SJW Panic Causes Label To Drop Retro-70s Heavy Rock Band Dream Machine

According to The Daily Dot, 1970s heavy dark rock with metal influences band Dream Machine has been dropped by its label, Castle Face Records, for “controversial” statements regarding feminism and immigration.

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Corporate Metal Labels Caught in a Death Spiral

Earlier this week the publishing catalog of metal mega-label Century Media has been pawned off for an undisclosed sum to Reservoir Media, a publishing boutique holding the royalty rights to songs by a variety of pop artists ranging from Drake to Lady Gaga. In investment terms, a boutique is defined as a financial firm that deals with a specific market, so picture Reservoir as a wealthy Wolf of Wall Street-like conglomerate recklessly gambling with the royalties of musicians. This is common in the modern music market, where suits are making bets on the evolving payout methods streaming services, but the surrender of Century Media’s entire catalog of albums (Death, Paradise Lost, In Flames) to a finance firm playing with house money goes to show how desperate the corporate metal labels of yesteryear have become.

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Dream Theater Are Pop, Not Progressive

Dream Theater are commonly mistaken to be a “progressive” metal band. Their fans love to brag about how “progressive” the band is as it makes them feel smarter than the typical rock and mainstream Maiden and Metallica metal fans. This is the same sort of intellectual smugness that pretentious urban leftists and the communist-infiltrated ivory tower have about the working class, those who do not shout whatever their currently favored political slogans in the street are like Mao’s Red Guards, or whoever openly dislikes the latest pretentious socialist realist film awarded a trophy by the liberal media shills to promote their Marxist agenda.

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Dream Theater to play in Belo Horizonte

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Article by Jon Faugustus.

Dream Theater will be presenting themselves in Belo Horizonte, Brazil, at the Teatro Minascentro. This event adds to one more high-grade theater venue being defiled by the conformist pop this bands sells out to insecure young adults, and ex-Motley Crue fans going through middle life crisis.

Brazil, like Japan, is one of the go-to countries for any mainstream band seeking international recognition. The metal fandom there is as unoriginal and undescerning in their tastes as in the metal the artists produce. This is why it is not surprising to find 1/10000 bands worth listening to occasionally arising from such geographic locations.

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Manilla Road – Dreams of Eschaton Released

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Manilla Road‘s unreleased “Mark of the Beast” album, recorded between Invasion and Metal, has been pressed to CD and LP by High Roller Records as Dreams of Eschaton. This is the highest fidelity version yet, pressed from a collector’s tape that originated from Mark Shelton himself as detailed on the Nuclear War Now! forum:

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Interview With Deathcore Band Monument Of A Memory

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Paramus, NJ band Monument Of A Memory creates what some call “modern death metal” and others, with a nod to its origins in a late punk/death metal hybrid, deathcore. The band is about to release its second recording, Catharsis, and vocalist Tommy Gehringer and bassist Josh Correa took the time to give us some insight on music and the theory of being a metal band in the current age.

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Dream Theater – The Astonishing (2016)

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Article by David Rosales

Dream Theater never ceases to surprise you; not in a good way, but in how they can always reach the next level of selling out. Not that they were ever produced honest music, though one might excuse their progressive speed hard rock debut (When Dream and Day Unite), at least a little, I guess. Their brand of messy and random stitching of unrelated ideas in a mixture of hard rock and outright Disney pop has gone through a long series of transformations; a move to fool audiences with the typical “constantly reinventing ourselves” excuse that allows them to keep being random.

The band has suffered several crises, even televised ones that would make any telenovella envy them (Portnoy leaves, Dream Theater holds mock audiences to “choose” a pre-selected drummer). They’ve moved with the waves, going dense and long with Systematic Chaos to entice those fans who like to believe themselves metal, then softening up a little with the influence of overrated poser-band Pink Floyd in Black Clouds and Silver Linings to produce long pop songs with some funny stabs at being metal. After that, 2011’s A Dramatic Turn of Events saw them go for their most retro attempt at imitating real progressive rock, with some interesting ideas and passages but ultimately resulting in the bloated and boring pieces their fans expect from them.

Whenever they aren’t busy putting together one of these Broadway soundtracks structured as carnival music, they will be repackaging previous material into more compilations or stuffing their lobotomized fans with yet another live album. Dream Theater lives the KISS dream, with similar tactics, minus the extreme sexual decadence, making them apt for audiences of all ages. A few weeks ago, they released an album that has taken particularly long in arriving, named The Astonishing for major catchiness and acceptance. This album is a two-disc package divided into thirty-four different tracks,  but this is no The Lamb Lies Down on Broadway, and Dream Theater does not even attempt to keep single four-minute songs coherent. They switch from inspirational soundtrack bullshit to gay-pop ballad mode with little to no preparation, only to follow it up by a head-bobbing hard rock groove that is never too aggressive so as to appear actually threatening.

Daddy-rock, Disney-pop and conscious attempts at being as lame as Hans Zimmer have brought Dream Theater to where they are. Sometimes they try to be Pink Floyd, but not too much, lest they be recognized, since Pink Floyd does not have too much they can actually call their own but a lazy syncopated sort of pop rock with bluesy guitar (I really can’t stop laughing when people praise Gilmour as some kind of revolutionary; he was a good guitarist, period). Sometimes they try to go Genesis, but they do not have the consistency, the concentration or the actual creativity, so they resort to disguising their lack of composition talents by attaching whatever they can come up to the latest they wrote down, no matter how nonsensical it is. At this point, Dream Theater sounds like senile Avenged Sevenfold trying to be old Genesis but forgetting about it every other minute as, if they already have Alzheimer’s.

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