Death Metal Underground receives a constant stream of inferior promotional materials like a child is given unwanted Apples, granola bars, and candy corn on Halloween. We toss them in the trash too.
A minor boost- so as not to be outdone by diminishing financial returns – in fidelity reveals that the tonal direction which Demoncy would use to conjure the singularity known as Joined in Darkness had begun to break through the thin trebly aether early on. Faustian Dawn sees a young mage wielding uncharacteristic competence during its initiatory rites; though not without a share of exuberant amateurism. Drawing from the tomes of Von, Beherit and Profanatica – the track “As Tears of Blood Stain the Altar of Christ” makes an appearance here re-titled – Demoncy finds itself offering a unique vision which recalls primordial humans cloaked by tawdry rags locked away from evolution by a compulsory participation in invocatory rites amidst humid rather than the more characteristically frigid backgrounds.
Varg Vikernes expressed how he felt about tributes to Burzum and the toxicity of the Norwegian black metal scene centered around Euronymous of Mayhem in a new black metal history video to this ThuleanPerspective Youtube channel. Varg stated that the tribute bands are creatively inspired by him:
Graveland announced a new album of studio rerecordings of prior material and premiered a new music video for “Thousand Swords” on their Facebook page. 1050 Years of Pagan Cult comes out this November.
By the 1990s, the CD reigned supreme. As the economy boomed, annual global sales surpassed 1bn in 1992 and 2bn in 1996, and the profit margins were the stuff of dreams. The CD was cheaper than vinyl to manufacture, transport and rack in stores, while selling for up to twice as much. Even as costs fell, prices rose.
The popular music industry peaked financially in 1996 but had creatively begun bottoming out years before that. Digital file sharing of lossily (and later losslessly) compressed formats simply burst the bubble of the industry’s festering corpse the ignorant had mistaken to still be moving as the putrefying gases bloated body cavities.
Article by Anton Rudrick.
Mgła provides us with a perfect example to round a trio of examples that together shape the main misunderstandings as to what black metal is through their misrepresentation of it in either carelessness or ignorance. While modern Watain plays a completely undefined mixture of incoherent tropes around a stomping heavy rock that never condenses into anything original, and modern Behemoth is a shock rock outfit with sterile tekdeaf (modern technical “death metal”) techniques, Mgła is the one that closest comes to black metal by its purposely limited form closely resembling it. However, at best it could be said that they are a musically poor black metal band devoid of the traditional character that fuels the adversarial music, and at worst it could be classified as a post metal band experimenting with close variations on a very simple theme.
Swedish death/black metal band Sarcasm‘s first LP, Within the Sphere of Ethereal Minds, is coming out in March as announced on their Facebook page. The band’s Burial Dimensions demo compilation was extremely promising but featured too many in-congruent keyboard interludes and too much fat that needed trimming.
As part of our ongoing attempts to be more like normies who like catchy lines and irrelevant banter, Death Metal Underground embarks on a disturbingly social activity for our audience, who are mostly alienated noticers living in bunkers far removed from the cities.
In an interview from the already late days of black metal, Varg Vikernes assessed his musical intent as a pursuit of fantasy:
I see Burzum as a dream without holds in reality. It is to stimulate the fantasy of mortals, to make them dream.