Darth Vader’s Top 10 Underground Metal Songs

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Article by David Rosales

Child prodigy, genius wielder of the Force, Darth Vader was the result of an excess of talent and aptitude leading to a complete disregard for standards and rules, tradition and caution. The Dark Side’s poster boy was kind enough to impose his favorite 10 underground metal songs on us:

10. Master – Funeral Bitch

Don’t fail me again, Admiral.

9. Merciless – Dreadful Fate!

I am altering the deal. Pray I don’t alter it any further.

8. Massacra – Researchers Of Tortures

Perhaps I can find new ways to motivate them.

7. Bolt Thrower – World Eater

The Empire will compensate you, if he dies. Put him in.

6. Torchure – Genocidal Confessions

Join me, and together we can rule the galaxy as father and son.

5. Blaspherian – In the Shadow of his Blasphemous Glory

I hope so, Commander, for your sake. The Emperor is not as forgiving as I am.

4. Brutal Truth – I See Red

He is as clumsy as he is stupid!

3. Celtic Frost – Visual Aggression

No. Leave them to me. I will deal with them myself.

2. Destruction – Bestial Invasion

You underestimate the power of the Dark Side. If you will not fight, then you will meet your destiny.

1. Profanatica – Angel With Cock

I have *felt* him, my master.

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Reissue Radar: Blood – O Agios Pethane (1993)

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Following up on Vic Records’ reissue of Christbait a couple months ago, Dunkelheit Produktionen from Germany is preparing a reissue of that album’s followup. O Agios Pethane also got a good review from the Dark Legions Archives at some point in the past and is presumably a worthy continuation of the band’s career in a similar style. The album is currently available for preorder from Dunkelheit’s online store and will be officially available on March 20th, 2016. Like its predecesssor, it should serve as a historic example of well written grindcore/death metal, although any band seeking to draw inspiration from it may need to also pull from other sources in order to produce something valuable.

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Upcoming tours – Marduk, Immolation, Origin

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With the metal scene as it is these days, one out of three DMU-approved bands isn’t too bad. Marduk, Immolation, Origin, and a band named Bio-Cancer will be touring Europe throughout May 2016. While Marduk is headlining, their companions in general seem to have similar levels of notoriety; I wouldn’t dwell too much on the specifics of the headlines. I’m betting European fans of Death Metal Underground’s writing will treat this as a possible opportunity to see Immolation in concert. While that’s an optimistic appraisal, the band allegedly gives their older and stronger some emphasis when live, so if you can grit your teeth through the other material it could very well be worth your while. Otherwise, you’ll have to hope there’s good beer… and that there’s plenty of beer money in your pockets.

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Tom Araya (Slayer) interviewed by Loudwire

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The folks at Loudwire recently conducted an interview with Tom Araya. In it, Araya talks about a great swathe of topics relating to his career with Slayer; what particularly stood out to me was his discussion of what went into Repentless. While we’ve probably reiterated more than enough that Repentless wasn’t very good, it’s still interesting reading about the differences Araya perceives between it and previous albums. There’s also some bits of interesting trivia in there that I personally wasn’t aware of before; such as Araya’s affinity for ’70s rock and the Beach Boys, and the varying work ethics and styles of various bandmembers past and present.

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Magrudergrind – II (2016)

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So famous that you might’ve just heard of them right now for the first time. Magrudergrind is back after a hiatus with an album that makes a potent case for keeping simplicity tightly under wraps so that we don’t risk every band with half a half-hearted interest in songwriting nabbing it from the medicine cabinet and hoarding it all for themselves.

I don’t exactly listen to much straight up ‘grindcore’, which adds to the holes in my listening experience, but II sounds pretty much like what I’d expect any half-proficient band in the genre to put out. It’s understandably a little slicker than most of the formative efforts in the genre (Napalm Death, Carcass, Repulsion, etc.), although from what I’ve heard this album trades in some of the bits of schlock comedy that “distinguished” previous Magrudergrind content from its contemporaries for more standard, basic, banal grindcore. On some scales, this is really a perfect 5/10 album; it’s exactly what I expected aesthetically, it does nothing particularly interesting, and it doesn’t even have the temerity to offend me even slightly lest I end up shaming Magrudergrind on the internet; does this sound like anybody we know? II is basically the equivalent of a blank cassette waiting to be recorded to for the first time, but like most albums of little musical merit, we can at least learn a few lessons from the circumstances surrounding it.

As I hinted at in the intro, Magrudergrind’s latest is a very simplistic album that isn’t far removed from the starkest, most deconstructive efforts in its genre. The problem working in such a limited palette is that most of the time, it’s only a sign of low effort; it takes surprising amounts of skill, ambition, or at least luck, to cut down your music and still retain some shred of coherence and communicative value. Grindcore, as a genre, is especially vulnerable to the dark side of these tendencies; once you reach maximum violence and intensity there isn’t much left to do in the confines of the genre. The various famous bands of the genre all found their coping mechanisms; I’m personally most familiar with Carcass’s rapid pivot towards pop music. Magrudergrind’s, on the other hand, was apparently to go on hiatus for a few years and then return when everyone had forgotten not only them, but also the very knowledge that they had forgotten about Magrudergrind.

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Karl Willets and other death metal musicians form Memoriam

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Memoriam is very, very, very early in its history, to the point that their Facebook page only showcases a few rehearsal photos  but it’s beginning to build up some buzz, at least for its membership. Besides the aforementioned Karl Willets (of Bolt Thrower) and Andy Whale (also formerly of Bolt Thrower), the current lineup also features members of Benediction and Cerebral Fix. Bolt Thrower’s studio output withered after the 2000s due to bandmembers not being pleased with whatever they wrote after Those Once Loyal, so it’s worth noting that this could turn into a venue for part of the band to write and release more material. No guarantees of quality, though.

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Khand releases upcoming track off Crimson

If you’ve been following the site for a bit, you’ll note how Khand is a treasure trove for ambient/”cosmic” music lovers that has earned a nice reputation on our site for their previous studio albums. A few months back, this one man act mentioned it was simultaneously working on two albums for future release. Crimson, from which the provided track hails, is a science fiction concept album revolving around a hypothetical manned space mission to Mars. While it’s too early to say for sure whether or not this will live up to previous Khand albums, a teaser track is still an important milestone on the way to an official release.

Some of Khand’s work is available for download here.

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Reissue radar: Metallica’s Kill ‘Em All and Ride the Lightning

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Metallica is releasing box sets of both Kill ‘Em All and Ride the Lightning, possibly bringing new attention to their earliest and most virile content. Each box set includes several vinyls and CDs worth of material, ranging from newly remastered (and possibly brickwalled) versions of the albums to live concerts and demos of the albums’ tracks. While the mixture of vinyl and CD content and the frequently iffy nature of studio demos lead me to wonder exactly how useful these box sets are, the actual songwriting content is sound, and it could possibly help a new generation of metalheads learn crucial lessons about how to make metal; good foundations for more advanced studies like Slayer and Morbid Angel. The albums are available for preorder from Metallica‘s online store, and the official releases will be on April 15th.

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Aaron Aites (Until The Light Takes Us) has cancer

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Aaron Aites, best known for his documentary work on black metal (the aforementioned Until the Light Takes Us) was recently diagnosed with kidney cancer. He and his partner Audrey Ewell have put up a GoFundMe page in order to raise money in order to treat it. If you’ve found any value in Aites’ work, like several of the contributors to DMU have, then you might want to contribute some money. Besides the aforementioned Until the Light Takes Us, Aites has also produced some other documentaries and films, and released lo-fi pop music through a band named Iran. Furthermore, you can read DMU’s interview with Aaron and Audrey here.

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Destruction to release Under Attack

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Destruction plans to release their next studio album, Under Attack, on May 13th, 2016; amusingly enough this’ll be their 13th album as well; at least if you count the especially disastrous mid-’90s lineup’s material. “Neo-Destruction”, as they call it these days, is especially important to understanding this band. Its studio work blew up so violently in their faces that it locked the band into the self-referential and especially formulaic route they tread today. Under Attack is unlikely to end that, and the trailer showcases little of the inventive riffcraft and melodic development that made the band influential and interesting in the ’80s, even though the rest of their songwriting eventually fell behind more advanced underground acts.

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