Communist, anarchist and champion of some of the worst metal to have ever been released, has finally been fired from idiotic “alternative” news outlet Vice. Kelly’s hilarious history has been well documented enough and now even her allies realize that she is a pathetic, neurotic excuse for a human being. “Grim Kim” is still delusional and believes that this is not due to her nonsensical pieces or her writing style that ressembles that of a foreigner coming to grips with the English language. Either way, this marks the end of the mainstream metal Antifa movement that has begun to attack its own heroes Behemoth in a desperate bid to keep itself going. This should be the last any of us hear of the demented crab claw lady. Good Riddance!!!
Hecate Enthroned are known for being second fiddle to Cradle of Filth within the UK black metal scene and have followed their footsteps into third rate Black metal generally in the ridiculously named «Symphonic Black metal» style which is a complete lack of riffcraft being overcompensated by simple keyboard melodies. For those who are unfamiliar with this band, their 1997 release The Slaughter of Innocence, a Requiem for the Mighty was decent if at times inconsistant Black metal and is their summit. Their latest release sees an uninspired band attempt to reconcile cookie-cutter Blackened Death metal with the newer post rock elements that have invaded Black metal to create one of the worst excuses of Black metal to have ever existed.
Master on their seminal record On the Seventh Day God Created… Master operated on the principle of taking one idea and pounding it into the listener’s brain as much as possible without droning on and maintaining some form of forward movement. Paul Speckmann’s riffs are simple and straightforward but there was always something there that pushed them above the hordes of bands making minimalistic Hardcore influenced Death metal. The first actual riff of the first song “What Kind of God” is a perfect example of what made Master deceptively unique at the riff level.
Cult of the Horns are a French one man band from Bordeaux with one full length released to this day. The band’s aesthetic is that of the typical NWN “goat-something” band but beyond the corpse paint and cheesy titles lies an honest combination of Death and Black metal which unique band member Mephisto makes an honest attempting at fusing both genres and though this record fails at times, there are a lot of interesting particularities, making this an above average listen.
Intestine Baalism are a Death metal band formed in the suburbs of Tokyo in 1991, their first full length only came out in 1997, having only released a pair of demos featuring songs that ended up on this album, it is safe to confirm that Intestine Baalism is a latecomer to a genre that had already seen it’s apex and was now slowly descending into Brutal and Technical Death metal territory. Anatomy of a beast takes advantage of the power of hindsight to successfully fusion the works of Carnage,Dismember and Suffocation against the more Heavy metal derived melodies of Sentenced, bringing to life a potent record that is at times just as peculiar as the band’s name.
Serpent Lord classify themselves as occult heavy metal and are adorned with the typical attire and related videos of the same rehashed cliches that Mercyful Fate popularized. The music takes mainly from Iced Earth,Black Sabbath,Death and Mercyful Fate and fails to invoke the greater aspects of those bands while invoking the worst from Death. This is a very young that have rushed their development fairly quickly and the lack of consistency in the quality of the compositions hurts a very promising band that is often confused with what they are trying to achieve.
Sammath who have kept us on edge with the imminent release of their latest offering, will finally play a concert outside of their zone comfort as they are known not to venture too far from home for their concerts. If any Hessians find themselves in Serbia or are near enough to go see such a show, they should not miss this event on February the 9th. For more information, see the Facebook event link for those interested in what guarantees to be a delight as the band will play new segments of their album including “Ferocious Mortar Fire.”
The end of the year for some people is a time where they participate in debauchery and related idiocy as they are convinced that the arbitrary beginning of a calendar year absolves them of past mistakes and gives them the possibility to renew themselves without the burden of accepting reality. Those who don’t hide behind such comforting fallacies accept that this is a day like no other and that no actual changes will occur except for remembering to write 19 instead of 18 when it comes to paperwork. Metal has continued its sad and hilarious explosion to the top of the mainstream while pushing out less and less meaningful art. Rather than go ever end of the year lists as they are just useless and contain mostly salvaged junk with the occasional pearl. Here at DMU we shall analyse new compositional tools we would like to see implemented and which ones should be discarded.
M8L8TH and Peste Noire’s Famine have joined forces in creating one of the weirdest movements to have ever existed in metal, Commercially friendly NSBM! Best of all was that the partnership released a whole load of ridiculous music and fashion items. Famine who represents all the worst French stereotypes imaginable and who has made a career of his first album that was essentially a well executed Burzum ripoff but with Rock elements to make the whole much more digestible. M8L8TH play metalcore/RAC with a few Black metal aesthetics in the riffs and pretty much consist of frontman Alexey known for killing a few immigrants and whoever is willing to write music for him to rant over.
The NWOBHM movement defined the basis for what both underground and commercial metal would become, everything was present from the gallops, the harmonized melodies, unconventional song structures and the reverence for the riff above all else. The movement struggled with commercializing itself and so even the more vicious bands were obligated in selling out and writing a ballad or a mid-paced rock song in hopes of being picked up by a major label as there was at that time money to be made. The micro-genre eventually burned out due to two main reasons. First was that the door to mainstream success had been closed permanently for the British bands as the media loved Def Leppard and the like. The second reason was that there were far too many bands releasing the same rehashed material while bands elsewhere were exploring unventured paths and the standards were on average raised as the pub rock riffs of most of the NWOBHM were simply not up to par. Enter Deep Switch, a band that appeared in the scene after the death of the genre and were set to make some of the most bizarre NWOBHM imaginable but falling to the same pitfalls as their predecessors.