Queensrÿche releases documentary about new album, mini movie

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Queensrÿche began their reign as an Iron Maiden-inspired band that blended American west coast hard rock and progressive guitar rock with the New Wave of British Heavy Metal.

The result peaked in their most famous release, Operation: Mindcrime, which showed equal parts influences from Yes, Led Zeppelin and The Number of the Beast. The result plus passionate songwriting and intensely theatrical vocals proved a hit with fans and critics alike.

Currently, Queensrÿche are preparing a mini movie that uses tracks from their current self-titled album to tell a ten-minute story. The film, Queensrÿche: Ad Lucem, is expected to be released later this month with the followed embedded Queensrÿche songs: “Spore” “Midnight Lullaby” “A World Without” and “X2.”

Queensrÿche: Ad Lucem was created by Veva Entertainment in coordination with Queensrÿche and is directed by Daniel Andres Gomez Bagby and produced by Marco De Molina. It was filmed last month on location at Central City Stages in Los Angeles.

    Queensrÿche is:

  • Todd La Torre (vocals)
  • Michael Wilton (guitars)
  • Parker Lundgren (guitars)
  • Eddie Jackson (bass)
  • Scott Rockenfield (drums)

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Sanctuary – Into the Mirror Black (1990)


Sitting somewhat uncomfortably in between the heavy, speed and prog metal genres, Sanctuary achieved reputable status with their first album Refuge Denied despite having a fragmented and vulnerable identity.  The record itself was a slightly more melancholic take on the style Queensrÿche established on Rage for Order with some carefree thrash moments added in for the more aggressive metal fan. The formula was ultimately more kitschy than timeless, and relegated the band to perennial B-tier status.  (more…)

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Introduction to Power Metal, Part III: 1980s US Power Metal

A salute goes out to Misters Imladris and Kaelrok for sharing recommendations and insights related to the subject at hand.

After having recounted and commented on the birth and evolution of the first wave of European power metal in part II, the time has come for this author to travel across the Atlantic and take a closer look at the contemporaneous development of power metal in North America, commonly referred to as United States Power Metal (USPM).
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Introduction to Power Metal, Part I: Origins and Influences

(Join DMU Legend Johan Pettersson for what may be the most expansive analysis of power metal ever presented in the first of a 3 part series.  Listen to the accompanying suggested listening here)

Of all the subgenres and styles that fall within the metal spectrum (hence excluding unmitigated relapses into rock such as death’n’roll, stoner, nu- and indie metal), power metal most definitely counts as the one that has received the highest amount of scorn and ridicule from critics, fans and outsiders alike. (more…)

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Sadistic Metal Reviews — September 1, 2016

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Humans are by nature delusional. They overestimate their importance and demand that reality fit their simple expectations. And yet, they are very good at mastering known skills, so they are highly proficient, but void of purpose. This hollowness is the left side of the metal Bell Curve, and to separate it from the good stuff, we have Sadistic Metal Reviews!

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Sadistic Metal Reviews – Loute Vire Edition (End of 2015 Series)

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Popularity contests are good for one thing only: determining the degree of decadence the mentality of a certain group. Given the state of sedation and apathy of the general public, it is no surprise that this list shows the contemptible character and inability for self-criticism and assessment the average man is aflicted with. Also, like anything mainstream, very little here is actually metal, even in spirit. Loute Vire especializes in democracy, bringing the average stupidity back to the average person, feeding them their own filth.

Iron Maiden - The Book Of Souls (2015)

1. Iron Maiden – The Book of Souls
Free us from Glam-rhythm Maiden. Character-wise, this nu mid-paced Iron Maiden is a combination of eighties hair metal, power-doom-epic metal in the vein of Candlemass but with the emphasis of catchy Murican posturing. Structurally, it manages to be both formulaic and pointless in its overextension, basically taking the worst from both worlds. Iron Maiden have become the kings of posturing, and even if butthurt fans complain, one must say that this downfall was evident ever since Somewhere in Time and was pretty evident with Seventh Son of the Seventh Son. Stick to 1985’s Live After Death as a synthesis of the band’s golden era and you’ll be fine. Stop feeding Steve Harris’ ego machine.

Ghost

2. Ghost – Meliora
Caricature music that disguises carnival thinking by providing a steady, unchanging background. Ghost know how to fool the enemy, the audience is hooked, distracted by fireworks to the right and to the left, without realizing they are paying for an empty but colorful cardboard box. Ghost, master deceivers, everything is so in your face, that the decadent masses love the fake but safe entertainment that ironic bullshit provides. Surely this would also be released in vinyl format, that’s what hipsters do. They need to keep piling up appearances and hip products. The best thing you can do with one of these is break it and use the shards to cut the throats of Ghost fans.

Tribulation

3. Tribulation – The Children of the Night
This hard rock-ish outfit is probably what Opeth would sound like if they focused on their weirdo rock side instead of jumping around genres without musical justifications or proper transitions, or if Ghost took itself seriously and had a little talent. Tribulation’s may be the best album on this list, as pop and hook-based as it is, it retains the basic decency of proper music in its continuity and coherence. The focus is completely on the guitar lines. Unfortunately, songs do lapse as they are overstretched for the false ‘complexity’ appearance that hipsters, high school nerds and college SJWs like. Worthy of from radio airtime, not more, no less.

(Editor’s note: You know a band is bad when it gets double-SMR‘ed.)

Amorphis-Under-the-Red-Cloud

4. Amorphis – Under the Red Cloud
I may not have been paying enough attention but, when did this originally Finnish death metal band turn into American high school rock balladers with queer Scandinavian leads? (Editor’s note: It began in 1994.) Amorphis seems to have abandoned all sense of pride for a couple of more greens. This is selling out clearly exemplified. Bands, this is what you should not do. Fans, you will only find plastic here.

Enslaved-In-Times

5. Enslaved – In Times
Progressive rock for those who lack the subtlety for progressive rock. Black metal for those too soft to brave the intellectual challenge of not being a sheep. This is long-winded pop and rock artificially styled to appear complex for insecure posers.

Coma_Ecliptic_cover_art_by_Between_the_Buried_and_Me

6. Between the Buried and Me – Coma Ecliptic
Dream Theater meets Avenged Sevenfold with a strong Pink Floyd influence. How do these guys manage to sound exactly the same again yet be so vague in content? All semblance of continuity here, apart from tonality, is only maintained at some cerebral level in the imagination of the band or of the fans who will like any catchy & ‘complex’ turd that distracts them from their monotonous lives. The music itself is a disparaged parade of funny moments.

high on fire - luminifierous

7. High on Fire – Luminiferous
Speed metal on the outside, borish NWOBHM on the inside. This gets old quick and leaves no mark. Like many others, it tries to be an updated, more tough version of Motorhead, and use the old excuse of just “wanting to play good ole rock”. Forgettably redneckish.

queensryche - condition human

8. Queensrÿche – Condition Hüman
It is difficult not to laugh when listening to this macho-man bullshit for young, white posers. However bombastically pop and girly these songs are, they flow well. On the downside, the band never develops or resolves songs, meaning they are only good as groove and hook inducing. Radio garbage.

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9. Paradise Lost – The Plague Within
Boring as ever, or perhaps more than ever, Paradise Lost is still trying to make the album they almost achieve with their earliest music. Never rising above potential mediocrity, this band is a collection of dull moments peppered with pleasing leads. An unexpected heir to this hooky combination of candy and nutrition-less filler is Sylosis. Anyone looking for a casual hit may dig into some of the tracks here, otherwise, refer to classic underground so-called doom metal.

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10. Intronaut – The Direction of Last Things
Alternating angsty with pretty boy vocals, the mark of immaturity. Groove-based music without a clear thematic line, the mark of an empty mind. So, this is basically unthinking, puerile nonsense for people who want to “feel” metal but do not actually like metal. Destroy not only any copies of this but the factories and corporate buildings in charge of producing this mindless heap of catchy garbage.

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Sadistic Metal Reviews 09-15-2015

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Dismember is dead, Fred Estby was d-beaten to the cross, and not even Dave Blomqvist can sweep away these recent Swedish metal sins.

Black breath
Black Breath – Heavy Breathing (2010), Sentenced to Life (2012), Slaves Beyond Death (2015)
Smegma crust derivative deathcore. There’s sludge in here too as this was released by Southern Lord, the idiots who brought us Kim Kelly Kore like Nails and Wolves in the Throne Room. No Swedes are spared by these gang rapists. Black Breath even spread apart the cheeks and felch the fecal matter from Wolverine Blues’ asshole. Listening to any of their releases is hearing them play metal hot potato by passing around that firm bowel movement mouth to mouth like a mother bird feeding her babies. Black Breath lick that shit up and down to get the turd glisteningly slick before shoving it up Kim Kelly’s meat-hooked Hellraiser cunt. From there it will be squeezed out like soft serve ice cream for Pitchfork and Vice’s hipster cones.

Demonical
Demonical – Black Flesh Redemption (2015)
Demonical wants to play with the big boys. They have Boss HM-2 pedals and riffs Dismember rejected when writing the not-so-classic Death Metal. What they don’t have is any idea of how to write an adequate death metal song; these guys can’t even hammer out an effective two and a half minute verse chorus verse thrash basher. The four tracks each attempt to pander to a different lowest common denominator metal audience with their individual use of breakdowns, doomy interludes, and cheesy keyboards. The rhythm guitars take a backseat to the cheesy Amon Amarth vocalizations. There is about a minute of semi-enjoyable generic material on this record.. Snort the line of borax on the floor failure.

Entrails
Entrails – Obliteration (2015)
Three strikes is life in many states. Singapore will hang anyone who walks off a plane with enough junk. Medieval England executed children caught stealing anything worth more than two loaves of bread; mercy meant limbs lopped off. This is Entrails’ fourth offense. These recidivists need to overdose in a Cambodian shack on a cocktail of liquor, Valium, and chloroquine.

Interment
Interment – Into the Crypts of Blasphemy (2010)
Yet another fourth rate band from the early nineties finally recorded an album. The songs are again dick beat punk and the metal riffs were pilfered from Entombed and Carnage. Just like Entrails no label gave these fools money to record an album back in 1993 for good reason. Now that they’re adults with jobs, this garage band can afford studio time to bore us. Interment need to quit trying to live out their delusional teenage heavy metal dreams and spend time with their kids on weekends.

Verminous
Verminous – The Unholy Communion (2013)
Verminous return with more punk rock masquerading as death metal. More bouncy hardcore riffs, more lame samples, and more gang chants. Whatever catchy riffs are on this CD are quickly worn out through strict verse chorus verse pop punk structures that make three minute long songs drag. I want to throw it at a homeless person. The lyrical themes are inconsistent too. Pop Satanism? Okay. Bukkake? Barbatos? Verminous are the Blink-182 of Svensk Döds Metall. Repeatedly listening to The Unholy Cumunion is equivalent to fucking your girlfriend wearing a used condom picked up off the sidewalk.

Drowned
Drowned – Idola Specus (2014)
Soulside Journey simplified into pop music. Drowned grokked the underground’s current nostalgia for the early nineties and rehashed a beloved classic into an easily digestible rock format. Pointless introductions and incongruent atmospheric verses are thrown in to appease doom halfwits and bore everyone else. Darkthrone is being bowdlerized for hipsters just as early rock ‘n’ roll whitewashed rhythm and blues for suburban teenagers. Truly Katy Perry death metal.

Tribulation
Tribulation – Children of the Night (2015)
Tribulation first moved from Grotesque and Merciless worship to Rust in Peace meets Queensrÿche on The Formulas of Death. Children of the Night abandons metal altogether, becoming Moog synth laden regressive goth rock. Tribulation aren’t horror score Goblin now; Tribulation are strict, just out of the closet Lestat cosplayers. Where are the clean vocal hooks for the Cradle of Filth faggots? How the hell are Tribulation supposed to get into Hot Topic next to Deafheaven? They need to put away the Vampire Diaries, pull the buttplugs out of their rectums, and hire a real singer. Then go to Safeway, buy four gallons of bleach, and chug them like forties in the parking lot. That will clean out Tribulation’s gastrointestinal tracts.

Ghost
Ghost – Meliora (2015)
Repugnant failed miserably at death metal. Now Repugnant fail miserably at Duran Duran. Ghost have no musical influences from Blue Öyster Cult or Mercyful Fate; rather they play vocal pop with occasional speed metal riffs. Pop music centered around singing that makes Dave Mustaine sound like Ronnie James Dio. This has to be trolling: the vocalist sounds like Seth Putnam on Anal Cunt’s indie wuss rock parody Picnic of Love; grown men are playing dress up pseudo-metal like little girls having a Satanic tea party. Tobias Forge should lick lead paint chips off the floor and bash his brains out in the back of a police van.

Cut up
Cut Up – Forensic Nightmares (2015)
Cut Up? What kind of lazy band name is that? What happened to metal bands whose names actually referenced death? Treblinka? Autopsy? Immolation? Cut Up wondered what Dismember meant and looked it up in the dictionary. “What does Dismember mean bro?” “It means to cut people up.” Cut Up cuts up old death metal riff phrases into licks and rearranges them into death ‘n’ roll forensic nightmares. Songs are structured like Cannibal Corpse filtered through the randomness of metalcore. Ample slams and breakdowns disorient into a brain cell holocaust. The target audience is those australopithecines who believe death metal a more extreme version of beatdown hardcore. Go cut up your vegetables.
Dismember : Lethal Weapon :: Cut Up : Samurai Cop minus the amusing bits

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Iron Kingdom – Ride for Glory (2015)

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Sounding like an Iron Maiden with the annoying voice from Queensryche’s vocalist from back in the day, Iron Kingdom make melodic heavy metal with the flexibility and propriety of conscious progressive rock. A very clear image of the character, lyrical theme and direction of the music arises through discrete but carefully-considered decisions to express the next clause with a literal musical change to match its change in words.
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Mindcage – Our Own Devices

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Heavy metal with melodic vocal lines, Mindcage immediately calls to mind a cross between Queensryche and Candlemass, writing complex guitar leads on top of rock-rhythm classic heavy metal riffs. This allows Mindcage to create verses which showcase the melodic male and female vocals that serve as the lead instrument in these mid-paced songs, but also facilitate the inclusion of more intense metal riffing and soloing that will please fans of middle-period Iron Maiden. The rock-based focus on vocals pulls inside-out the extreme guitar-centric attitude of most metal bands, but with Mindcage, the result stands on its own.
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