Paramaecium – Exhumed of the Earth (1993)

In addition to its notoriously contradictive definitional nature, doom metal remains something of an enigma in terms of its enduring popularity. Whether or not one chooses to view it as a distinctive subgenre, style or even technique, doom metal must bear one of the most in-proportionate quotas within metal music when it comes to quantity over quality.  If attempting to depict doom metal from the perspective of enduring releases, the list of canonical works would become surprisingly short.  It seems plausible that part of the explanation to this sad state is embedded in the very characteristics of the style.  Doom bands have generally prioritized development of exceptionally powerful tools for conveying sonic heaviness at the expense of other aspects of the music. It might even be so that the techniques in themselves has forced artists into a particular way of writing music. Either way, there appears to be a widespread discrepancy between the means of expression and what is actually being expressed in doom metal; which in turn provides clues as to what makes for a genuinely satisfying doom-offering. With the above discussion in mind, today’s written offering presents the Australian death/doom act Paramaecium – one of few bands bearing the doom-tag that has managed to write compositions to match the sonic gravitas associated with said style.
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Mournful Congregation: The Incubus of Karma

Australian funeral doom Mournful Congregation return with their latest offering after a four year hiatus.  Initially demonstrating a style in the vein of overly melancholic eurodoom bands, this four piece have slowly shedded the lugubrious sound of their former works in exchange for a more pensive and maximalist vision. Developing the ideas from their last full length The Book of Kings, Mournful Congregation create musically literate and complex songs that dance on the line between being nostalgic 70s rock and accessible funeral doom.

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Martire – Martire (1991)

martire-martire

As the continent was before Britannic penal colonization, Australian black and death metal scene was and is still mostly an undeveloped desert of unexceptional crossover thrash posturing as “war metal”, blackened cheeseball beer metal, AC/DC clones with unclean vocals, and experimental technical deaf metal/post-hardcore/jazz fusion hybrids. Martire rode forth from obscurity to restore fruit and flower to the wasteland, fertilizing the barren bush wielding fire and sword.

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Recent Adventures in Censorship

roses-for-stalin

The leftists, reds, hipsters, social justice warriors, sexual deviants, and the mentally ill are engaged in a war to suppress all speech not conforming to or validating their political ideology. Anything contrary to their visions of mandated social realism is shouted down by angry mobs. This totalitarianism is affecting all areas of western society including the arts, business, science, and popular culture.

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Hobbs’ Angel of Death Announce Comeback Album, Heaven Bled

hobbs' angel of death - heaven bled cover

Australian speed metal band Hobb’s Angel of Death announced the tracklist and release date for their comeback album on Hells Headbangers,Heaven Bled. The album is out October 14th and tracklist is as follows:

  1. Il Mostro Di Firenze
  2. Walk My Path
  3. Final Feast
  4. Suicide
  5. Drawn & Quartered
  6. Heaven Bled
  7. Sadistic Domination
  8. Son Of God
  9. Depopulation
  10. T.F.M.F
  11. Hypocrites
  12. Abomination

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#Metalgate: Vince Neilstein Calls Out Varg Vikernes’ “White Privilege”, Reneges on Apology to Destroyer 666, and Attempts to Cover His Tracks

Metalsucks Varg Destroyer 666 original

Vince Neilstein (Ben Umanov) of scenester social justice warring metalcore blog MetalSucks called Varg Vikernes of Burzum racist for stating that the Western liberal media do not feature the heroism and cultural achievements of white men, specifically Alexandre Migues who helped stopped the Islamic fundamentalist terrorist truck driver in France last week, as it doesn’t their promote their multicultural agenda. Neilstein then reneged on his apology to K.K. Warslut from Destroyer 666:

But what else should we expect from Varg? Perhaps he should invite his buddy from a certain Australian black metal band for a weekend at his home in the French countryside so they can lament the struggles of white men everywhere as they drink their fine, white privilege wine and kiss and cuddle by the fireside.

Not only did Vince/Ben go back on his word to not call Destroyer 666 cock rock stage banter racist again, he made a gay joke which surely won’t endear him to his overly-sensitive social justice warrior hipster readers. Later, Vince tried to backpedal on the current version of the page:

Metalsucks Varg Destroyer 666 edited

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#Metalgate: Destroyer 666 Doxx MetalSucks

destroyer666-band

Destroyer 666 expressed their displeasure with MetalSucks and Invisible Oranges’ social justice warring on their Facebook page:

Los Angeles,,a perfect storm to finish an amazing whirlwind tour.
Our sincere gratitude to all who came out and supported us.
We`d all like to extend a thanks to Paul Dunski for putting it altogether for us,Ares Kingdom for being so fkn great and upstanding men and Sharon of Derketa and Oath of Cruelty.
And to all those who took the time to speak to us in person and express their disbelief and contempt for the tirade of lies and bullshit spread by Matt Goldberg who hides behind the name of Axl Rosenberg and Ben Umanov the liar behind the name Vince Neilstein (His address is posted below folks)along with the little lying dishonest whore who calls herself Blair Hopkins and ‘writes’ for Invisible Oranges and seemed more intent on advertising her attractiveness to drunks than she was in writing an honest review. Clearly your insecure about your looks woman and felt a burning desire to advertise just how irresistible you are.To drunks.Sad desperate bitch.
Despite almost every comment on all their platforms callin them out for being lying cunts,they still have not removed,corrected or amended any of their ‘articles’.

We have considered making a statement to dispel the bullshit and clarify our position for those gullible enough to fall for this SJW virtue signalling garbage. But how does one argue with a fool with an axe to grind and clicks to collect for their advertising revenues?
By stating the obvious facts? These fkn clowns are fact resistant. And they could have got the fact themselves.Isnt that what journalists are meant to do?By goin through every one of their groundless claims and disproving them? Thereby validating their right to make accusations against anyone they see fit? By trotting out every non-white (Left approved) friend I have to show Im ‘cool’ and hip to the shit? That to me reeks of fkn racism.And God damn am I so fkn sick of that word. These vermin throw the word around so damned often its losing any meaning whatsoever and only serves to undermine any real and serious instances of it. And off course,the fact Ive never written a racist lyric in my life and Ive never used the band to denigrate another race…well that dont matter does it?,cos it dont fit their narrative.Theyll get round that any way they can.My view has always been the same,NO race should be made to feel ashamed of the colour of their skin.NOT ONE.
And it could well be asked what good would come of it?They clearly wont retract their articles even when fans from the show tell them its a lie,(because they exist from the clicks?).
These fk-knuckles insult myself,the band and our supporters alike with their complete disregard for the truth..And I cant help thinking it has helped to weed out the gullible and the spineless from our ranks.Not to mention increased shirt sales on our site.For anyone dumb enough to still have ‘doubts’,go read all the comments left by people on all thier sites.If that aint enough.Then just go Fk yaself.Sell our records,burn our shirts,dont come to the shows and dont come here to this page to looking for attention for yourself.Its really that fkn easy.It aint Nazi rocket science.
End of the day Im an old fashioned kinda fella and now that their real names are out there in the public domain,nature will take its course.
I aint no racist fool,BUT I am exceedingly, overtly prejudiced against fools and especially fools who make it their duty to make me their enemy.Make of that what you will.I call it instinct.
No Surrender.No forgiveness and No fkn Mercy!

Now to enjoy 4 weeks in NYC.

PS – If ya wanna show these scum where you stand and buy a shirt at www.destroyer666.uk

MetalSucks quickly issued an apology for their attempted pogrom, crawled into a corner, and curled themselves into a fetal position:

It has recently come to our attention that members of Australian black metal band Deströyer 666 have been receiving death threats related to articles we published on MetalSucks last week.

All of us at MetalSucks are appalled. Under no circumstances do we condone violence, or threats of violence, against anyone for any reason. We encourage open discourse on this website and in our comments section, but it should be relegated to just that — conversation.

Additionally, we spoke with K.K. Warslut directly, and he vehemently denies all of the accusations leveled against him.

We apologize to any members of Deströyer 666 who have felt threatened or whose names have been dragged into the mud on account of our actions. We have taken down the prior posts about the band to avoid drawing further attention to the situation and will refrain from posting anything further on the matter.

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Vomitor – The Escalation (2012)

vomitor the escalation

Article by Lance Viggiano.

The Escalation perfects the misunderstood Australian art of Cimmerian metal – a deliberately low-brow affair which has little tangible relationship to the Common Practice Period and therefore easily panned. Vomitor deliberately flaunt rock’s loud and emotive ethos through boorish motifs qualified further by a thin and mid-centric texture executed in characteristically poor-taste. Constructed primarily out of recombination of past forms, The Escalation is a deliberately retro affair which succeeds by forming a singular and immediately identifiable voice. Historical precedence for this identity is found in the work of Spear of Longinus – specifically the first demo contained within Black Sun Society. Vomitor do not present a way forward for metal; instead the entity finely maps a territory which was discovered but left largely unexplored by ancestors who clung to the safety and security of the coastlines looking into an inhospitable thicket which obscures a familiar but nonetheless unique landscape.

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Actual Death Metal Band Booked to Play Maryland Deathfest 2016

deathfest speedoman

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.

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