Formed in the heyday of the Norwegian Black metal movement and even rehearsing with one of main participants, Hellhammer. Mysticum never fell into the trap of copying the more popular bands and though the death of Euronymous and various issues had delayed the release of their first album, Mysticum are the first band to create what is referred to as “Industrial Black metal”. Being left out the narrative due to their late entry was probably a blessing in disguise as this removed any pressure for the band to copy their first album or to completely change style. Planet Satan takes off from where In the Streams of Inferno left off and develops further the cosmic psychedelic horror that the band started to experiment with other two decades ago.
Dark metal band Mefitis have finally released the album of the decade Emberdawn. The full review can be found here. According to the band, a physical release is planned for September for those who don’t care for digital purchases. Either way it is compulsory listening for all our readers.
Controversial war/black metal hybrid Sammath homebrewed a video for the first track from Across the Rhine is only death, “Ferocious Mortar Fire,” demonstrating the visual aesthetics of a form of ruthlessly inhuman music that sees the evil in humanity as a product of our stupidity, not religious symbolism.
Musical surprises come in various forms and sometimes even within the most cliched tropes, bands manage to escape mimicking their peers with creativity and the will to truly express themselves through pre-defined methods. Here we look at three songs outside the metal universe that attempt such concepts with varying degrees of success.
DMU song contest #3 winners Mefitis return with their glorious debut album Emberdawn. “Kolossos Pt II” which was featured in the song contest gave us a glimpse into some of the incredible ideas that this band has shown. Mefitis has existed for over twelve years and had been plagued by various problems before being put on hiatus for a few years until remaining members Vatha and Pendath who had always been the core duo behind the band managed to reform and eventually release the excellent Widdrim Hymn. A powerful bond marked by shared philosophy has allowed this duo to craft what can easily be referred to as this decade’s greatest metal album. Combining the twin guitar approach of early At the Gates with the melodic sense of Demigod and then layered in the Norwegian Black metal style. Where these approaches have produced a dead end and hordes of imitators, for Mefitis they have opened up new methods for their brand of Dark metal.
In the past, metal journalism used to function mainly as a filtering device; weeding out the bad so that the good stuff would rise to the top. Nowadays, it’s more likely the other way around. We’re now searching for potential in a seemingly endless flow of “interesting” or pleasant-sounding junk. This task often requires time and patience, because those rare and far between releases will often sound similar to their lesser peers on a surface level. One illuminating example would be the Pennsylvanian epic death/black metal act Polemicist and their debut album Zarathustrian Impressions. Their music may not appear spectacular on casual listen, but repeated and concentrated exposure reveal unexpected qualities.
As the nation mourns the deaths of 9 people killed in the Dayton, Ohio shooting on Sunday more information about 24 year old shooter Connor Betts is surfacing based on his newly unearthed Twitter profile. While mainstream media outlets such as the Daily Beast have falsely reported that Betts had no links to extremist ideology, the account contains tweets that profess the gunman’s support of socialism, Satanism, and “Antifascism.”
Among the latest newcomers of note to the realms of underground metal we find Vargrav, a Finnish one-man-band with a debut album released in 2018 and a sophomore effort published just a few months ago. Under the title Reign in Supreme Darkness, this latest album has stirred some attention not only on account of the material itself but also owing to its recent live debut as part of the notorious SteelFest festival which takes place in Hyvinkää, the very city Vargrav hails from.
Sammath returns to the days of its second and third album with a shredding assault that emphasizes tight, technical riffing that keeps to a simple theme and develops it with precision strumming integrated with exacting percussion. This takes the war metal idea into the technical death metal realm while preserving the black metal sense of melody and epic architectures to unite these alienated and reductive riffs.