Monstrosity – The Passage Of Existence
Metal Blade Records, 2015
Working within an establishment genre presents a challenge to the musician: the major patterns are known, and the audience has been inundated with an abundance of bands who can play the style of the classics note-perfectly, meaning that musicians have to either add new aesthetics to attract a lot of fans, or play a subtle take on the older for those with some knowledge.
Conquest Music Inc. recording artist MONSTROSITY will release the “LIVE APOCALYPSE” DVD on March 13, 2012. The specially priced DVD includes their explosive set filmed at the legendary Brutal Assault Festival in Josefov Czech Republic. Also included are interview segments, live clips from South America, rehearsal footage, and the making of the Spiritual Apocalypse recording.
Capharnaum were a short-lived “tech-death” band hailing from Connecticut but then after the release moved to Florida in the dying of the Floridian movement in an attempt to gain recognition for what is a technical Death metal album that genuinely has musical quality beyond mere feats of virtuosity. Influences range from bands like Monstrosity, Death and Iron Maiden with various Jazz techniques inserted. Though this formula has led to an infinitely long list of terrible tech Death bands, Capharnaum avoid these shortcomings by implementing these techniques within a genuine Death metal context and a true passion for genre not halted by technical acumen. (more…)
After the initial explosion of Death metal, metal had finally made the breach into untapped territory. Gone were the tropes of previous influences and the race to reach new summits of musical expression had begun. On the sidelines the speed metal bands saw themselves pushed into irrelevance; hardcore had now evolved into Grindcore and heavy metal heroes had now degenerated into more commercial sounds in order to expand their fanbase in a world that had left them behind. The European power metal bands found escape in Tolkienesque fantasy and escapism. In America, the USPM movement was not interested in the more flowery interpretation of European power metal. Some of these artists recognized the power of the early Death metal moved by Slayer and sought to integrate it into their own music for greater effect. Here we shall omit the failures of bands that attempted such experiments like Satan’s Host or Iron Cross. (more…)
Malevolent Creation have never reached the relative popularity of their Floridian peers, and neither have they received the same degree of recognition. The band members moved from New York in order to follow their dreams of metal stardom, yet they never saw even a quarter of the admiration that Cannibal Corpse and their brand of deficient death metal received. For a short while Malevolent Creation were a band displayed unlimited potential within their percussive style combined with primitive caveman-esque melodies, but they never reached the summits of Deicide, Morbid Angel, Obituary and Monstrosity. The band would eventually fade away due to constantly changing members, drug related stories and the inability to build upon previous works. (more…)
Welp, another school shooting is in the books, and this means we begin the cycle of another nationwide emotional meltdown of reactionary liberals over a founding pillar of our “evil” American culture. Since metal heads and metal journalists everywhere are weighing in on this, and since most (all?) of them are too dumb to say anything logical or researched, it once again has fallen on the staff of DMU to be the sole voice of high-IQ reason in the metal world. For despite guns being legal in America for over 200 years (with over 200 being free of school shootings), despite automatics/machine guns being loose on the streets since at least the 1920s (with 70 of those years being free of school shootings), and despite gun ownership being in steep decline the last few decades (despite school shootings being on the rise), liberals everywhere continue to fall for the totalitarian “give up the gun” scam and blame our second amendment for the mass murder of innocent children. While stats clearly prove otherwise, many miss the true root of this tragedy: the individualism our society has been embracing since the cultural revolution of the 1960s.
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. (more…)
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.
As many movies from the 80s and 90s will tell you (e.g. SLC Punk and PCU), youth counter cultural movements of those decades were once various fragmented groups or “tribes” baring their own identity while all opposing the mainstream Whitney Houston and boy bands on the radio. You had your goths, new wavers, punk rockers, emos, ect. at war with the “jocks and cheerleaders” collective of popular kids and, in some cases, at war with each other. But in the years to follow, the deadly combination of multiculturalism and micro culture has effectively ended this conflict as there was no longer a singular popular culture and therefore no “them” in the classic “us vs. them” dynamic. Therefore, these varying counter cultural factions were unified into one ugly all encompassing monstrosity: the hipster.
As part of our Retro Reviews series, DMU looks into one of those classic bands that was on every Gen X death metal fan’s shelf, but probably never made it out for repeated playing after the early 1990s. Some bands just seem to fade… into the background.