Derketa – “In Death We Meet”

Derketa – In Death We Meet full length CD available this Thursday, May 24th.

  • $13 for US, $17 outside of US, Paypal to
  • Email for shipping quote of multiple quantities.
  • Snail Mail, money order made out to:
    Sharon Robinson
    P.O. Box 44271
    Pittsburgh, PA 15205

In Death We Meet will be sold at MDF at the Sevared Records merch booth, $10.

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In just one week, the nauseating disease that is liberalsim has managed to shutdown the tour of a black metal/shock rocker and breakup a black metal/crust band.  While this is to be applauded in this instance as crusty black metal is paradoxal and live black metal is outright cringeworthy, it is atrocious that there are so many happenings of metal being bent over and embarrassed by an ideology as frail and useless as liberalism.  But contrary to the voices of life dropouts, the solution won’t be found in neckbeard occultism, Paganism, or other extensions of fatalism.  This disease may only be obliterated by THE TEMPLAR and their mercilessness opposition!  This means unapologitic masculinity, the re-institution of theocratic imperial order, the abolishment of atheism and materialsim, the cruel shaming of sodomites, and the complete annihilation of individualism and its atrocities.  The only true freedom is in complete submission to the LORD, who unleashed these plagues on a Western world that turned away from his divine order in 1789, closed their ears to his commands in the 60s, and completely fled his divine law in the last decade.  If you don’t soon take up the cross you’ll see your precious metal scene completely overrun by masculine women, post-emo beta-males, and neo-commies who will erase your metal heroes and replace them with emasculated champions of diversity!  DEUS VULT OR DIE


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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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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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#Metalgate: Nu-Death SJW Shawn Wright Has Meltdown Over Ignored Album


Shawn Wright of Bestial Evil USA, who has in the past acknowledged his SJW status before embarking on a campaign to remove my Facebook account by complaining to Facebook’s SJW admins, has experienced yet another humiliating internet meltdown.

After the release of the most recent Bestial Evil USA album, Infectious Cross, which achieved zero acclaim for its generic Discharge-meets-Immolation style of metalcore, Wright was seen on Facebook berating at length those who were less than impressed by the album. This made it all too easy for one internet troll, who got under Wright’s skin and relentlessly led him on, provoking the apparently credulous Wright into a tantrum.

“I’ll bring some presents with me,” Wright said, in response to a transparent taunt. He promised to come to Texas and “smack the bitch out of you,” apparently forgetting that he was in the past accused of sexual assault and misogyny. Undeterred, Wright raved on: “We will play with War Master one day and I’ll be right there to hand you back your teeth one by one.”

Apparently not realizing that he was being provoked into a foaming rage, Wright continued with a barrage of insults and memes before the troll lost interest and stopped responding. At that point, realizing that he was talking to himself, Wright posted a final salvo and departed into the empty night.

#MetalGate exploded when metalheads began standing up to bullies who, hiding behind political correctness, were forcing their mediocre work on the metal community through the type of guilt that would make a priest grin. After they were called on this, their audience evaporated outside of the SJW circle, which continues to dwindle as people realize that passive-aggressive bullying is no way to go through life.


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Samuel Smith Old Brewery (Tadcaster) – Imperial Stout (2016)

samuel_smith_tadcaster_-_imperial stout

I loathe a chocolate beer, or any other such testicle-neutralizing fru-fru nonsense, but a beer that has a flavor like that of chocolate can attract my attention. Imperial Stout is like chocolate, coffee and whole grain bread mashed into liquid, run through fire, and then smoothed in vast casks of ancient stone. It has a smooth flavor and feel, high alcohol punch, and dense labyrinth of flavors.

Now, keep in mind that reviewing Sam Smith beers and giving them the thumbs up is like shooting fish in a barrel. The shocking review would be one that found one of their products inferior, mainly because they do a good middle-of-the-road job turned up to A+ levels. It is hard to find a better brewery, at least that does not involve hiking for a day to meet some rather spaced-out monks. But, the question with Sam Smith is how to enjoy their beers and why, because not every beer fits every occasion.

With that in mind, Imperial Stout is not an everyday beer. It is more a ceremonial beer, probably more appropriate for the center of the day than its end. It is unrelentingly rich from start to finish. This is best drunk in an iron flagon with a thick cigar in hand, preferably while holding a weapon and/or torturing dissidents. It is a strong, violently excellent beer that may not fit except during special occasions in your life.



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Death Metal Underground’s Best Albums of 2015

It took some time, but despite the deluge of content constantly bombarding us and aspiring metal fans worldwide, we’ve been able to reach some level of consensus on 2015’s worthwhile metal music. Not to say that we’re in perfect harmony (If you’ve been paying attention, you’ll note that there’s some room for dissonance in our musical language), but the hope is, like what our recent reinspection of 2013 revealed, that some of this material remains interesting for more than the year it was released.


Album of the Year

A wrathful reminder of what war metal should have been: a melodically-structured, chromatic holocaust to the god of this world. Jan Kruitwagen’s leads awe listeners and are optimally placed to hold attention just as each rhythm riff runs its course. An impenetrable mix rewards repeated listening to an album that may surpass Kruitwagen’s work on Sammath’s Godless Arrogance. March to Kaeck’s martial heartbeat or revel in shit.



Recommended Albums


Stoic Death

Bolt Thrower meets ritualistic black metal. Rather than cathartic bending into climactic oriental leads, Desecresy diffuse tension by methodically varying into bizarre melodies with carefully placed, otherworldly leads to a steady metronome.
Mid-paced riffing in the style of Bolt Thrower builds tension with melody and drifts off into space with variations and well placed leads. Where Bolt Thrower themselves shoot a rifle at the ballon using rhythmic change to introduce another riff or dramatically bending the riff into a climactic, oriental short solo, Desecresy insert ritualistic blackened leads for dramatic contrast with the rhythmic, power chord riffing.

Review and Interview:


Tau Cross
Tau Cross

Rob Miller returns from blacksmithing to his previous metallic occupation with an album of catchy post-punk in Motorhead and Metallica song formats. Thankfully free of the Godsmack and other MTV influences present on Amebix’s swansong.



Worthwhile releases



An effective album of mid-paced death and heavy metal riffing. There is no psychedelic rock pretending to be Black Sabbath “doom” here. Highly structured; the opposite of the random tossed riff salads of most modern metal. This band takes an approach more like that of classical guitarists toward melding death metal with progressive rock, blues, folk and other influences: it mixes them in serially and adopts them within the style, rather than hybridizing the two styles.

In other words, most bands that try to sound like progressive death metal try to act like a progressive rock band playing death metal, or a death metal band playing progressive rock. Cóndor takes an approach more like that of musicians in the past, which is to adopt other voices within its style, so that it creates essentially the same material but works in passages that show the influence of other thought.

Reviews and Interview:


Morpheus Descends
From Blackened Crypts

This vinyl 7” single features two new, well constructed death metal songs from one of from one of the few truly underrated bands in the genre. Those foresighted enough to purchase the identically-titled CD boxed set version received the band’s entire catalog in one of the rare remasters that sounds better than the original releases.



Bad Magic

One last Motorhead album of mostly Motorhead songs. Nothing “new” is introduced for those in the non-metal audience who disdain metal and wish to feel intellectually superior to the common headbanger. The final work from a relentless machine of a band.





In the Embrace of Evil
Dawn of Possession (Listenable Records)
Order From Chaos
Frozen in Steel (Nuclear War Now! Productions)
For the Security
Arsenal of Glory and Galloping Through the Battle Ruins (Drakkar productions)
Fallen Angel of Doom (Nuclear War Now! Productions)


Those Left Behind
Flesh Assimilation

Crusty death metal of the better than braindead Benediction but worse than Cancer category.

Atom by Atom

I’ve possibly heard too much but Hanger 18. I know too much. Although not as degradingly vulgar as Surgical Steel, Atom by Atom results in a pretty tacky affair. Vocals are as emotional as in the first album, except that in here they seem even more disconnected from the music as the music veers into some sort of progressive speed metal akin to Helstar’s. (Editor’s note: I liked it, but David Rosales was critical)

Blessed Be My Brothers

The band shows promise with their Unique Leader-style rhythmic riffing and soaring heavy metal leads. While being above par for technical deaf metal, aping a different one of your heroes every few verses doesn’t make for particularly enjoyable repeated listening.

House of Atreus
The Spear and the Ichor that Follows

Fredrik Nordstrom’s Arghoslent.

Satan’s Tomb

Technical power metal carnival music.

Iron Maiden
The Book of Souls

Nobody is allowed to edit themselves or turn on their bullshit filters in Steve Harris’s band anymore (Read a full review here).


Kvist meets the randomness of metalcore. Indistinct riffing and songwriting mix with pointless shoutout verses to past greats that makes listeners wonder why they aren’t just playing Sodom and Mayhem in the first place.

Below the Hengiform

Where are the riffs?

Black Speed

Every Teutonic speed metal band gone Voltron.

Ares Kingdom
The Unburiable Dead

The band has no need to repeat half the song just so the guitarist can get over his refractory period and play another solo. This is also an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads. This recording received two reviews in 2015.

Aria of Vernal Tombs

A collection of interesting renaissance faire riffs written into songs that quickly wear out their welcome as metal, becoming RPG background music.

Burial Dimensions

A few strong songs on a demo do not warrant a two CD set of Swedish death with limpid keyboards anticipating the steps black metal took towards mainstream goth rock in the late nineties.

Exercises in Futility

This is the type of black metal as repetitive rock music that ignorant hipsters will praise as “ritualistic”. The album’s title sums the quality of its musical content: futile. (Editor’s note: I wanted to give this album a chance. It didn’t age well.)


Gothenburg cheese and Meshuggah licks are less appetizing than a lead-laced Mexican lollipop.

Charnel Passages

Grave Miasma returns. This time with 1993’s atmosphere.

Crypt Sermon
Out of the Garden

Candlemass meets Soundgarden.

Current Mouth

Every Teutonic speed metal band gone Voltron.

Opus Death

Solid underground metal in the spirit of Sarcofago that is perfectly well-written but does not amount to more than the sum of its parts; does not conjure up any long-lasting message.


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