Sepultura and Les Tambours du Bronx – Metal Veins: Alive at Rock in Rio

sepultura_and_les_tambours_du_bronx-metal_veins_alive_at_rock_in_rio

Had Sepultura taken this direction instead of the path they chose on Chaos A.D., they would have receded into rock history as legends and not warmed-over attempts at former glory that got swallowed by their attempts to popularize a form of music that is inherently against all things dictated by popularity and illusion in the heart of the individual.

As every write-up on this band will tell you, Les Tambours du Bronx are a sort of Blue Man Group from New York whose shtick is to have a dozen men banging on samizdat percussion instruments, most visually impressive when made from 55-gallon drums and malleted with baseball bats. Like Crash Worship, on whose fame they surely predicate their own but with an intent for a more public spectacle, Les Tambours du Bronx put on a show that is as much visual as audial. They team up with Sepultura, playing its crowd favorites from Chaos A.D. onward into the post-Max years. The result shows a great deal of promise that with a nudge it might live up to.

To make this a great release, they would have dropped the vocals and given Andreas Kisser more time lacing his lead guitar through the riffs like a jazz player covering an old standard in a new interpretation. They might have allowed Sepultura to do what they do best, which is to write a string of ear-snagging riffs in a riff salad that nonetheless makes sense, and let the rhythm of Les Tambours du Bronx carry the songs entirely. This would have given the music an intense ritual air with primal undertones that belong to no tradition and fuse the modern with the energy of antiquity. Instead, as usual, there are too many chefs stirring the pot, or as it might be said for metal music, too many influences warring for dominance. Random industrial noises and squeals, the ranting pseudo-death vocals of Derrick Green and other attempts to impose rock-style song structure onto this open jam limit its power.

Since leaving speed/death metal behind, Sepultura have sought a way to become a Ramones for heavy metal, playing simple riffs that unite a carnival crowd and bring people to a point of energetic focus. Similarly, the style of percussion on this album creates a massive feeling of unison especially as it internally deviates from the archetypal rhythms it sets up for the audience to follow. Together these make for a spectacle, but the musical intensity is not here mainly owing to the lack of focus on the Sepultura side. Instead of trying to use outside forces to accent their own music, they should adapt their music to complement those forces and through mutuality, achieve something new. Metal Veins: Alive at Rock in Rio as a live album makes for dubious listening owing to the muddy sound, but with this being basically a “we’re different” stunt using nu-Sepultura in unchanged form, it offers little for repeat listens.

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Metal Meowlisha: A Headbanger’s Furball IV live show on December 21, 2013

metal_meowlisha_a_headbangers_furball_ivHeather and Donald Tardy (Obituary) may operate the world’s most unique charity. Metal Meowlisha consists of metalheads helping cats, and it presents its annual fund-raising concert live in Tampa, FL with Terrorizer, Exhumed, Druid Lord and a host of other bands.

Metal Meowlisha cares for the large number of feral cats loose in Southern Florida. They trap feral cats, neuter/spay them, and return them to the streets so that the population of additional strays is reduced. Metal Meowlisha also provides medical care to strays, feeds 20 colonies of feral cats, and attempts to help lost and injured felines find forever homes.

The concert will be held at the legendary Brass Mug and include a raffle, BBQ by Trevor “T-Bone” Peres of Obituary, and performances by a number of high-profile metal bands. All proceeds go to the Metal Meowlisha (you can also donate via email). Raffle prizes include a Dean Guitar, a bar tab, autographed merch and more.

There are additional reasons to help cats other than the cats themselves. Outdoor cats kill 1.4-3.7 billion birds per year in the US alone. Limiting feral cat numbers through trap-neuter-release and giving them alternate food sources lessens this assault.


Metal Meowlisha: A Headbangers Furball IV [ event ]
Terrorizer, Exhumed, Promethean Horde, Dark Disciple, Druid Lord and others
Saturday December 21, 2013 at 5:00 PM
$10.00 21 & up / $12.00 under 21 / $1.00 w/ canned cat food
The Brass Mug
1450 Skipper Road
Tampa, FL
813-972-8152

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Sadistic Metal Reviews: Flavor of the Week Metal Pt 2: Death Metal

Last month we ran the first  of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…

Death metal has existed for over 30 years now but the storied genre may finally have seen the climax of its success. Along the way it has been riddled with ridiculous spinoffs that saw tons of low-IQ normies mark out only to promptly discard them into the trash once public consensus realized how outrageous it was. Featuring all kinds of ridiculousness ranging from sideways hat wearing wiggers to throat tatted white trash scene kids, the grand scope of death metal has seen some of the dumbest music ever recorded. Sometimes replicating nu metal and rap, other times mimicking Europeon dance pop, death metal has been degraded and molested in every possible way imaginable. When considering all the horrendous demonization of the genre it’s incredible to think it has survived for so long (despite not seeing may works of relevance since 1994).

It’s the article the basement dwelling Dreipfeil losers did not want you to see, the Sadistic Genre Reviews of death metal’s worst offenders.

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A Metalhead’s Journey to the Light

By Cullen Toner

Many have expressed emotions of extreme shock and awe after discovering the explicitly Christian lyrics and aesthetics of my newest album, Deus Vult. How could I, the former singer/songwriter of New Jersey’s most popular Satanic band, find God and religion after 15 years of playing in bands with misanthropic, anti-Christian themes? What would cause a complete 180 degree change in lifestyle, a complete about-face in world view? And why would I recklessly proclaim such a change in heart to a world of black and death metal that would so surely respond in confusion, mockery, and utter malice?

To even consider the answers requires a great deal of courage and intellect, as most in the world of extreme metal have extensively conditioned themselves to the idea that metal, in all of its rebelliousness, is the antithesis to Christianity. But since the spirit of metal is one that has historically challenged authority and convention in a quest for deeper truth, those who truly understand its foundation will not cower from the mere suggestion of radical thought. And to those to I can assure that a long quest for logic and wisdom has unexpectedly led me at the foot of the upright cross. Not only did this provide happiness and fulfillment for the first time, but the foundation for meaning and purpose that many metalheads are currently in a vast search for.

In an attempt to explain as objectively as I can, this is how I came to embrace Christianity as my faith, and what it meant for my relationship with metal music.

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Did Rock & Metal Engineer Societal Destruction?

What do Jonathan Davis, Corey Taylor, and Scott Weiland have in common?  Answering the question “90 Hard Rock singers” would not be incorrect, but there’s something darker beneath the surface – all three men are rape victims.  Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Taylors lyrics are riddled with sexual abuse.

Why were the executives of the murder industry so keen on pushing rape victims as the new face of rock n’ roll?  Furthermore, why were the most popular genres of rock and metal so lyrically obsessed with self destruction?  From Grunge “morality is useless and life is hopeless” to Nu Metal “I’m a freak and everyone hates me” to Emo and Screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been” the message of mainstream rock and metal music has constantly be one of self destruction.  This trend is mirrored by a 25% increase in American suicides in American suicides since the 1990s:

Suicide rates increased by 25% across the United States over nearly two decades ending in 2016, according to research published Thursday by the US Centers for Disease Control and Prevention. Twenty-five states experienced a rise in suicides by more than 30%, the government report finds.

More than half of those who died by suicide had not been diagnosed with a mental health condition, said Dr. Anne Schuchat, principal deputy director of the CDC.

“These findings are disturbing. Suicide is one of the top 10 causes of death in the US right now, and it’s one of three causes that is actually increasing recently, so we do consider it a public health problem — and something that is all around us,” Schuchat said. The other two top 10 causes of death that are on the rise are Alzheimer’s disease and drug overdoses, she noted.

With statistics like this, it’s absolutely time to panic: our society is being marred by growing influences- intentional or not – to destroy ourselves.  Let’s examine music’s relationship to this now obvious horror and see if we can determine why this is happening.

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/smr/ Sadistic Metal Reviews: Terrible Traxx Edition

In our search for great metal in the internet age, we are constantly being swarmed by legions of mediocre bands releasing countless albums ranging from terrible to passable. Most bands aim to replicate their idols without understanding what actually makes them great and others rely on gimmicks or illogical hybrids of styles in their attempts to distinguish themselves from the herd. Sometimes we stumble upon fleeting works that point to something greater but those are few and far between and most of us do not have the time to sit through hours of meaningless music In hope to find a flash of brilliance.  Yet sometimes we come across music that is so bad not through neglect nor lack of skill but through the mental decay of the composers and troubling musical choices. In these situations all we can do is laugh and learn to not become like these people. Here is a list of songs showing various metal musicians at their lowest.

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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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The Most Popular Death Metal Bands- Who is #1?

Who is the most popular death metal band?

It’s one of those esoteric questions that wanders in and out of the mind without a quick Google search to offer a definite solution.  But today it dawned on me that if I don’t try to find an answer, it’s unlikely any one else will do a decent job at doing so.  And given the fact that deathmetal.org is the number one site that comes up when you Google “death metal news,” I believe we have a journalistic duty to present the world with this information.

Since where to draw the line on what’s “true” death metal or not is a matter of opinion moreso than concrete fact, I determined that anything labeled “death metal” would be fair game whether it truly was a pure death metal band or not.  Therefore I’d consider melodic death metal, black metal, and even deathcore in an effort to find who had conquered the greater sphere of death metal.

Unfortunately, the Nielsen record sale tracking data is not public and often does not identify how well an album has sold for many years after its release.  Thus, I determined that the most accurate metric for mining this data would be to measure by Facebook likes.  Yes, I know it’s not an exact science- many fans aren’t on Facebook, and many people click a band’s like button without really listening to them.  But still, it was as good as I would ever get to finding who the most popular band in the greater bounds of “death metal” truly was.

I expected to see the favorites of the 90’s metal press and MTVX dominate- Cannibal Corpse, Morbid Angel, Decide, Death, and probably In Flames take the number 1 spot.  Imagine my shock, that only one of these bands even cracked the top 5!  I had always heard about Morbid Angel and Deicide had the highest album sales, but it appears neither band has been able to conquer the internet age.

So again, this list was populated within very forgiving boundaries (bands loosely considered death metal, whether or not I believed them to be), and the best metric I could come up with.  Also, DO NOT FUCKING EVEN THINK OF CONFUSING THIS AS BEING A LIST OF THE BEST DEATH METAL- IT IS QUITE THE OPPOSITE!!!  And finally, if there are any bands you think I missed please let me know in the comments below and I will gladly do a live update and give you credit- maybe.

Without further ado, here is – for the first time in history – a list of the most popular bands that people considered to be death metal, and an explanation to why I would endure the immense visceral hatred for even considering them:

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