Subversive transsexual metal band Peosphoros recently baited a trap with its provocative Milo Yiannopoulos style mixture of unconventional sexuality, grinding noise, and ideological taboo.No Comments
While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.
Another related issue that arose during “research” concerns the historical development of European power metal. As have been noted in previous articles on this site relating to the history of metal music, artistic “movements” or periods of development tend last about five years speaking in generalized terms. This phenomenon can be observed in European power metal as well. After having studied Euro-power metal as a composite phenomenon, a rough sketch outlining the developmental trajectory of said music began to take form:
1984-1989: The first wave of European power metal.
1990-1995: Intermediate period.
1996-2001: The second wave of European power metal.
While not a perfect model, this rough periodic division will be used as a framework for discussion in the articles to follow. The relatively lengthy timespan that has passed since the putatively defined second wave of European power metal will be left out for the moment, primarily (and regrettably) because there hasn’t really occurred much of a development in power metal since the early 2000s. If anyone sits on information that invalidates the above statement, feel free to chip in – this writer would be very pleased to be proven wrong on this front.
Accordingly, the second part of this article series will be mainly devoted to the development and characteristics of the first wave of European power metal and the intermediate period that followed in its wake. Instead of approaching the subject in thoroughly generalized manner, a ???-track compilation will be used as source material to make observations about the historical development and specific traits of first wave Euro-styled power metal. Please not that this collection of tracks is by no means intended as a “best of”-compilation but should rather be viewed of as a springboard for further discussion.2 Comments
Tags: Adramelch, death metal compilation, Europeon power metal, Final Prophecy, helloween, history of metal, Introduction to Power Metal, judas priest, Mephisto, metal academia, power metal, Running Wild, Scanner, Thunder Way
Great Goath! First impression is, this new output from Goath is pretty darn good. The artwork seems excellent. Some of their other releases didn’t quite do it for me, but this one hits the spot. There is a nice mix of basic time signature riffs. The main thing is that the high level of aggression in all the instruments and vocals works on this one, whereas the other stuff I heard before was boring and lower pitched, like war metal kinda, with some Deicide. The whole thing sounds really old school underground, not aiming for total show-off or the best production, but instead going for authenticity and aggressiveness.
Metal, like punk, once a lawless wild west where no attitude or ideology was unwelcome or too extreme. But after hipsters unifed the masses of 90’s counter cultures into one mainstream culture, a far left ideology was adopted by and heavily policed within nearly every sub/counter cultural music genre (metal included). Despite this being the exact opposite of what metal has been about for many decades, the desperation to fit in has left many of the aging neckbeard social outcast fake metalheads to adopt this heinous bastardization of music’s most honest genre and collectively enforce these new mainstream social rules. And just like in the mainstream culture of today, breaking any of these rules (or having broken them in the past before these social norms were instituted) is designated with a swift lifetime band from showing yourself in public in the U.S.
Lately, a lot of metal bands have been getting in trouble for doing things that progressive liberal culture finds unacceptable. Many bands have been confused by the rules, as progressive liberal logic is absolutely nonsensical, and therefore musicians struggle with the details behind this new social paradigm. Having fought the left in our culture war for several years now and being often confronted with these nutcases, I determined it would be in the best interest of metal’s very badass musicians understand what crimes and behaviors are okay. Please find below, a very thoroughly researched look into the disturbed mind of Social Justice Warriors:
Chart 1: Individual’s Morality
ASSAULT (MALE VICTIM) YES
ASSAULT (FEMALE VICTIM) NO (Unless you’re signed to Profound Lore)
PEDOPHILIA NO (Unless you write for MetalSucks)
GRAVE ROBBERY YES
SAYING MEAN THINGS ABOUT MEN YES
SAYING MEAN THINGS ABOUT WOMEN NO (Unless you write for MetalSucks)
SAYING MEAN THINGS ABOUT WHITES YES
SAYING MEAN THINGS ABOUT ANY OTHER RACE NO (Unless you’re signed to Profound Lore)
SAYING MEAN THINGS ABOUT CHRISTIANS YES
SAYING MEAN THINGS ABOUT ANY OTHER RELIGION NO
SAYING MEAN THINGS ABOUT LGTBTQ NO
Once upon a time, musicians needed to have a fat budget for a decent studio recording (and therefore, a record label to front the bill on the onset). But even with one, many extreme metal recordings in the 80’s, 90’s and 2000’s still sounded like complete ass. Even insanely popular death metal bands like Cryptopsy, who have sold over half a million records, have had albums with production so shitty that I can’t hear most of the riffs. Aside from a few innovators, most audio engineers (back when it was possible to make a career out of it), simply did not know how to record and produce metal.
However the industry has changed mightily over the last 15 years or so, and in today’s music world the phrase “everybody’s an engineer” is deeply rooted in truth. Whereas high end recording software was once closely guarded and outrageously priced, the freedom of file sharing as put many high end tools in the hands of the public at no cost and without the need for professional training to use. No longer do you have to shell out $10,000 for an album that sounds like it was recorded in the prior decade, nor do you need take out a ludicrous college loan for audio engineering school. Instead, all you need to do is make a few quick downloads to successfully arm yourself for a quality recording (assuming, of course, you have done your homework in practicing your instruments and listening).
This change in landscape greatly benefits the type of music personalities we saw in Darkthrone, Burzum, and Graveland- top-tier musicians more concerned with their art and ideology than pandering to a room of idiots via live performances (yes, I know Graveland and Darkthrone both played live: it was only at microfractions of their careers). And given that lefties are regulating and policing which bands are allowed to play live shows, there’s all the more reason for defiant metal musicians and bands to forgo live performances and focus their energies on quality studio recordings. With narcissism, attention seeking, and fan expectations removed, the opportunity for quality recordings to flourish is undoubtedly more abundant.
It is an honor and privilege to present to you, the readers of this infamous site, the favorite battle-tested software and tools from a road-tested veteran who began a career in metal when freeware first became widespread some 15 years ago:19 Comments
Tags: Audio Engineering, burzum, darkthrone, DAW, death metal, Digital Audio Workstation, EZDrummer, freeware, graveland, Guitar Rig, Izotope, mastering, metal, metal recording software, metal software, Midi, Mike Kyre, MikeMetal, one man bands, Pirate Bay, pirating, Reason, recording, remasters, software, Tabs
At the final level, every object or idea in our world becomes reduced to a single line said in passing between people. This usually consists of a quality assessment plus a scope, such as, “The FIAT 500 is a great car for driving between your garage and a repair shop.”
If we were to do this for Nightworld, a movie featuring the charismatic Robert Englund of Freddy Krueger fame, our summary would be, “It is a good first chapter for a horror novel.” (more…)11 Comments
[Sections of this article by Jerry Hauppa].
The Finnish scene has spawned an impressive number of death metal giants, possibly the strongest overall scene with no band searching for shallow fame or popularity and each band exploring their own sound in complete artistic integrity and more often than not achieving powerful results. Though all these bands have captured the hearts and the imaginations of Hessians everywhere, one four-piece has managed to completely change the face of death metal. Releasing one album that elevated metal into being recognized as an intellectual genre in the eyes of the mainstream, so much so that the mainstream metal media fled from this album as no one could commercialize and democratize what was being played here, Demilich were unfairly pushed back into the underground when they deserved adoration from the masses.13 Comments
Few things in life are more masculine than Castlevania. In fact, the New York Times bestselling book The Alphabet of Manliness includes on its short list of “definitive winners in history” the likes of Castlevania 1-4 and Symphony of the Night. Castlevania is also the most metal non-metal piece of Western creativity outside of Lord of the Rings. I mean shit, you’re out crusading and fucking up demons and monsters on behalf of the church, shoving crucifixes up asses and drowning degeneracy in holy water. It’s exactly the kind of shit that true metalhead Hessians and Templars should be doing to SJW the soy metal mutants infesting the underground in incredibly large numbers (who can be open-endedly interpreted to be the grotesque villains of Castlevania lore). DEUS VULT- butcher and savage them all! Even those who think video games are gay (most of them are) can appreciate how based Castlevania is.
But on that note, the relationship between video games and metal is strikingly more prevalent than people realize. The artwork for Burzum’s legendary first two albums are based off of a strategy guide for an RPG game called The Temple of Elemental Evil and much of the music also sounds like it could be lifted from a video game soundtrack. Fucking Dimmu Borgir’s Stormblast (much respected around these parts as indicated in the DLA) actually had a track that was ripped straight from a video game, meaning that that weirdo top hat wearing son of a bitch probably jacked even more of their keyboard melodies from video game soundtracks. What a fucking scumbag! But truthfully, as the goofy ass 8-bit black metal YouTube trend indicated- a lot of black metal was heavily influenced by video games. And honestly, coming from a 32 year old millennial who got into metal at the tail end of the 90s- my first dose of minor key melodies was from the boss battles and last levels of video games.
I hope you neckbeard philosofags are paying attention, because there’s an important fucking point to be made: the next generation of metal musicians will be heavily influenced by video games. And so whether video games are a staple of life-failure nerd culture or not, they will have a hand at crafting the next wave of metal. But as we’ll find in Megadriver’s Metalvania album, this may not at all be a bad thing…19 Comments
Metal is facing a decisive moment in time. As a genre and an entire sub culture, it’s threatened with a massive flux of outsider interest into what was once an isolated community forged in passion. Metal was a cause for tight bonds among like minded disillusioned youth that wanted nothing to do with the status quo, a lawless free for all where no ideology or point of view was too extreme. Thus grew a voice to rally against the farce of mainstream politics, social acceptability, resolute contentment with mundane lifestyles and herd mentality. Though acts like Black Sabbath and Iron Maiden were to find great success within the public large, they laid the groundwork for that rebel yell that gave the disgruntled youth the foundations for connecting with others so disconnected. And with such a ground roots movement that metal was, true artists and musicians who may have never have been given an opportunity to rise otherwise were now rising and exponentially so. Quickly NWOBHM became speed metal became death metal became black metal. Then, as with all great explosive cultural movements, metal began losing its traction and sight of its original goals of fighting against the mainstream culture of quantity over quality. But it is now that we see its greatest threat in its acceptance by the masses. Now it is being taken for a boutique exotic exploration into what most really don’t want to explore: cold unforgiving reality.9 Comments
[Join DMU editor Brock Dorsey on the first of a two part massacre of the soy metal sub genre that has bastaradized black metal beyond the belief! Also, this image is an actual cover from an actual post black metal album- you can’t make this stuff up!]
Post black metal was an embarrassing sub genre of soy metal. Built upon a foundation of either screamo, pop punk, metalcore, math rock, shoegaze, or avant-garde and fused with the most minimal touches of black metal, post black metal was a flavor of the week(/weak) trend that lasted from around 2009 to 2014. The genre name is misleading, however, as most bands only claimed to be metal and incorporated only slight touches of metal characteristics before abandoning them completely in future releases. As indicated by its core standard bearers being dropped by labels, performing terribly in sales and Facebook likes, and being forgotten by fans, post black metal has finally passed away. As we lay it to rest with one final cremation in the SMR fashion, let us learn from its failings as the future looks to more traditional forms of heavy metal to restore a once proud genre.
First, we must understand metal history to understand how such an abomination could happen, as Post-black metal followed a number of flavor of the week black metal trends and bands. The first of these, symphonic black metal, sent many fans of the original (true) black metal genre into a frenzy with their incorporation of gothic influences. What was to come would be much worse, however, as the soy metal bands marketed as black metal would prove to be far more embarrassing than the Victorian campiness of Cradle of Filth or the industrial meddling of …And Oceans. The next flavor of the week black metal trend was cleverly concealed in a cloak of static, but the hipsterisms of “depressive black metal” would soon be known to the world. Time was not kind to the legacy of Xasthur and Leviathan, both of whom are now widely panned against the metal community, as where the thousands of “bedroom black metal” clones who polluted Myspace. With many short lived flavor of the week trends (such as “Norsecore” and “Cascadian black metal”) and bands (Kult ov Azazel, Inquisition) in between, the soy metal- black metal hybird that was post black metal was the next successful marketing scheme to deceive young and retarded metal fans alike.
Performed mostly by wealthy but useless trust fund kinds from liberal cities, post black metal was to metal as emo was to rock music: feminine, tame, and a complete and utter bastardazation. Thus, post metal was eventually abandoned by its former fans, spat on by the metal community, dropped by metal/rock record labels, and remembered poorly by music lovers. Much like how the rent some of its musicians was eventually cut off from their parent’s bank roll, post metal was eventually told to stop leaching off the metal community so that the genre may maintain a shred of dignity.
Brace yourselves for an infernal evisceration unlike aynthing you’ve ever seen before, because in this edition of SMR, we won’t just be sadistically reviewing albums…
…we’ll be sadistically reviewing careers.
Tags: altar of plagues, archgoat, art rock, Black Metal, burzum, cradle of filth, drone, drugs, dsbm, ghost bath, hipsters, Hunter Hunt Hendrix, Leviathan, liturgy, magazine, metal, metal-archives, nuclear blast, post-black metal, post-rock, sadistic metal reviews, screamo, smr, soy metal, trust fund kids, vice, wolves in the throne room, xasthur