We live in a modern wasteland. Crafted as a disposable society, our civilization consists of business and government, with culture and organic activities nearly entirely excluded. As those who wander this outland of foreign and alien values and behaviors, staying on top of fast food is essential.20 Comments
Last month we ran the first of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…
Tags: death metal, deathcore, despised icon, flavor of the week, gut, Hate Eternal, hipsters, in flames, Job for a Cowboy, leaf metal, losers in life, Melodic Death Metal, nu death, nu-metal, sadistic metal reviews, scene kids, slammin gore, smr, trends, white trash, wiggercore
Most Death metal bands don’t age gracefully and tend to either become parodies of themselves or end up playing pop music. Atrocity after having conquered Death metal decided to experiment with various genres but each of those experiments has been abysmal failure. This band therefore destroyed its reputation in both underground and mainstream circles to the extent of being forgotten by all. But from 1985 to 1992, Atrocity were on the war path until the release of their Magnum Opus Todessehnsucht (Longing for Death). Five musicians with an obvious passion for classical music combined with Floridian Death metal and the Teutonic trio. More precisely their main influences seem to be Death, Destruction, Kreator, Morbid Angel and Richard Wagner.3 Comments
As with anything labeled “USBM,” it is an inevitable that an experienced metal fan will approach this release with caution regarding just how flannelly, how post rock, how try-hard and yet how vulnerable it is. With a cliched moniker that clashes together a couple of clumsy tropes to echo the oil and water mixture that Americans and black metal suspend as, Wolvhammer presents itself and its material as confidently confrontational so the saccharine despair of modern takes on the vulturized genre are initially somewhat absent, but the juvenile approach does not in its stead give credence to the overbearing impudence on display.1 Comment
Cash grab alert! After giving the classic board room “fuck you” to cornerstone musician Abbath, the corporate conglomerate of Demonaz and Horgh have secured the legal rights to the band name “Immortal” and are now positioned to promptly squeeze their fans to blindly buy music and merch advertised as that of a Norwegian black metal legend. Although the pair have only played together on one album out of 12, they’re billing this as “the comeback of Immortal!” and have already gotten the infamously money-hungry Nuclear Blast records to set up the most overused rock n’ roll ponzi scheme.
Together, the pair have released a new song “Northern Chaos Gods,” the title/intro track of their first foray into commercialized rehash. So how did the miraculous (fake?) recovery of Demonaz’s tendonitis work out? Exactly how far into the waters of retro-rehash did the band wonder? Have they evolved even the slightest as musicians or do they remain forever trapped in the 90’s? As trust fund life-dropouts living in the woods at the expense of their family might say:
“Let’s find out!”11 Comments
Modern metal bands will often add all sorts of odd and extraneous elements to the music. What is most curious and notable, even as one cringes to the sounds of flutes or children’s choirs and such, is not what is in the music but what is lacking in the music: an aggressive, adventurous, feral spirit that is the common element of all metal music. While experimentation, new ideas, and new textures and elements are not in and of themselves bad things, most bands, being the crowdists they are, get the horses of the apocalypse before the meat wagon. As Socrates so sagely reckoned all those years ago, the spirit informs the final shape that the physical body will take – to build the creation without spirit is, in essence, to create something that lacks shape and indeed lacks the very essence of being.No Comments
Article Contributed by Salustiano Ferdinand
tl;dr: Despite controversy surrounding the indie pedigree of Weakling’s musicians and their musical descendants, Dead as Dreams remains, as described by none other than Fenriz, an “odd masterpiece” on its musical merits and should be a part of any serious underground metal fan’s collection. The album, for a number of reasons, is currently something of a locus of blame for whatever particular sins people ascribe to west coast black metal. Some people point to Weakling as the origin point of indie creep into US black metal due to the supposed indie credibility of its members in particular as well as to a lesser extent the trend of questionable publicity stunts engaged in by mediocre bands from Velvet Cocoon to Ghost Bath (although in Weakling’s case this should be blamed on the label, not the band). As a result of these complaints, Dead As Dreams has over time become something of an Emmanuel Goldstein for black metal fans, and the album some people are critiquing when they say “Dead as Dreams” (such as the time DMU’s most alpha editor described it as “shoegaze black metal”) bears little resemblance to the actual album Dead As Dreams.8 Comments
The ability to spot flavor of the week(/weak) trends in metal is a key element of elitism and will save you a load of embarrassment further down the road. Both death metal and black metal have seen their share of torrid but temporary trends in the form of herd pleasing bastardizations that quickly spike in popularity and then evaporate from relevancy as their fans move on to something even worse (usually after a period of denial and/or clinging to a safe intermediary genre). Crowdism is for losers but it’s heavily pushed in the metal scene and thus one must stay sharp to avoid it’s pitfalls.
Therefore in the interest of providing you, the reader, with the knowledge of how to identify and properly dismantle future flavor of the week trends as they appear, this two part series SMR series will focus on a trend, a selected album from that defines it’s failings, and the worst offenders for each of these forgettable movements. This week, we will focus on black metal’s most embarrassing waves of herd-fandom and sadistically dissect their unfortunate rise and much needed fall.17 Comments
Tags: Black Metal, black witchery, cradle of filth, deafheaven, depressive suicidal black metal, dsbm, flavor of the week, gothic black metal, hipsters, I'm in a Coffin, Industrial Black Metal, mallcore, post-black metal, sadistic metal reviews, smr, The Kovenant, trends, War Metal
Dimmu Borgir are through and through, the most popular and most successful Norwegian metal band. They are also #2 in bands that were at one point in their career black metal (falling just behind Cradle of Filth). Since 1993, Shagrath and Silonez have clawed and breathed fire and went through dozens of musicians- some very well known- and marketed themselves as the “evil fantasy/RPG villian” better than any other band. The brand, however obscure and seemingly non-conformist, resonated with millions as it’s two core musicians have turned their Hollywood Satanism gimmick into a big moneymaker for Nuclear Blast Records.
Sound-wise, Dimmu have been all over the place. One of the first bands to follow the precedent set forth by Emperor and incorporate choir/string driven keyboards as a main instrument in a black metal band, they were able to forge some solid albums by scaling back their guitar playing and allowing their keyboards to forge the atmosphere and melodies. But after a few notable works, they quickly began a journey into whatever flavor of the week pop/dance music has been popular at the time. By the ridiculously titled Puritical Euphoric Misanthropia, they were mixing metalcore breakdowns with Hollywood-soundtrack style keyboards and dressing it all up with science fiction sound effects. This became their main sound for almost a decade, with no variety between albums, before playing straight up opera muisc on 2010’s Abrahadabra. Featuring a full choir, a full symphony, virtually no guitars, and Disney-villain-sounding clean vocals, the band had become a soundtrack to a Broadway musical that never existed.
But almost ten years have passed since then, the longest gap in the band’s history. And while they are off being evil dads, the entirety of the metal scene collapsed- with no quality works being created in the underground and a metal mainstream that was void of any sort of movement. I was intrigued to see what they band would come up with given there was no real metal trend to ripoff, so what did I find? Where is the most commercialized black metal band in 2018, a year of shattered conventions and reborn Western identity? And who, or what, did they model their style after this time?9 Comments
Tags: Black Metal, Broadway Musicals, carnival core, cash grab, cheesey music, commercial metal, dimmu borgir, Disney villains, garbage, Hollywood, metal, Opera, power metal, sellouts, soundtrack, watain