Black Funeral – Ankou and the Death Fire (2016)

Counting among the longest running US black metal institutions to date, Black Funeral has given birth to a motley collection of musical works over the last twenty-five years, spanning regional adaptions of Northern European black metal, over dark ambient and archaic/industrial drones, through the Les Legions Noires-styled raw melodic approach of later years.



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Acquiring the Taste : A Tour Through Progressive Rock, Part I

Since progressive rock first arose out of British and North American psychedelia, it has crossed every boundary that it could identify, which makes it like metal more a question of a spirit than a concrete set of musical or extra-musical traits. We can identify a few aspects of this spirit: a desire to make unique song forms which fit the shifting demands of their content, a passion for exploring melody and harmony, an obsession with the unconventional, and a chameleon-like ability to explore other styles and adopt them as its own.



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Ungod: The German War Machine That Flies Under Metalhead Radar


History is full of paradoxes. Twentieth century Germany provides one of the major mysteries of the modern era: Why haven’t the Germans produced more high-quality black metal?

The country has been a heavy metal-stronghold since Neolithic times with a significantly high metalhead-per-capita rate. Furthermore, Germany has spawned more metal bands than any other country in Europe with abundant native labels, zines and distros supporting them. Yet, when it comes to black metal, there’s not much to write home about. (more…)


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Sadistic Metal Reviews: Iron Coneheads


Death Metal Underground constantly receives new batches of rock music masquerading as “blackened death metal” for the scenester, “buy everything” market. We microwave these promotional materials inside the homes of people we hate.



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Gorgoroth – Instinctus Bestialis (2015)

Article by Anton Rudrick.

One clear sign that a band’s direction is compromised can be seen through unity of style. In this case, we see Gorgoroth lacking a clear voice of their own, in place of which Instinctus Bestialis offers three main ways of constructing sections and a rather pop-oriented way of building whole songs. The first is a bare bones neoclassical melodic method using two guitars, which is an interesting addition to traditionally more modal and harmonically chromatic genres such as death and black metal. Due to the foreign nature of these, the incorporation can be quite delicate and ought to be treated with the utmost care. The second is a collection of standard modern metal tropes ranging from the rhythmic intonations of deathcore with a low-string chug riff, probably inherited from the most prosaic speed metal. Last is the most important of the three in a rather unexpected choice in anthemic heavy metal, which happens to be the customary choice for commercial metal acts which have become barren of inspiration and direction.



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This Ain’t No Fantasy: A History Of Punk’s Most Iconic Band, The Misfits


Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.



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Sorcier des Glaces / Ende – Le puits des morts (2016)

sorcier des glace and monarque - Le puits des morts

Le puits des morts is a split album featuring Sorcier des Glaces and French black metal band Ende. On the first side, Sorcier des Glaces present four all new songs in their distinctive style of epic black metal continuing from their last few albums (including North from earlier in 2016) after the band’s abandoning of keyboards.



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Blood Incantation – Starspawn (2016)

blood incantation star spawn

Article by Lance Viggiano.

Blood Incantation give birth to a star which rapidly dissipates its vibrant material into a pale dwarf by exhausting concise songwriting early in its lifecycle to leave only the raw core of extended jam sessions which cause the dead to be grateful for their passing. Each proper song begins with a clear objective but rapidly loses focus through descents into ill-fitting random pastiches of mosh riffs, doom, beer horn ready chug or atmospheric atonal ambience. By and large, the latter half of these songs are used to adroitly drift in the vacuum of purpose wherein it makes its residence. Unlike Altars of Madness which similarly abuses the listener by stretching the limits of tolerance towards virtuosity, this group lacks the voracious songwriting that is necessary to avoid wandering by achieving focus to force the captive into loving punishing bouts of self-indulgence.



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