These random, gimped releases are held in high regard by high-pitched “metal” critics and core pogo stickers. The Death Metal Underground staff takes it upon themselves to scorn and defile them in the name of all that is good in the metal genre.
Article by David Rosales.
Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.
The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.
Article by David Rosales.
The dilapidated edifice of modern human spirituality renders standard methods to access the secrets and mysteries so ineffectual that the average man today sees in these terms only quaint poetry or simply nonsense. A dark age of ignorance and inverted values requires an inverted path — one in which we enter a veritable Dark Night of the Soul, one in which a Nietzschean Going Under leads us to transformation and realization through acts of courage and commitment — is perhaps the most appropriate.
David Rosales reviews this ridiculous split album.
The following is a short list of black metal releases (with a commentary on each) that would general fall off the edge of the usual stylistic lines that Death Metal Underground follows when looking at genre releases. These are all exceptional and form part of what could, in hindsight, be described as the lone wolves of an established and matured black metal genre — generally unnoticed or passed by without receiving substantial attention among the waves of excess of the 21st century; treasures hidden in plain sight for those with a developed sense beyond mere form.
The Oakland Police Department allied with antifascist and communist terrorists to get the Oakland Metro Operahouse to cancel Marduk‘s booked show with Incantation there today on February 18th according to a post on the venue’s Facebook page. Antifascists and communists had previously vowed to attack Marduk’s planned gigs in Oakland and Austin.
Alleged groupie, liar, white genocide advocate, and humanoid orc communist Kim Kelly interviewed surviving Slayer guitarist / sideshow attraction Kerry King for Vice Noisey on Youtube. Kerry King, wearing war metal shades, talks about Slayer’s influences and development on their early, formative material.
Two big movements and some pebbles.
Varg Vikernes posted a video a few weeks ago to his ThuleanPerspective Youtube channel listing the ten metal albums most influential to Burzum. We forced a lowly, supple-assed Death Metal Underground junior staffer/catamite to type them up into a play list for our readers:
Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as Mastodon – Leviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).