Dismember are currently in the process of reissuing their merchandise and back catalog to combat rampant poor-quality bootlegs. Brett Stevens reached out to the band for an email interview and drummer Fred Estby most graciously agreed to answer our staff’s questions:
Continue reading Interview: Fred Estby of Dismember
Article by David Rosales.
Consciously transcendental, voluntarily anachronistic, causing despondent exasperation among the pretentious and the untermensch. Kataxu blends the phantasmagorical reveries of dungeon synth with brief, unidentifiable nods to the nordic triune of atmospheric evil black metal. Kataxu Roots Thunder escapes morphing into ‘flowing black metal‘, layers majestically, layers in hiding, layers hiding, forms and shapes…
Continue reading Kataxu – Roots Thunder (2000)
Article by Jon Faugustus.
Dream Theater will be presenting themselves in Belo Horizonte, Brazil, at the Teatro Minascentro. This event adds to one more high-grade theater venue being defiled by the conformist pop this bands sells out to insecure young adults, and ex-Motley Crue fans going through middle life crisis.
Brazil, like Japan, is one of the go-to countries for any mainstream band seeking international recognition. The metal fandom there is as unoriginal and undescerning in their tastes as in the metal the artists produce. This is why it is not surprising to find 1/10000 bands worth listening to occasionally arising from such geographic locations.
Article by Jon Faugustus.
Djent band Periphery to release new album, Periphery III: Select Difficulty, on July 22nd, 2016. This upcoming album further consolidates Periphery’s reputation as the leading non-metal hipster band.
Standing out as an out-of-the-closet Pantera tribute band, Periphery has made a name for itself in the Pro-Tools community and the Mac users forum. The band has come to be known for their anti-establishment, anti-genre-classification, anti-gender-classification, anti-making-sense postures that sets them appart from anything in the rational universe, fitting perfectly in the make-believe world of millenials and the pampered liberal youth.
Article by Johan P.
I’ve never been overly impressed by the folk metal phenomenon, which emerged in the middle of the 1990s and began to gain popularity some years later. I do not mean to imply that there isn’t any good folk music out there. On the contrary, there’s a lot of rewarding traditional music to discover. Many musicians – metallers included – have realized that their respective countries’ folk music reservoir is a gold mine for potential ideas to integrate into more modern forms of music. It was on these premises that folk metal was born. However, if the source material is to be successfully re-animated and be brought into metal or any other genre, it requires some serious work from the composer and performer. Most folk metal bands fail at this point for a variety of reasons, with the end-result often sounding like bad heavy metal adorned with folk-melodies that have been stripped of all subtlety to fit into a rock-based harmonic and structural environment.
Continue reading The Difficulties of Folk Metal
Article by Corey M.
To Starve the Cross sounds like the result of having chopped up a dozen good death metal songs and pasted the bits back together in such a way to eliminate any sense of continuity. Ghoulgotha is obviously made up of experienced and skilled players including the drummer of Ascended Dead and the guitarist from Father Befouled and Decrepitaph (among several other projects).
Continue reading Ghoulgotha – To Starve the Cross (2016)
Article by Lance Viggiano.
Burzum and Beherit each represent two summits of black metal’s many perspectives – in particular its looking back to look ahead ethos. The work of Laiho is exploratory and spiritual while the work of Varg is seeking and religious. Each composer followed a similar trajectory of mapping this landscape through metal first, then ambient. Each phase reveals strengths and weakness in each of their aims which results in a somewhat complementary synthesis between two highly individual bodies of work.
Continue reading The Mythic and the Mystic
Article by Johan P continuing Death Metal Underground’s progressive rock coverage.
Morte Macabre is a collaboration between members of the Swedish prog revivalist groups Landberk and Anekdoten, who joined forces to create progressive rock that is equal parts beautiful and disturbing. Their only album – Symphonic Holocaust – is a real treat for those who enjoy creepy music in general, especially 1970s Italian horror movie soundtracks. It is a tribute to the darker side of 70s progressive rock, with reference to Italian groups and composers like Celeste, Goblin, Museo Rosenbach, Fabio Frizzi and Riz Ortolani. An explicit Red-era King Crimson influence permeates the album as well.
Continue reading Morte Macabre – Symphonic Holocaust (1998)