Sadistic reviews by Linus Douglas.
Sadly apart from Sammath, some other Dutch metal, and reissues, Hammerheart Records appears to publish many moronic releases produced by poor excuses for neurons in hopes of flooding shelves like every other larger metal label.
Tags: 2017, brutal unrest, cirith gorgor, dead head, ereb altor, exoskelett, funeral twilight, hammerheart, hammerheart records, metalcore, mourners lament, sadistic metal reviews, stinking shit, the monolith deathcult, trinitas
As many movies from the 80s and 90s will tell you (e.g. SLC Punk and PCU), youth counter cultural movements of those decades were once various fragmented groups or “tribes” baring their own identity while all opposing the mainstream Whitney Houston and boy bands on the radio. You had your goths, new wavers, punk rockers, emos, ect. at war with the “jocks and cheerleaders” collective of popular kids and, in some cases, at war with each other. But in the years to follow, the deadly combination of multiculturalism and micro culture has effectively ended this conflict as there was no longer a singular popular culture and therefore no “them” in the classic “us vs. them” dynamic. Therefore, these varying counter cultural factions were unified into one ugly all encompassing monstrosity: the hipster.
Tags: black 'n roll, blackgaze, crypto-indie, djent, hipster, hipster bullshit, hipster idiocy, hipster invasion, hipster music, hipsters, homosexuality, indie metal, indie rock, metalcore, toxic holocaust
The music of Emperor is commonly misconceived by the mainstream metal media and certain YouTube clowns to be merely an atmospheric wall of sound or symphonic black metal orchestration engineered for superficial, surface level aesthetic appeal to an audience atypical for black metal. This is in fact not the case. In the Nightside Eclipse is just as perplexing to typical headbangers on first encounter as it was upon release in 1994. Mainstream audiences are even more flabbergasted and regard the record as a mere curiosity produced by those murderous church burners, preferring Emperor’s more rock-structured later work such as Anthems to the Welkin at Dusk, which abandoned the band’s signature riffing style and method in exchange for ones influenced by more stereotypical Norwegian B-listers such as Enslaved and Kvist. Emperor did eventually sell out, becoming technical guitar wank, rock-structured heavy metal after their rhythm guitarist Samoth and drummer Faust were imprisoned in 1994 and their songwriting influence subsequently waned. Yet In the Nightside Eclipse‘s hymns to Satan and Sauron remain as natural mutations of their metallic predecessors’ attempts to imitate horror scores and classical music’s overwhelming power of sublimity.
Tags: bard faust, Black Metal, emperor, ihsahn, in the nightside eclipse, j.r.r. tolkien, music analysis, norway, Norwegian Black Metal, samoth, tolkien, tolkien metal
Google has censored over 900 million search results due to receiving DMCA takedown notices from rights holders’ legal representatives. The media conglomerates are fighting a losing battle against the widespread sharing of mostly mediocre content that nobody is willing to pay for more immediate or legal access to for good reasons. The quality of movies, music, and games has tanked over the past decades to placate the ape brains of a lowest common denominator third world audience.
Tags: censorship, diversity, dmca, google, multiculturalism, piracy
Finnish black metal band Horna withdrew from the Blastfest 2017 festival after the festival’s SJW-pandering organizers canned Peste Noire‘s scheduled performance due to anonymous antifa nags threatening the hotel and venue. On their Funbook page, Horna said “It’s time more bands should do something instead of looking the other way.”
Tags: antifa, Black Metal, Blastfest, censorship, communists, festivals, horna, peste noire, sjws
Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.
Tags: Crossover, Earth A.D., glenn danzig, Hardcore, Hardcore Punk, punk, punk rock, the misfits, Thrash
An old interview, rediscovered, that apparently never made it to publication, so needs to find a home here.
Tags: death metal, ian christe, interview, lords of chaos, metal faq, metal history, metal theory, michael moynihan, Nihilism, sounds of the beast
Dismember are currently in the process of reissuing their merchandise and back catalog to combat rampant poor-quality bootlegs. Brett Stevens reached out to the band for an email interview and drummer Fred Estby most graciously agreed to answer our staff’s questions:
Tags: carnage, death metal, Dismember, Fred Estby, Heavy Metal, interview, Sweden
Why write bad reviews at all? Good music is rare, and bad is everywhere, but if you do not explicitly identify the failings of bad, most people will find it appealing because it does not interrupt their steady stream of self-centered thoughts and is easier than seeking good. If you like good music and want more of it, you must bash as well as praise, as Machiavelli would tell you. And with that, the latest installment of the Sadistic Metal Reviews…
Tags: acanthrophis, asperger's syndrome, coprophagia, Dead War, fetus logic, iron maiden, kreator, led zeppelin, manilla road, mental retardation, pantera, sadistic metal reviews, sunn o))), venom, Voivod
Article by Johan P continuing Death Metal Underground’s progressive rock coverage.
Morte Macabre is a collaboration between members of the Swedish prog revivalist groups Landberk and Anekdoten, who joined forces to create progressive rock that is equal parts beautiful and disturbing. Their only album – Symphonic Holocaust – is a real treat for those who enjoy creepy music in general, especially 1970s Italian horror movie soundtracks. It is a tribute to the darker side of 70s progressive rock, with reference to Italian groups and composers like Celeste, Goblin, Museo Rosenbach, Fabio Frizzi and Riz Ortolani. An explicit Red-era King Crimson influence permeates the album as well.
Tags: 1998, covers, hard rock, Horror, horror film, horror films, horror movie soundtracks, keyboards, mellotron, Morte Macabre, movie soundtracks, prog rock, progressive, progressive rock, review, Sweden, Symphonic Holocaust