchantment, deception, greed and madness. The last track, “Failure’s Conquest,” features the most progressive composition of the album, gradually increasing the intensity to a fever pitch and then reversing to a quiet ending.

True, I find the opening of Starve for the Devil (2010), “We Are Forced to Rock,” one of Arsis’ weaker moments. But, to be fair, that doesn’t mean it’s terrible. Moreover, the second track, “A March for the Sick,” immediately makes up for it. Here are the lightning-fast shredding and unrelenting drum blasts fans have come to expect. We get some galloping Viking metal on “The Ten of Swords,” which also offers a marvelous solo. The album does contain more than just a few melodic moments, with intricate licks and seething leads (recalling the best of At the Gates and Arch Enemy). Plus, a track such as “Beyond Forlorn” provides occasional respite. There are even some glimpses of Rush and Dio. Although the vocals are buried under the guitar noise, lyrics actually deal with emotional loss, emptiness, anorexia, death and dying – witness the album title or the track “From Soulless to Shattered” (translate: “from heartless to heartbroken”), subtitled “Art in Dying.” For me the highpoint comes midway with the interlocking riffs and soaring melodies of “Closer to Cold.” Nor does the album go out on a whimper, as “Sable Rising” kills with power (die, die)! It will sure bang some heads in the moshpit.

In all, Arsis offer their own unique brand of technical/melodic death metal, combining elements of British heavy metal (Iron Maiden, Judas Priest), Bay Area thrash metal (Metallica, Megadeth), Florida death metal (Death, Morbid Angel), Scandinavian melodic metal (At the Gates, Arch Enemy), Nordic black metal (Emperor, Dimmu Borgir), and Viking power metal (Ammon Amarth). At first their music may be overwhelming – or even boring – what with the unrelenting guitar riffs and drum blasts. (Readers may notice an absence of references to the bass playing, which is due to the fact that on most albums, it’s practically inaudible.) Some listeners may also object to Malone’s vocal delivery, which shifts between the hoarse shouts of hardcore, the shrill shrieks of black metal, and the growling grunts of death metal. But closer listening reveals intricate compositions, and, of course, Malone’s virtuoso playing reminiscent of Steve Vai, Ygnwie Malmsteen and Andy La Roque. In short, Arsis is by no means for your average Joe or Jane, but if you enjoy your metal extreme and complex, by now you should know this band is for you.

Extreme Metal

The Music Cricket says, “Let’s go extreme!” You know you’ll love it! For all you heavy metal maniacs I have a few suggestions, in case you haven’t been keeping up. In terms of extreme, technical metal, Nile is perhaps unsurpassable. I doubt they’ll ever be able improve on their pummeling classic Annihilation of the Wicked (2005), but after the disappointing Ithyphallic (2007), their latest effort, Those Whom the Gods Detest (2009), is a welcome return to form. Much of the lyrical inspiration comes from Egyptian mythology and to a lesser extent H. P. Lovecraft. For some misguided reason they often incorporate North African and Arabic musical instruments, per chance imagining the exotic sounds should evoke Egyptian antiquity, but who am I? Nevertheless, musically I continue to be pleasantly impressed by Nile’s sheer brutal velocity which is interspersed with more atmospheric passages.

What Nile is for Egyptian-themed technical death metal, Melechesh is for Mesopotamian-themed melodic black/death metal. The two albums I am familiar with, Sphynx (2004) and Emissaries (2006), are sure worth repeated listening. Like Nile, they incorporate Middle Eastern instruments, as well as harmonic scales and rhythmic patterns. Again, historically that makes little sense (the musical and lyrical inspiration derives from entirely different geographic, cultural and chronological backgrounds) ... but it makes for an interesting musical experience. On their own MySpace page they refer to their music as “Sumerian Thrashing Black Metal” (and parenthetically mention they are presently located in The Netherlands). Apart from the exotic elements, I can recognize some Kreator in their sound, and maybe Emperor, as far as thrash and black metal influences are concerned respectively. But I also hear some melodic metal in the vein of At the Gates, and there are progressive time changes and whirlwind riffs much like Nile.

If you appreciate your aural assault like an aerial atomic attack, you’ll absolutely adore Anaal Nathrakh (Old Irish: a'na:l naθ'raχ, “Serpent’s Breath” ... at least that’s what they say...), an industrial cyber-grindcore black metal band, replete with violent misanthropic nihilist eschatological doomsday prophecies, delivered in harsh shouts, screams, growls and grunts mixed with victorious clean singing. This is some of the best and most ominously aggressive noise I’ve ever heard! I’ve all their albums and find it difficult to pick a favorite, although Eschaton (2006) comes to mind, but their most recent In the Constellation of the Black Widow (2009) is amazing, too. Their songs have titles like “Der Hölle Rache kocht in meinem Herzen (The Rage of Hell Boils in My Heart),” “Blood Eagles Carved on the Backs of Innocents,” and “I Am the Wrath of Gods and the Desolation of the Earth”. Perfect music, too, for a one-night stand!

I’ve been a fan of Arsis since I first heard their earliest work. Now they’ve released their fourth full-length album, and I’m unsure what to make of it. Apart from the band’s name (it refers to the stressed syllable in poetic meter, but obviously sounds like something else), I find it difficult to take it seriously when the album is called Starve for the Devil (2010), and has song titles such as “Forced to Rock” and “Half Past Corpse O’ Clock”... C’mon, dude, you’re not Mötley Crüe! Their lyrics used to deal with loss, guilt, regret, resentment, and broken relations. Now this? I also miss the technically complex compositions. This new album is mostly lightning-fast shredding over unrelenting drum blasts, with a few melodic moments that are reminiscent of At the Gates or Arch Enemy... I’ll just go back to A Diamond for Disease (2005)...

A true favorite band of mine is called Nachtmystium (please pardon the barbaric neologism). Their latest effort, Assassins (2008), is what it would sound like if Pink Floyd went black metal. (I remember Glenn got a good laugh when I mentioned I was going to see Arsis at B.B. King’s. To which I replied that “Assassin” was a favorite word of mine.) Assassins runs the gamut from ambient to black metal, with psychedelic rock and progressive metal in between. It’s what Nachtmystium calls “black meddle” (referring to the Pink Floyd album Meddle). So, they offer rasping vocals over brutal drum blasts, shredding riffs like ritualistic troll dances on Walpurgis Night, heavy mid-tempo tunes, indulgently melodic guitar solos, atmospheric passages, and a three-part closing track that’s only metal because of the distorted guitars, but is otherwise an excellent exercise of bringing together all the various aforementioned elements! Get your hands on this one, please!