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.
Arghoslent are working on new material according to their website. Hopefully the “melodic death metal” band’s extended downtime has allowed them to refine their material into something not merely a collection of riffs and heavy metal wank like their last few records.
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.
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.
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.
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.
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.
“Melodic death metal” is meaningless. What is popularly called “melodic” death or black metal can be roughly divided into the three different types of music sketched out by Ludvig Boysen in his “The Three Types of Melodic Death Metal” article for Death Metal Underground. While Ludvig’s three categories are essentially correct, refining and broadening them allows formal classification of all “melodic” death and black metal. Note that Death Metal Underground’s extensive Heavy Metal FAQ covers the topic of genre in great depth but a brief rundown for the ignorant and lazy is in order.
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:
Incantation have replaced Australian beer metal stalwarts Deströyer 666 at Maryland Crustfest 2016. The social justice warrior-ran parking lot sludge fest has attempted to branch out into the hipster, Coachella festival mainstream in recent years, abandoning its death metal roots and highlighting the divide between metal and the mainstream’s attempts to co-opt it. A band such as Arghoslent would present the perfect compromise between melodic speed metal catchiness and underground credibility to please both crowds. Hopefully, the Sludgefest organizers will not find out that Craig Pillard was once in Incantation.