Mercyful Fate members reunite in Denner/Shermann

Denner/Shermann - Satan's Tomb (2015)
Mercyful Fate was one of the high points of traditional heavy metal in the 1980s, exerting huge influence through their over-the-top visual aesthetic and elaborate, theatrical songwriting. They arguably peaked on 1984’s Don’t Break The Oath; later works by both this band and its frontman’s project (King Diamond) varied in their ability to capture such high points.

October 2nd will see yet another effort from the band’s musicians – alumni from the band have united to form Denner/Shermann, and to release Satan’s Tomb, an EP of material in a similar but presumably modernized vein. The release date and album title are probably going to draw comparison to the band Satan’s upcoming album on the same day (Atom by Atom), despite definite differences in style. While our knowledge of Denner/Shermann’s sound and approach is less confirmed at this point, I’m fairly certain they need a better marketer on their side; at least as evidenced by the questionable decisions of the following trailer.

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Mercyful Fate – Melissa is 30 years old today

mercyful_fate-melissaReleased on October 30, 1983, the first album from Denmark’s Mercyful Fate proved to be a decisive one for metal. While the band never ventured behind a NWOBHM-speed metal hybrid comparable to Blitzkrieg/Satan, Tank or Diamond Head, the uniquely operatic vocals of King Diamond and the band’s ability to write compelling heavy metal that also had a touch of the otherworldly quickly made Mercyful Fate an important band.

While many have written about their influence on black metal, it’s important to mention that this is not a black metal band, or album. Expect heavy metal, with the type of muted-strum riffs that later made speed metal capture the attention of metalheads worldwide, but with a greater focus on dynamics and pacing. On the surface, it sounds like many other bands from the era, but Mercyful Fate gave the music a unique spin and pushed quality over the top.

As a result, the band, fronted by the legendary King Diamond in his Alice Cooper-inspired face paint, became a staple of the “below-mainstream” metal crowd and quickly won a place on every metal record store’s walls. Through a series of early albums such as Melissa and Don’t Break the Oath, the band gradually shaped metal’s underground away from repetitive intensity and more toward the type of operatic variation in intensity that marked the influences on King Diamond’s vocals.

30 years have passed since this album first detonated car stereos and home units, but its influence is vast and hard to estimate. First, it shaped bands like Metallica toward more imaginative and melodic songwriting; next, it shaped black metal as a melodic, dynamic, motif-driven genre. Finally, the band’s outright flirtation with Satanism as a form of successor philosophy to the genteel benevolence of the society at the time influenced the metal to follow in non-musical as well as musical ways.

http://www.youtube.com/watch?v=UGQFdv6ayHY

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Former Fates Warning guitarist launches new band Freedom’s Reign

freedoms-reign-freedoms-reignOn the 29th anniversary of Fates Warning’s classic debut album, Night on Bröcken, original guitarist and founding member Victor Arduini releases the debut of his new band, Freedoms Reign.

Known for intricate arrangements and the type of speed metal, progressive metal, American heavy metal and power metal mixture that has delighted audiences around the globe and continues to be the mainstay of most bands that make it big, regardless of surface genre or marketing names. This style provides maximum musicality with enough speed thrills to keep people engaged, but without allowing songwriting to be absorbed in technique or intensity.

Freedoms Reign retains Arduini’s “original, charismatic and unmistakable” style of playing guitar and injects into American style high-energy heavy metal a classic Ozzy/Black Sabbath flavor. If it is consistent with his work in Fates Warning, expect an underlying melodic basis to the music much as in Mercyful Fate, but this will be understyled and emerge in either vocals or guitar but not aim for the harmonic effects of European bands as frequently.

Besides Arduini (guitar/vocals) , FREEDOM’S REIGN also consists of Tommy Vumback (Guitars), Michael Jones (Bass) and Chris Judge (Drums). Freedoms Reign was recorded in Dexters Lab Recording in Milford, Connecticut with Nick Belmore (TOXIC HOLOCAUST) and will be released on iconic heavy metal label Cruz Del Sur Records.

The label is taking pre-orders now at this location.

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Abigor- Höllenzwang

Abigor are back with their 9th album, which is sadly a continuation of the ideas on Leytmotif Luzifer.  Hailing from Vienna in Austria, Abigor definitely have the style and look associated with their hometown but even in arguably their last bad work : Nacthymnen ( From the Twilight Kingdom) they have always lacked substance in comparison to the greats in the European black metal style.  Leytmotif Luzifer was Deathspell Omega worship with the remnants of what could be qualified as generic second wave black metal. Here they continue in that substanceless yet somewhat more refined method of songcraft….

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Sepultura’s Sons

Hessians were always searching for anything heavy back in the eighties. Digging deep into the import section or buying blindly from catalogs or zines were the only ways to hear anything that could be heavier outside of rarely engaged in underground tape trading. Slayer was the heaviest mainstream metal ever got. Sepultura was one heavier.

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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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Kerry King’s Favorite Metal Albums

Slayer‘s Kerry King dished out his top ten favorite metal albums to Rolling Stone as part of the geriatric soft rock magazine’s imbecilic Top 100 Metal Albums list.

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Thirty Years Under the Sign of the Black Mark

Bathory‘s Under the Sign of the Black Mark turned turned thirty years​ old last month. The album marked the start of Quorthon adding in the epic atmosphere of Manowar and Iron Maiden which would come to fruition on Blood Fire Death. Under the Sign of the Black Mark also happened to be one of the first black metal CDs I ever purchased, which I preceded to play non-stop for about a week until getting bored of it and going back to listening to Altars of Madness.

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Satan – Court in the Act (1983)


Article by George Psalmanazar.

Satan‘s Court in the Act exists in a unique space between the New Wave of British Heavy Metal and speed metal. As a wholly metal album that attempts no pandering to mainstream radio rock unlike seemingly every other NWOBHM band, Court in the Act is by far the strongest studio album of that sub-genre/movement and incredibly influential to American speed metal bands Metallica, Megadeth, and Slayer.

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Thirty Years of Morbid Visions

Sepultura‘s Morbid Visions is my favorite thirty year old album. Released in Brazil on November 10th, 1986, Morbid Visions saw Sepultura slither past the primitive Hellhammer, Celtic Frost, and Sodom worship of their initial Bestial Devastation extended play (included as a bonus on almost all CD versions of Morbid Visions) and into ultraviolent, progressive but still primitive, death and black metal.

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