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.

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

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.

Nécropole – Nécropole (2016)

Necropole are a French group who play flowing melodic black metal in the style of Graveland and the Quebecois with riffing heavily influenced by Gorgoroth. Necropole is an anthology CD collecting both of Necropole’s earlier demos, Atavisme… and Ostara, that were released on cassette only but readily heard through streaming on Youtube. Hopefully Necropole’s debut album will not be titled Necropole too to avoid confusion.

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Sadistic Metal Reviews 12-06-16

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Congratulations! Your society continues to squeeze out lumpy, furry, greasy and fragrant turds into the fresh bedding. Your government is corrupt; almost everyone in business and society is a robotic zombie; your mass culture is garbage and your jobs, jails. People are miserable inside but refuse to acknowledge it for fear of seeming weak.

On top of all of that, your future is grim as you slip further into third-world levels of filth, disorder, promiscuity, corruption, disorganization, perversity, crime and rotted infrastructure. How’s that whole modern society thing — consumerism, democracy, mass media — working out for you?

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Degtyarov Disses Death Metal Underground

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Ignyaz Degtyarov of “flowing black metal” and folk “metal” website and zine Black Ivory Tower slammed and parodied Death Metal Underground for Lance Viggiano’s negative Sadistic Metal Review of Condor’s recently released inferior third album, Sangreal. Apparently reviews of metal records evaluating the actual music behind the recording when compared to the works of past greats is autistic to Degtyarov, who only judges metal by how well it conforms to his Slavic nationalist Weltanschauung. Lance Viggiano speculating that a Black Ivory Tower contributor writing an ultimately boring upon repeated listening album due to chugging wine coolers and wearing The Rocky Horror Picture Show makeup like Sentence of Death era Destruction wounded what appears to be quite a fragile ego.

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The Decline of the Compact Disc & Music Industry

broken-cd

By the 1990s, the CD reigned supreme. As the economy boomed, annual global sales surpassed 1bn in 1992 and 2bn in 1996, and the profit margins were the stuff of dreams. The CD was cheaper than vinyl to manufacture, transport and rack in stores, while selling for up to twice as much. Even as costs fell, prices rose.

The popular music industry peaked financially in 1996 but had creatively begun bottoming out years before that. Digital file sharing of lossily (and later losslessly) compressed formats simply burst the bubble of the industry’s festering corpse the ignorant had mistaken to still be moving as the putrefying gases bloated body cavities.

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Metal Curmudgeon: Bolt Thrower’s Blitzkrieg Halts

bolt thrower - realm of chaos cover

Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.

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Interview: Fred Estby of Dismember

fred estby promo pic

Dismember are currently in the process of reissuing their merchandise and back catalog to combat rampant poor-quality bootlegs. Brett Stevens reached out to the band for an email interview and drummer Fred Estby most graciously agreed to answer our staff’s questions:

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Sadistic Metal Reviews (07/04/16)

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Why write bad reviews at all? Good music is rare, and bad is everywhere, but if you do not explicitly identify the failings of bad, most people will find it appealing because it does not interrupt their steady stream of self-centered thoughts and is easier than seeking good. If you like good music and want more of it, you must bash as well as praise, as Machiavelli would tell you. And with that, the latest installment of the Sadistic Metal Reviews

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