Satan‘s Court in the Act exists in a unique space between the New Wave of British Heavy Metal and speed metal. As a wholly metal album that attempts no pandering to mainstream radio rock unlike seemingly every other NWOBHM band, Court in the Act is by far the strongest studio album of that sub-genre/movement and incredibly influential to American speed metal bands Metallica, Megadeth, and Slayer.17 Comments
Review contributed to Death Metal Underground by Edward Colt.
Suffocation overreaches on this one. Favoring the pubescent Call Of Duty crowd, they have fully bent over and accepted that their last handful of albums are: video game music. With new artwork that looks like something out of Mass Effect, all …Of the Dark Light invokes is some strange ground between nerd-rage and ravehead drug bingers. The cover artwork could be the poster of some corn field sponsored outdoor rave event in your nearest rural area away from seemingly never-ending suburban sprawl.14 Comments
Article contributed to Death Metal Underground by George Psalmanazar, continuing his series of Judas Priest reviews.
Painkiller is Judas Priest‘s most consistent studio album coming out right after the band spent the entire decade of the 80s pandering to mainstream arena and glam rock fans. Slayer were a tremendous influence this time around; Judas Priest toured toured with them in the late 80s and subsequently listened to most of Slayer’s studio catalog. Painkiller there is a heavy metal album heavily influenced by the heaviest speed metal bordering on early death metal. Early power metal took a similar approach but in much more limp-wristed way.27 Comments
Infamous have delivered us yet another split with a weaker but by no means incompetent band. Winter Darkness provide the almost filler this time on Symbols of Scarlet Revenge, playing somewhat generic, riff salad black metal that doesn’t really go anywhere special on this split has promise if they could unite the various parts together in order to express something greater than merely “We actually play black metal, we wrote riffs, they’re not random, and our music is not that so bad that it will make the Death Metal Underground editor press a power drill into his skull.”1 In their defense, Winter Blackness use RAC-like drumming, and songs that conserve sneering tension that sometimes resolves on “Demons of Winter Blackness” and leaves you wishing the band would explode on “Frozen Nocturnal Blood”. A slow burning match that burns out into darkness rather than lighting a fire is not the best way to conclude a record. At least Winter Darkness are way more aggressive than Gratzug’s half of the Infamous / Gratzug split.6 Comments
Aäkon Këtrëëh was an eponymous dark ambient/black metal-project created by Lord Aäkon Këëtrëh, a central figure within the French black metal collective commonly referred to as Les Legions Noires. (more…)26 Comments
Article contributed to Death Metal Underground by George Psalmanazer.
Judas Priest started life as just another Led Zeppelin influenced band in the early 1970s. Quickly they became massively influenced by Black Sabbath and especially Thin Lizzy. Priest adapting the counterpointed riffing and harmonzied melodic guitar leads of Thin Lizzy into a mixture of progressive rock and the then new heavy metal of Black Sabbath but with operatic vocals instead of Ozzy “singing” the riff through his nose kicked off the New Wave of British Heavy Metal in the late 1970s.29 Comments
ZOM is essentially a crust band who starched by a discordant boondock black metal sensibility resulting in parlor tunes to cap off a hard day picking potatoes. Neither being soaked in rye nor smoked out on Dublin can make this release stand out in the fields of barley. The riffs aren’t worth paying attention to and as background music it is simply too assertive so it tends to pinch you if your mood isn’t wearing the right color.3 Comments
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.41 Comments
I saw Mayhem play De Mysteriis Dom Sathanas, the only album of theirs that actually counts of course, last week at the Howard Theater in Washington, DC so I wanted to tell my fellow Death Metal Underground readers what’s happening inside the ANUS of this tour. That was surely an ironic choice of venue the band made there. Playing a black theater in a historically black city was strange for a band whose drummer, Hellhammer, is a badass drummer who hits like a fucking beast like a German in a tank trying to conquer Africa back from his historic racial enemies, the Polish and the Africans and Hellhammer is Greek or something so how can these losers with nothing better to do claim he’s even racist you know? Also practicing under their swastika banners and shit like that they shouldve brought out to steam roll all the drunk hipsters instead of comic book covers to hide behind onstage. I had to check this shit out to see if some shit would go down. I wanted to see if the gig would rule or if any crazy shit from hipsters, communists, or any other idiot life forms that could come out of a UFO or something would be real you know and prevent Mayhem from pounding my face in you know.39 Comments