Murder in the Front Row: Shots from the Bay Area Thrash Metal Epicenter, by Harald Oimoen and Brian Lew

Brian Lew was an early metal nerd (liked to read, watch Star Trek, and may have been a computer nerd) who went to Bay Area speed metal shows and took a number of classic photographs. You may know Harald Oimoen as the longtime bassist of DRI. Together, they’ve thrown together their best pictures of this early scene, in the hopes perhaps of catching the growing wave of nostalgia for when metal was actually good (pre-1995).

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Power Trip – Nightmare Logic (2017)

Every year we are treated to an endless amount of ridiculous lists.  It seems that any individual with the ability to express their opinions is obligated to share their Top 10 or top 20 metal releases that more often than not echo the same three websites.  The bands that enter such lists tend to come in two varieties: veterans rehashing the same ideas in a more streamlined fashion and those who trick their audience via the use of gimmicks and presenting a familiar product with slightly different aesthetics as the next big thing.  In these last two years, speed metal has conquered the number 1 spot of most of these lists.  Last year Vektor’s Terminal Redux ruled the metal lists by far with it’s melody derived from Voivod and the phrasings from Destruction’s Eternal Devastation all held together in long sloppily composed epics… ultimately resulting in an above average album but a strong move for the funderground.  This year, Texans Power Trip succeed in winning the “funderground 2017 award” with their second album Nightmare Logic.  The Speed metal revival movement has finally found its idols to guide it’s path of remaining in the past and offering the most faithful reproduction of late 80s speed/thrash.

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Poverty is the Price for Metal Stardom

The Talk:

Every metal musician needs to have “The Talk” at some point or another and for some of you, this will be that moment.  In the world of metal, “The Talk” is the soul crashing, dream obliterating conversation where one learns the valuable lesson that you can’t get rich playing extreme metal.  It’s heartbreaking and defeating but better learned sooner than later.  And since a young ambitious musician isn’t necessarily considering the logistics, lifestyle goals, etc. of their future before they drill on that pentagram neck tattoo, I want to make sure readers of DMU are abundantly clear on what to expect on the financial front when engaging in life as a touring musician.
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An Overview of Inquisition

 

Introduction

Known around these parts as a blackened heavy rock n’ roll band, Inquisition’s brand of black metal is produced by a high-energy application of black metal riffing with a heavy rock rhythmic sense, but within the riff salad paradigm. The result are relatively varied and outstretched songs that tend to tire the ear even though their duration is not very long. The variety of these riffs is also more apparent than effective, since they are all heavily anchored around a sense of rhythmic hooks and black metal tremolo technique, never really straying away from it.

Despite these serious technical deficiencies, we hear a band marching against wind and tide towards their evil, propaganda. Producing a music that is, to those used to bask in the consumate musical glory of Immortal, somewhat of a quaint laughing matter. Despite all of this, if even these listeners lie back and allow the music to well-up, Inquisition manage to be one of the most strongly evocative black metal acts out there today, even if exclussively by dint of the effects of their croak n’ roll black riff train without heads or tails.

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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.
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Sadistic Metal Reviews: Against Maoist Picks for 2017


Reviews by Linus Douglas.

Maoist metalcore fan Vince Neilstein has defecated upon the Internet once more by displaying the gaping asshole of his mind in an attempt to make mid-year “metal” recommendations in 2017. Like most of that Communist website’s picks, Neilstein is catering to a communist agenda on the one hand, and being a bitch to the monetary interests of the Guevarean movement of good-for-nothings by picking big label turds.

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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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#Metalgate: Nyogthaeblisz Excluded From Maryland Show For “Racism”

Washington, DC area crust punk and metalcore scenesters decided that anti-religious Texan black metal band Nyogthaeblisz were racist and got their show at Gaithersburg, Maryland tattoo parlor Raw Ink canceled according to the Washington City Paper and moved to a Philadelphia bar hours away.

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