2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.
So after much thought on behalf of Myself, Nicky T and the Fans, WE have decided we are not done. We have put too much into this. All of you that wanna slander bring it! We return with an all new line-up! \m/ that’s right!!!!!
Bestial Evil have reunited for all three people who thought that Infectious Cross was a commendable work of antifascist, genderfluid propaganda. Only three as the redheaded furry on the right wandered in drunk from the Baltimore Comic-Con thinking the Sidebar was a Chuck E. Cheese. He was disappointed that even though Bestial Evil claim to be bisexual, no band member would put on the cowsuit and reem his rectum with the cryogenic feces. Now that token black “bi-sexual” (sic) guitarist Kevin Rucker‘s two foot long, “ritual fecal phalli” are gone, how will Bestial Evil possibly attract the coprophiliac crust punks yearning for authentic black shit out of a black-skinned man?
Mediocre and uninventive Baltimore death/crust band Bestial Evil (US) has left us, according to Facebook posts by its former guitarist and token African-American, Kevin Rucker. In his final statement, he goes off on a racist and homophobic rant which ends by telling the audience to “Eat some dicks.”
Baltimore-based social justice warrior crustcore band Bestial Evil USA have finally stopped attempting to play metal music claiming “…we are done being slandered and we’re done being associated with hate shit.”
Hello to friends and fans…
Bestial Evil has ended its reign.
Thanks for the support over the years.
Bestial Evil’s reign over their graffiti and needle-ridden back alley came to an end when the chef fired them for taking too many cigarette breaks in-between busing tables. Good riddance.
Well, this is awkward…
SJW crust/death band Bestial Evil (USA) has made a quasi-career by advancing “social justice” ideas at the expense of the death metal genre. But now it comes out that their guitarist quit because their drummer was involved with a right-wing group, at least until he gave it up to rejoin the band which just released their mediocre debut Infectious Cross.
The band has attracted the ire of fellow SJW/ANTIFA groups who object to the presence of the drummer in an organization which is not Leftist and may have ties to the far right:
Phillips, however has been deeply associated with not just the Wolves but with other area neo-fascist groups. Earlier this year, another band he plays with, an Irish folk band called ShamRouges performed at the annual St. Patrick’s Day event sponsored by Baltimore-based Label 56, a White Power distribution outlet run by members of the Maryland “Skinheads”. Phillips also plays with another metal band called Vørgum, who last year released a live album of them performing at the Wolves of Vinland compound. He reportedly still performs with the band today under the name “Ulfhamr”.
Phillips told One People’s Project that had been involved with the Wolves for three years, getting into them through mutual interests in music, physical regiment and people being different and living on the outside rejecting technology and other things that would be seen as distractions. He said there were a number of people involved that had far right leanings but they never brought those ideals into any group meetings. Overall, he says the group focused moreso on other things that politics. “Those guys, they had an impact on me,” he said. “It was what it was but there’s other people in my life like my band that I have to stick up for and protect and I can’t be associated with stuff like that anymore.”
With the loss of token minority member Kevin Rucker, Bestial Evil stands revealed as four white guys who want to play pseudo-deathmetal with an SJW message and attract an audience on that basis and not for musical reasons alone, but with their SJW cred in doubt, Bestial Evil faces an uphill battle since their music is unexceptional and also not that interesting.
#MetalGate pointed out the unsaid obvious: that “social justice” is destroying metal from within. Today we further explore this fertile (and obediently ignored in the media) topic with a small update on Baltimore-area SJW deathpunk band Bestial Evil, who recently fired and then rehired their drummer for his association with naturalistic and possibly right-wing civilization renewal group “Wolves of Vinland.”
Baltimore social justice warrior Shawn Wright threatened to extort Death Metal Underground through a defamation lawsuit to fund his crappy crustcore band Bestial Evil USA‘s national tour in the comments section of our recent news article covering his latest whining.
This promotional contribution from the Social Justice Warrior-ridden Baltimore metal scene is terrible; it sounds like Pig Destroyer meets Christian metalcore. The anonymous local supplier bravely contributed a shocking report of a recent Bestial Evil show in Baltimore.
It took some time, but despite the deluge of content constantly bombarding us and aspiring metal fans worldwide, we’ve been able to reach some level of consensus on 2015’s worthwhile metal music. Not to say that we’re in perfect harmony (If you’ve been paying attention, you’ll note that there’s some room for dissonance in our musical language), but the hope is, like what our recent reinspection of 2013 revealed, that some of this material remains interesting for more than the year it was released.
A wrathful reminder of what war metal should have been: a melodically-structured, chromatic holocaust to the god of this world. Jan Kruitwagen’s leads awe listeners and are optimally placed to hold attention just as each rhythm riff runs its course. An impenetrable mix rewards repeated listening to an album that may surpass Kruitwagen’s work on Sammath’s Godless Arrogance. March to Kaeck’s martial heartbeat or revel in shit.
Bolt Thrower meets ritualistic black metal. Rather than cathartic bending into climactic oriental leads, Desecresy diffuse tension by methodically varying into bizarre melodies with carefully placed, otherworldly leads to a steady metronome.
Mid-paced riffing in the style of Bolt Thrower builds tension with melody and drifts off into space with variations and well placed leads. Where Bolt Thrower themselves shoot a rifle at the ballon using rhythmic change to introduce another riff or dramatically bending the riff into a climactic, oriental short solo, Desecresy insert ritualistic blackened leads for dramatic contrast with the rhythmic, power chord riffing.
Review and Interview:
Rob Miller returns from blacksmithing to his previous metallic occupation with an album of catchy post-punk in Motorhead and Metallica song formats. Thankfully free of the Godsmack and other MTV influences present on Amebix’s swansong.
- Tau Cross – Tau Cross (2015), by Brett Stevens (July 1st, 2015)
An effective album of mid-paced death and heavy metal riffing. There is no psychedelic rock pretending to be Black Sabbath “doom” here. Highly structured; the opposite of the random tossed riff salads of most modern metal. This band takes an approach more like that of classical guitarists toward melding death metal with progressive rock, blues, folk and other influences: it mixes them in serially and adopts them within the style, rather than hybridizing the two styles.
In other words, most bands that try to sound like progressive death metal try to act like a progressive rock band playing death metal, or a death metal band playing progressive rock. Cóndor takes an approach more like that of musicians in the past, which is to adopt other voices within its style, so that it creates essentially the same material but works in passages that show the influence of other thought.
Reviews and Interview:
This vinyl 7” single features two new, well constructed death metal songs from one of from one of the few truly underrated bands in the genre. Those foresighted enough to purchase the identically-titled CD boxed set version received the band’s entire catalog in one of the rare remasters that sounds better than the original releases.
- Interview: Morpheus Descends (Rob Yench), by Brett Stevens (June 12, 2013)
- Interview: Brad Moore, who designed legendary Morpheus Descends cover, by Brett Stevens (October 9, 2013)
One last Motorhead album of mostly Motorhead songs. Nothing “new” is introduced for those in the non-metal audience who disdain metal and wish to feel intellectually superior to the common headbanger. The final work from a relentless machine of a band.
- Motörhead – Bad Magic (2015), by Gabe Kagan (August 31st, 2015)
- Slaughter of the Soul‘s 20th Anniversary of Awfulness, by Daniel Maarat (November 14, 2015)
- Listenable Records reissues Immolation – Dawn of Possession, by Daniel Maarat (November 19th, 2015)
- Order from Chaos – Frozen in Steel (2014), by Daniel Maarat (August 29, 2015)
- Carbonized – For the Security re-issue, by Brett Stevens (February 9th, 2015)
- Sammath’s debut now on Bandcamp, by Gabe Kagan (September 10, 2015)
- Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued, by Daniel Maarat (January 3rd, 2016)
- What thrived and what died from the 1990s (Part I), by Brett Stevens (September 3, 2015)
- Blasphemy – Fallen Angel of Doom (1990, 2015), by David Rosales (June 11, 2015)
- Obscura and Osho, by David Rosales (May 3, 2015)
Crusty death metal of the better than braindead Benediction but worse than Cancer category.
I’ve possibly heard too much but Hanger 18. I know too much. Although not as degradingly vulgar as Surgical Steel, Atom by Atom results in a pretty tacky affair. Vocals are as emotional as in the first album, except that in here they seem even more disconnected from the music as the music veers into some sort of progressive speed metal akin to Helstar’s. (Editor’s note: I liked it, but David Rosales was critical)
The band shows promise with their Unique Leader-style rhythmic riffing and soaring heavy metal leads. While being above par for technical deaf metal, aping a different one of your heroes every few verses doesn’t make for particularly enjoyable repeated listening.
Fredrik Nordstrom’s Arghoslent.
Technical power metal carnival music.
Nobody is allowed to edit themselves or turn on their bullshit filters in Steve Harris’s band anymore (Read a full review here).
Kvist meets the randomness of metalcore. Indistinct riffing and songwriting mix with pointless shoutout verses to past greats that makes listeners wonder why they aren’t just playing Sodom and Mayhem in the first place.
Where are the riffs?
Every Teutonic speed metal band gone Voltron.
The band has no need to repeat half the song just so the guitarist can get over his refractory period and play another solo. This is also an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads. This recording received two reviews in 2015.
A collection of interesting renaissance faire riffs written into songs that quickly wear out their welcome as metal, becoming RPG background music.
A few strong songs on a demo do not warrant a two CD set of Swedish death with limpid keyboards anticipating the steps black metal took towards mainstream goth rock in the late nineties.
This is the type of black metal as repetitive rock music that ignorant hipsters will praise as “ritualistic”. The album’s title sums the quality of its musical content: futile. (Editor’s note: I wanted to give this album a chance. It didn’t age well.)
Gothenburg cheese and Meshuggah licks are less appetizing than a lead-laced Mexican lollipop.
Grave Miasma returns. This time with 1993’s atmosphere.
Candlemass meets Soundgarden.
Every Teutonic speed metal band gone Voltron.
Solid underground metal in the spirit of Sarcofago that is perfectly well-written but does not amount to more than the sum of its parts; does not conjure up any long-lasting message.