Bardo Methodology started off as a website that published various interviews detailing philosophy and the occult, and were known for really diving in the heart of the matter. The printed formats contain extended versions of the interviews found online and hold no punches as a wide range of artists and writers are interviewed and encouraged to discuss their true opinions on various subjects without censorship or the routing associated with mundane questions that seem to plague metal interviews. Bardo Methodology is an insanely ambitious project that triumphantly succeeds but not without a small share of problems
Truly vicious Speed metal band Exhorder have previewed new song “My Time” after signing to Nuclear Blast(a death sentence in terms of quality for most bands) last year. Those expecting a return to Slaughter in the Vatican level of composition will be sorely disappointed. The last twenty seven years haven’t revitalized the band at all and there is little reason to believe that this exists for any other than a quick cash grab.
The comparisons to Pantera have numbed this band to the point where the band have decided on creating a bizarre mixture of their later albums but with a healthy dose of latter day Exodus to create standard Nuclear Blast Retro-Thrash for people who need even more Shovel headed Kill Machine. The blasts of anger funneled by almost labyrinthine arrangements give way to standard groove metal inspired Speed metal. Now complete with nursery level rhymes for karaoke while you angrily contemplate on taking over area 51. These chugs will put you in the right mood to drink your third can of Monster energy drink before your huge fortnite session. At least glam rockers Pantera had something to prove and could make decent Lite Metallica when they didn’t dance to their breakdowns.
Phantom are a mysterious band with no information on them apart from various claims that range from their music being called Terror or Phantom metal and that they are there to completely innovate the genre and to create acoustic terrorism. While such claims have been spurted by many artists in easy marketing attempts or to stir controversy before an almost identical band makes the same claim and receives their mandatory fifteen seconds. Phantom unlike other bands, seem sincere in their objectives and genuinely try to live up to these claims.
For many bands, summer is the perfect time to record music and to rehearse for live concerts in a boiling garage or studio. The festival season and the holidays allow many musicians to take time off to focus on implementing new songs to their set list or to push their capabilities as players. Where most players seek to play more technically dexterous music, a few friends of mine wanted to master a song that was simultaneously simple yet physically exhausting to play. Nihilist and Sodom both fit the bill perfectly but we would settle on “Sentenced to Death” for its brief periods of respite between the bursts of rapid picking. Though we thought of this song as being a basic and minimalistic slice of powerful metal, after our wrists and arms had been decimated completely, we came to realize that the true power of this song is not the constant madness but the final flurry that manages to go even beyond the insanity before it.
The Nomad Project present us here four different singles that will be part of an upcoming EP. An short set of songs that returns seeks to evoke the adventurism of Kraftwerk and the like but through simpler and more modern tools.
So many bands have failed in continuing Sarcófago’s tradition of blasphemic and vicious black metal. Reducing the band to a set of aesthetics and confusing their minimalistic songs for dumb simplicity. I.N.R.I stands out not because of its context or its introduction of certain visual elements that would become common a few years later, but because of its nuanced composition that has eluded later bands. Let us look at the initial riff from the song “I.N.R.I” to understand why.
Unleashed had at this point released two good records that saw the band create Heavy metal songs with limited Death metal stylings and were known for possessing a particularly small set of tools which almost made their previous very repetitive. On Across the Open Sea, the band’s Magnum Opus, the band re-contextualized their previous influences to create rousing and anthemic works while seeking to expand further into Death metal technique and arrangement. “To Asgaard we fly” shows this subtle marriage between the two and how the band were able to combine such styles without to saturate the listener with stolen Iron Maiden leads.
Accidental Suicide hail from Wisconsin and were formed at the end of the eighties and managed to release one full length in ’92 at a time where Death metal, despite its explosion still remained an underground genre as the band were quickly forgotten before finding a cult following and releasing a compilation in 2017. Accidental Suicide play a Death/Doom style that is firmly entrenched in many schools of Death metal and have managed to produce a minor gem that deserves an occasional spot on any Hessian’s playlist.
The European metal scene has been infected for well over a decade by various Rock and Melodeath bands calling themselves Folk metal due to their use of traditional folk instruments playing typical drinking melodies while the guitars are either aimlessly chugging or playing Slaughter of the Soul string skipped melodies. These bands have pushed themselves away from metal and entertain people who enjoy the notion of metal and don’t care for the actual genre. Enter Reverend Godless a band who have taken the reverse approach. They take folk music and lightly apply some Rock and Metal notions to create their music.
The Toccata and Fugue in D minor is the best known and most popular piece by J.S. Bach. There are nevertheless some doubts about the authorship of this piece. Many still believe that it was not written by the hand of Bach but an imitator by the name of Johann Peter Kellner (1705-1772), who had for student Johannes Ringk (1717-1778). It is indeed thanks to him if today we still possess a copy of the manuscript of this Toccata and Fugue. The original has unfortunately disappeared and this is the oldest copy. On this copy, no title or any other information, save for an “Adagio”. The work was only published in 1833 at the initiative of Mendelssohn, who liked to play it.