Arghoslent – Arsenal of Glory (1996)

Arghoslent hailing from Virginia, USA are another one of those so-called “melodic death metal” bands with hardly anything in common with death metal at all. Rather Arghoslent play plain old heavy metal. Unlike their lame contemporaries from Gothenburg, Sweden, Arghoslent were once an effective heavy metal band who initially continued the work of their idols that past European power metal bands had merely emasculated. Arghoslent themselves would eventually stumble into these same stadium rock sins but not on Arsenal of Glory.

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Arghoslent Declare Intent To Complete Songs

Arghoslent, a speed metal/black metal hybrid famous for their politically provocative lyrics, have taken notice of criticism of their songs as disconnected bundles of riffs and heavy metal conventions which go nowhere despite having promising beginnings. Those who read the subtext of their statement, “CORRECTION: The band has decided not to write new music since it is ‘merely a collection of riffs and heavy metal wank’,” can infer that the band is re-focusing on their songwriting as a result of those quoted incendiary statements made here at Death Metal Underground.

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Arghoslent – Galloping Through the Battle Ruins (1998)

galloping through the battle ruins

Article by David Rosales

Arghoslent are frequently and incorrectly tagged as a death metal band while they are actually a speed metal seasoned with a traditional heavy metal approach to the use of melody and soloing that goes can be described as lyrical or ‘singable’. The barking vocals that are featured here are the only thing that is borrowed directly from death metal and their usage is still more heavy metal in nature, given that the relationship of vocals to the underlying music is more akin to the riff-riding of Ozzy than the punching counterpoint of Suffocation or Gorguts.

There is more of Manilla Road’s Crystal Logic than Slayer’s Hell Awaits here; where the latter has a clear thematic development going on in riffs and the former is more conservatively classical in its harmony. Also, the long-term structuring is the subtle, progressive path of ‘epic’ heavy metal, so termed as to not mix it up with the carnival music of more ‘open’ bands who would appropriate the official name of seventies classically and jazz-inspired experimental rock music.

In Galloping Through the Battle Ruins, Arghoslent seem a little careless regarding the character or emotional quality (for lack of a better term) of the implied harmony, often incurring in silly or happy-sounding passages which would sound completely out of place in most death or black metal. These are, however, a common staple of technically-oriented speed metal as it exploits scale-wise expansion of patterns, often resorting to sequences.

At the Gates circumvented this unavoidable side effect of using sequences in their earliest work by following through with complete transpositions of a same mode to new tonal centers instead of adhering to the sprawling stepping-stones of fully-defined classical harmony. Arghoslent, on the other hand, and like any traditional heavy or speed metal band, remains rooted in this latter orthodoxy, accepting and making use of any bright arpeggios with far more openness than more-evolved underground metal would allow.

Arghoslent Galloping Through the Battle Ruins achieves an effective balance of centrifugal and centripetal forces by bringing in some of the conservative (by which “pop-structured” is not meant) spirit of proper death metal to the epic intent of an Iron Maiden in their best hour with ‘The Rhyme of the Ancient Mariner’ or ‘Phantom of the Opera’. Furthermore, this album is dirty and thrashy, grounding it and preventing the music from becoming overly fond of itself or too self-conscious. The latter is an ever-present and far more subtle trap that may even be perceived in Cóndor’s sophomore effort.

An inevitable comparison may be drawn to The Chasm, who are hailed for the density and apparently more complex structures. But where The Chasm gets lost in its own dreams of madness as songs are taken from promising illusion and wonder into confusion and pointlessness, Arghoslent remains stalwart; their resolute convictions clearly stamped on well-balanced music that brings a sense of adventure to visions of crude reality, and the fantasy of time travel with the brutal honesty of an unrepressed child.

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Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued

galloping through the battle ruins

Article by Daniel Maarat

Arghoslent’s  Arsenal of Glory demo and their first album, Galloping Through the Battle Ruins have been repressed on CD and made available for lossless digital download on Bandcamp by French underground metal label Drakkar Productions. The original mastering is intact with no signs of excessive dynamic range compression. While lacking lacking the overt pop rock influence of the Gothenburg scene, Arghoslent’s catchy songs and riffs were heavily influenced by the New Wave of British Heavy Metal and classic speed metal bands Mercyful Fate and Running Wild. A new generation of headbangers may now easily purchase the prime material of this politically incorrect melodic death metal band in spite of the Kim Kelly, No Clean Singing, and MetalSucks social justice “metal” gestapo.

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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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Iron Bonehead Triggers Witchhunt by Portland Maoists

Article contributed to Death Metal Underground by Seth Berg.

It seems the Portland neoliberals weren’t content with indoctrinating gullible college students into their pseudoscientific belief system and badgering people for triggering them, since anyone who’s anyone has had to contrive some sort of PTSD in the past five years to keep with the trends.

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Judas Priest – Painkiller (1990)

Article contributed to Death Metal Underground by George Psalmanazar, continuing his series of Judas Priest reviews.

Painkiller is Judas Priest‘s most consistent studio album coming out right after the band spent the entire decade of the 80s pandering to mainstream arena and glam rock fans. Slayer were a tremendous influence this time around; Judas Priest toured toured with them in the late 80s and subsequently listened to most of Slayer’s studio catalog. Painkiller there is a heavy metal album heavily influenced by the heaviest speed metal bordering on early death metal. Early power metal took a similar approach but in much more limp-wristed way.

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Judas Priest – Unleashed in the East (1979)

Article contributed to Death Metal Underground by George Psalmanazer.

Judas Priest started life as just another Led Zeppelin influenced band in the early 1970s. Quickly they became massively influenced by Black Sabbath and especially Thin Lizzy. Priest adapting the counterpointed riffing and harmonzied melodic guitar leads of Thin Lizzy into a mixture of progressive rock and the then new heavy metal of Black Sabbath but with operatic vocals instead of Ozzy “singing” the riff through his nose kicked off the New Wave of British Heavy Metal in the late 1970s.

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Metal Festers Eternal

Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.

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