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Latest Cemetary Desekrator News
Below is our complete Cemetary Desekrator news coverage, including columns and articles pertaining to the band. Some articles listed may be indirectly related, such as side projects of the band members, etc.
Each week in Unearthing the Metal Underground, we'll be putting a few quality underground bands in the spotlight in an attempt to get the word out about them. This week, I am exploring the Michigan metal scene. With this column, I am not only discussing a brief history of each band and the sounds they create, I will also show links between the three bands. Just like the death metal that emerged from Stockholm, Sweden, the thrash from California’s northern bay area and the hardcore from New York City, Michigan’s death and black metal scene is one of interchangeable members.
On an international level, Michigan’s largest city has a reputation as “Detroit Rock City” or “Motown.” The city has produced a large number of Rock And Rock Hall of Fame members. In reference to the more extreme rock styles of black and death metal, though, the mid-southern region near the capital of Lansing has better soil for producing the Devil’s music.
Lansing’s Summon is one of the earliest black metal bands in the U.S. Although the group formed in 1991, it didn’t take off until 1995. From 1992-1994 former Lucifer’s Hammer guitarist Sean “Xaphan” Peters (guitar, vocals) joined with Chas “Necromodeus” Schoals (bass, vocals), Mark Hague (drummer) and Jeff “Tchort” Elrod (R.I.P.) in the black-doom band Masochist (another important underground USBM act). In ’95, Peters, Schoals and Hague left Masochist for Summon, while Elrod formed another black metal group, Wind of the Black Mountains.
Summon made its first recording, “Fire Turns Everything…Black” demo, as the three piece. This demo served as a blue print for the next couple of recordings. Released originally as a cassette tape, the group re-released it in CD format. Later Summon recordings featured revisions of tracks featured on the demo. The hellish screaming chorus of Schoals and Peters, catchy tremolo picking, chugging thrash breaks and whammy bar solos make hitting the stop button difficult on this recording. More...