Slayer announced more dates for their upcoming fall tour with Anthrax and Death Angel. Slayer also recorded a Youtube video to promote the tour in support of the awful Repenteless:
Slayer announced more dates for their upcoming fall tour with Anthrax and Death Angel. Slayer also recorded a Youtube video to promote the tour in support of the awful Repenteless:
Slayer are touring North America this fall with lesser eighties speed metal bands Death Angel and Anthrax. I’m still hoping for a SlayExodus tour where the same lineup plays 75% Slayer and 25% Exodux material. Slayer Fan Club members (Does anyone who doesn’t watch the WWF pay to join this?) may preorder tickets now; sales to the general public go on sale Friday.
Kerry King: “It’s always super fun for us to tour with Anthrax. Frank is one of my best friends in the biz!! Put that together with Death Angel, and fans will probably see the best package this year. See you there!”
With more dates to be announced, here is the confirmed itinerary:
9 Jacob’s Pavilion, Cleveland, OH
10 Freedom Hill Amphitheatre, Detroit, MI
12 Sound Academy, Toronto, ON
13 Metropolis, Montreal, QC
15 Stage AE, Pittsburgh, PA
17/18 Rock Allegiance, Chester, PA*
20 Egyptian Room, Indianapolis, IN
22 The Pageant, St. Louis, MO
27 Hard Rock Live, Orlando, FL
28 Fillmore, Miami, FL
30 Horseshoe Casino Tunica, Tunica, MS
3 Norva, Norfolk, VA
5 Tabernacle, Atlanta, GA
7 Gas Monkey Live, Dallas, TX
8 ACL at the Moody Theatre, Austin, TX
10 Fillmore, Denver, CO
11 The Complex, Salt Lake City, UT
13 The Wilma Theatre, Missoula, MT
17 ENMAX Center, Lethbridge, AB
19 South Okanagan Events Centre, Penticton, BC
20 Abbotsford Centre, Abbotsford, BC
23 Reno Events Center, Reno, NV
27 El Paso County Coliseum, El Paso, TX
* Slayer, Anthrax and Death Angel are all on this bill.
Anthrax has always been vaguely relevant at best – selling not quite enough albums to be huge, but never really going away and always drawing some amount of media attention. Perhaps it’s lower expectations, but they seem to have aged more gracefully than most of their famous speed metal counterparts in recent years. 2011’s Worship Music must’ve paid the bills for a while, since the delay between that and the upcoming For All Kings is quite lengthy (albeit not as lengthy as the wait between WM and its own predecessor). So far, Anthrax has released the track “Evil Twin” as a single, which makes for an accurate if unnecessary imitation of the band’s past work. Anthrax has also promised that For All Kings will be “heavier” than its predecessor, perhaps due to the presence of Jon Donais from the metalcore band Shadows Fall. I wouldn’t stake any important bets on it, though.
Funderground Belgian speed metal band Evil Invaders were deported from the United States according to their Funbook page for not having the appropriate work visas to play a metal festival in Milwaukee. Evil Invaders were not being paid to play the festival. The festival organizers were only covering Evil Invaders plane tickets and transportation cost for the band and their equipment. Since the festival organizers were still charging for tickets and making money, Evil Invaders needed an appropriate work visa, which they did not have, thus they were deported.
Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.
Resistance fuels hatred and must be crushed beneath an iron fist.
The Oath – The Oath (2014)
“Whoa!” – Keanu Reeves. These women are actually fairly attractive! Usually metal girls are fat, under 5’4, and have saggy tits. Or they love Slipknot. I can see why Lee Dorian is dicking the hot one. This at least has riffs even if most of the songs wear out their welcome fairly quickly. There are Cathedral albums more boring than this but most of these songs feel like Motorhead if they smoked dope instead of cranked speed. Motorhead if Motorhead were boring and the songs went on two minutes too long and had random riff salad bridges. If these two would actually get naked on the cover like the real Coven and separated or refined their compositions, maybe this would be more listenable. Hold it is that riff from Bad Company? Who steals riffs from Bad Company? What kind of degenerate does that? If this is among the more listenable grrrl metal…
Agoraphobic Nosebleed – Arc (2016)
As ridiculous as their band name, Agoraphobic Nosebleed’s 2016 effort is a lazy mixture of stoner rock and deathcore. It consists of interleaved Black Sabbath-core grooves and pointless breakdowns accentuated by a menstruating screamo vocalist. By the very definition of those two genres, the reader should know this is but a string of feel-good moments with absolutely no point whatsoever.
One has to wonder if the band even knows what “agoraphobic” means, given their blatantly idiotic use in their band name. From there, we can easily tell how they would also try to use “fancy vocabs” from the metal terrain without even knowing what they are for, hence the constant groove with no beginning or ending. The meaningless breakdowns that do not necessarily make the stoner rock more bearable, but just emphasize what white trash trailer park music this is. It is an updated distorted-guitar redneck music.
Baroness – Purple (2015)
The most generic heavy metal rhythm guitar riffing possible clipped with too much compression and mixed with queer hipster rock for those who question their sexuality. I’m pretty sure the hairy girls in this band are in a polygamous relationship with the dude singing and blow roadies on the side. Kind of like how Carrie Fischer let the crew members of the original Star Wars rip the tape off her tits only with more Hepatitis C positive semen from people who tried intravenous drugs. This album sounds like my local modern rock radio station who plays Bush twice a day. Baroness is the most generic 2003 rock possible only maybe one of these girls’ brothers had Led Zeppelin and Metallica posters in her bedroom. Baroness should go back to VH1. Wait VH1 doesn’t air this crap anymore as even VH1 realized how terrible it is. VH1 is Rock of Love now.
Wolvserpent – Aporia:Kāla:Ananta (2016)
Who knows why we ever receive these sort of promos that are not remotely metal, though perhaps some suppose there is a connection because the sound and procedure may remind one of the pointlessness of post metal/rock. At the center of Wolvserpent’s music is a violin playing repetitive music while the fringes are filled with synthesizers, bass and some kind of distorted noise to fill the space. I imagine this purports to be ambient, and it evidently takes cues not only from what we know today as classic ambient but from the old, more noise-inclusive and experimental one. At some point during the 40 minutes of this release, towards the approach of its middle section, a growl-screech appears and we become the audience of a post-doom-black nothingness that lasts for about 5 minutes. After this, the music tries to pick up by adding some synths to beef up the emptiness of the lame doom metal writing that approximates what Esoteric do most of the time (waste your time with largely content-less sections while pretending to have an ambient edge). This amounts to little more than piled up noise with some consonance. This melting away proceeds for about 8 more minutes, after which we are introduced to a 4-minute hum. This hum gives then serves as background for some 3 classical string instruments playing repetitive disonant arpeggios for 3 or 4 more minutes until only they remain and the music fades out to the sound of soothing, rolling, waves. Empty and boring. Throw this away
Cult of Luna & Julie Christmas – Mariner (2016)
Enya songs with randomly inserted post-metalcore sludge bridges. Are those bongos? Is this Arise? Who thought of this? Whoever thought of this should be shot in the back of the head by their local troika, have their children post-nataly aborted, and their women deported to the camps for wives of traitors to the motherland.
Snake Tongue – Raptor’s Breath (2016)
Random stolen eighties metal riffs made into Entombedcore with gang vocals by Kurt Ballou. I think that’s a woman in the promo picture. Maybe it’s a man who is just confused that his baby dick is a big clitoris. Yeah they can get that big. Haven’t you seen Backdoor to Chyna?
Necrosic – Putrid Decimation (2016)
These girls imagine what would have happened if in 1990 Autopsy had written songs entirely out of mosh riffs broken up by hardcore and shameless lifts from Slayer’s catalog. The answer is a metal band that would have only have been fit to play pizza parlors filled with 17 year olds too busy playing arcade games to pay attention. Anthrax if Anthrax decided to cash-in on sludge instead of nu-metal in the early 90s.
Sacrilege – Behind the Realms of Madness (1985)
This is the sort of release that exemplifies that some releases were never meant to be heard, not to mention be re-released. To pretend this is some sort of hidden gem is to pander to the clueless audience’s sense of nostalgia in the most dishonest way. Sacrilege never amounted to much as their music was never much. What we hear in hear in Behind the Realms of Madness is the sort of simpleton’s generic metal any angry teenager could be writing and playing in his garage with his friends after huffing glue. Each of these songs is based entirely upon a single riff played ad nauseam while an angry woman shouts about how much she hates her father. There are random supplementary riffs here and there but they are just meant to provide some sense of dynamism to the propulsion of the main riff. The main riffs in every song are generic and almost indistinguishable, the vocals are identical (some angry British woman screaming about how she got fucked over by her dad who wouldn’t pay for her BA in Womyn’s and Sexual Identity Studies), and every single song has the same kind of poser-trudging-accross-the-mall-food-court from Hot Topic vibe about it.
Sacred Few – Beyond the Walls (1985)
Another mediocre eighties heavy metal album with an annoying vocalist that deserved to be forgotten. Manilla Road this is not; the songwriting is generic, the riffs unoriginal, and the guitar tone too thin. This was only pressed to CD to cash in on idiot hipsters dumb enough to be deluded by Vice into believing that metal needs more dumpy women. I would rather listen to every Motorhead album I don’t remember even exists than this lame woman who drinks too much Budweiser again. This is retro-metal for cuckolded submissive males who think Steve Harris is Pogrom and jerked off to the blonde women in catsuits from The Oath instead of real porn. I’m going to crack open another Coors Banquet and use this CD as a coaster. Wait is the Puerto Rican guy in the collar her slave?
Lizzies – Good Luck (2016)
Judas Priest covered by Spanish pre-op transsexuals. Listening to this album makes me want to chop my leg off so my femoral artery will bleed out in three minutes. Two tracks in and I just put on Unleashed in the East instead. Let’s all listen to that classic instead of this crap:
The DLA/DMU has taken flak over the years for being unwilling to embrace new trends, but this criticism forgets that we also avoided endorsing older bad ideas. Our writers have generally avoided jumping on the bandwagon for the “trve kvlt” just as much as the new, millennial-friendly indie-rock version of metal. The reason we can do this is that we apply a simple quality standard instead of using the consensus of others to determine truth.
Despite having many editors, each of whom had somewhat varied opinions on the process, if viewed on the large scale the site has kept a generally consistent opinion. That is: some of the so-called classics are good, and few of the new school releases are good, but the determination is not made by category, but by analyzing each release on its own merits. This leads to sudden shock for some who expected us to be cheerleaders for anything that seems to “uphold the true spirit of the underground,” and dismay for those who like the newer material as release after release fails our test.
Metal is in a slump and has been since 1994, in quality. Correspondingly, it has been in a boom in terms of quantity of fans. We have more “metalheads” (cough) now than ever before. However, anyone who is not in denial — and most are — can tell you that quality has fallen off dramatically. The music has lost its energy, its nerve and its insight and been buried under a wave of bands that are either obedient and docile system products, or slaves to the underground record-collecting audience that does not care about quality so long as the aesthetics of previous generations are preserved. Both groups unfortunately are useful idiots for industry, which can keep producing low-cost clone bands and reaping the profits.
We discard bands for two reasons: not being metal, and not being good. The bands that are simply not good tend to have the most fans, ironically. Who among us can claim that, for example, Blazebirth Hall bands and Drudkh offered anything musical or artistic to metal? They cloned Graveland in a light and breezy melodic form that is essentially music for children. In the same way we refuse to celebrate underground “favorites” that consist of ranting and disorganized music like Sepulchral Aura, or avantgarde prog fanboy-bait like Fanisk and Deathspell Omega.
In addition, we discard that which does not uphold the artistic, intellectual and philosophical spirit of metal. There is quite a bit of overlap here with “not being good.” We would not endorse Cradle of Filth; nor would we endorse Opeth, back in the day, or Cannibal Corpse, on the basis that they were essentially rock bands trying to assimilate metal and thus produced a moronic mindset. Similarly Pantera and to a lesser degree, Anthrax. Back in the day we thought SOD was inferior to Cryptic Slaughter, DRI, and Corrosion of Conformity. We refused to endorse Wolves in the Throne Room, Animals as Leaders, Gojira, Mastodon and other indie-rock pretending to be metal. We ignore Pelican and all stoner doom bands because they are boring and terrible. This music is distraction from metal, not metal, but its fans make a big show of being “very metal,” which tells you exactly what they are hiding and deflecting your attention from.
This approach wins us zero friends in the short term, but trusted readers in the long term. People — especially those who lead purposeful lives and do not have lots of time, nor enjoy, combing through catalogs and blogs trying to figure out which 1% of the reviews are not lies — like getting the low-down on quality metal. They enjoy that moment of discovery when they find something really good, something they can listen to not just this week and six months or a year from now, but for future decades. That is ultimately the standard by which any music fan operates; they like music, so they veer toward the best, not just at a level of mechanics (technicality) but artistically, or its relevance to the ongoing philosophical and moral maturation of humankind. Most of humanity likes mediocrity or at least convinces itself that it likes those bands. After all, Third Eye Blind has sold more records than most segments of the metal genre. But popularity — whether among credulous hipsters or gormless mass media fans — has never determined quality. Consensus is not reality. Only reality is reality, and we make our best stab at it.
With that in mind, you may ask: why write negative reviews? The answer may surprise you. We seek to give music fans the intellectual tools they need to fight back the onslaught of Opeth, Pantera, Ulver, Cradle of Filth, Meshuggah, Vattnet Viskar, Cannibal Corpse and Deathspell Omega styled bands. We use both positive and negative examples to illustrate, to the best of our ability, what metal is and which approaches to it have produced the quality level necessary for prolonged listening. This puts us at odds with most metal journalists, for whom writing is a day job and as a result, is interpreted as endless enthusiasm for whatever is new and exciting because the consensus likes it. They are essentially advertisers because they are writing ad copy about these bands, not a look into what makes their music function. It is designed to make you buy music, because journalists who can sell music get famous and become editors. You will notice that major publications run almost no negative reviews. Why is that, you might ask? Because their job is to sell music, not review it, even if they call it “review.”
In all human endeavors our social impulses, which because we are selfish beings are actually self-interested impulses translated to altruism to flatter and manipulate others, override any sense of quality or purpose. The task ceases to become the task and becomes the process of creating the appearance of results instead of results; bands stop trying to be good, and focus on replicating what has worked before in new forms. The “best” (by consensus) bands “sound” different on the surface, but musically are extremely similar, because that formula has worked in the past. That is a social impulse: make what people like because it does not challenge them and makes them feel smart, profound or at least “with the crowd” to be listening to it. This social impulse has ruined metal since 1994.
Metal thrives — as it did during the mid-70s, early 80s and early 90s — under two factors: (1) it is ignored by most people, so it is free from the manipulations of those who want to sell rebellion-flavored rock to morons, and (2) it has some truly great artists to kickstart it and establish a standard. The former is self-evident, but the latter can be explained as follows. When early Norse black metal came out, it set a standard of quality and allowed fans, by simply choosing to spend their money on what was more rewarding, to exclude bands that did not meet that standard. Why would you buy Forgotten Wolves when you can get Darkthrone? Why would you pick up another speed metal clone when you can have top-quality death metal? Metal thrived when it was elitist, closed-minded and viciously competitive. Now that it has become a group hug, quality has suffered and no one seems to have noticed. Except us — and we are watching.
Longstanding US speed metal/death metal band Deceased has completed work on its upcoming two-disc album of covers, Cadaver Traditions, which will be coming out on Hells Headbangers Records this summer.
Cadaver Traditions will include 53 tracks in total, with two of those being brand-new recently written Deceased songs which had previously been released on vinyl. Judging from the wide range of influences on this disc, it will not only be fun for Deceased fans but for metal historians looking for the roots of early death metal.
53 tracks in all 2 cd set… look for it this summer on hells headbagers ‘cadaver traditions’. cover song mania and the 2 newest deceased songs finally on cd. up til now it was only vinyl.
Most metalheads, not being of the commercially-minded type, rarely stop to think about heavy metal as a brand. Media sells a certain image with heavy metal, just like Harley-Davidson motorcycles and Jack Daniels whisky, both of which are highly successful brands. Metal forms more of a meta-brand, symbolizing rebellion and bad boy lawlessness. That image can be used to sell a lot of products, since consumers really hate the idea that they are merely being good sheep by buying whisky and transportation.
In commercials, television and movies, rebellious characters are often introduced with heavy metal in the background. Fight scenes in both football and blockbusters often get the heavy riff treatment, as do superhero epics. Bizarrely, House Hunters — a television program about people choosing which house to buy — uses AC/DC style hard rock riffing in the background to its real estate epics. Anywhere boldness, bravery, rebellion and defiance must be shown, heavy metal is the appropriate soundtrack.
Much of this can be seen through the use of well-known bands in movies. Check out how many soundtracks Slayer has contributed to, for example. The royalties from those might even outpace their album sales. At some point in the future, perhaps metal bands will put out albums and tour so that they can sell their music for commercials, television, movies, sports/MMA and house hunting. Now look at AC/DC. Metallica. Iron Maiden. Pantera. Anthrax. Compare to Morbid Angel and Darkthrone.
Wolf Hoffmann asserts that Accept wrote the first speed metal song ever with “Fast as a Shark” from Restless and Wild way back in 1982. While the debate rages across the internet, now the equivalent of 1980s daytime television, the question can be answered by looking to what speed metal is.
Speed metal — as distinct from thrash a genre popularized by Thrasher magazine devotees and skaters making hardcore/metal crossover such as Dirty Rotten Imbeciles and Cryptic Slaughter — originated in the use of a single technique: the muted strummed downpicked power chord. This technique combined the repetitive downpicking of punk with palm muting, previously used only to emphasize specific notes. Much of its appeal came from the changes in amplification and production since the previous decade which allowed louder music to exist. Much like the 1980s itself, the muted strum conveyed a sound of clashing absolutes and decreased the amount of harmony heard in each chord, making the music more purely percussive like techno and early industrial. Even more, it gained the volume punks had always aspired to with its explosive and uncompromising sound. In the process, it inspired more use of accidentals leading to more chromatic fills, which in the next generation with death metal became a form of riffs themselves, where speed metal relied more on the NWOBHM song form and harmony.
Generally regarded as starting in 1983 with Metallica Kill ‘Em All, speed metal presented a radically new sound which had precursors in extreme (for the time) bands like Motorhead, Judas Priest, Blitzkrieg, Tank and Satan. However, no bands had fully adopted the new technique as the basis of their composition until the early cluster of Metallica, Exodus, Mercyful Fate, Nuclear Assault, Anthrax and Megadeth. During the 1980s these bands were the most extreme metal that most people could find in their local record stores, which were how most people got music back then, with the exception of Slayer which was a speed/death hybrid and Venom which was a punk-influenced form of NWOBHM. Accept does not measure up to this standard on the basis of technique, since its song fits within older heavy metal format and does not use the muted strum.
This statement does not decrease the importance of Accept in the creation of speed metal. A long line of innovations occurred leading to speed metal, starting with the incredibly rough sound of Motorhead in 1976 but aided by progressive bands like King Crimson and Greenslade as well as a chain of punk acts who pushed the envelope such as Discharge, The Exploited, Amebix and the Cro-Mags. Below you can hear “Fast as a Shark” and see this heritage for yourself, contrasted with the archetypal speed metal song, “Creeping Death” from the second Metallica work Ride the Lightning and Blitzkrieg’s self-titled track from their 1981 EP Buried and Alive.