Forgotten Heroes of modern music

Pantera was part of the downfall of metal.

No offense to those who enjoy the people in the band personally. I’ve met several and they’re good guys.

But turning speed metal into party rock was a fatal move.

It opened the way for the real blight, which is the indie-emo-screamo-weeabo shit we see even in black metal now.

I can’t stand the saccharine, unmasculine, revengeful crap that John Lennon put out. I’m sorry for the loss of George Harrison however.

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Demoncy “Enthroned is the Night” news

Tomas at Forever Plagued Records gave us a brief update:

  • The artwork is submitted to the manufacturer. It will take a week or two to finalize the art is all correct.
  • Once that is done production will begin.
  • Hoping that this is ready before new years but presuming the holiday seasons slow down production, it will most likely be early 2012.

Thank you to Tomas for keeping us posted and publishing this future essential of the American black metal movement.

In addition, unofficial insider sources — 100% unrelated to Forever Plagued Records — suggest the latest Demoncy will be better than expected. The sample track reveals the style but not the substance of the album.

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Graveland re-issues now $8

Just in time for the holidays. What does Dear Old Dad need for Kwanzaa (my preferred holiday), Hannukkah, Christmas or Winter Solstice? What to buy your divorced and lonely mother for the long winter, or how to keep a sibling happy for a January birthday? WHY AN ASSLOAD OF GRAVELAND, OF COURSE. MC Darken and beatbox master Capricornus Flav spin out the old school melodic punk/black metal for your Pagan (or Urban) ears.

While you’re there, you can hit up (yo) the new Demoncy Enthroned in Darkness, which is in pre-order from a reliable label:

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Asphyx unveil art for “Deathhammer”

ASPHYX – Unveil cover artwork for new studio album; Announce release dates for “Deathhammer”;
Confirmed to play ExtremeFest and Obscene Extreme Festival in 2012!

Following up on the extreme success of their latest studio album release “Death…The Brutal Way” and its “Live Death Doom” DVD/Live-CD successor, Dutch Doom Death Metal legends ASPHYX have now finished work on their newest studio album effort, programmatically entitled “Deathhammer”. A release date of February 27th, 2012 (Europe) and February 28th, 2012 (North America) via Century Media Records has now been confirmed too.

The time has now come to unveil the stunning artwork for “Deathhammer”, crafted by longtime parther in designs, Axel Hermann (http://www.axel-illustrator.de/). Hermann has not only worked on all of the early ASPHYX artworks and most recently on their “Live Death Doom” release, but is also responsible for many of the classic Century Media artworks by bands like Morgoth, Unleashed, Samael or Grave. Here is how both parties comment on their newest co-operation:

“ASPHYX and Axel Hermann is a fusion that has always functioned perfectly…from the days of ‘The Rack’ back in 1991, ‘til ‘Deathhammer’ in 2012. Like others such as Dan Swanö, Axel may be considered as an external member of the band and when we asked him to do the ‘Deathhammer’ cover – and as usual we would leave him free in his expression – we were very pleased to hear he was willing to take it on.

…And the man has exceeded himself! To the perfect death metal album comes the perfect cover that still leaves enough to everyone’s imagination. We hope he is as proud as we are on the final result. It seems all falls into place for this deathdozer of an album. I guess Axel can expect an offer from Le Louvre any time now.”

Martin van Drunen / ASPHYX

“A cover is the visual extension of an album that translates music and emotional intentions (or should I say aggression) into a clear statement of what to expect before taking the record off the shelf. In seldom cases you’re ending up with two perfect sides of the same coin. With ASPHYX and myself it has always and luckily been that case. And I am really proud of that! Show ’em Death and hit them with a hammer…visually and musically! Guess, we flipped the coin once more!?”

Axel Hermann

Recorded at The Mörser Studio as well as at Harrow Studio with their longtime engineer Harry Wijering, “Deathhammer” was mixed and mastered in Sweden by Dan Swanö, who previously worked with the band on “Death…The Brutal Way” as well as on the “Live Death Doom” release.

Prior to the upcoming album’s release date, ASPHYX will still perform a very special “full album setlist” concert at this year’s Eindhoven Metal Meeting on December 16th, at the Effenaar club in Eindhoven, The Netherlands, where the band will be playing their complete “The Rack” album for its 20th anniversary of release. Additionally, ASPHYX have already been confirmed for the 2012 editions of the ExtremeFest, July 5th to 7th in Germany, Austria and Switzerland, as well as the coming edition of the legendary Obscene Extreme festival in Czech Republic on July 14th. Here are all the band’s upcoming confirmed shows:

ASPHYX live:

16.12.2011 Eindhoven Metal Meeting – Eindhoven (The Netherlands) * Special 20 years “The Rack” show!
05. – 07.07.2012 ExtremeFest Deutschland – Hünxe (Germany) http://www.extremefest.eu/
05. – 07.07.2012 ExtremeFest Österreich – Salzburg (Austria) http://www.extremefest.eu/
05. – 07.07.2012 ExtremeFest Schweiz – TBA (Switzerland) – http://www.extremefest.eu/
14.07.2012 Obscene Extreme Festival – Trutnov (Czech Republic) http://www.obsceneextreme.cz/

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Video interview with Cianide

Ray Miller from Metal Curse has pulled off a massive video interview with underground longtimers Cianide, who specialize in primitive but brainy doom-death with strong Motorhead/Hellhammer undertones. In it, they discuss metal, the truth of the old school, the cluelessness of the nu-skule, and the complete inability of modern society to conceive of anything so packed with potential as death metal:

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Open-minded means indecisive

Sam Dunn gets browbeaten by his producers, who want more money through more accessibility:

Dunn: One that really stands out to me was nu-metal, which emerged in the ’90s and was this subgenre that explored hip-hop and included turntables. Guys in bands like KORN and LIMP BIZKIT and LINKIN PARK didn’t look metal. And I honestly despised these bands at the time. But in doing the episode, I learned there was some value in what those bands brought to the genre because it tested the boundaries of heavy metal. Part of the charm of metal is the musicians’ and fans’ commitment to the music and the sense of community. But the downside is that can become pretty exclusive and even elitist at times. The nu- metal episode made me realize adding a seven-string guitar and bringing metal back to some sense of groove — which it really hadn’t had since LED ZEPPELIN in the ’70s — maybe wasn’t such a bad thing. Just because I’m a crusty, thrash-loving metalhead from the ’80s doesn’t mean I can tell LINKIN PARK fans their music isn’t important. – Blabbermouth

There’s a good reason metal left those things behind: they belong to rock.

Rock is a broad, accepting, really indistinct thing. It’s an amalgam of folk, country and other popular musics derived from them. It distills them to the absolute basics and removes all meaningful musicality through use of the key-neutral pentatonic scale.

Rock assimilates things. It makes them into an average, a mundane norm. For all of its bluster about accepting those who are different, it doesn’t like different — if it deviates from the lowest common denominator, crowd-pandering, simplistic music.

Metal was a breath of fresh air.

Dunn’s purpose seems to be (and this is quite intelligent of him) to group all of the newer music into nu-metal, which is accurate. Nu-metal is metal with swing, basically inherited from angry hip-hop. His point is that even if it’s underground, if it’s metalcore or indie-metal, it’s numu.

And that’s a lesson we can all use.

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