Vargrav – Reign in Supreme Darkness (Werewolf Records, 2019)

Article by Belisario

Among the latest newcomers of note to the realms of underground metal we find Vargrav, a Finnish one-man-band with a debut album released in 2018 and a sophomore effort published just a few months ago. Under the title Reign in Supreme Darkness, this latest album has stirred some attention not only on account of the material itself but also owing to its recent live debut as part of the notorious SteelFest festival which takes place in Hyvinkää, the very city Vargrav hails from.

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Mithras – Worlds Beyond The Veil

article by Svennerick

Morbid Angel’s output after Covenant led to a huge divergence between Extreme metal fans. After the huge failure and one of Death metal’s biggest downfalls, which was Domination, the band decided to change things up, which is a move that has to be admired, since many bands would milk out such a success and let their own music suffer in mediocrity.

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Extreme Metal in Cinema


article by Belisario

There are many movies that portray heavy metal, but the ones addressing extreme metal could be counted on the fingers of one hand, and all of them are rather recent. In such a mainstream format as cinema, it is no wonder why extreme metal has remained largely out of radar, although it has to be pointed out that the treatment received by more conventional heavy metal has actually never been really thorough. Since the popularity peak of the genre in the late 70s, almost all its appearances on the big screen have portrayed a musical genre essentially grounded in rock music, with no clear differences discernible between both fields. That is the case of Wayne’s World (1992), Airheads (1994) or, for those familiar with Spanish cinema, the two parts of the Isi/Disi saga, Amor a lo bestia (2004) and Alto voltaje (2006). All of them share a stereotyped and humorous vision, which on the other hand always eschews any disquisition of the music itself or its fans.

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Mangled Torsos – Drawings of the Dead

Article by Svennerick

Not shortly after its inception, Death metal saw not only a stagnation in popularity, but also in creativity and artistic spirit. A genre that peaked and that had already developed most of its subgenres before even being given a concrete name showed the metal scene something new in the mid 80s and early 90s. But that magic eventually faded and now Death metal has only seen a small amount of innovation or peaks in the last two decades, since we mostly end up listening to band worshipping Gorguts‘ Obscura, yet missing its ferocity, or a band creating an entire album consisting out of blast beats and overly technical riffs, which feel more like filler than forwards moving music. Bands lost the connection to what made Death metal special in the first place and would rather waste their impressive talent and devotion trying to rehash what Necrophagist or Spawn Of Possession did in the early 2000s with great success.

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Faraón – T.E.S.I.S. (2000)

article written by Belisario

This album is the debut opus and the only recording done by Argentinian project Faraón (Spanish for “pharaoh”), a short-lived one-man band set in motion by the individual known as Temptor Princnegsur, possibly just before putting it on hold to focus on his main act, Gevurahel. One of the most fascinating things about this record is that it has seen almost no circulation since it appeared in self-released format, shortly after the turn of the millennium, failing to gather the slightest bit of attention until the year 2017, when a fellow Argentinian small-sized label called Sons of Hell Prod. decided to release a reissue.

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#Metalgate: Former Agalloch Frontman Subject to Pillory from Media, Betrayal from Bandmates, and THREATS of VIOLENCE from Aesop Dekker over “Anti-Semitic” Facebook Comment


Guest article by Eugene Stryker

The PC witch-hunt of the Leftist Indie/Mallcore Mafia continues ever on in its plaguing of the Metal scene throughout the 2010’s. No longer content to pillory some of the most vicious and well-respected acts in the Black Metal genre, the latest victim of character assassination and social media hysteria is none other than former Agalloch leader John Haughm.

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Vocal Analysis: David Vincent VS Steve Tucker

article by Svennerick

An often underrated trademark of Death Metal music is the use of vocals as an instrument for their often inhumane force and sound which enhances the message behind the dark lyrics and the right way to provide them. Outsiders often consider them to be indistinguishable, although everyone who has spent some time exploring the genre will realize that many vocalists have certain characteristics or techniques.

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Near Death Condition – The Disembodied – In Spiritual Spheres

article by Svennerick

Hailing from Switzerland, Near Death Condition play a fairly unique brand of brutal/technical death metal. Reason for that is the Morbid Angel influenced guitar playing of Patrick Bonvin, who is also the mastermind behind Construct Of Lethe, although Near Death Condition is more on the pure death metal side of things instead of playing a lot of maze-like dissonant riffs with an occasionally upcoming Formulas/Gateways era type of solo.
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Possessed – “Abandoned”

article by Empire Algol


When you’re talking about death metal bands that have a great discography, Possessed is likely going to be mentioned. Seven Churches is largely considered one of the greatest albums of the genre, and while Beyond The Gates is generally an inferior work, it still has some good moments. Even the demos from 1991 and 1993, which featured a very different lineup than the “classic” lineup, are a curiosity to listen to.

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