Album Review: High On Fire - De Vermis Mysteriis

De Vermis Mysteriis is a perfect fusion of traditional High On Fire chug and Sleep's undeniable grooving. Des Kensel's drums are clearer than ever, but never overbearing like on Snakes for The Divine. Meanwhile, Matt Pike's vocals sit just below the almighty guitar riffs and Jeff Matz' bass swings melodically, adding perfect balance of depth and movement to the songs.

This album is by and far better than Snakes For The Divine. While the guitar tone might not be as present, the overall mix of the record makes up for it. The songwriting here is rawer, more potent, propulsive, and less self-indulgent.

However, some songs on De Vermis do feel like rip-off's from High On Fire's back catalog. Most notably opener “Serums of Liau” gets its primary vocal melody and 4/4 power chord swagger from “Brother In The Wind,” a track off the band's 2005 LP Blessed Black Wings. Also, the next track, “Bloody Knuckles” primary riff is a scathing copy of Blessed Black Wings' title-track. However, these songs strip away the excess meandering of their predecessors and replace it with pure aggression that makes them a more compelling listen.

But enough of that. This album kicks ass and here are a few songs that show why. The Sleep-inspired “Madness of An Architect” features a riff-progression as inspired as “Bastard Samurai,” but Kurt Balou's mix allots even more listenability. And closer “Warhorn” might deceive with its somewhat standard noun+medieval title, but in reality it is a plodding dirge featuring some of High On Fire's most well executed dynamic flourishes. The song paints images of a corrupt general's maddened quest across a post-apocalyptic landscape raping and pillaging the remnants of a lost civilization. Sad, heavy, and brilliant, it is a fitting closer to this great album, although I wish they would have repeated the outro riff a few more times. Also notable is instrumental “Samsara” which recalls later Ozzy-era Sabbath with its atmospheric vibes and sees High On Fire finally getting the instrumental format right. “Romolus & Remus” is another highlight which features a chugging riff akin to “Fire, Flood & Plague,” but with more to offer in its structure and originality.

Start to finish, De Vermis Mysteriis is High On Fire's best album since Surrounded By Thieves. All instruments, riffs, and aspects of production come together in a master-display of cohesive heaviness. But compared to the burgeoning sludge metal landscape it is released into, is it better than Black Cobra's recently released “Invernal”? Maybe, but better than “Snakes For The Divine” and 95% of what's been released since by comparable bands (including the ever disappointing prog-lords Mastodon)? Oh hells yes. Some songs on De Vermis are utterly simple, while others are indefinably complex, but the album as a whole proves that although High On Fire may not necessarily be traversing new ground, they are continuing to refine their style, and while occasionally recycling old riffs, remain entertaining in a burgeoned field of mediocre performers.  

The Record Industry Is Communist (And It's A Bad Thing)

The record industry is a system which rewards mediocrity. For every Kesha that is signed, there are ten or more Black Cobra's who are forced to wallow in destitute. Why are the Kesha's signed and not the Black Cobra's? Because of their perceived marketability. The record industry is no longer in the business of pressing records, they are in the business of marketing and promotions. Their sole goal is to get as many people as possible interested in their artists and buying merchandise. Meanwhile, they forget that the artists whom they sign need to have something significant to offer. In an ideal record industry the music would be by the people, of the people, and for the people.

The board of discretioners who dictate whether or not sign a band are very much akin to the community board of representatives which passed legislation in the former USSR and in present day China. A more democratic, and yes, socialistic system could be achieved through embracing the internet as the ultimate decider of artistic and commercial success. Let the consumer decide who should get radio airplay, promotion, who should tour, and who should be paid to release albums. Let every band begin the same way; as an idea in the ultimate marketplace of ideas: the internet. Let the idea be deemed a reality as the people determine it to be desirable in the grand scheme of musical evolution.

For this to succeed, the internet must be rid of pointless advertisement and transfigured into a pure stream of information and ideas. Although promotional resources are a valuable commodity, the owners of those resources should not discount the fact that the products which they are promoting are the primary focus and source of income. To allow marketing professionals who are likely to choose artists to sign based on their perceived marketability, or the ease with while they can be promoted to a mass audience, is to discount the merit of true art. This further slows musical innovation, artistic progress and human cultural evolution.