Strijd: Black Metal Götterdämmerung

Underground metal was rapidly dying by the mid nineties. The more musically successful death and black metal bands became disenchanted with their resulting limited financial success as the hordes of poseurs poured in through the gates of Byzantium, creating commercial rock that merely imitated the tones and texture of the monumental statues of the metal greats. The more popular death metal bands tried and failed at becoming rock stars while many of the more luminous minds in Norwegian black metal bands were dead or imprisoned.

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Meditations on the Death of Wishful Thinking

To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.

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Roots of Evil: The Origins of Metal

With the fiftieth anniversary of metal music around the corner, forthcoming years will witness an increase of publications dealing with the history, legacy and defining characteristics of the genre. This could finally resolve the lack of consensus that still exists regarding the definition and origins of heavy metal.

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King Crimson – Lark’s Tongues in Aspic (1973)

Heavy metal was born in very late 60s and early 70s as a merger of heavy rock, proto-punk, horror film scores and progressive rock, carving out a new form of dark music that spelled out longer phrases than rock by using moveable power chords in complex riffs.

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Malicia – Silencioso Dolor Que Aniquila (2013)

Sandwiched between keyboard compositions which attempt to sound random while hiding a simple progression in notes that initially seem like tangential harmony, Silencioso Dolor Que Aniquila consists of moderately successful compositions using the language of Hellhammer but a sensibility more like a late speed metal band.

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Revisiting The Days When Black Metal Died

“Nothing gold can stay,” reminds us the poet Robert Frost, and this applies to black metal. Its gold occurred between 1991 and 1994, when its progenitors innovated a new style and took it to great heights, but after Burzum – Hvis Lyset Tar Oss, it became clear that black metal was not content to be a normal, rock-style music genre.

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Evil – Evil’s Message (1984)


Article by George Psalmanazar.

Evil were a Danish metal band from the mid 1980s often held up as yet another “lost gem” by record collectors as their sole studio release, the Evil’s Message EP, has never been reissued except for a hard to find, bargain basement compilation with French heavy metal band Sortilège’s self-titled EP in the late 90s. Evil’s Message is far from actually being good though; it is nothing special, bog standard Motorhead and Metallica style speed metal.

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Lame Gates of Ishtar Albums Reissued

Century Media has reissued third rate Gothenburg melodeaf band Gates of Ishtar’s first two studio albums, The Dawn of Flames and At Dusk and Forever, remastered by Dugout Studios (vinyl mastering by Patrick W. Engel) and with new artwork from Juanjo Castellano as the original artwork was “really ugly” according to the band. The band should have been more concerned with writing worthwhile material than artwork for lame, cash-in releases on the popularity of In Flames and other competitors with VH1’s adult contemporary lite rock. Gates of Ishtar were not “melodic death metal masters” but warmed-over bouncy speed and power metal for a late 90s mallrat and Wacken audiences just like the most of their contemporary bands from Gothenburg, Sweden when they weren’t making outright pop music.

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Metal Festers Eternal

Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.

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