13th Feb 1970 – close to five decades and we are still trying to measure up.
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By Warner Bros. Records (Billboard, page 7, 18 July 1970) [Public domain], via Wikimedia Commons
Category: Heavy metal
Heavy metal
soundstreamsunday #98: “Children of the Sea” by Black Sabbath
Metal is a tricky business. So is memory. I first heard “Children of the Sea” soon after it was released, I think, as a young teenager in 1980, tutored by an older sister in thrall to Rush’s Permanent Waves, Judas Priest’s Unleashed in the East, and, most of all, Black Sabbath’s Heaven and Hell. It was later that I learned of Sabbath’s late 70s identity crisis, their parting of ways with Ozzy Osbourne, and Ronnie James Dio’s efforts to help salvage a band worthy of his prowess. It couldn’t have been an easy road, and by all accounts wasn’t, BUT… the fruit of Osbourne’s dissolution, Dio’s post-Rainbow quest, and the Sabbath juggernaut’s need to produce a next record, was a pair of LPs blueprinting one way forward for metal: operatic vocal facility, pop-tinged melodies, subject matter less doom-and-gloom than dungeons-and-dragons. With, of course, guitars fully and thunderously intact. It was what Heart showed it could be with 1978’s “Mistral Wind,” and would be taken to its natural conclusion by Iron Maiden in the next decade; but, as the so-called New Wave of British Heavy Metal began to draw its borders as the 70s turned into the 80s, it was Black Sabbath, the original metal wellspring, still sitting in the center of the compass rose.
Of course, many die-hard Sabbath fans don’t acknowledge Dio’s Sabbath as the real Black Sabbath — a respectable point of view, in fairness, that such distinction can only come with the inclusion of Ozzy and in consideration of the first six, genre-defining, Sabbath LPs — and the band itself acknowledged this when reuniting for a tour and LP with Dio in 2007, calling themselves, naturally, “Heaven and Hell,” out of respect for both Dio and Ozzy. But for a certain generation of us the Dio-led band was the gateway to Black Sabbath, with Heaven and Hell and Mob Rules (1981) jewels in the crown equal in quality heaviosity to the First Six. And it turns out that Dio’s here-be-dragons sensibility was just what Sabbath and metal needed: dramatic vocal flights, lyrical escapism, and a feel for the sheer cliff riffs. I imagine too that his maturity (he was in his late 30s at the time, older than the rest of the band by at least six years) brought a steady, compositional, horns-flashing hand to a Sabbath dearly in need of it. Dio would set a solo course soon after Mob Rules but would never stray far from the tone he set in his work with Sabbath.
From the flawless first side of Heaven and Hell comes “Children of the Sea,” the kind of fantasy piece Dio trademarked, where the story lines are drawn vaguely enough to appeal broadly, and are there, ultimately, in support of the Riff King, for if there is one true hero in the story of metal, it is and will forever be Tony Iommi. Two versions here: the original studio take and, because it counts, the Heaven and Hell band version from 2007, with Dio, at the age of 65, still bringing every bit of showmanship to the legacy he was so justifiably proud of.
soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section.
Stained Class
It’s 40th year of Stained Class.
70s sort of form that bedrock of heavy metal, those initial rungs of a genre now riddled with thousands of sub-categories. With early Judas Priest we actually get to experience that seismic shift – how that relatively upbeat hard rock and electric blues start to exhibit darker tones. In other words, Stained Class provides numerous glimpses into the impending transformation of metal.
“The streets run with blood from the mass mutilation, as carnage took toll for the bell” – is definitely not characteristic blues rock Led Zeppelin or an Aerosmith. Nor is that intense and multi-faceted– “You poisoned my tribe with civilized progress, baptizing our blood with disease” – lyrics which could be easily perceived as a commentary, critique or British sarcasm.
Scorching leads, layered and progressive dual guitar melody and that inimitable steely Rob Halford scream. All the vital components which would later shape 80s metal can be traced back to Judas Priest. Essentially, they accentuate the downtuned darker aspects of blues rock, and did that without significant deviation from that blueprint. Stained Class is part of that framework which directly leads to speed, progressive and power metal – essentially triggering a wave – still mutating, afflicting all corners of the civilized world.
By Sibuachu (Own work) [CC BY-SA 4.0], via Wikimedia Commons
Southern Storm
Couple of seconds of blast beats and we can discern Southern Storm is no misnomer. From the land of Sepultura emerged another force named Krisiun. But their extraordinary precision and extremity can be a tad overwhelming. These compositions, quite like a complex death metal alloy, elevates that already intricate electric blues to over-the-top intensity. The steady hammer of drums, constantly daunting, and recedes only when getting carved up by piercing guitars. Rooted in Terrorizer, Grave, Immolation and Nile school of death – Krisiun’s craft is flawless. In other words, they reflect all the essential deathly qualities — constant and subtle shifts in flow, melodic leads and demanding riff/drum patterns. Quite like Sepultura, this band of brothers consistently push musicianship to disturbing levels of fury. With songs titles like “Slaying Steel”, “Minotaur” and “Massacre Under the Sun” – lyrics become that last cowing piece of this technical death storm.
By S. Bollmann (Own work) [CC BY-SA 4.0], via Wikimedia Commons
E
‘E’ becomes the most brazenly progressive Enslaved record. Experimental keyboards, abrupt temporal shifts and frequent bursts of aggressive riffs — all reminding us of their Viking metal roots. Basically, art rock to symphonic prog to post-metal atmosphere effortlessly brewed with some inhuman screams. Add the use of flute, a surprising jazz segment and a Norwegian electronic synth-pop cover — Enslaved has never been more firmly rooted in both extreme and avant-garde territory.
Without completely abandoning black metal, they has carefully adopted some unproven experimetal progressiveness. Within these uncharted fields, it’s not surprising that they sometimes lurch between sheer greatness to downright peculiar. But, for long time listeners there is nothing unexpected here. The band continues to walk their chosen path – constructing a curiously rich, polarizing, and at times uneven mosaic of progressive black metal symphonies.
Dark Apostrophe at English Wikipedia [CC BY 3.0], via Wikimedia Commons
The Evil Divide
Heavy metal is actually swarming with cross-genre bands, and then there are a few like Death Angel. Over thirty years, and they still wield an uncompromising arsenal of old school thrash. Decked with stunning guitar harmonies, intricate progressions and ultra-thrashy riffs — ‘The Evil Divide’ is a new album with mid-80s sound. Thrash at its creative best.
With that NWOBHM train of break neck riffs and pristine melodic hooks, Death Angel is elegant and loyal to their founding roots. They are sort of unique in persisting with this age old aggressive terrain. As expected, most of their illustrious contemporaries have mellowed, and now fear to tread through these very furious paths.
By Fileri (Own work) [CC BY-SA 3.0 or GFDL], via Wikimedia Commons
Under the Red Cloud
Unlike their neighbors to the west, Finnish scene evolved late and also in relative isolation. Quite like how they took their own time for economic industrialization, Finnish metallers were also sort of late to the planet’s extreme metal feast. Finns do come across as one wary lot. But, circa 1990, evolution took a huge leap. They seamlessly adapted their classic metal roots into a Black Sabbath influenced death/doom, and accomplished it within an absolutely meager time. Not surprising why Amorphis developed such distinct signatures — they never did follow that conventional trajectory.
Now, after twenty five years of folk and melodic metal, you would think they won’t have much to say. Go with that expectation and get ready to be mowed, by some quirky progressions and subtle rich melodies.
Moments where you get to experience glimpses of their glorious past are frequent. Creative folksy hooks and abrupt bursts into melodic death segments – guaranteed to overwhelm even their ardent listeners. Undoubtedly, Under the Red Cloud forges more than quite a few steps, onto a distinct path carved over the past two decades.
By Cecil (Own work) [GFDL, CC-BY-SA-3.0 or CC BY-SA 2.5-2.0-1.0], via Wikimedia Commons
Blackwater Park
Recently a fellow metal-head shared Opeths’s Blackwater Park; it’s been ages since I heard this album. Music has this uncanny ability to bring back memories. In this case, decade old vivid images from heavy metal pubs, long distance motorcycling and even longer days dedicated to embedded engineering.
Had once motorcycled six hours straight to see Opeth live, to this college town in a little known part of the world. Crowd simply exploded to the opening riffs of “Bleak”, ferocity matched only by Åkerfeldt’s own growls.
Blackwater Park is that one album which conveniently illustrates Opeth’s early years. Everything from gothic atmosphere to death metal riffs, all packed into one funereal epic! Wide range of actual genres fit into that melancholic sound, but still weaved into one cohesive symphony. Album seamlessly illustrates meandering proggy passages resembling Camel, to Tom Warrior like curt grunts. With blankets of blues, prog and folksy lament built straight into that vital progressive death framework, Opeth eclipses all genre boundaries.
After all these years, listening to them again made me realize, these Swedes sort of orchestrate all those vibrant influences more elegantly than most genre specialists themselves do.
By deep ghosh [CC BY 2.0], via Wikimedia Commons
Hunted
Black Sabbath, Iron Maiden and the remaining doom metal bells and whistles are obvious. But, Khemmis goes further, and shapes a melody built on mystical and sorrowful passages. Every aspect, including the distressing vocals is tailored to accentuate these very qualities.
Doom metal is a constrained and a well explored area populated with numerous Scandinavian and North American greats. In the past 30-40 years, they have managed to excavate all the darkest corners in this genre. But, Khemmis, quite confidently introduce sharp magical qualities to these stagnant waters. With an equally engaging Artwork, Hunted makes a compelling case for a brand new variant of old school doom.
By Benjamin Hutcherson (Own work) [CC BY-SA 4.0], via Wikimedia Commons
Majesty and Decay
Study claims extreme music purges depression, in that case, Immolation should be among the most effective antidepressants. Emerging from the most fertile era in death metal, these New Yorkers effortlessly stood their own against Tampa and Stockholm scene’s invasion. A dose of bludgeoning drums, some excessively intricate guitar patterns, followed by sheer death metal growls – simply bulldozes depression and anything else in its path.
Immolation’s brand of dissonance is multifaceted; no other band rips your senses into such divergent paths. In other words, response to this imposing symphony can be – a still veneration, an accepting nod, or just violent moshing – depends solely on the listener’s filter. More crucially, this near deathly experience can be at times overwhelming – crossing those boundaries from being a mere antidepressant, and moving straight into the territory of ecstasy – illegal.
By commons: Lilly Mpl.wiki: Lilly Mreal name: Małgorzata Miłaszewska (Own work) [GFDL or CC BY 3.0], via Wikimedia Commons
