Revenge posts “Wolf Slave Protocol (Choose Your Side)” from Behold.Total.Rejection


War metal band Revenge have posted a peek into their upcoming Behold.Total.Rejection, which will be released November 13, 2015 on Season of Mist Records. The new track “Wolf Slave Protocol (Choose Your Side)” shows this band going further into its Blasphemy-inspired noise-fueled attack that uses almost linear evolution of a central theme to create a texture of grindcore-style riffs.

Like most of metal, this band navigates between the extremes of fru-fru technical rock which is essentially warmed over 1970s music, and the droning three-chord “authenticity” that finally ushered punk into entropy. Metal fans should ask whether they will be able to listen to this song repeatedly over the years and still get a sense of energy and purpose from it. Many of the best metal bands use some melody and more structure to spice up the otherwise raw aural attack in order to avoid lapsing into intense similarity between tracks and albums.

The band also released a tracklist for Behold.Total.Rejection:

  1. Scum Defection (Outsider Neutralized)
  2. Shock Attrition (Control In Decline)
  3. Wolf Slave Protocol (Choose Your Side)
  4. Mass Death Mass
  5. Mobilization Rites
  6. Silent Enemy
  7. Desolation Insignia
  8. Hate Nomad
  9. ETHR (Failure Erased)
  10. Nihilist Militant (Total Rejection)

Season of Mist released the following statement:

Founded in 2000 by J. Read (BLOOD REVOLT, ex-CONQUEROR), REVENGE has since delivered some of the most severe and violent music the metal underground has ever produced. Using militant imagery, and behind the force of savage live shows, the band has built a die-hard following amongst the extreme factions of the black and death metal scenes. Simply put: they are one of the most extreme bands in existence. ‘Behold.Total.Rejection’ is arguably the most fervent release and a manifesto of rejection – rejection of the groundswell of mediocrity within the scene, rejection of compromise as a means of embracing of a wider audience, rejection of the dogma and strictures of religion and the trappings of the feeble social slave. ‘Behold.Total.Rejection’ is a torrential barrage of relentless animosity. No scene. No brotherhood. No remorse.


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Cliff Burton, the prototypical hessian

Yes, I know this news bit is one month late, but for someone who so perfectly filled the classic hessian profile as Burton, it is well worth posting:

Castro Valley rock legend Cliff Burton was posthumously inducted into the Rock and Roll Hall of Fame with the Bay Area band Metallica this month.

Burton’s father, Ray, accepted his son’s honorary induction during ceremonies in Cleveland, Ohio on April 4.


Brackett recalled Burton as a quiet and cheerful musician who appreciated classical pieces by Bach as much as he loved the songs of punk pioneers the Misfits.


No matter how busy he during rehearsal and recording sessions with Metallica, Burton always found time for one of his main loves—going out and fishing on Lake Chabot, according to Brackett.

– Robert Souza, CV Rock Musician Cliff Burton Inducted in R&R Hall of Fame, Castro Valley Forum

Cliff Burton was not just an easy going, long haired maniac with a superior compositional talent and one hell of a bass player, he was also fond of nature and of centuries-old european music, sported bell-bottomed trousers long since it stopped being fashionable to do so (usually justifying his taste in clothing with “this is what I wear, fuck you”) and was the true creative leader of the world’s most known speed metal band, Metallica.

To remember this exceptional musician, here are some Cliff-related videos for you to enjoy.

Metallica’s classically influenced track “Orion”:

A rare 1984 interview with Cliff (not so rare now since it’s on YouTube):

Playing with Metallica, “For Whom the Bells Tolls” in 1985:


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Judas Priest – Firepower (2018)

Judas Priest came from that intermediate stage between proto-metal and hard rock that emphasized really intense conclusions to compelling but basic riffs, and with Firepower, the band returns to form by delivering those moments of ritual ascension in which the foot-stomping, hand-flinging, and head-thrashing impulses join a sense of profundity through consilience as each track comes together.



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Ancient – “Eerily Howling Winds” (1993)

As previously pointed out by the editor of this site, metal demo recordings does not exist as crass commercial propositions with the sole purpose of advertising the market viability of the artist, but function — at least ideally — as independent works produced and distributed without further infringement from the recording industry. In spite of eventual shortcomings resulting from lack of budget, experience, and time, demo-level recordings remain a breath of fresh air because they oftentimes capture bands at a nascent and untempered creative stage.



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Trendkillers #2: Blast Beats Must Die!

The blast beat has had a very unlikely journey through its relatively young lifespan in music.  Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion.  This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity.  Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music.  Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.

For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit.  And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.


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The Relevance of Obsessed by Cruelty

Article by Hereweald Cola Algar

It is not secret that old Sodom is well-respected around this part, if not at least thoroughly enjoyed, despite the precipitous downfall that the band suffered after the eighties towards an apparently never-stopping race to the lowest possible level. The reason for this attention, this admiration, for an obviously caveman affair like Sodom is that despite its used of underdeveloped riffs and its reliance on harsh rhythmic hooks, the same limitation forced the band to look for ways in which an enveloping darkness could be expressed.  The result, at the band’s highest point (arguably at Obsessed by Cruelty), are proto-labyrinthic songs that return to strong riffs, and so do not loose either drive or become lost in an overly complicated search for more material to cram.

Acquiring the Taste : A Tour Through Progressive Rock, Part I

Since progressive rock first arose out of British and North American psychedelia, it has crossed every boundary that it could identify, which makes it like metal more a question of a spirit than a concrete set of musical or extra-musical traits. We can identify a few aspects of this spirit: a desire to make unique song forms which fit the shifting demands of their content, a passion for exploring melody and harmony, an obsession with the unconventional, and a chameleon-like ability to explore other styles and adopt them as its own.



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Immolation, Azarath, Melechesh Live In Poland On September 27, 2017

Immolation fiercely maintains its reputation as both innovator and creator of a long run of relevant albums in the death metal genre. The band appeared in Poland on September 27, supported (besides opening bands Sincarnate and In Twilight’s Embrace) by Melechesh and Azarath. In every case the sound was at least good and with their performances they all have made great impression.



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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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