As part of our Retro Reviews series, DMU looks into one of those classic bands that was on every Gen X death metal fan’s shelf, but probably never made it out for repeated playing after the early 1990s. Some bands just seem to fade… into the background.
Death metal had been well established for years by the early 90s. The genre was rapidly becoming an arms race of technicality with many bands attempting to use studio trickery to make records far beyond their musical ability in attempt to compete with their best contemporaries, e.g. Morbid Angel. Many brought in hired shredder studio musicians like James Murphy with drum tracks copy and pasted together onto tape from drum samples and “played” live with triggers activating those same pre-recorded samples at the slightest touch. At the same time, good grindcore bands were turning into second-rate death metal ones or worse, lame “melodic hardcore” which turned hardcore punk aesthetics into slit your wrists whine pop.
Lee Dorrian, vocalist of Napalm Death on the b-side of Scum and From Enslavement to Obliteration, was disgusted by Napalm Death writing material incorporating the worst, bouncy hit people aspects of death metal in an attempt to reach a wider audience and quit the band in 1989. He soon formed Cathedral with Gaz Jennings and Mark Griffiths over a shared love of older heavy metal bands such as Black Sabbath, Candlemass, and Witchfinder General. Demos and an album on Dorrian’s old label Earache quickly followed.
Old Disgruntled Bastard, one of the few quality metal blogs around, accused Death Metal Underground of writing clickbait on Facebook for our recent Sadistic Metal Reviews of older albums our staff had noticed to be inferior to the best of the past:
To Death Metal Underground: Certain albums have endured – for musical and extra-musical reasons – across decades and among generations of metalheads of diverse backgrounds, and the least they warrant is treatment with the respect they’ve earned. There is no revelation to be made and there is no current of general perception to be reversed by “raping sacred favorites”. Clickbait is distinctly unelitist and pissing in the wind for the fuck of it isn’t terribly smart either.
Death Metal Underground has received criticism for our review of limp-wristed, warmed-over Swedish heavy metal act In Flames. Our staff called them the Swedish version of Christian glam rock band Stryper. However despite being hard rock, Stryper were actually heavier, more sincere in purpose, and more aggressive than the Comic Sans In Flames. Stryper and the speed metal influenced glam rock of Skid Row were at least far more musical than Fredrik Nordstrom produced melodeaf such as post-Alf Svensson At the Gates, Arch Enemy, Dark Tranquility, In Flames, and Soilwork. Stryper and Skid Row were at least well-versed in 60s and 70s riff rock while directly influenced by Metallica and Slayer:
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.
Since “sodomize the weak” has become the unofficial motto of this site, and we rarely make such things official because formalization leads to accelerated decrepitude, it makes sense to explain why these three words encompass the single bit of philosophy that every sane person needs.
Darkthrone‘s second album, A Blaze in the Northern Sky, turns twenty-five today. For much of the mid 90s, Darkthrone constantly referred to A Blaze in the Northern Sky as their first album as it was the first commercially released record to adopt the quick and dirty “necro” production style and to have been part of the Norwegian black metal second wave initiated by Mayhem. However most of the individual musical inspirations were audible on their prior Soulside Journey album recorded at Sunlight Studio; the compositions on A Blaze in the Northern Sky were just much more sparse and droning due to different overall compositional goals reflecting the shift from progressive death metal riff mazes to minimalistic Hellhammerism.
Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.
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.