Bill Ward, the original and best drummer of Black Sabbath, is selling off all of the old drum kits and gear he no longer plays including over 150 kick drum heads he accumulated over the years. Ward says he only still plays his favorite stuff and is happy to see the rest of it go to drummers or collectors who will actually use or appreciate it.
Death Fortress previewed a new track, “The Warrior’s Mantle”, from their upcoming album Triumph of the Undying. Unlike the band’s earlier material such as Deathless March of the Unyielding, the primary influence of “The Warrior’s Mantle” seems to be Immortal instead of Hate Forest. This is a sign of potentially great improvements. Have Death Fortress ascended the “Mountains of Might” to join the lords of the raven realm in Valhalla? Probably not but we will have to see when Triumph of the Undying is actually released.
In a recent blog post, Celtic Frost vocalist/guitarist Tom G. Warrior has publicly disowned BMG’s upcoming double CD reissues of his band’s best output, Morbid Tales and To Mega Therion, and the more pandering and spotty Into the Pandemonium and Vanity / Nemesis. The embarrassing Cold Lake was omitted at Warrior’s request. While initially on board with the reissues and involved with the creative process, Tom Warrior has abandoned ship because the commercial mega-label BMG refused to print his linear notes as he intended. This blatant censorship was a means of preserving the integrity of the Noise Records liquid assets purchased by the label but had inadvertently overwhelmed the Cold Laker with a plethora of painful flashbacks of the corporate influence that plagued Celtic Frost throughout its existence.
Incantation‘s debut and best work, Onward to Golgotha, remains the deepest death metal album I have ever experienced a quarter century after its release as of today. With material (“Unholy Massacre” and “Profanation”) dating back to the initial founding of Incantation by guitarist John McEntee and drummer Paul Ledney, Onward to Golgotha was a record influenced as much by Bathory and Beherit as it was Morbid Angel and Autopsy.
Death Metal Underground has not run a contest in quite some time; since we found our slogan: “Sodomize the Weak” from Blood‘s O Agios Pethane. Our staff collectively feels it is time for another round. Social justice warriors, antifascists, and communists have been annoying the heavy metal world lately. We have decided to counter back with a short story contest.
Cardiff Metropolitan University has banned the use of of English words that it considers masculine in order to “embrace cultural diversity”. Every single word in the English language with “man” in it is now banned due to social justice warriors, communists, and feminists waging war against masculinity and wishing to neuter all mankind into mediocrity. Violaters of Newspeak face academic discipline and expulsion.
Necrotic war metal band Trench Warfare recorded four songs in late 2016 for appearance on a future split with Goatdusias and Bestial Karnage entitled Paths to Victorious Perversion. The band recruited drummer Lee Fisher (Commit Suicide, Psyopus, Overlord Exterminator) to record percussion for the upcoming release. Titles on the album include “Twisted Lies of a Wretched Pedophile,” “Astral Projection into the Shapeless Abysmal Void” and “Hatred Prayer.”
Jarno Nurmi was interviewed by black metal blog Raw War to promote his one man band Serpent Ascending‘s new album, Ananku. Jarno reveals he has left Desecresy and discusses the Finnish black and death metal scenes along with the mythological, occult, and esoteric motivations behind his latest work, Ananku.
Aṇaṅku is a different concept from ancient Tamil language and the word was chosen because it is widely unused and unknown, in many senses, but also because of it’s meanings of course. This is a nod to my earlier interests towards Indian and Asian esoteric traditions from where the process began though it ended up in something quite different.
The album turned out to have emphasis mostly on Northern European culture and identity from which it seeks to find the hidden sacred force that the word Aṇaṅku symbolises in the context. The album is adoration to Earth’s and Nature’s holiness, soil, blood and death.