Billions celebrate Constantine’s syncretic solar deity’s crucifixion by eating fish today. Here’s a playlist of seven classic speed and death metal songs to contemplate this excruciating Roman suffocation method:
Changes in my schedule have dramatically cut into the amount of time I have to contribute to Death Metal Underground. While I might be able to put together the occasional article in the future, I will, after today, no longer be editing for this site. In my place is Daniel Maarat, who has contributed to this site for some time and, from a writing stance, specializes in providing us with Sadistic Metal Reviews (which are admittedly, like many things on DMU, a group effort). You should do everything in your power to make him feel welcome, including our time-honored suggestion of contributing to the site by sending articles, reviews, news, and whatnot to our email.
Growing up as a ruthless barbarian in a desolate and cruel world born made Conan the toughest around. He is the wet dream of every orthodox power metal fan and the unspoken desire of funderground war metal addicts. This is a list of the 10 underground metal songs that this head crusher chose for us:
10. Blood – Sodomize the Weak
Crush your enemies. See them driven before you. Hear the lamentations of their women.
9. Atrocity – Hold Out (To The End)
Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to HELL with you!
8. Cirith Ungol – Master of the Pit
The riddle… of steel.
7. Iron Maiden- The Duelist
For us, there is no spring. Just the wind that smells fresh before the storm.
6. Bathory – To Enter Your Mountain
He is strong! If I die, I have to go before him, and he will ask me, “What is the riddle of steel?” If I don’t know it, he will cast me out of Valhalla and laugh at me. That’s Crom, strong on his mountain!
5. Manowar – Pleasure Slave
They’re all sluts! He’s dead already!
4. Rhapsody – Steelgods Of The Last Apocalypse
Crom laughs at your four winds. He laughs from his mountain.
3. Kreator – Carrion
Does it always smell like this? How does the wind ever get in here?
2. Candlemass – Demons Gate
CONAN: You killed my mother! You killed my father, you killed my people! You took my father’s sword!
1. Immortal – As the Eternity Opens
Rambo swung by and talked metal over a couple of beers this week. A now spirit-broken idealist, Rambo expressed his concerns for the sad state of modern life in the cities. I could not miss the palpable misanthropy in his tone as he crushed cans with one hand describing the faint-heartedness of limp-bodied SJWs.
10. Sepultura – Sarcastic Existence
There are no friendly civilians!
9. Marduk – Fistfucking Gods Planet
Don’t look at me, look at the road! That’s how accidents happen.
8. Heresiarch – Intransingent
Is there a law against me getting something to eat here?
7. Fallen Christ – Satanas
I’m no tourist.
6. Black Sabbath – Nightmare
Your worst nightmare.
5. Metallica – Fade To Black
Sir, do we get to win this time?
4. Immolation – Those Left Behind
They’re all gone Sir.
3. Blood – Defaced Total Mutilation
I’ve got blood and everything and I’m tryin’ to hold him together! I’m puttin’… the guy’s fuckin’ insides keep coming out!
2. Rigor Mortis – Welcome to Your Funeral
I could have killed ’em all, I could’ve killed you. In town you’re the law, out here it’s me. Don’t push it! Don’t push it or I’ll give you a war you won’t believe. Let it go. Let it go!!
1. Amebix – Drink and be Merry
For me civilian life is nothing! In the field we had a code of honor, you watch my back, I watch yours. Back here there’s nothing!
It took some time, but despite the deluge of content constantly bombarding us and aspiring metal fans worldwide, we’ve been able to reach some level of consensus on 2015’s worthwhile metal music. Not to say that we’re in perfect harmony (If you’ve been paying attention, you’ll note that there’s some room for dissonance in our musical language), but the hope is, like what our recent reinspection of 2013 revealed, that some of this material remains interesting for more than the year it was released.
A wrathful reminder of what war metal should have been: a melodically-structured, chromatic holocaust to the god of this world. Jan Kruitwagen’s leads awe listeners and are optimally placed to hold attention just as each rhythm riff runs its course. An impenetrable mix rewards repeated listening to an album that may surpass Kruitwagen’s work on Sammath’s Godless Arrogance. March to Kaeck’s martial heartbeat or revel in shit.
Bolt Thrower meets ritualistic black metal. Rather than cathartic bending into climactic oriental leads, Desecresy diffuse tension by methodically varying into bizarre melodies with carefully placed, otherworldly leads to a steady metronome.
Mid-paced riffing in the style of Bolt Thrower builds tension with melody and drifts off into space with variations and well placed leads. Where Bolt Thrower themselves shoot a rifle at the ballon using rhythmic change to introduce another riff or dramatically bending the riff into a climactic, oriental short solo, Desecresy insert ritualistic blackened leads for dramatic contrast with the rhythmic, power chord riffing.
Review and Interview:
Rob Miller returns from blacksmithing to his previous metallic occupation with an album of catchy post-punk in Motorhead and Metallica song formats. Thankfully free of the Godsmack and other MTV influences present on Amebix’s swansong.
- Tau Cross – Tau Cross (2015), by Brett Stevens (July 1st, 2015)
An effective album of mid-paced death and heavy metal riffing. There is no psychedelic rock pretending to be Black Sabbath “doom” here. Highly structured; the opposite of the random tossed riff salads of most modern metal. This band takes an approach more like that of classical guitarists toward melding death metal with progressive rock, blues, folk and other influences: it mixes them in serially and adopts them within the style, rather than hybridizing the two styles.
In other words, most bands that try to sound like progressive death metal try to act like a progressive rock band playing death metal, or a death metal band playing progressive rock. Cóndor takes an approach more like that of musicians in the past, which is to adopt other voices within its style, so that it creates essentially the same material but works in passages that show the influence of other thought.
Reviews and Interview:
This vinyl 7” single features two new, well constructed death metal songs from one of from one of the few truly underrated bands in the genre. Those foresighted enough to purchase the identically-titled CD boxed set version received the band’s entire catalog in one of the rare remasters that sounds better than the original releases.
- Interview: Morpheus Descends (Rob Yench), by Brett Stevens (June 12, 2013)
- Interview: Brad Moore, who designed legendary Morpheus Descends cover, by Brett Stevens (October 9, 2013)
One last Motorhead album of mostly Motorhead songs. Nothing “new” is introduced for those in the non-metal audience who disdain metal and wish to feel intellectually superior to the common headbanger. The final work from a relentless machine of a band.
- Motörhead – Bad Magic (2015), by Gabe Kagan (August 31st, 2015)
- Slaughter of the Soul‘s 20th Anniversary of Awfulness, by Daniel Maarat (November 14, 2015)
- Listenable Records reissues Immolation – Dawn of Possession, by Daniel Maarat (November 19th, 2015)
- Order from Chaos – Frozen in Steel (2014), by Daniel Maarat (August 29, 2015)
- Carbonized – For the Security re-issue, by Brett Stevens (February 9th, 2015)
- Sammath’s debut now on Bandcamp, by Gabe Kagan (September 10, 2015)
- Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued, by Daniel Maarat (January 3rd, 2016)
- What thrived and what died from the 1990s (Part I), by Brett Stevens (September 3, 2015)
- Blasphemy – Fallen Angel of Doom (1990, 2015), by David Rosales (June 11, 2015)
- Obscura and Osho, by David Rosales (May 3, 2015)
Crusty death metal of the better than braindead Benediction but worse than Cancer category.
I’ve possibly heard too much but Hanger 18. I know too much. Although not as degradingly vulgar as Surgical Steel, Atom by Atom results in a pretty tacky affair. Vocals are as emotional as in the first album, except that in here they seem even more disconnected from the music as the music veers into some sort of progressive speed metal akin to Helstar’s. (Editor’s note: I liked it, but David Rosales was critical)
The band shows promise with their Unique Leader-style rhythmic riffing and soaring heavy metal leads. While being above par for technical deaf metal, aping a different one of your heroes every few verses doesn’t make for particularly enjoyable repeated listening.
Fredrik Nordstrom’s Arghoslent.
Technical power metal carnival music.
Nobody is allowed to edit themselves or turn on their bullshit filters in Steve Harris’s band anymore (Read a full review here).
Kvist meets the randomness of metalcore. Indistinct riffing and songwriting mix with pointless shoutout verses to past greats that makes listeners wonder why they aren’t just playing Sodom and Mayhem in the first place.
Where are the riffs?
Every Teutonic speed metal band gone Voltron.
The band has no need to repeat half the song just so the guitarist can get over his refractory period and play another solo. This is also an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads. This recording received two reviews in 2015.
A collection of interesting renaissance faire riffs written into songs that quickly wear out their welcome as metal, becoming RPG background music.
A few strong songs on a demo do not warrant a two CD set of Swedish death with limpid keyboards anticipating the steps black metal took towards mainstream goth rock in the late nineties.
This is the type of black metal as repetitive rock music that ignorant hipsters will praise as “ritualistic”. The album’s title sums the quality of its musical content: futile. (Editor’s note: I wanted to give this album a chance. It didn’t age well.)
Gothenburg cheese and Meshuggah licks are less appetizing than a lead-laced Mexican lollipop.
Grave Miasma returns. This time with 1993’s atmosphere.
Candlemass meets Soundgarden.
Every Teutonic speed metal band gone Voltron.
Solid underground metal in the spirit of Sarcofago that is perfectly well-written but does not amount to more than the sum of its parts; does not conjure up any long-lasting message.
Article by David Rosales
As another year ends and a new one begins, many “best of” lists pop up here and there, among them our own here at DMU. While others may be eager to know about what is ever new, we are more interested in what stands the test of time. Today we will look at some albums that were highlighted here as the foremost products of the year 2013, which was a year of renewal, great comebacks, startling discoveries and a general wellspring of inspiration. In the opinion of this writer, 2013 has been the best year for metal in the 21st century.
To start off, we shall pay respects to long-lasting acts with a black metal background, namely Graveland, Summoning and Burzum. While the last has left the metal camp for good, its approach and spirit is still very much enriched by the essence of the deepest metal infused with transcendental values. Summoning is still doing their thing, ever evolving, trying a different permutation of their unique style. Fudali’s project has become the warrior at the frontlines of the strongest nationalism grounded in music that uplifts the heart with an authentic battle feeling (as opposed to those other bands playing funny-jumpy rock and acting all “dangerous”).
Sôl austan, Mâni vestan is an ambient affair that uses short loops which revolve around clear themes in each track. The approach is a little formulaic, thereby limiting the experience with a feeling of repetition. However, as with many good works of art, this self-imposed canalization serves to speed the result in a direction. As with a lot of Burzum’s work, this is a concept album that must be listened to as a whole. When this is followed and one stops looking for novelty and instead concentrates on the details that bring variation within the familiar landscape, the somewhat arduous experience brings great rewards once the summit is reached and the journey is taken more than once.
Something similar can be said of the slightly pop-minded Old Mornings Dawn. This effort by Summoning certainly lacks the density of their masterpiece, Dol Guldur, but is no less effective, although perhaps shallow. But what isn’t shallow when compared to that masterpiece? As with every Summoning album, Old Mornings Dawn has a very separate personality, and in this case, it is one of heroism, light, regeneration and hope. Something that will never leave the band’s trademark sound is the deep feeling of melancholy and longing for ruins.
Graveland materializes in Thunderbolts of the Gods one of their most warlike efforts to date in a smooth trajectory that has gone from rough-pagan to long-winded and epic to heroic war music. What raises this offering above others in Fudali’s current trend is the awesome bringing forth of destructive energies mustered in the imposing drumwork. Gone are the clumsy rhythms of Cold Winter Blades and the redneckish tone of the (nonetheless great) album Following the Voice of Blood. This is the technically polished and spirit-infused summit of this face of Graveland.
One of the most deserving releases of 2013 was Black Sabbath’s 13. More expectations could not have been placed on anyone else. Yet the godfathers of metal delivered like the monarchs they are: with original style, enviable grace, magnificent strength and latent power. Along with the last three albums just mentioned, this album shows itself timeless in the present metal landscape. It encompasses all that it is metal, and brings it back to its origin. This is an absolute grower which will age like the finest wine and is, in my opinion, the album of the year of 2013.
In 2013, Profanatica finally achieved amazing distinction with Thy Kingdom Cum, which can be considered the fully developed potential of what Ledney presented in the thoroughly enjoyable Dethrone the Son of God under the Havohej moniker. To say this is the natural outcome of Profanatica’s past work is as true as it is misleading in its implications. This is not just a continuation of what the band was doing before, but a deliberate step, a clear decision in the clear change in texture quality that means the world in such minimalist music where a simple shift in technique or modal approach defines most of the character of the music.
Cóndor’s Nadia was probably the hidden pearl of the year. Never mind the metaphor of the “diamond in the rough”, there is nothing rough about this. It is polished, but it is hidden. The shy face of this beautiful lady is covered by a veil that turns away the unworthy, the profane! This is immortal metal artwork which to uninitiated eyes and ears seems but like the simple, perhaps even amateur, collection of Sabbathian cliches and tremolo excuses of an unexperienced band. The knowledgeable and contemplating metal thinker recognizes the Platonic forms under the disfigured shapes.
Imprecation’s Satanae Tenebris Infinita and Blood Dawn by Warmaster draw our attention to the strong presence of a more humble but profoundly (though not obviously) memorable album and EP. These will stand the chance of time, but will not necessarily remain strong in the mind of a listener in a way that he feels compelled to come back to them often.
Dark Gods, Seven Billion Slaves by VON seemed more enticing at the time. It’s definitely a solid release, but it is however a very thinly populated album with more airtime than content. Whatever content it has is also not particularly engaging. The enjoyability of this one is a much more subjective affair and like a soundtrack is more dependent on extra-musical input from the listener’s imagination.
As delightful as the three heavy metal albums Argus Beyond The Martyrs, Blitzkrieg Back From Hell and Satan are, the intrinsic qualities of their selected subgenres makes them a difficult candidate for long-lasting and profound impact. That is not to say they have no lasting value. If anything, these are albums one can come back a thousand times and perhaps they will not grow that much, but they will never truly grow old.
Autopsy’s Headless Ritual is one of the strongest yet most understated albums of the year. The extremely rough character of the music may contribute to how it carelessly it can be left behind. Fans of brutal music will find it little different from the rest and will quickly forget it. Fans of wider expressions and deeper thoughts will pass it by with little interest. Such is the tragedy of this very respectable album.
A few stragglers in this group; Master’s The Witchhunt, Centurian’s Contra Rationem, Derogatory’s Above All Else, and Rudra’s RTA proved to be more impact and potential than manifest presence. These will remain fun and quaint for a very occasional listen, perhaps even a sort of throwback feeling, but lacking the long-lasting impact of others in this list.
A special mention is deserved by Into the Pantheon, the essential synthesis of Empyrium, being their most revealing, powerful and clear release. While not outwardly metal, this live recording everything that is to be metal at the level of character and spirit. As such it is the perfect closing note for this recapitulation and reevaluation of past selections.
The term “educated” has become such a weasel phrase in our time that it is worthy of attack. It implies that some are just better than others, and have gone through a rigorous program, and we should listen to them first because they know stuff. Implied in that is the idea that they are smarter and more successful than the rest of us and we should just bow down before their degrees. It is not politically correct to say outright that someone is smarter or wiser, because not everyone can equally access those things. But education? If you sit through the right classes, and memorize the right stuff, you too — whoever you are — can be “educated.”
This trope has the unfortunate effect (which is fully desired by those who use it) of silencing people by attacking their self-esteem. If they do not have the degree(s) required for public acceptance of their education, they are expected to remain silent while those with degrees and titles dictate to them what they should think, despite the quality of education having plummeted and degrees themselves meaning less now than before. Those without “education” are styled as ignorant hicks and basement-dwellers, when many of them are in fact too impatient and not compliant enough for our regimented, memorization-based educational system.
I have met smart people in every walk of life and every area of the world. They tend to hide themselves, having been aware since an early age of how retibutive this world is against the honestly intelligent. Usually they focus their energies on practical things, but because of the stigma of “education” as a social status, they shy away from some of the greatest things that our cultures have to offer, namely books. Not every book; like metal bands, books come in varying degrees of quality, and most are mediocre gibberish, especially some of the most popular. But even in that flood of inanity there are books worth spending time to understand.
For this reason, I suggest a heavy metal book club. Goals would be modest: select a book every month, read it and discuss it. Then figure out a thumbs up or thumbs down, and have someone write a review. The book does not have to be metal-related, but some of those might be fun too. It would require someone to organize it through a mailing list or this blog, and we’re taking volunteers now :)
A while back, DMU ran an erotic fanfiction contest in response to a small incident involving Pantera and the community around them, much to our fans’ joy and pleasure. As part of our initiative to grow the site (and because of the potential for controversy), we’re going to try our hands at another.
Opeth has long been one of our prominent targets for their inept aping of progressive rock forms in a paper-thin guise of death metal. Their popularity seems to have waned in recent years as they lapsed more overtly into ’70s prog worship, but that doesn’t mean we can’t give them the occasional dose of mockery to lighten up their mood and possibly incite them to heights of passion that might lead to better songwriting if we’re enormously fortunate. Thusly, Death Metal Underground’s second erotic fanfiction contest is going to be about Opeth and its members.
The rules are similar to those of the previous contest.
- Your story must be between 500-5,000 words and involve the members of Opeth in intensely sexual and/or erotic situations. It’s up to you to determine which perversions and fetishes you want to involve, but the more depraved, the better.
- References to bandmembers’ side projects (like Steel and Bloodbath) are permitted, as well as references to other bands appealing to a similar demographic. However, your work must primarily be about Opeth.
- Your story must be your own work. You are allowed to quote Opeth lyrics for effect, but don’t crutch yourself too badly by overusing them, lest your work be rendered underwhelming.
Submit your entries as comments on this post. You have until 11:59 PM EST on November 30th, 2015 (we extended it) to write a story for this content, so let your imagination and libido run wild.
As something of a followup to yesterday’s article about rearranging or otherwise reinterpreting metal for compositional purposes – Youtube guitarist VAALVLA recently uploaded a video showcasing the main riffs of some popular metal and rock songs played clean and without any guitar distortion.
This was insightful and/or gimmicky enough to earn the attention of a couple other metal journalism websites, and it helps to reveal, on some level, the difference in technique between, for example, a Slayer and a Pantera song. A drum track was provided, but it doesn’t detract from the lesson at hand. VAALVLA also has several other videos in a similar vein that may be interesting to our readers.
One of our goals here at DMU is to be free of the incessant marketing and gossip that plagues all too many metal music/culture websites. This deprives us of a lot of potential content, and surprisingly, not posting the occasional throwaway video of a photogenic animal ‘enjoying’ metal (or at least moving to a rhythm almost, but not entirely unlike that of the music) costs us some traffic. With that in mind, every now and then one of our readers gives us a hand by contributing an article, a review, or even just a topic they want to see discussed. We’d like to see more of that.
A brief summary of what we are looking for:
- Intelligent, in-depth articles about various metal related topics – theoretical analysis of the music, cultural analysis, academia, and so forth.
- Reviews of albums both old and new. I focus on covering major new releases at this point, but there’s always room for everything else. This is to be distinguished from the publication of press releases, or the promotion of your avant-garde neo-traditionalist blackened bedroom death metal project with nearly 3/4ths of a view on their one Youtube video.
- Did something worthy of our commentary in the land of metal pass unnoticed? This is your opportunity to fix a glaring omission.
If your submissions meet our quality and relevance standards, we will publish them; possibly suggesting some revisions in the process of getting them ready. Ideally, we will get more content and more reader interaction without sacrificing an iota of quality, but that lofty goal depends on you specifically rising up to the challenge. If this interests you, send your submissions to the same email address as always.
P.S: Our ‘lifestyle’ (read: drugs and alcohol) reviewers are looking for someone who can analyze whiskey. If you’re a connoisseur, or at least a gas chromatograph, this might be a good way to get started.