/smr/ Sadistic Metal Reviews – Post Black Metal Eulogy (Part 2)

In post black metal, we saw riffs being declared null and void in favor of atmosphere.  Gone were the melodic harmonies of Iron Maiden and Dissection, the savage atonal decimation of Morbid Angel and Blasphemy, and the memorable rhythm and lead guitarwork of Slayer and Death.  All this came in favor of completely forgettable riffs and songs in favor of an overall spacey “transcendental” experience.  Aesthetically, post metal was the reflection of progressive societal values of the 2010s- the emassculation of men (all musicians were Nu Males), artwork made by douche bag art degree scumbags that live in ghettos, and tame, timid, “spiritual but not religious” lyrics that had not a shred of aggression or danger.

It didn’t have to be like this.  There could have been ways for bands to experiment with post rock/shoegaze elements and still maintain the foundation of a metal presentation, maintain metal aesthetics, and have attitude or edge.  But not a single band- NOT A SINGLE ONE- was capable of doing so, proving that the accusations of these bands/musicians not being metal were to be fully valid and accurate.

This is the absolute end of post black metal before it circles the drain of a shit-stained toilet and is flushed to the bowels of irrelevancy.  A finally eulogy to a genre that never should have happened.  The musicians will bleed out their parents money and then become homeless, get aids from a bad batch of heroin, and die a miserable death in an alleyway gutter where they should have been left to rot at birth.



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Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.

Another related issue that arose during “research” concerns the historical development of European power metal. As have been noted in previous articles on this site relating to the history of metal music, artistic “movements” or periods of development tend last about five years speaking in generalized terms. This phenomenon can be observed in European power metal as well. After having studied Euro-power metal as a composite phenomenon, a rough sketch outlining the developmental trajectory of said music began to take form:

1984-1989: The first wave of European power metal.

1990-1995: Intermediate period.

1996-2001: The second wave of European power metal.

While not a perfect model, this rough periodic division will be used as a framework for discussion in the articles to follow. The relatively lengthy timespan that has passed since the putatively defined second wave of European power metal will be left out for the moment, primarily (and regrettably) because there hasn’t really occurred much of a development in power metal since the early 2000s. If anyone sits on information that invalidates the above statement, feel free to chip in – this writer would be very pleased to be proven wrong on this front.

Accordingly, the second part of this article series will be mainly devoted to the development and characteristics of the first wave of European power metal and the intermediate period that followed in its wake. Instead of approaching the subject in thoroughly generalized manner, a ???-track compilation will be used as source material to make observations about the historical development and specific traits of first wave Euro-styled power metal. Please not that this collection of tracks is by no means intended as a “best of”-compilation but should rather be viewed of as a springboard for further discussion.



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/smr/ Sadistic Metal Reviews: Post Black Eulogy (Part 1)

[Join DMU editor Brock Dorsey on the first of a two part massacre of the soy metal sub genre that has bastaradized black metal beyond the belief!  Also, this image is an actual cover from an actual post black metal album- you can’t make this stuff up!]

Post black metal was an embarrassing sub genre of soy metal.  Built upon a foundation of either screamo, pop punk, metalcore, math rock, shoegaze, or avant-garde and fused with the most minimal touches of black metal, post black metal was a flavor of the week(/weak) trend that lasted from around 2009 to 2014.  The genre name is misleading, however, as most bands only claimed to be metal and incorporated only slight touches of metal characteristics before abandoning them completely in future releases.  As indicated by its core standard bearers being dropped by labels, performing terribly in sales and Facebook likes, and being forgotten by fans, post black metal has finally passed away.  As we lay it to rest with one final cremation in the SMR fashion, let us learn from its failings as the future looks to more traditional forms of heavy metal  to restore a once proud genre.

First, we must understand metal history to understand how such an abomination could happen, as Post-black metal followed a number of flavor of the week black metal trends and bands.  The first of these, symphonic black metal, sent many fans of the original (true) black metal genre into a frenzy with their incorporation of gothic influences.  What was to come would be much worse, however, as the soy metal bands marketed as black metal would prove to be far more embarrassing than the Victorian campiness of Cradle of Filth or the industrial meddling of …And Oceans.  The next flavor of the week black metal trend was cleverly concealed in a cloak of static, but the hipsterisms of “depressive black metal” would soon be known to the world.  Time was not kind to the legacy of Xasthur and Leviathan, both of whom are now widely panned against the metal community, as where the thousands of “bedroom black metal” clones who polluted Myspace.  With many short lived flavor of the week trends (such as “Norsecore” and “Cascadian black metal”) and bands (Kult ov Azazel, Inquisition) in between, the soy metal- black metal hybird that was post black metal was the next successful marketing scheme to deceive young and retarded metal fans alike.

Performed mostly by wealthy but useless trust fund kinds from liberal cities, post black metal was to metal as emo was to rock music: feminine, tame, and a complete and utter bastardazation.  Thus, post metal was eventually abandoned by its former fans, spat on by the metal community, dropped by metal/rock record labels, and remembered poorly by music lovers.  Much like how the rent some of its musicians was eventually cut off from their parent’s bank roll, post metal was eventually told to stop leaching off the metal community so that the genre may maintain a shred of dignity.

Brace yourselves for an infernal evisceration unlike aynthing you’ve ever seen before, because in this edition of SMR, we won’t just be sadistically reviewing albums…



we’ll be sadistically reviewing careers.




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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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RiffsandBeards Hosts Classic Riff-Off

There is an Instagram group known as “Riffsandbeards” that is currently running a contest until March 13 awarding prizes to whoever in the USA can contribute the best riffs meeting the following criteria: you must download and write to the given sample drum beat, and you must upload the video of yourself playing your riff to the beat in two weeks from when the contest was announced. You can view everyone’s contributions by searching for #riffsandbeards3 on Instagram. Given that the only people playing guitar anymore that use social media are modern metal guitarists, the results are an interesting window into the mind of the modern player and broadcasts the pitfalls therein in blaring, naked transparency.



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5 Slam Records that Won’t Insult Your Intelligence

Sometimes in between quests for the perfect transcendent meal, you wind up in the drive-thru.  There’s nothing wrong with that- not every action in life has to be one of self-discovery or grandiose vision- sometimes you just want to destroy yourself as a brief respite from analytical or introspective journeys, which actually provides a contrast that truly showcases the merit in the pursuit of depth but also gives an objective worth to consumables that are designed with much less substance in mind.  There is a place for what is now known as “slam” in the death metal pantheon, and as with any subgenre of course the progenitors are the best examples of it, as prior to its neanderthalic fall from grace it started as marriage of the percussive elements of Suffocation with the over-the-top imagery of gore-focused grind bands while limiting the use of humanistic elements like melody and cyclical structure.  This is a more than valid metal style as it does actually transcend a known formula through divorcing it from song archetypes and instead celebrates an ignorance that is mirrored perfectly in masochistic savagery. Given that is is more rhythmically focused than previous death metal styles is it natural that it would meet its downfall by travelling down an insultingly urban path that betrays the savagery it had once wielded, but it is still worth revisiting a few choice releases to analyze what may unfortunately be the last true movement in a dying genre at the turn of the century.



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Heavy Metal In Academia

The last two decades has witnessed an exponential growth of studies devoted to popular music, coupled with a re-evaluation of past theories and models for interpretation and analysis. This paradigm shift has sparked interest in music “at the fringes” which in turn has led to the unlikely emergence of “metal studies”: a multi-disciplinary field of research centered around all things related to metal music.



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The Importance of the Hessian Ideal

The modern way of life has conditioned people to think and consider their lives a juxtaposition of ‘job’, ‘family’ and ‘hobbies’ along with ‘fun’. This is a model influenced by industrial mentality, which needs vast amount of automatons performing meaningless tasks for the sake of production itself, simply in order to protect the bottom line at the expense of individual quality and relevance. As a result, very few people, indeed an incredibly outnumbered minority, will see and live their job as a craft wherein they find aesthetic and spiritual meaning, and would rather be out the door as soon as possible as long as their salaries are not affected.




Brett Stevens Nihilism: The First Lecture

In Brett Stevens Nihilism, the author introduces an article consisting of a series of twelve lessons which he describes as an awakening to the reality of life.  A tinge of morality seemingly colors the lessons, but upon closer look, the prescriptions given are described in a way that one can see them arising from causal, qualitative observations.

In all this, there is, of course, the singular opinion of the author.  In approaching a discussion and description of said ideas, the latter will be kept in mind, opting to expand, interpret and focus.  Also, in order to respect the integrity of the book wherein these appear, they will not be spelled out either in their titles nor in their original exposition.


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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.


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