Write-in Campaign: Swedish Death Metal Belongs In IKEA

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The leading representative of Swedish industry around the world, Ikea, sells furniture of styles from a dozen nations. It has a housewares section, a full-service cafeteria, a donut shop and a grocery store. You can pick up electric lights, tools, houseplants and home decor there.

But conspicuously absent are the most important items from Sweden in recent memory: Swedish death metal and black metal.

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Sangreal Impressions

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Article by David Rosales.

Condor surprises us in their last album, Sangreal, with several different advances of stylistic explorations. While Duin constituted a formalization of the finding that was Nadia, we could expect that the next step to be taken should be precisely this expansion of a consciousness which had only recently become aware of itself. Even though Condor’s music projects a very traditional image, the final result has turned out unique, both in its character as it is shaped by consistent melodic preferences, and in its methodology, which enabled veritable compositions to come into existence from powerful riffs and inebriating tunes.

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Sodom In Context

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Article by Anton Rudrick.

To be fair, one must approach judgement of a legendary and veteran band such as Sodom, with care, so that their present actions are seen in light of the road they have tread. In this spirit, it is appropriate that we go over the band’s career, taking a brief look at each step of their evolution so as to get a picture of how the band came to be as we see it and hear them today on Decision Day. If we are to start from the very beginning, we have to look back to their very first demo released in 1984, Victims of Death, which stands in an area between MetallicaKill ‘Em All and Bathory’s self-titled debut album. Sodom’s first step is closer to contemporary hardcore punk than speed metal, which affords them a certain street credibility.

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Blessed Are the Sick: Morbid Angel’s Last Advance

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Nirvana’s Nevermind turned twenty five yesterday but since we at the Death Metal Underground condemn pop-punk Boston worship, we will celebrate a different anniversary today. Morbid Angel‘s Blessed Are the Sick was released twenty-five summers ago. Blessed Are the Sick was the last Morbid Angel record focused on inwardly improving the music rather than compromising it for commercial appeal to a mainstream market. The band had been obsessed with refining and expanding upon their compositions since Trey Azagthoth shelved the release of 1986’s Abominations of Desolation and fired then drummer/vocalist Mike Browning.

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This Ain’t No Fantasy: A History Of Punk’s Most Iconic Band, The Misfits

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Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.

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Meditations on Ananku

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Article by Lance Viggiano.

Ananku is random stereotypical sentimentality in terms of both pseudo climactic release and legacy nostalgia underscored by the crooning of its capricious composer. One may skip to any moment of this record and find a passable to competent riff which invites the listener to further explore its contents. Yet to sit through the work in succession, the order – or lack thereof- is much akin to a dreamlike state. Waking life is a comedic but rationally apprehensive continuity; whereas the experience of dreaming is much like thumbing through to one’s favorite moments in no particular order and therefore as a whole Ananku betrays its efforts at thematic unity. The forces behind Serpent Ascending make a noticed use of genre firmament however indecisive haste fashioned for itself a fallen world.

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Metal Curmudgeon: Bolt Thrower’s Blitzkrieg Halts

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Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.

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