DMU Podcast 1: At the Gates and The Unlikely Mexican Heirs

Join us on the inaugural DMU Podcast where we go through the influence that The Red in the Sky Is Ours had on the Mexican Death metal scene and how it spawned two albums that sought to recreate its grandeur. The Chasm Deathcult for Eternity: The Triumph! and Cenotaph Riding Our Black Oceans

note: here is the fixed version

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Virgin Steele: A Retrospective (Part 1)

By the Gods my friends!

Forged in the desolate halls of 1981, hailing from the majestic kingdom of Long Island, New York… Virgin Steele have been one of the most enduring acts of Powerful Epic Heavy Metal for aeons! The aural magnificence of ultra-charismatic vocalist / composer / keyboardist / all around renaissance mad-man David “Dionysus” DeFeis and trusty six-stringed axe warrior of indomitable fury and vengeance Edward Pursino’s combined creative efforts have been overlooked by scholars of Metal for too long!

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Infamous – Winter Ruins in Howling Mist (2019)

Infamous contributed two tracks to the split CD/EP with Cmentarny Zew, Thorncastle and Ordo Sanguinis Noctis named Winter Ruins in Howling Mist released by Darker Than Black Records. These songs demonstrate why Infamous remains at the head of the new brand of black metal, mainly by staying true not just to black metal, but to idea-driven music.

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Lords Of Chaos (2019)

As the Vice Media tag came on, there was no doubt that this movie was going to be terrible. There should be no doubt that this is just a take on the rock star trope while attempting to vulgarize the events that occurred during the Black metal movement in Norway. The movie fails at simplifying the story or even narrating the legendary acts that took place in such a short time. The sets and the music are the only reliable elements in a film that features idiotic directing, non-existent acting and fabrications so far fetched that no sane human would believe them. (more…)

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Dream Theater – Distance Over Time (2019)

If there is anything impressive about the music Dream Theater have been releasing for the past decade or so, it is the fact that just when one thinks they have reached a new nadir in pointless asinine cringe, they somehow manage to sink down to even further depths of banality with no apparent end in sight.

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Kawir – Exilasmos (2017)

Exilasmos (meaning ‘propitiation’) is the 7th album by Hellenic black metal band Kawir. This album signifies a dynamic return for the group with a very energetic blend of classic heavy metal and black metal, revealing glimpses of their way forward among the overused tropes of both genres.

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Malevolent Creation – The 13th Beast


Malevolent Creation return with an Immolation like attempt to gain new fans by playing simplified versions of their most famous works while simplifying their ideas as much as possible in order to attract as many newcomers as possible. Legendary vocalist Brett Hoffmann recently died after a long battle with colon cancer and though he had left more than 2 years ago, this is the band’s first record with new singer Lee Wollenschlaeger. Mediocrity is combined with constant blasting to make a purely forgettable record.

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Streaming, Record Sales, and Illusion: The State of Music in 2019

 

If you were active on any social media platforms last month you likely saw the bands you’ve been following celebrate the number of Spotify streams they had in 2019. Just as Myspace plays and Facebook likes were once important metrics used in the industry to determine the success of an artist, the number of plays on a streaming service is now the new standard of how popularity and fan size will be evaluated. But along with these changes in music statistics we must also consider the lessons of the past in how such statistics have been deceitfully manipulated. For there is a dark side to the validity of music streams in 2019 and the very real power held by those who can successfully master their mysteries.
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Satan – Cruel Magic(2018)


Few bands manage to sustain their passion and efforts as they mature; Satan is one of those few. Although the Ophidians are shedding off their bland metallic skin on this album to add a more progressive element that nurtures the double guitars and the vocals, their evolution is logical and enjoyable and programmatic romanticism vindicates itself.
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