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BACK
NORTHERN
LIGHTS 2004
It is truly an honour to have Osmose recording artists Melechesh
making their exclusive North American debut at Northern Lights 2004
as headliners. The show promises to be one of the best metal experiences
of 2004, so we hope you can join us.
There are a lot of great bands playing at the festival this year—from
the United States and Canada—so here is but a taste of the
variety of bands playing this year’s event. Adrian ‘The
Energizer’ Bromley
NORTHERN
LIGHTS 2004
Club Rockit
Toronto, Ontario
Saturday, June 26th, 2004
Melechesh (Mesopotamian metal) - Europe
Kult Ov Azazel (Black Metal) - USA
Morgion (Doom) - USA
Aesma Daeva (Eccentric/Avant-garde) - USA
Azrael (Black Metal) – USA
Rotting (Brutal Death metal) – ON, Canada
Wetwork (Death Metal) – ON, Canada
Unexpect (Eccentric/Avant-garde/Black Metal) – PQ, Canada
Malefaction (Grindcore) – MB, Canada
Terratism (Black Metal) - USA
Goat Horn (Doom/Metal) – ON, Canada
Thy Flesh Consumed (Grind/Black Metal) – NS, Canada
Lapidate (Grind) – ON, Canada
www.unrestrainedmag.com/nlf
Info/Inquiries: info@unrestrainedmag.com
 Melechesh
It is one thing to pen lyrics that reflect knowledge of an ancient
civilization. Any band sufficiently dedicated to the task can research
the subject and compose lyrics on that basis. But it is a far greater
challenge to write music that captures the essence of a culture
that has long since been ground under the wheel of time. That requires
not only research diligence, but also an innate sense of what it
might have been like to live in that civilization. Especially when
the civilization in question is Ancient Mesopotamia (located between
the Tigris and Euphrates rivers, roughly the same area as contemporary
Iraq), which possessed a robust mythology and complex rituals that
revealed a keen awareness of the line between known and unknown.
For Melechesh, the mysteries and mythologies that gave shape to
the reality of Mesopotamian civilization take prime position on
Sphynx (Osmose/The End), the band’s third full-length album.
As guitarist/vocalist Ashmedi explains, "the reason for our
fascination" with Mesopotamia and Sumeria is that it represents
a "whole magical concept" that originated in "the
cradle of civilizations. Moloch [guitarist] and I are honoured to
be descendants of those civilizations. The more you look into the
Mesopotamian and Sumerian mythos, the more it draws you in. This
is exactly what happened with us. It became like a second nature
to us, especially in the musical sense.
"When we first started to write about this," Ashmedi continues,
recounting how Melechesh’s use of the Mesopotamian theme has
evolved, "we wrote about historical, mystical and mythological
events with our own twist or touch. With time, we started to search
for more ideas and we started to wonder how this civilization started
and what [existed] before that time and how all these complex mythological
tales came about." This ultimately led the band to focus upon
the Mesopotamian and Sumerian myths of origin, which revolved around
the Sphynx.
Melechesh’s obsession with Mesopotamia and Sumeria runs still
deeper. The music itself is based upon the patterns and structures
that are thought to have characterized music of that period and
region. It confers an epic exoticism upon Sphynx, with brilliantly
perplexing drum patterns (courtesy of Absu percussionist Proscriptor)
and esoteric guitar harmonies creating something that is both familiar
and innovative. Familiar, because it picks up on the potent combination
black metal with thrash metal that is generally associated with
black metal’s so-called "first wave" in the 1980s
(and which was later reprised in the late 1990s as the "retro-thrash"
movement). Innovative, because it takes this basic template and
twists it into something fundamentally new; a genuine synthesis
of blackthrashin’ blasphemy and Mesopotamian heresy that mixes
the overwhelming aggression of the former with the arcane intricacies
of the latter. What is striking is just how well these Middle Eastern
melodies and rhythmic structures complement black/thrash metal.
Each element plays off of the other in a dynamic exchange that is
bolstered by the qualities of Middle Eastern mystery, magick, and
ritual that Melechesh represents masterfully.
As Ashmedi reveals, his kinship with Mesopotamian and Sumerian cultures
extends beyond a scholarly interest in the subject matter; it is
the very substance of the visions that nourish his creative mind,
from which he constructs his malevolent musical musings. "You
cannot describe creativity and spirituality in words. There are
things within my creative process that I still don’t understand.
To the extent that I hear voices in my head, this makes me feel
schizophrenic. The theme is there with the music. However, the lyrics
come after the music is written. Yet still there is great importance
placed upon the lyrics—to a large extent, they complement the
music. You don’t have to read the lyrics to enjoy or relate
to the music. After all, it’s still black thrashing metal.
Should you decide to go into the lyrics, you will find depth and
a different dimension offered to you."
And what of the lyrics? Tales of pagan cultures are common in black
metal, but the question remains of why the two are so frequently
conjoined. For Ashmedi, the exploration of a pagan culture is important
at a personal level, although his intent is not to proselytize.
"First of all, I would like to emphasize that we do not preach
anything. However, it’s safe to say that the beliefs of the
old world were more natural and did not advocate the denial of instinctive
human needs. We don’t want to restore anything [e.g. an alternative
system of spiritual beliefs] to anyone, since we don’t really
care too much for humanity…we dwell in our Sphere. Those who
have the character and wish to explore this Sphere are welcome;
those who are only interested in the music are also welcome.
"The concept is mystical," the guitarist/vocalist continues.
"The whole Sumerian/Mesopotamian civilization is filled with
enigmas and magick. From a musical point of view, there is not much
known about the subject [of how music sounded in ancient Sumeria
and Mesopotamia]," Ashmedi explains. "So we instead included
music that is traditional to the whole Mediterranean and Middle
and Near East in scope. When we first tried Mediterranean drum patterns
back in 1993, it sounded extremely heavy and it fit perfectly in
metal. For anyone who hears these patterns, it just makes them want
to headbang! There is a lot of groove."
He pauses, then adds for extra emphasis, "Evil groove!"
– Tate Bengtson
 GOAT
HORN
Heavy metal can create a reaction in its fans that is seemingly
out of all proportion to the casual observer. However, closer scrutiny
reveals several clear reasons for the frenzied reaction—reasons
that have been part of the appeal of heavy metal since its inception.
In serving as a pressure release valve for pent-up aggression while
courting the spirit of rebellion, heavy metal bequeaths its audience
a means of dealing with the frustrations of everyday life and a
way in which the individual can resist the demands for conformity
exerted by mainstream culture. As heavy metal has progressed, that
spirit has undergone myriad revisions, numerous twists and turns
and awkward collisions, and has occasionally been assimilated into
the very mainstream that it presumably opposes.
But occasionally a band comes along that somehow manages to recapture
that original spirit; not in the sense of waxing nostalgic about
it, but seizing upon its primordial essence and applying it in a
potently original manner. When this happens, fan enthusiasm knows
no bounds—as is the case with Goat Horn and its second independent
release, Storming the Gates. From the forceful speed/thrash attack
of "The Last Force" to the infectious "Rotten Roll"
to the anthemic stomp of "Final Sentence/Finally Sentenced,"
Storming the Gates is eminently listenable precisely because it
offers a balanced diversity rarely found in this day and age when
bands are content to write 10 to 12 interchangeable songs and pass
them off as an album. Storming the Gates actually flows as an album
should, and thus your attention will be undivided as it is enthralled
by the momentous chorus hooks, captivated by the thrashy guitar
licks, and spellbound by the rhythm team, which proves equally comfortable
working the power metal gallop as the groovy doom trudge.
Vocalist/bassist Jason Decay is elated over the new album, and justifiably
so. "You can’t find what we poured into Storming the Gates
on just any album," he triumphantly claims. "Metal—real
heavy metal—is one of the most important things in our lives.
It pretty much means the world to us. We basically told ourselves
to stop at nothing. Whatever it takes to make the best possible
record we can make at this point in our lives—the album we
would want to hear for ourselves—it’s now or never. There
is absolutely no filler on Storming the Gates. Every song is sincerely
felt and full of sweat and stress."
Even the production resembles that of an earlier era. While crisp
and clear, there is an organic honesty to the recording that digital
technology simply cannot replicate. For the recording of Storming
the Gates, the producer had an important but limited role: achieving
the sound that the band wanted.
"The role of Jameson Elliott [producer] is to stand behind
the band and listen to our vision and our words," Jason succinctly
explains. "He takes care of what Goat Horn wants on tape. We
told him what we were after and he made sure it got done. He pushed
us harder in certain areas than others and we took care of the rest.
The production you hear on Storming the Gates is timeless to us.
These production qualities were born in the last 20 years or so,
and to us there has been nothing as good since. Production qualities
have decreased severely as of late. Everything is cheap these days,
people just plug in their computer and fart, throw some editing
effects shit and samples on it—that’s fake. We want to
sound real because we are real. Real drums, real guitars, bleeding
out into the air and being snapped up by a mic and captured on tape."
Perhaps it is that appreciation for the real that gives Storming
the Gates its charismatic allure. However, what Goat Horn does with
that heavy metal spirit is at least as important, for it proves
both willing and capable of advancing that tradition, of literally
storming the gates, doing away with the conservative caretakers,
and restoring the fortress of heavy metal to its once and future
glory. – Tate Bengtson
 UNEXPECT
Words can’t describe the reaction I got when I first played
Quebec act Unexpect’s debut MCD for Galy Records titled _wE
Invaders. The over-the-top production, wonderful meshing of multiple
styles and hyperactive onslaught of sonic mayhem was too much to
take in one sitting, but I survived—barely.
How could one band blend a black metal aura, classical passages
and intense metal riffs with such finesse and vibrancy? I needed
to know…
"In an era where all styles in their purity have been exploited
to their maximum extent, fusion of the musical genres is the only
way to really create something different," starts band spokesman/guitarist/vocalist
Syriak when asked about the band’s adventurous mixture of music
styles. "I think metal is one of musical styles that has the
most subcategories so…why not spice it up even more with supposed
‘contradictory’ styles? There are no limits to imagination.
Bands that are weary of mixing up their metal are not aware of the
beautiful mutants they could create! Hybrids are far more vibrant
and I think that originality is the key…the past is pleasant,
but it is more pleasant to pass on to other life forms. You can
stay deeply rooted in metal even if jazz or sounds associated to
electro music find their way in your sound. I say: ‘Stop the
fear and start enjoying the incredible diversity music has to offer.’"
You’d think with so much passion and wanting to create that
the band would have been able to muster a full-length for their
debut disc for Galy. Why was a full album not done? I am sure you
had a lot of stuff lying around.
"We have a long history of bad luck and postponing," he
explains. "In the last few years there have been many lineup
changes (read, an incredible amount of drummers) and that made it
feel like we were in a never-ending loop, always going backward
with a new human to martyrise. So there was not really much material
ready to record when we entered the studio. We’re not one of
those bands that compose 25 songs and choose which ones to keep.
If we spend time (usually a lot of time) on a song, it must be something
that we’re sure we’ll be proud of. ‘Quality before
quantity’ is our credo."
Just take a gander at the photo of the band provided for this piece
– a li’l weird, huh? So are Unexpect strange, weird people
playing normal music or normal people playing strange, weird music?
"What is strangeness I wonder….aren’t the supposed
crazy people in asylums always screaming ‘I’m not maaaaaaaddd,
I’m not maaaaaaad!’" he blurts out. "They don’t
think so…so I’ll suppose that strangeness is the factor
opposing unique-minded people and strong individual spirits to a
mass of standards. The grays I call them. I prefer to associate
myself with strange or weird people. I think the freaks are the
ones living their life in a prepared pattern, never wavering from
their ultimate goal of a comfortable retiring, playing it safe and
keeping away from sins. One sure thing is that we are sociable personas
and while experiencing deliberate regressions in the subconscious
and the hazes of parallel personification, keeping a foot as an
anchor in ‘reality’ is sure the best way to not fall into
total incomprehension. You’ve got to entertain the thread between
lucidity and controlled paranoia. Keeping a good relation with the
inside and the outside. A controlled drift I must say."
So are you excited about taking part in the Northern Lights Festival
this year?
"We’re very excited about it!" he exclaims. "We
don’t know much about the bands playing, but discovering new
bands is always a treat. It will be our first time outside Quebec,
so I think it will be the beginning of a long adventure. The freakishness
that possesses us when on stage will surely be at its summit on
this incredible night of madness!" – Adrian ‘The
Energizer’ Bromley
 THY
FLESH CONSUMED
I’m proud to say that the Canadian metal scene is growing in
all directions these days. There are good, solid scenes in Toronto,
Vancouver, and Montreal and now you can count Eastern Canada as
another hotspot.
One of the most promising acts to emerge from Halifax, Nova Scotia
is grind/black metal act Thy Flesh Consumed who just released their
debut for Civilian Death Network titled End of Blind Obedience.
Word of mouth has been good for this band in the last little while,
and they’ve delivered the goods with the new album. Who knows,
the next flood of great metal acts may surface from out East—I
know my East Coast metalhead buds ReadDeadOne and Necromaster are
praying so.
"The scene here is of course small seeing as Halifax is far
from major centre points of travel. Bands don’t come out this
far usually, although many up and coming Canadian metal bands like
Martyr and Anhkrehg have played here recently," starts bassist
Randy ‘Crust’ Jeddry about his hometown’s music scene.
"We have world class bands here like Hellacaust and Terratomb,
as well as New Brunswick bands like Slaughter of Saints and Black
Frost.
"One thing the Halifax scene has over other places is the unity
of the metal and punk scene," he adds, "We’ve played
with many punk bands like System Shit and Slitch and we hang out
with them a lot. Graham (a.k.a. Crucifuck) of Hellacaust also played
in a punk band and Gerald [Smith; drummer] was also in System Shit.
We consider the three Maritime provinces to be one scene. We have
a local messageboard (www.maritimemetal.net) that we use to support
the scene. So far there is no metal infrastructure so any shows
we do consist of the hard work of many dedicated people, but isn’t
that what having a scene means? The one drawback here in Halifax
is that we don’t have an all-ages venue. Period. We can play
for the drunks (and trust me, there’s plenty) in the bar circuit
but it’s tough for young and/or extreme bands to get their
music heard at all."
So, what does Jeddry think sets Thy Flesh Consumed apart from the
local and Canadian scene?
He answers, "We derive our music from several different styles
and mix them together in each song. Also, the subject matter of
our lyrics kind of sets us apart. We don’t sing about generic
metal topics like gore or Satan and shit like that (not that there’s
anything wrong with that). We try to stay rooted in reality. We
may sometimes go overboard with the nihilistic attitude, but it
makes us feel warm inside."
I was going to ask you about that and the lyrics…
"Our vocalist Pete [Mestre] handles most of the lyrics. He
writes a lot about animal rights, anti-racism and anti-capitalism.
Some songs’ subjects cover religious tyranny, the corporate
media and pollution. These things are important to us and we think
they deserve attention. There is a lot of real evil in the world
so we don’t see the point in singing about demons and fairies.
We [the band is rounded out by guitarist Dan Burns] have more of
a resistant/revolutionary attitude to most of the songs. We all
listen to bands like Impaled and Bathory, but it wasn’t something
we wanted to do. Seeing as we did that Blasphemy cover (‘Atomic
Nuclear Desolation’), we have no problem with devil worshippers
if their tunes are cool!"
Pretty cool idea to cover a cult band like Blasphemy.
"Yeah," he agrees. "Dan is a big Blasphemy fan so
he suggested it. We just thought it would be a good cover as Blasphemy
are a very influential band and they’re from Canada. We were
also playing with the idea of ‘Satan’s Curse’ by
Possessed but ‘Atomic Nuclear Desolation’ suited us better."
–
Adrian ‘The Energizer’ Bromley
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