Deafheaven – New Bermuda (2015)

Deafheaven - New Bermuda (2015)
On a less rigorous, and slightly looser site, my thoughts on New Bermuda could be expressed as something along the lines of “whatever”. The music here has been performed before by a cavalcade of metal-themed indie acts, each more individual and revolutionary than the last, yet stunningly conformist for their efforts. Deafheaven enjoys rather more media attention at the moment, even sometimes drawing our attention for their little escapades, but they’re pretty much cut from the same fabric – a few hints of loud guitars and blast beats to liven up boring sugary pop stretched far beyond the limits of its songwriting.

The stylistic deception is pretty shallow, to be honest. I found it mildly amusing that the album began with a few minutes of more overtly black metal flavored material, which was then abruptly cast off in favor of the basic rock riffing and reverb textures that Deafheaven seem to so particularly enjoy. It returns every now in then in case you forget you’re supposed to be listening to the future of black metal, but I can confidently say New Bermuda relies more on the band’s rudimentary modality (major-minor ad infinitum) than their rudimentary dynamics to occasionally wake up a sleepy listener when the soothing, inoffensive guitar strumming has lulled them into a dreamless slumber. The drumming in these sections gradually devolves into basic modern rock downbeats and timekeeping, as if to represent your transition towards a drowsy (indie) state of mind. That probably wasn’t the intent, but the idea that it could’ve been is dangerously tempting.

Now, I’m not the kind of person who tries to fall asleep to music, but were I to treat this as a collection of lullabies, it would still be fairly underwhelming. That it has loud sections at all is counterproductive for insomniacs, but even those are rather predictable in how they play out. The straight ahead black metal sections consistently move sluggishly under the blastbeats, with a vocalist who has learned but one type of shriek and a few basic vocal rhythms. Given how Deafheaven is marketed, that these sections sound like an afterthought is problematic. Maybe the album would be better if it was divested of the clearly unwanted black metal, but then you’d be left with just another unwashed (but charmingly patchouli and spice scented) post-rock/emo/indie-pop album essentially indistinguishable from all the others and guaranteed to gather dust after something newer and more exciting comes out.

I slept well last night. What about you?


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/smr/ Sadistic Metal Reviews – Post Black Metal Eulogy (Part 2)

In post black metal, we saw riffs being declared null and void in favor of atmosphere.  Gone were the melodic harmonies of Iron Maiden and Dissection, the savage atonal decimation of Morbid Angel and Blasphemy, and the memorable rhythm and lead guitarwork of Slayer and Death.  All this came in favor of completely forgettable riffs and songs in favor of an overall spacey “transcendental” experience.  Aesthetically, post metal was the reflection of progressive societal values of the 2010s- the emassculation of men (all musicians were Nu Males), artwork made by douche bag art degree scumbags that live in ghettos, and tame, timid, “spiritual but not religious” lyrics that had not a shred of aggression or danger.

It didn’t have to be like this.  There could have been ways for bands to experiment with post rock/shoegaze elements and still maintain the foundation of a metal presentation, maintain metal aesthetics, and have attitude or edge.  But not a single band- NOT A SINGLE ONE- was capable of doing so, proving that the accusations of these bands/musicians not being metal were to be fully valid and accurate.

This is the absolute end of post black metal before it circles the drain of a shit-stained toilet and is flushed to the bowels of irrelevancy.  A finally eulogy to a genre that never should have happened.  The musicians will bleed out their parents money and then become homeless, get aids from a bad batch of heroin, and die a miserable death in an alleyway gutter where they should have been left to rot at birth.



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In just one week, the nauseating disease that is liberalsim has managed to shutdown the tour of a black metal/shock rocker and breakup a black metal/crust band.  While this is to be applauded in this instance as crusty black metal is paradoxal and live black metal is outright cringeworthy, it is atrocious that there are so many happenings of metal being bent over and embarrassed by an ideology as frail and useless as liberalism.  But contrary to the voices of life dropouts, the solution won’t be found in neckbeard occultism, Paganism, or other extensions of fatalism.  This disease may only be obliterated by THE TEMPLAR and their mercilessness opposition!  This means unapologitic masculinity, the re-institution of theocratic imperial order, the abolishment of atheism and materialsim, the cruel shaming of sodomites, and the complete annihilation of individualism and its atrocities.  The only true freedom is in complete submission to the LORD, who unleashed these plagues on a Western world that turned away from his divine order in 1789, closed their ears to his commands in the 60s, and completely fled his divine law in the last decade.  If you don’t soon take up the cross you’ll see your precious metal scene completely overrun by masculine women, post-emo beta-males, and neo-commies who will erase your metal heroes and replace them with emasculated champions of diversity!  DEUS VULT OR DIE


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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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Trendkillers #2: Blast Beats Must Die!

The blast beat has had a very unlikely journey through its relatively young lifespan in music.  Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion.  This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity.  Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music.  Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.

For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit.  And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.


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The Mask of Yosuke Konishi

Metal interview blog Bardo Methodology interviewed Nuclear War Now! Productions owner Yosuke Kinishi earlier this week about his motivations for starting his mostly war metal label. Konishi spoke about his mild misanthropy, veganism, “die hard” edition cash grabs, and how most war metal bands (presumably on his label) fail to live up to the social Darwinism they spout.



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Sadistic Metal Reviews: Fargo of July



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The Sad Pandemic of West Coast “Black Metal”

Today’s American black metal has found itself right within the parameters of Poe’s Law which, when applied to this abomination of a music scene, would sound something like this:



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Metal In An Age Of Insincerity

Over at Clrvynt, filmographer David Hall finally notices what DMU has been saying for 22 years: that heavy metal died in 1995 or so through lack of new ideas, and has been assimilated by rock music because metal is a better product as a flavoring than a separate entity. (more…)


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