Back in the late ’80s, Artillery was (to my understanding) one of the more musically literate speed metal bands out there, arguably peaking in commercial success on By Inheritance, which like many late ’80s and early ’90s releases in the genre reflected a more polished, assimilated, and mainstream take on the various ideas present in the genre. Artillery reformed in 2007 and has attempted to capture something of that era with their albums since; Penalty by Perception will release on March 25th and bears at least a superficial resemblance to the band’s previous material on first inspection. For the band’s sake, let’s hope it doesn’t fall victim to the lack of animating spirit that some other revivals from Denmark (like Denner/Sherman) have suffered.
Before you ask, the answer is no; you haven’t overdosed on power metal yet. You’re still alive and reading about how Nightwish, Sonata Arctica, and Delain (whom I’ve never heard of but was apparently formed by an ex-member of Within Temptation) are about to tour the United States and Canada. If you absolutely had to hear tracks from Endless Forms Most Beautiful in a live context, now might present a golden opportunity for you, or at least a yellowish one. However, this tour is apparently popular enough that some of its earlier dates have already sold out. Expect musical literacy, science advocacy, overblown melodrama, and whatever Sonata Arctica does to rule these nights.
DMU proudly offers a stream of No God Only Pain – Roads to Serfdom. This band fuses Motorhead-styled roadhouse heavy metal with punk and underground metal to present its justifiably paranoid view of government and corporate control of our lives. Fueled by a long underground pedigree including black-doom metal band Dawning, No God Only Pain shows metal a way out from its current morass of thinkalike “underground” and hamster-safe mainstream metal.
No God Only Pain – Roads to Serfdom (2015) – “Cannon Fodder” (5:25)
No God Only Pain – Roads to Serfdom (2015) – “Lick the Claw” (1:50)
No God Only Pain – Roads to Serfdom (2015) – “Roads to Serfdom” (7:50)
No God Only Pain – Roads to Serfdom (2015) – “Servitudo Completum” (4:10)
No God Only Pain – Roads to Serfdom (2015) – “Who Forgives God?” (3:10)
Roads to Serfdom features the heavy metal distrust of society and its machinations taken to another level: seeing how moneyed interests are pushing the ordinary citizens into dependency on corporate jobs and government, while simultaneously manipulating public opinion to avoid awareness of the impending crash. Put into the form of raucous rock ‘n roll influenced heavy metal with a strong beat and instrumental chops, No God Only Pain serves as the perfect introduction to metal for new fans or those who want metal to get back to its roots.
With stylized artwork by German artist Ketza, Roads to Serfdom shows the new wave of self-produced DIY metal music that is abandoning an increasingly conformist and boring scene. For those who appreciate Motorhead, Danzig and the punk-infused rhythms of the NWOBHM, No God Only Pain deliver a new option and a path away from the inevitable staleness in both civilization and heavy metal.
Here’s what Metro Silicon Valley had to say about No God Only Pain:
We had a brief teaser for North almost a year ago. In the mean time, Sorcier des Glaces has released one of its upcoming tracks, as well as a longer trailer for the album, and they’ve also set a release date – February 29th. I’d take this release date with a grain of salt, since Sorcier des Glaces has been known to delay them a great deal for whatever reason. Case in point – this album’s predecessor (Ritual of the End) was originally planned for 2012 but didn’t release until 2014. Still, whether or not it gets released on time, it should be a worthy acquisition; the band’s style remains intact, and that means strength of melodic development and extended songwriting for everyone.
Scion was rare amongst car brands for being explicitly youth focused, and furthermore for the Scion Audio Visual project, which released a great deal of metal music related content in its heyday, including a couple of freebie singles and promotional EPs. Sure, most of it was trash we at DMU would dismiss immediately, ranging from the products of Immolation (Providence) and Enslaved’s (The Sleeping Gods) decay to a digital single from Repentless, but if these releases meant that a youth would purchase a car from Scion/Toyota instead of one of their competitors, then the entire scheme was an effective loss leader.
Despite this, Scion recently announced on their official website that Toyota was going to end the Scion brand and transition its products back into the main Toyota lines. Dissecting the corporate marketspeak is difficult, but apparently mainline Toyota products are now doing better with young buyers than they were back in 2003, when the Scion brand was first created. At the moment, it’s unclear whether Toyota will keep Scion A/V going in any form, but I’d say its outlook is dim, since without the Scion brand, Scion A/V would have to work overtime to point its customers towards Toyota products without being criticized for corporate shillery. Rarely do these developments in the automotive industries significantly affect metal fans, but Toyota’s personnel, at the very least, claim they learned useful lessons from operating the Scion brand.
Another album that I briefly wrote about a while back is approaching its official release date. Rituals by Rotting Christ will release on February 12th, 2016, and is still available to preorder from Season of Mist in the meantime. You know how a great deal of established and older bands stick to their stylistic guns, especially now that the crisis of the 1990s is but a dim memory? Rotting Christ is amongst them; they’ve continued their traditional-black-etc fusion ways as hinted at on their earliest albums and established, at the very latest, on Triarchy of the Lost Lovers. If this album fails to be of any value, you’ll at least have Thy Mighty Contract as a fallback.
The cult tradmetal band Cirith Ungol (not to be confused with the promising Dutch black metal band Cirith Gorgor) is stirring after decades of inactivity. The first sign of this was perhaps the original “Frost and Fire” festival they organized last year; now, they’re escalating their own participation by headlining the second one. In addition to Cirith Ungol, the festival will also feature many other traditional metal bands, as well as two other reunions that have yet to be announced. Cirith Ungol’s official forum claims that the extremely lengthy period in which tickets are on sale is a result of the original festival selling out despite two months’ availability. The resulting festival might be a interesting opportunity for anyone who lives in SoCal.
Voivod recently released the title track from the upcoming Post Society EP. Its overall Voivodness (in the French-Canadian metal sense, as opposed to the Polish administrative one) supports my previous theory that the band is continuing with the approach that they outlined on Target Earth; in my own previous words, “…an accessible mixture of of their signature late ’80s sound with more modern alternative and progressive rock influences.” The EP is still scheduled for February 26th, and Voivod is still going on tour next month. The good track record so far bodes well for the quality of the involved content, although the fact so much of it having already been released piecemeal may cut into its overall sales.
Phil Anselmo put a sour taste into the mouth of Dimebag Darrell and Pantera worshipers worldwide by making some white supremacist signs at the end of Dimebash 2016. Much to my amusement, he immediately backpedaled and insisted that these remarks were his idea of a joke. Like most of these incidents, the importance is not so much in what Phil Anselmo actually believes, but in how the people around him react. As a general rule, you people have overreacted. For instance, the good folk at MetalSucks (always a bastion of… well… something) struggled to reconcile their simple belief that racism is bad with their other simple belief that Phil Anselmo’s musical efforts are worthy of their time and attention.
Here at DMU, we’ve learned to deal with the fallout of our idols’ actual, provable crimes, such as the arson and murder of the Norwegian black metal scene to the point that we’re perhaps desensitized to thoughtcrimes, especially since we can’t yet peer into Anselmo’s head and accurately determine whether he’s a racist, or trawling for attention, or some combination of both. What matters is that we don’t jump to conclusions based on the unknowable. Besides, we have enough evidence of Anselmo contributing to Pantera.
Avantasia is arguably a notable power metal act and perhaps one of the EU’s most profitable exporters of cheese. Man can’t live on cheese alone, but DMU occasionally attracts fans of mainstream power metal, and sometimes for all its goofiness it’s less idiotic than whatever else is trendy. Ghostlights will officially release tomorrow, but the German entertainment news site Bild (at least I think it’s lightweight news; meine Deutsch ist nicht sehr gut) is currently offering a stream of the album for those who want to preview the album. As is typical for this band, Ghostlights will feature an all-star roster of power metal musicians, and is generally very accessible and poppy; saccharine even once listeners acclimate to the sound. We might give it a review someday; no guarantees.