Strijd: Black Metal Götterdämmerung

Underground metal was rapidly dying by the mid nineties. The more musically successful death and black metal bands became disenchanted with their resulting limited financial success as the hordes of poseurs poured in through the gates of Byzantium, creating commercial rock that merely imitated the tones and texture of the monumental statues of the metal greats. The more popular death metal bands tried and failed at becoming rock stars while many of the more luminous minds in Norwegian black metal bands were dead or imprisoned.

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Desecrating Satan’s Hipster Country Club Resort


Reviews contributed by Norma Angelina Dagostino.

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A Response to Satanic™ Complaints

Article by David Rosales.

Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.

The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.

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Other Black Metal Recommendations


Article by David Rosales.

The following is a short list of black metal releases (with a commentary on each) that would general fall off the edge of the usual stylistic lines that Death Metal Underground follows when looking at genre releases. These are all exceptional and form part of what could, in hindsight, be described as the lone wolves of an established and matured black metal genre — generally unnoticed or passed by without receiving substantial attention among the waves of excess of the 21st century; treasures hidden in plain sight for those with a developed sense beyond mere form.

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Watain – Reaping Death (2016)

Article by David Rosales.

I. Where is the music?

It is very rare to find a general fan of black metal today who has not at least heard of the name of Watain. The kind of fame it has attained, however, is the kind that is mostly based on peripheral affairs rather than the art which Watain is supposed to dedicate itself to. Watain is the kind of ‘entity’ (as most of these bands are now given to call themselves) that is surrounded by a nebulous aura which may at first, if one is inclined to be generous in providing the benefit of the doubt, seem like an hint of something truly profound going on. Now, whether that is the case in regards to the real, transcendent or philosophical knowledge or experience of the people behind Watain is not for the writer to say. On the other hand, the music itself does not seem to display any of the more-than-human qualities it should if one is to believe all the hype. In fact, it reveals itself as a very mundane affair when one is given to delve into a holistic examination of the music in itself, and even more so when seen in relation to the extra-musical portions of the ‘entity’.

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Sadistic Metal Reviews 10-20-2016

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Death Metal Underground receives a constant stream of inferior promotional materials like a child is given unwanted Apples, granola bars, and candy corn on Halloween. We toss them in the trash too.

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Gorgoroth – Instinctus Bestialis (2015)

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Article by Anton Rudrick.

One clear sign that a band’s direction is compromised can be seen through unity of style. In this case, we see Gorgoroth lacking a clear voice of their own, in place of which Instinctus Bestialis offers three main ways of constructing sections and a rather pop-oriented way of building whole songs. The first is a bare bones neoclassical melodic method using two guitars, which is an interesting addition to traditionally more modal and harmonically chromatic genres such as death and black metal. Due to the foreign nature of these, the incorporation can be quite delicate and ought to be treated with the utmost care. The second is a collection of standard modern metal tropes ranging from the rhythmic intonations of deathcore with a low-string chug riff, probably inherited from the most prosaic speed metal. Last is the most important of the three in a rather unexpected choice in anthemic heavy metal, which happens to be the customary choice for commercial metal acts which have become barren of inspiration and direction.

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David Rosales’ Expectations for 2016

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Article (obviously) by David Rosales

Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.

The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.

It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.

To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.

Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.

What are your expectations in metal releases in 2016?


A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.

 

1971:

  • Black Sabbath – Master of Reality

1974: (Not really metal, Black Sabbath is WAY ahead)

  • Deep Purple – Stormbringer
  • Rush – Rush
  • King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)

1977:

  • Judas Priest – Sin After Sin
  • Motörhead – Motörhead

1980:

  • Iron Maiden – Iron Maiden
  • Black Sabbath – Heaven and Hell
  • Angel Witch – Angel Witch
  • Cirith Ungol – Cirith Ungol

1983:

  • Metallica – Kill ‘Em All
  • Slayer – Show No Mercy
  • Iron Maiden – Piece of Mind
  • Mercyful Fate – Melissa
  • Manilla Road – Crystal Logic
  • Manowar – Into Glory Ride

1986:

  • Slayer – Reign in Blood
  • Metallica – Master of Puppets
  • Kreator – Pleasure to Kill
  • Morbid Angel – Abominations of Desolation
  • Sepultura – Morbid Visions
  • Fates Warning – Awaken the Guardian
  • Candlemass – Epicus Doomicus Metallicus

1989:

  • Sepultura – Beneath the Remains
  • Morbid Angel – Altars of Madness
  • Bolt Thrower – Realm of Chaos
  • Voivod – Nothingface
  • Helstar – Nosferatu
  • Powermad – Absolute Power
  • Rigor Mortis – Freaks
  • Pestilence – Consuming Impulse

1992:

  • Burzum – Burzum
  • At the Gates – The Red in the Sky is Ours
  • Demigod – Slumber of Sullen Eyes
  • Morpheus Descends – Ritual of Infinity
  • Therion – Beyond Sanctorum
  • Sinister – Cross the Styx
  • Amorphis – The Karelian Isthmus
  • Deicide – Legion
  • Incantation – Onward to Golgotha
  • Atrocity – Longing for Death
  • Autopsy – Mental Funeral
  • Cadaver – …In Pains
  • Asphyx – Last One on Earth
  • Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
  • Darkthrone – A Blaze in the Northern Sky
  • Emperor – Wrath of the Tyrant
  • Graveland – In the Glare of Burning Churches
  • Immortal – Diabolical Full Moon Mysticism
  • Sacramentum – Finis Malorum

1995:

  • Skepticism – Stormcrowfleet
  • Suffocation – Pierced from Within
  • Vader – De Profundis
  • Gorgoroth – The Antichrist
  • Graveland – Thousand Swords
  • Summoning – Minas Morgul
  • Deicide – Once Upon the Cross
  • Sacramentum – Far Away from the Sun
  • Immortal – Battles in the North
  • Abigor – Nachthymmen (From the Twilight Kingdom)
  • Funeral – Tragedies
  • Dissection – Storm of the Light’s Bane
  • Iced Earth – Burnt Offerings

1998:

  • Gorguts – Obscura
  • Vader – Black to the Blind
  • Incantation – Diabolical Conquest
  • Dawn – Slaughtersun
  • Sorcier des Glaces – Snowland
  • Angelcorpse – Exterminate
  • Blind Guardian – Nightfall in Middle-Earth
  • Symphony X – Twilight of the Gods
  • Rhapsody – Symphony of Enchanted Lands
  • Suffocation – Despise the Sun
  • Absurd – Asgardsrei
  • Soulburn – Feeding on Angels
  • Arghoslent – Galloping Through the Battle Ruins
  • Master – Faith is in Season
  • Skepticism – Lead and Aether

2001:

  • Gorguts – From Wisdom to Hate
  • Absu – Tara
  • Martyr – Extracting the Core
  • Lost Horizon – Awakening the World
  • Deeds of Flesh – Mark of the Legion
  • Averse Sefira – Battle’s Clarion
  • Graveland – Raise Your Sword!
  • Krieg – The Black Plague

2004:

  • Avzhia – The Key of Throne
  • Quo Vadis – Defiant Imagination

2007:

  • Blotted Science – The Machinations of Dementia

2010:

  • Avzhia – In My Domains
  • Krieg – The Isolationist
  • Burzum – Belus
  • Divine Eve – Vengeful and Obstinate
  • Atlantean Kodex – The Golden Bough
  • Graveland – Cold Winter Blades
  • Profanatica – Disgusting Blasphemies Against God
  • Autopsy – The Tomb Within
  • Overkill – Iron Bound
  • Decrepitaph – Beyond the Cursed Tombs

2013:

  • Black Sabbath – 13
  • Condor – Nadia
  • Graveland – Thunderbolts of the Gods
  • Satan – Life Sentence
  • Argus – Beyond the Martyrs
  • Autopsy – Headless Ritual
  • Profanatica – Thy Kingdom Cum
  • Imprecation – Satanae Tenebris Infinita

2016:

  • Condor?
  • Sammath?
  • Zealotry?
  • Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
  • Vektor?
  • Voivod?
  • Summoning?
  • Graveland?
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Interview with Brian Parker of the San Diego Metal Swap Meet

sdmsm_logo_exportPreviously, as part of our lifestyle coverage, we featured Brian Parker’s guide to hand-rolling cigars. As mentioned at the end of that article, Brian has hosted the yearly San Diego Metal Swap Meet since 2009, giving metalheads in the southwestern corner of the USA a chance to socialize and purchase goods outside the context of a live concert or festival. Since this sort of thing creates a great deal of opportunity for everyone involved, we figured we’d get back into contact with Brian Parker and get his thoughts on the event he’s created.

1. You’re the creator of the San Diego Metal Swap Meet. What is a metal swap meet? Is it limited to metal, or certain types of metal?
The San Diego Metal Swap Meet is a social gathering for fans of metal. There are over 20 vendors selling all types of metal merchandise like CDs, LPs, cassettes, posters, shirts, patches and stickers. We also have booths from local artists, showing and selling their jewelry, paintings, leatherwork, sculptures and other various types of art. During the event we have metal tunes playing, we close out with a metal band, a beer garden for those over 21, and food for sale.

2. You were working at a record store when you started the swap meet. How hard was it to get the event started? How did you do it?
Actually, I started the San Diego Metal Swap Meet about 2 years after the record store closed. It was called Blue Meannie Records. Most people in San Diego County considered it the headquarters for metal. I felt that the closing of the store left a void for people to buy and sell metal related merchandise. There also was a void of a place for people to meet up. I met a lot of friends at that store, and I wanted other people to still be able to experience that, even if it’s just once a year. It was not difficult to do. My buddy Israel Pelayo and I organized the first one in my driveway. We had about 12 vendors, they set up, and it had free entry. We had over 200 show up to this modest event, and we knew we had to have a proper venue, if we were going to do another one.

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Photos from San Diego Metal Swapfest’s Facebook photostream

3. The meet is now in its sixth year, soon to be seventh. What has changed over the years? How do you hope to see it grow in the future?
It has grown every year. We now have around 25 vendors, a live band, and about 450 attendees. From the cozy event in my driveway, that was more of a yard sale, to having bands playing and Derek Riggs appearing. It’s come a long way. I would like to think that it has kept the same small business feel as the first one, and the record store had. In the future, I am hesitant to make it a full on “Metal Fest”, with tons of bands playing all day long. It seems that term gets thrown around and really doesn’t draw the excitement that it used to have. I’d like to evolve the event into a little more of a heavy metal convention… by convention, I mean having a way for people to meet musicians, artists, lessons, and art being made during the event. These are things I’d like to implement, without taking away with allowing vendors to sell at a reasonable price.

4. What is unique and important about a metal swap meet? Do metalheads need their own institutions like this, or can they coexist with regular rock music?
It’s unique because it’s really the only metal event that’s not centered around a live show. It’s centered around metal merchandise, memorabilia, and art. I do believe it’s important for them to have their own event. Sure, we coexist with the rest of society, but I think it’s unique to have an event where everyone has a common interest. This event is also unique as it’s a family environment.

Major record labels have displayed interest in the swap meet

Major record labels have displayed interest in the swap meet

5. What do you do the prepare for the meet, and what’s required for after the meet and the rest of the year? Was it hard to find funding?
First off, we reserve the date with the venue. This year, as well as the past 5 years, will be at the Queen Bee’s Art and Cultural Center, in the North Park neighborhood of San Diego City. The funding is not hard. We put down a deposit on the venue, then we are able to sell vendor spots for the tables. The money from the tables takes care of a lot of the expenses. We then need to arrange who will be volunteering, and what they will do. The volunteers are crucial. We have had the same base of volunteers, who know what to do, and really believe in the event. We also have things to do like hiring security.

6. What inspires you about heavy metal?
The diversity is probably what kept me around it so long. From listening to Black Sabbath as a kid, to thrash of Kreator, then death metal of the 1990s of bands like Dismember, then black metal bands like Abigor. I can find enjoyment out of nearly all metal sub-genres. I also like how I’ve made so many good friends from metal.

Merchandise abounds, including musical instruments

Merchandise abounds, including musical instruments

7. Do you listen to multiple metal genres? What attracts you to a specific album, if not genre? What makes a top-notch album for you?
As stated in the previous questions, I do enjoy multiple metal sub-genres. What makes a top-notch album for me is it breaks some sort of boundary. When I listen to the insane, psychedelic vocals of Bethlehem’s “Dictius Te Necare” or the neo-classic melodic riffs of Dissection’s “Storm of the Light’s Bane.” I am looking for an album that adds something new.

8. How did you become a heavy metal fan? What led to you working in a music store? Were the two related?
I was raised on hard rock bands like Led Zeppelin and Black Sabbath. It was a natural step for me to move to thrash and then death metal. I used to buy all of my music at Blue Meannie Records. I got to know the crew that worked there, by being a customer and I got a job there when there was an opening. Unfortunately, the crash of the music business forced the store to close it’s doors.

9. What should people bring to a swap meet, and what should they expect?
If you don’t have a table, you can still bring in some things and try to trade them with vendors. You will want to bring some cash for merchandise, food, and beer. If you are in a band, feel free to bring in stickers, promo CDs and anything else that you would like to give away. We have a table of free stuff for anyone to take. Expect to explore 3 rooms, filled with metal vendors and artists. This is a social gathering, and there are crowds, so don’t expect to get through it real fast.

A family-friendly environment

A family-friendly environment

10. When is the next SDMSM, and how should people stay on top of news about it?
The next San Diego Metal Swap Meet will be on Saturday, May 7th, 2016 from 11 AM to 5 PM at Queen Bee’s Art and Cultural Center, 3925 Ohio Street, San Diego, CA 92104. The best way to keep updated at the moment is to like our Facebook page.

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