Puppet Death

Six years (!) after their first demo “Sound You'll Never Hear”, the band presents a second one and one that breaks in style as well as concept considerably with the debut output. Not only the sound has taken a leap towards a more a balanced realm, the entire concept has lost a lot of teeth. Despite a certain emphasis on black metal elements, these have been watered down considerably. It is the aspect of the avant-garde that plays a more prominent role in the seven compositions from now on. The basic foundation has shifted away, bereft the music of some of its extreme facets; its intensity and aggressiveness. Sparks, bursts and vague fragments of the direction once presented on the debut demo “Sound You'll Never Hear” pop-up now and then. Emperor's Prometheus with even less guitars and more daring, Solefald in its more schizophrenic moments and In the woods...'s discography merged somehow. SCS are nothing definite and never something conclusive. SCS want the listener to be amazed on how easy it all can be fused together.

Let us call it “black rock with metal and avant-garde elements” for a moment. Elmer the Puppet (missing song, "Puppets'R'Us"), the second track on this demo release and a composition of 13:41 minutes, helps to set the stage in a wonderful way. Those who might be annoyed by the to and fro, the odd juxtaposition of contrasts, the large impact of the alto horn might want to stop here altogether. Motives show hints of brass orchestras; the intensity of the metal genre is only allowed to shine through on rare occasions, while the overall direction appears to be incomprehensible. And how could it be? The Norwegians hardly follow something like a red line, rarely fall down to the level of conventionality. Judging from the sound it seems like they wanted to express an imperative, to create something out of the fascination for the outré and with a certain demand on the side of the listener. Unlike Morgul and their experiments with a violin, the black metal of SCS has seen a more drastic shift, has vanished nearly entirely on this recording, has left to make room for a variety of facets, other rhythmic structures and influences.

Yes, it is nice to see the music take some pace now and then. Yes, it is nice to listen to some tremolo-picking with the sound of an alto horn on top of it. Considering that these moments are rather an exception than the rule, the rest does not give the impression of being unfinished or bereft of some sound, style or element. It is as it is. Punkish, extravagant, noisy, raw. Still, there is nothing too polished here. Even though it lacks a bit of the rehearsal room atmosphere of the debut release, it is nevertheless able to contain some of the spirit of these days. At least a bit has remained the way it is. Somehow it feels fresh and by no means dated. All fits together in an absurd kind of way and once the listener has reached the point of “Bach is dead”, this loony piece of a bit more than a minute, one has to acknowledge that it holds together in a coherent kind of way. This centrepiece of the demo, this cover version of a track, whose original belongs to the absurd band “The Residents”, give the impression of heading in a different direction, while remaining on the same spot at the same time. Maybe it should be debated whether this is a peak of some sort or rather a plunge into the depths of musical madness. “Puppet Death (missing song, unknown title..)” is also not much different in this regard; first something that reminds on the purring of a cat, which then changes towards some kind of distorted voice.

Especially the vocal part is strange or has a strange touch. Screams play only a minor role, while a clean singing voice expresses all what needs to be said; no matter how absurd it may sound at times. As with other elements in the concept of this band, it is a juxtaposition of contrasts that together create a harmony, whose final outcome impresses in its overall easiness. Even the post-metal and rather rockish, not to mention quite catchy, last composition “Retro Puppet” feels like it simply had to be there. Simply had to be there in this peculiar kind of way. What might come as a surprise is a slight air of melancholy, which hangs around the music at this point. Like we should pity the loss, pity what had been consumed by the ages, the years and the decades.

Puppet Death is a mocking piece of music. It is mocking because it breaks with what a neutral and unexpected listener might have in mind when this person approached this piece of art. Furthermore, the aspect of death, this overall fixation in the metal scene with this facet of life, is ridiculed in this rather impossible act of dying; at least from a physical/biological point of view. Psychologically speaking the matter is more difficult of course. The fetish is destroyed and the sexual libido is freed, only to search for something else to attach itself to. Children have a different view on this matter and see in these artificial artefacts some kind of person to play with and to fantasize about. Through maturity they grow out of this state of infantilism and towards a mature educated person; at least theoretically. In rural cultures the play of puppets is also used to express and to transfer some kind of knowledge either intra- or intergenerational. The death marks in each of these cases a clear break, while the energy contained in the puppets therein, is freed and let loose; either on the individual or on society as a whole. Examples can easily be imagined.

How much of this is an actual part of SCS' music is not revealed easily. With no lyrics at hand and with only a vague explanation on the actual background of this piece of music, the listener is left in a position of speculation and vagueness. Nevertheless, the quality of the song-writing, the odd setting and the well-crafted atmosphere are of such a kind as to keep up the interest. Puppet Death is by no means conventional in any meaningful respect. It is not mainstream … it lingers around in the outer boundaries of the metal scene and dares the listener to explore it; to dive into this strange world of puppets, of mysticism and contrasts.

Based on a review originally written for ‘A dead spot of light (Number 22)’:
http://www.archive.org/details/ADeadSpotOfLight...Number22