Rotten Copper – Rotten Copper (2017)

Living in a dying time presents as many troubles as recording in a dying genre. Something went wrong with metal in 1995, and since that time we have had big oaf idiot metal from the NWN/FMP types which bores us, versus popular metal music which is vapid and consumerist at its core and so has nothing to offer of substance.

In both cases, the same error is made: form over function, appearance over purpose, stability over goal. Metal remains stranded within the power of its technique, and has failed to discover its own soul. As a result, we live in dark neurotic times where there is no clear path that unites aesthetic and content into a consistent, articulate whole.

Rotten Copper surges into this gap by attempting a more popular metal/goth style that preserves the spirit of underground metal. It almost achieves this, but confusion over how to execute vocals pervades the album, preventing it from having a style that is distinct as its own, and so this has to be viewed as the antechamber to future acts.

Musically, this release most resembles the shredder era of the 1980s which combined a fascination derived from jazz with finding distinct chord progressions outside of the repetition of rock, but added to it a heavy metal sense of having to make songs pair with an expression of life in metaphorical form, and then worked progressive rock technique into that. These are solid songs constructed around short melodies which implicate complex relationships between the positions of the scale and the harmonies they imply.

As a result, this is an album that a listener could listen to without vocals and enjoy entirely. Songs fit into a middle zone between Danzig and Joe Satriani, generally following a cyclic pattern of verse-chorus, but gives to each song unique texture and at least one deviation from this form. The underlying melodies, picked through a rich harmonic field, give each song a distinctive shape and content.

Vocals vary between a Motorhead-style rough growl and a Fields of The Nephilim style of Gothic operatic singing, with Danzig style minor-key melodies right in the center. Guitar riffs incorporate black metal and death metal technique, but keep a harmonic center as opposed to being strictly a strip of interesting intervals in a chromatic base, and so songs develop easily with abundant space.

There is great potential in this release. For now, it seems slightly confused, mainly because of stylistic elements, but also because owing to that lack of stylistic clarity, this band has not yet fully explored its content, or what it wants to express. Nonetheless, this is better than what all but a rare few bands in the underground have expressed since 1995, and shows metal a way forward without the dead underground.

Incantation – Profane Nexus Out August 11th

Incantation announced that their new album os coming out August 11th on Relapse Records and posted a teaser on their Zuckerbook page. Hopefully Profane Nexus will be better than the somewhat rehashed Vanquish in Vengeance and the speed and doom metal mediocrity of Dirges of Elysium. Don’t get your hopes up.

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Sammath and Standvast have been booked to play the Diabolical Echoes PT 2 mini-festival with Norwegian black metal band Isvind in Groesbeek in the Netherlands on February 24th, 2018. Sammath is one of Death Metal Underground’s most highly praised modern bands while Standvast is an Ildjarn-like project from Nortfalke from Tarnkappe, Kjeld, and Kaeck. Sammath has long been a mainstay of our staff’s list of the The Best Underground Metal of the year so live shows from them should be a furious storm of riffs and whiplash.

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When the Fear of Nazi Monsters Ruins Music Appreciation

Ever since the rise of leftist politicization of metal, there has been rising hysteria over a secret Nazi fifth column lurking within the metal community, ready to spring out of the shadows and attempt a world takeover. This is due to the effects of the corrupt mainstream media portraying everyone opposed to their Marxist agenda such as President Donald Trump, reincarnation of Hitler with the majority of America seeing through their psychotic imagined orange Fuhrer. But for the millions of citizens that will buy into whatever the mainstream sells them, including the scenesters of indie rock, this narrative maddens them to the point of belief that the entire Republican/Libertarian/Conservative movement is the spiritual sequel to the Axis Powers. This is immaculately articulated in a review buried deep within scenester shill blog No Clean Singing’s attempt to set the world record for “most metal bands reviewed ever.”

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Enslaved Finish Recording New Album For Beardos

Sell-out formerly black metal band Enslaved has finished recording another indie rock album for Nuclear Blast Records. Expect every fat guy in flannel with neck pubes to love it almost as much as he loves the smell of putrid mayonnaise that gets stuck in the beard like little white dingle berries.

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Dark Economic Truths of Underground Metal

Recently many of the other “metal” websites, blogs, publications et cetera have been doing articles about the business side of music industry. Unsurprisingly none of these articles had the testicular fortitude to address the ugly reality of the underground metal economy as they are written by either slaves to the machine itself or losers who genuinely believe that they have “careers” in music which heavily depend on acceptance by the community. Since the Death Metal Underground staff bow to no masters social or corporate, we are in the rare position give you the truth in its rawest form. So with absolute disregard for the powers that be in metal, let’s take an honest look inside this machine to see how it really works.

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Indie Blog Laments as Maryland Deathfest is Mainstreamed

The hilarious leftist parody of metal will be celebrated in force this weekend as Maryland Deathfest completes its transformation into Coachilla-lite. While it’s been painfully obvious that all festival culture has gone fully mainstream as futureless millennials continue to spend money they don’t have on things they don’t need there are still many in the hipster sphere that can’t grasp the loss of counter culture to the mainstream. Maryland Deathfest continues this trend with praise from mainstream propaganda editorial Newsweek and lamentations from liberal snowflake blog Invisible Oranges occurring in the same week.

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Morbid Angel Premiere “Warped”

Morbid Angel premiered a new song off of their yet untitled upcoming record at a recent live show in Orlando. Current frontman Steve Tucker:

This song is probably the most warped thing we’ve ever done. This song is called “Warped”.

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Entombed Win Entombed Trademark Case

The three musicians from Entombed‘s classic Left Hand Path lineup, Nicke Anderssen, Alex Hellid, and Uffe Cederlund, won their trademark dispute against Left Hand Path vocalist Lars-Goran “L.G.” Petrov’s Entombed A. D. project in the Swedish Court of First Instance (Patent and Market Court [PMD] at Stockholm District Court). Petrov has used the Entombed A.D. moniker to release lame death ‘n’ roll to tour behind long after the rest of Entombed hung in the towel and admitted they would never be rock stars.

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Metalucifer Release “We Are Still Metal Kids” Video

Metalucifer, the heavy metal loving parody side project of Gezol from Sabbat (Japan), released a new video to Youtube from their upcoming split 7″ with Sabbat. “We Are Still Metal Kids” is a  disposable, haphazard parody of NWOBHM bands such as Iron Maiden and Judas Priest just like all other Metalucifer songs . It will also eventually appear on an upcoming album to be released on Iron Pegasus / R.I.P Records. Metalucifer’s previous albums (Heavy Metal Drill, Heavy Metal Chainsaw, and Heavy Metal Bulldozer) and all of their other cash grab releases are all pretty much disposable kitsch but still better than most of the war metal, metalcore, and crypto-indie rock the Funderground attempts to force down our throats.

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