Paramaecium – Exhumed of the Earth (1993)

In addition to its notoriously contradictive definitional nature, doom metal remains something of an enigma in terms of its enduring popularity. Whether or not one chooses to view it as a distinctive subgenre, style or even technique, doom metal must bear one of the most in-proportionate quotas within metal music when it comes to quantity over quality.  If attempting to depict doom metal from the perspective of enduring releases, the list of canonical works would become surprisingly short.  It seems plausible that part of the explanation to this sad state is embedded in the very characteristics of the style.  Doom bands have generally prioritized development of exceptionally powerful tools for conveying sonic heaviness at the expense of other aspects of the music. It might even be so that the techniques in themselves has forced artists into a particular way of writing music. Either way, there appears to be a widespread discrepancy between the means of expression and what is actually being expressed in doom metal; which in turn provides clues as to what makes for a genuinely satisfying doom-offering. With the above discussion in mind, today’s written offering presents the Australian death/doom act Paramaecium – one of few bands bearing the doom-tag that has managed to write compositions to match the sonic gravitas associated with said style.
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Control Denied – The Fragile Art of Existence (1999)

Control Denied was formed in the mid-1990s by late Death-frontman Chuck Schuldiner to cater to his desire to explore more traditional metal stylings.  Schuldiner, however, was still bound to Death’s contract with Nuclear Blast and thus agreed to record one more album under the Death-moniker before concentrating fully on his new band and musical direction.  As a result, songs originally intended for Control Denied were shoe-horned into a death metal context on The Sound of Perseverance (1998) which partly explains the lackluster, two-faced nature of the last and arguably worst Death-album. With contractual entanglements finally sorted out, Control Denied’s debut The Fragile Art of Existence saw the light of day in 1999.
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Dark Horizons: Upcoming Metal for 02/09/2018

As we predicted at the close of last year, a storm of power metal is coming at last and replacing the soon to be dead genre of post-metal.  With beta-male hipsters turning toward retro rehashes of classic metal they are at last abandoning the pretentious nasalings of post metal.  Let us rejoice in the death of post-black metal!

With Fridays becoming the new Tuesdays for metal releases (for reasons unbeknownst), let’s turn our attention to the next meaty drop of 2018 extreme metal.
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[EXCLUSIVE] TRANS-OCALYPSE HERE: 1ST ALL-TRANS METAL BAND DECLARES WAR ON BLACK METAL

BREAKING:  On the last day of 2017, our editor predicted that a trans-gender wave of metal bands would arrive in 2018.  We are already getting our first dose of this a with “pink metal” pioneers PEOSPHOROS–  the world’s first all-trans metal band (excluding Cradle of Filth).  Destined to become the new face (and genitals) of metal and new heroes of progressive liberal metal scenesters everywhere, Peosphoros have immediately made their presence felt by declaring war on the most dangerous and anti-human genre of all: black metal.  It takes guts to take pioneer a foray into metal, the most masculine of all music genres, but how does Peosphoros’s trap-metal fare musically?

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Underground Record Labels in 2159 Ch. II

It was very late at night now. The moon was full, and the path had gave way to a blood paved street. Some very pale women and children with red eyes came out and played on the swings in the forest in the dark, giggling.  There was a shanty town, many huts, with a Gerry-rigged cathedral with Satanic stained glass mirrors in the center.  A small class was being held inside of one of the huts. he had heard of this place, a weird Swiss corporate enclave that had been on the route to Stoner Mountain since the early 1600s and which , strangely, still remained as part of Switzerland (formally), though it was in the middle of what used to be known as California, in the former USA.  Rumor had it that not far from this place, the tech titans had made a pact with the Satanic Illuminati (Octagon) to provoke nuclear war in order to further control the supply chains. From time to time, large amounts of cryptos had been reported (as having been dumped on the road) to GovCore.  People were likely harvesting DeathCoins out here, using biomechanical hydro power. Death coins stored up all the vitality of the people killed onto a tradeable digital coin.  Luckily, these people were more into the tech side of the system. They let the low lives and the scavs in other regions do most of the killing these days. Their killings were merely ritualistic at this point.
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Another Take on Ritual Chamber – Obscurations (2016)

I have no way of knowing if anyone will read this letter. It joins the others which have been hidden in the knot-hole of the ancient tree on top of the mountain that locals simply call “the big one,” to which I make a daily pilgrimage. My life has become oriented around what I can only describe as a portal to the future.

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Ancient – “Eerily Howling Winds” (1993)

As previously pointed out by the editor of this site, metal demo recordings does not exist as crass commercial propositions with the sole purpose of advertising the market viability of the artist, but function — at least ideally — as independent works produced and distributed without further infringement from the recording industry. In spite of eventual shortcomings resulting from lack of budget, experience, and time, demo-level recordings remain a breath of fresh air because they oftentimes capture bands at a nascent and untempered creative stage.

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