Sabaton Shills For World of Tanks

Military history obsessed Swedish power metal and glam rock band Sabaton is now advertising for and having their music featured in the Belarussian massively multiplayer tank shoot-out game World of Tanks according to BlabbermouthWorld of Tanks is a Russian free-to-play, usually pay-to-win game that plays like a slightly more realistic, team based version of Battlezone. Players can choose to drive hundreds of tanks from the 20th century with the ones recently added to the game that players usually have to shell out to use being slightly more powerful before being nerfed into mediocrity. The game is most popular in Eastern Europe and East Asia among teenage boys.

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Tankard Belch “Syrian Nightmare”

Tankard vomited up a new track from their upcoming album of beer metal, One Foot in the Grave, that’s coming out on June 2nd on Nuclear Blast Records. “Syrian Nightmare” sounds like a lamer version of the already lame modern day Sodom to appeal to social justice warriors and Sally Struthers types. What happened to making dropping payloads of napalm on third world peasant children for crispy, cancerous death sound like trends mosh core fun for people in tight, patched up denim tuxedos and high top sneakers to mosh to? “Feed the Syrian Children” is incredibly boring. War is a natural form of entropy. Why don’t yuppies want to live a healthy, all-natural life style?

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Plage – Den Kristne Stank (2015)

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Den Kristne Stank, meaning “Christian Stench” in Danish, is an effort by the band Plague to bring some black metal with occult themes, blasphemy and just the general themes associated with the genre. The music reveals the same intent, applying different approaches to black metal creation but giving preference to the most obviously rock-based instance of it, disguised with intermingled soft blast beats.  In an attempt to bring variety without a clear focus (rather, the focus seems to be the variety of black metal expression) we find ourselves at one point reminded of Kjeld, the next of some pagan folk black metal, but it is the influence of Samael is felt most strongly. The problem here is that the music (obviously as a result of the concept) never zeroes in on a direction — a goal is not necessary, but clear statement and acting out of what you are getting at is important.

On the good side, Plague is actually not wanking or over-indulging themselves. The music creates reasonable structures that connect well-enough with each other flowing smoothly most of the time. The complaint comes from observing its coherence and the picture it reveals. As has been previously stated, the critique is realized in the following manner: first we gather an impression on the whole, from those observations the individual musical elements are investigated and finally a theory rooted in concept is formulated.  Any pair of adjacent steps (1 and 2 or 2 and 3) can be reexamined as many times as is necessary to try and clarify a perspective. Evaluating music as a whole, one should never go from ideology first nor should technical elements be taken as the central aspect. It is always the musical whole that is important. Formulations on intention and ideology are secondary and come as an afterthought and an attempt to explain excellence, focus or deficiencies in the music.

The variety itself is not the problem, of course, but that it is never brought under control by a  higher purpose. Instead of this involved yet forgettable collection of rock black metal techniques and compilation of general themes, I would suggest the reader to imbue himself with this year’s EP release by Necrophor, which presents the same degree of musical variety without the technique-collection effect of the former. Consistently with these observations, one may notice how the lyrical concept (or the concept as a whole) of Necrophor’s EP is much more precise and clear. Empirical evidence shows the importance of clarity of concept for the realization of focused music. Plague give us an example of a metal release that has everything except that.

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Goath – II: Opposition

Great Goath!  First impression is, this new output from Goath is pretty darn good. The artwork seems excellent. Some of their other releases didn’t quite do it for me, but this one hits the spot. There is a nice mix of basic time signature riffs. The main thing is that the high level of aggression in all the instruments and vocals works on this one, whereas the other stuff I heard before was boring and lower pitched, like war metal kinda, with some Deicide. The whole thing sounds really old school underground, not aiming for total show-off or the best production, but instead going for authenticity and aggressiveness.
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Fake And Gay: Nergal, Halford Want BM Supergroup

< Famed Judas Priest singer and gay fashion icon Rob Halford has been recently vocal about starting a black metal supergroup.  A longtime fan of the genre, Halford has named Ihsahn of Emperor and Nergal of Behmoth as potential collaborators, with the latter jumping at the opportunity to use his cartoon-black-metal brand to pocket even more mainstream metal dollars.  Unfortunately for Halford and anyone dumb enough to be duped into thinking something like this will be good, Nergal will not have much to offer in terms of a black metal supergroup as he has not played black metal since 1994's Sventevith despite masquerading around in corpse paint whenever it’s time to roll out the red carpet.

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Godflesh – Post Self (2018)

If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.

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Victory Over Peace

There are those who would make us think that peace is essential for life. They demand we must reconcile all manner of disagreements and simply live happily together. In reality, what happens in a real compromise (if indeed it is a compromise) is that every one involved gets a bit of what he bargained for. It is not unlike Celtic Frost, a.k.a. the failed post-Hellhammer experiment that tried going mainstream a step at a time. By the time the band released Into the Pandemonium it was clear that by trying to bring the monster of underground black/death metal into the light they only degenerated it into a joke that no one, except masochists, want to ever hear again. The reader may want to attribute the downfall of Celtic Frost to a host of other causes, but the decision was in fact simple: give in to niceties and benefits through a compromise, or keep on fighting, towards a transcendental victory.
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Decapitated Proven Innocent!

As I predicted a few weeks ago with 100% accuracy all charges of rape, kidnapping, and sexual assault have been dropped against the four members of Decapitated.  The collateral damage done to the band is going to remain however as this news (published on a Saturday when little mind is paid to the news cycle) will surely receive significantly less buzz than the breaking story of their arrest, or the subsequent leftist metal media narrative that a guilty plea should be expected based on a ridiculous interview with some dingbat attorney who had absolutely no access to any of the evidence.  This will therefore result in many of the fans who have disowned them to continue believing them to be heartless rapists.  The band can expect extradition back to Poland soon, having very harshly learned a tough but important lesson.  This story is an important lesson to metal concertgoers and even more so to young metal musicians who will be touring or playing shows soon.  Let’s briefly examine how this story was treated by the liberal MSMM (mainstream metal media) and its fans, take a deeper look at the takeaways that can be learned from this unfortunate experience, and conclude with an open letter to the members of Decapitated I once shared a bottle of vodka with some years ago…
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Trendkillers #1- Death to List Culture!

Trendkillers #1- Death to List Culture!

 

In Trendkillers, we will engage the unseen and/or uncontested trends that have permeated metal culture.  Death to false idols! 

 

We begin the Trendkillers series with the most tired and meaningless year end tradition in metal culture- the top 10 list.  Or is it a top 20, top 40, top 100 list?  Do 100 death metal albums even get released in a year, or are some blogs trying to virtue-signal how many albums they are aware of? In any case, many metal bands and musicians consider this the crown jewel of their existence as it’s often the only chance they get to pad their narcissism and reaffirm their perceived importance in the grand scheme of things.

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