We don't make metal anymore

Written by Rikard.

Sure, there's a lot of music out there today that's bringing loud, distorted guitars and harsh, screaming vocals to the table in a straight continuum.

But is it metal?

Let's rewind. (because that's what we do in this blog) 70's and 80's. Then, there was metal. Whispers in the parliament's office about bands like Black Sabbath and Twisted Sister, a public disease, suicidal lyrics that manipulated our poor teenagers, video violence and danger, censorship.
Metal was dangerous. It was provoking. It was a seagull's crap in Tony Blair's eyes.

The Red Sea

Written by Rikard.


And one day I found myself reaching for the answer as to how a band becomes immortal.

'It's easy', you will say. 'Just buy corpse paint and, well, suck.'

Ha ha. Of course I don't mean the band. I mean the bands.
Queen, Led Zeppelin, The Beatles, Deep Purple, U2. (Not a band, but) Michael Jackson. Maybe even Death. Bands that crop up on lips belonging to both 40-years-of-experience-studio wolves and Evelina by the chark dish. Bands that landed enormous sales and enormous critical praise. Band that even made the history books.

The revelation is strong and shockingly saddening;  
They're all old.

Bands and artists of the 'golden' 70's-80's era, the very same that makes the aforementioned wolves' voices awfully thick. I know that one does not really achieve this kind of status until after one's split-up, but still; in the future, will we see Meshuggah and Dillinger stock that very same warmth in people's voices? Of course we will. But they will be the voices of said wolves. Evelina would just scourge me off if I tried talking some Mesh with her. (Or maybe she wouldn't  - she's fairly nice)

Or let's turn it around, and bring me the day when Justin Bieber (Always Justin, my list of huge mainstream artist is embarrassingly shrewd of imagination) scores 10/10 in every single non-prepaid publication worth it's name - WHILE selling the crazy amounts of concert tickets he is.


Written by Rikard.



There comes a time when you just give up.

You've spent hours upon hours upon hours upon some more caffeine-induced hours listening to guitar takes.

Are they correctly tuned, are they tight, is the tone right (noitsnotwaytoolittletrebleeventhoughitsalardassline6ampwithtrebleinboth-
midandbass) is it even a good riff to start with?

You smash your head against your head. IS it tuned? IS it tight? Is it correct, is it right, is it good, is it stellar, is it okay, is it good-looking (what?) is the tubescreamer on, is there any annoying slides slipping through the gate?


Written by Rikard.


Besides "xoxo" and "snälla, säg att det här är ett skämt", one of the most common comments we'll pick up next to a down-watered jpeg of the Going Postal artwork is the fact that we "incorporate old-school 'rock riffs' within our music." (Occasionally followed with YEAE or even more "xoxo".)

And yes, that is true. Deathember always strives to span as a timeless beast of wonder, stringing the old and new together in a superb vacuum beyond time or genre. Or that's the ambition - the reality being more like letting Elias blast over some lousy-ass 'twang' riff.

I think the pin mark of the 'rock' approach was the song "Scapegoat" on Flatlines. Staffan would drop in and prowl on about "modern metal meets classic rock, fuck yes" and would jam on the off-beat verse. I think my song "Crash and burn" also bears some 'rock' resemblance, although my ambition was less 'blend influences in an innovative way', than of just scram some good shit together so I don't get kicked.

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