SJWs Attack Pestilence For Mistranslated Comment

As part of their continuing assault on metal and all other things masculine in order to humble them and make them into ideological servants of the Left, SJWs have been slinging verbal feces at Pestilence guitarist Patrick Mameli for using a common Dutch word in response to a jab online.

For some reason, Mameli has adopted Miami dreadlocks as his new style and, when a friend compared him to Milli Vanilli, the 1980s cheese-pop duo who were eventually busted for lip syncing their live concerts. Mameli responded with a simple statement: “Are you saying I’m black?”

Unfortunately, Facebook translated one word incorrectly. In Dutch, as in many European languages, “neger” means black person, just as “schwarze” means a dark person in German. Since Europe did not have the long history of civil rights warfare that the USA did, the connotation of certain similar words is not present, nor the stigma.

That did not stop the SJWs from rushing to arms and beginning to bleat for the removal of yet another quality band from the canon. However, in the end, SJWs have collectively never done anything one percent as impressive as Consuming Impulse, so it’s time for metal to shut them down.

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Vacation’s Over

Ass-tier beta male hacker Tulio Baars ran out of money to keep knocking Death Metal Underground offline. Tulio, you feminine slab of loserdom, that’s all ya got? All that “special Google and NASA training” for a couple weeks of 404? Was it really worth destroying your career for that, as any future employer will google your name and see the related pictures? Did the Brazil trucker strikes knock your village’s power offline, did you get starved off by the lack of food? Will you be taking a helicopter ride once the Third Empire of Brazil is instated in the Chilean fashion?

Tulio, my man, I’m disappointed. I was really enjoying my vacation time, got some beach time in with my hot trad waifu, even got to try that new Mediterranean place down on 66th and 2nd. But now thanks to your technical shortcomings, it looks it’s back to work for me and the DMU staff.

Thanks to all our readers for your patience, with full assumptions that you had better shit to do than to keep entering deathmetal.org into your browsers every few hours. Also, thanks to everyone who visited us at our DMU in exile 8chan board at www.8ch.net/deathmetal/ and went ruthless with the shitposting. Perhaps we will keep it up, and make some rounds there. Barring any more whiny techfag meltdowns, DMU will be back to the usual sadism and destruction tomorrow with an immeasurably stronger resolve and more beta male smashing mayhem. Lefties, soy metallers, fake metal news outlets, and social justice warriors on suicide watch!!! Sodomize the weak!!!

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Concert Review: Metalmania 2018

On  7th  April, another edition of a long standing Polish festival Metalmania took place. One day, two stages, twenty four bands. It was the second one organized after a recent reactivation. The original Metalmania was an early big metal event in that part of the Europe – quite a feat given Polish Communist and post-Communist realities. Then, due to various reasons, the festival was gradually losing its relevance, dwindling and finally went into hiatus for 8 years. There is no sense, however, to cling to its bygone local importance or whatever glorious past. So how does it look now? 

While too much reliance on more mainstream gothic and heavy contributed to a collapse of previous incarnation of the festival, and now it was death and black oriented, the music on the big scene is rather consistently aimed at straight metal through all of its generations and styles, ending with bands like Dead Congregation or Blaze of Perdition and with some of the more modern sounds on a small scene. On a downside, the fest resurfacing mainly as a stage for classic bands may be reflecting the actual state of metal, indicating that the newer bands are unable to fill the void with something equally strong to their predecessors. 

The festival was obviously rough around the edges (and surprisingly violent – I almost got caught into two different fights just from where I was standing) and the sound was uneven and average overall. It was organized better than in the past, but still perceptibly within Polish standards, that is crudely and with lack of imagination or simply negligence in some areas (although Martin van Drunen said on stage that the organization was great!). Perhaps a very fortunate by-product of these characteristics, which may contribute to the positive reception of this festival, is how – I dare to say – conservative it is, both in terms of lineup and general spirit. With Napalm Death and (I suppose) liberal speed metallers on one side and sort of crypto-nazis on the other, who always find a way to show up in some form, the fest also covered broadest ideological spectrum that is possible for a mainstream event. 

As of 2018 this festival is yet to experience types of modern degeneracy, often coming from outside, which can be seen on festivals elsewhere. There were some obligatory side attractions, like exhibition of works of Christophe Szpajdel (who actually speaks Polish fluently), meet-up with the bands and lots of merch, but nothing delving too much into a fan idiocy or really not related to metal. Very few freaks, zero exotic people, no random participants, just fairly traditional metalheads, mostly in the 90s style, as it should be, world without end. However, those spoiled by abundance of propositions and by big festivals in Germany or Czech Republic will probably miss out on some of these modest qualities. 

And then there’s the surreal, sci-fi sight at the arrival – a monumental, Communistic “The Saucer” occupied by nothing but a tribe of long haired, black clad drunks… 

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Dusk-Bound

The success of endeavors that carry with them the implication of development or transformation, such as the evolution of an artistic genre (without any relation to the ‘progress’ of dialectical materialism), requires the constant testing of strength, the crossing of one’s boundaries. Contrary to the beliefs of the simple minded, this does not mean that the act of crossing those lines is in itself enough for a fully-formed conclusion to be presented, although there is indeed great value in violation itself. But one could argue that the great weapons of the mind, enacted, come as a result of a full digestion and re-application of invaluable experience and information that comes from the crude testing of strength, directed towards the intuited limits of the yet unexplored.
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Vincent Crowley Attacks Snowflakes

In a Facebook post, Vincent Crowley (Acheron) attacked the special snowflakes whining about metal and the funderground social justice warrior promoters who refuse to book his new thrash metal band Infidel Reich due to their Third Reich imagery and anti-Islamic lyrics.

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Samael Release “Angel of Wrath” Lyric Video

Samael released a new lyric video, “Angel of Wrath”, from their upcoming Hegemony album which comes out October 13th on Napalm Records. Once again do not buy it. “Angel of Wrath” is boring black ‘n’ roll bullcrap for goth girls who discovered Disturbed and Agalloch. Samael need to quit even pretending to make metal music. Samael now pretend to play metal like how little boys pretend to cook and shave like fully grown adults. Samael need to grow up and get a life. “Metal” clearly is not suiting them.

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Sabaton Shills For World of Tanks

Military history obsessed Swedish power metal and glam rock band Sabaton is now advertising for and having their music featured in the Belarussian massively multiplayer tank shoot-out game World of Tanks according to BlabbermouthWorld of Tanks is a Russian free-to-play, usually pay-to-win game that plays like a slightly more realistic, team based version of Battlezone. Players can choose to drive hundreds of tanks from the 20th century with the ones recently added to the game that players usually have to shell out to use being slightly more powerful before being nerfed into mediocrity. The game is most popular in Eastern Europe and East Asia among teenage boys.

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An Involution of Easter

Bill and Ted found themselves wandering through the middle east, somewhere. The time machine had finally shorted out when Ted connected it to his iPad, causing a brief detour through 1968 Christopher Street in New York and a Royal Navy frigate in 1780 at rum ration time before crashing somewhere into this Semitic wonderland.

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