War Master clandestinely premiered a new track from their upcoming second album, To Live Suffices To Conquer, on their sold-out Japan only compilation CD. The new track abandons most of the Bolt Thrower influence in favor of the Carnage and Dismember ones introduced on the Blood Dawn EP. Enjoy it now on Youtube:2 Comments
Japanese label Obliteration Records is releasing a War Master anthology CD consisting of both the debut Pyramids of the Necropolis LP and the Blood Dawn EP, along with a slew of bonus tracks from demo tapes and splits. The Houston, Texas throwers of bolts are one of the better modern death metal bands and a perennial on Death Metal Underground’s best of lists. This release will be an easy way for Hessians in Asia to obtain the band’s material on a physical format.
For all Death heaz in Japan,
Finally, Bolt Death Metal WAR MASTER attack in Japan!
They will change battlefield here and take no prisoners!
Are you ready to die??
Obliteration records proudly release their Blood Dawn EP + 1st album and bonus trax on CD format.
Limited of 500 copies in Asian coutry only.
First sale on their Japan tour in May.
May the Metal be with you
Article by Daniel Maarat
Sodom’s latest EP was ignored by the Death Metal Underground when it was originally released in late 2014 due to the more commercial nature of the band’s work over the past decade. After recruiting guitarist Bernd “Bernneman” Kost, Sodom abandoned their traditional black thrash style and adopted a more American speed metal, eighties Metallica and Megadeth oriented sound. Most of their new songs are rock structured, speed metal riff salads, peppered with occasional slowed-down extreme metal riffs.
Sacred Warpath is no different. The title track is the only new material and is strictly verse-chorus-verse. There is no melodic riff glue except for the verse riff variations. The chorus where Tom Angelripper snarls the name of the song in the song as a vocal hook like a line of dialogue from a cheesy action movie just serves as a way to repeat the verse verbatim to kill time. An acoustic interlude allusion to Agent Orange (“It’s like poetry; it rhymes.” – George Lucas) leads to a random speed metal solo for the Wacken whelps.
Following that speed metal drag, there are a few live songs nobody will ever listen to again: a cover of “Surfin’ Bird” (originally from M-16 in 2001) that leads into the fan favorite singalong “The Saw is the Law”, a generic Slayer-style song, and Sodom attempting Gothenburg melodeaf. These are here just to take this release from a 7” single and digital download to a 10” 33 ⅓ RPM EP and CD so Steamhammer can charge Sodomites more money. An underwhelming and mediocre cash-in, but the new song is less offensive than the Kill ‘em All “loving” on 2013’s Epitome of Torture.4 Comments
Article by David Rosales
Power metal releases are, admittedly, not the the first thing this site’s audience mainly come here for, but every once in a while we grace your eyes with the occasional appraisal of very rare honorable mentions of this superficial genre. More often than not, power metal is vain and empty, and although musically competent, also musically laughable. By its very nature, it has a higher incidence of worthless products, but that could be said of almost any mainstream genre when compared to underground ones. Contrary to your expectations, Imperial Age will receive praises here today. A cursory glance at Warrior Race might leave the impression that there is nothing new, nothing different in here that could set it apart from the bulk of contemporary power metal releases. It does not even pretend to have the progressive inclinations that some of its most ambitious competitors boast of. Structure-wise, it is as predictable as the most rigid sing-along pop acts. The tone is typically flamboyant and aristocratically haughty as becomes a European power metal ensemble.
Warrior Race distinguishes itself almost imperceptibly by placing musicality itself on a pedestal. Not theatrics or virtuosic display as is the common staple of the genre they move in. In this, they follow in the footsteps of old-school (pre-2002) Rhapsody (later known as ‘Rhapsody of Fire’ due to a legal mix up). A marked difference exists between the Italian veterans and these upcoming Russians, and it is that whether by conscious or natural limitations, Imperial Age’s music is far more toned down, and concentrates on the clarity of long melodies and creating a very fluid feeling around it by not being sloppy with the accompaniment, turning it into a complement rather than simply a generic support. One of the better traits they borrowed from Rhapsody was the art of allowing the music’s tempo to swing from slow and mid-tempos to cautiously implemented faster ones without being obvious and applying smooth, slow transitions and never introducing brusque changes within a song.
In terms of character, Warrior Race displays the traditional hymn-like chanting of epic power metal made more enticing by the healthy and non-pretentious use of at least four different lead singers (or distinct variations in the singing style) that do not clash or contrast too much with each other. This smoothness may be given to the fact that most of the time the voice is leading yet does not “steal the show” on the level of opera singing. This may also have to do with the way vocal lines are composed which melds them to the river-flow of the folk song. On the surface level, the folk element of traditional European power metal also makes an inconspicuous appearance that further contributes to this suave and rather humble album.
Imperial Age will not leave an indelible mark on the genre, nor will they be praised by innovation, but innovation is not required for excellence and interest of the deeper kind. As music with the right amount of variety balanced with a human feeling that streamlined pop metal artists would call “amateur”. Like many an authentic folk music rooted in a strong intuition of simple human sensibilities, Imperial Age’s Warrior Race presents one of those rarely-seen releases that grows with repeated listens from its musicality, making no claim to direct summonings of a deeper, more transcendental nature.4 Comments
Metal flavored post-rock (modern Enslaved) and ambient folk oriented music (Wardruna) are both established things. I am not so sure the fusion of such in Skjuggsjá, a side project album featuring Ivar Bjørnson and Einar Selvik, is as common. Skjuggsjá does seem to feature all the pretension inherent in either, and was apparently written and first performed for the 200th anniversary of the establishment of the Norwegian constitution of 1814. This studio recording will release on March 11th; the released single does not seem to emphasis the potential metal instrumentation of such a project, although scattered live clips suggest some effort towards this end on other tracks.1 Comment
Demoncy is another one of the site’s favorites, at least if the old Dark Legions Archives are to be believed. After rerecording Empire of the Fallen Angel two years ago, their decision to join up with Nuclear War Now! Productions may end up bringing them some extra exposure for their various projects. So far, NWN appears to be assisting with three major tasks. First, Demoncy is working on a new studio album – Ascension of a Star Long Fallen‘s release date has yet to be confirmed, but it will probably follow the approach established on 2012’s Enthroned Is The Night. In addition, the label is promising vinyl rereleases of the band’s earliest material, including their debut album. Finally, Demoncy is expected to perform at Nuclear War Now! Fest V in November 2016. Prior to this, Demoncy seems to have spent their career fitfully jumping between record labels, but this might bring them some helpful stability.
Swarming brings together experienced old school death metal personnel from Finland and Sweden to slash out a putrid, raw, grinding and crusty form of death metal that borrows as much from Autopsy and Carcass as it does Demigod and Dismember. For Halloween, Dead Beat Media has released Cacophony of Ripping Flesh: Recordings 2010-2012 which collects the complete works of the band during the first two years of its existence.
Check out the exclusive stream of “The Hideous Incantation” right here:
Storming death metal riffs gain support from an underpinning of melody balanced by the sickening, dragging and decomposing riffs that like the unsteady hand of a drunken surgeon dragging scalpels through flesh, induce a mood of hopeless darkness and perverse enjoyment of the world’s suicide. Demonstrating competence in both the technicalities of death metal and the intricacies of rock guitar, Swarming show death metal at its most engaging and yet repulsive.
Swarming (formed in February 2010) is a Finnish-Swedish collaboration with Lasse from Hooded Menace, Phlegethon, and Ruinebell, and Rogga from Paganizer, Ribspreader, and Humanity Delete. The guys share the same passion for raw and filthy music and that is what they are here to deliver with Swarming. Downtuned and putrid, grinding, crusty death metal!
Swarming Cacophony of Ripping Flesh – Recordings 2010-2012 compiles tracks recorded during the band’s existence so far including the two tracks from Swarming/Zombie Ritual split (Doomentia 2010). Cover artwork comes from David of Extremely Rotten Records. The album was mixed by the band and mastered by Mikko Saastamoinen (whose other works include Hooded Menace, Ruinebell and Vacant Coffin).
Thanks to Jill at Dead Beat Media, we are able to offer you this exclusive album track stream on Halloween 2015. As you are gorging on candy and cider, take a moment to vomit purulent blood with Swarming!
- The Hideous Incantation
- Reeking of the Bowels
- It Came From the Graveyard
- Hacksaw Holiday
- Feasting on Drowned Flesh
- Amputation Frenzy
- Convulsing Into Eternal Doom
- Premature Embalming
Following the banning of Disma from the Netherlands Deathfest by SJWs, those cuddly political fanatics have attacked again by setting fire to a black metal club in Germany.
As reported in local news, the entrance to the club — originally a tiki-themed club now repurposed to be one of the most important black metal venues in Germany — was set ablaze in the night by SJWs who identified with “Antifa,” originally an anti-fascist organization that now works alongside other SJW groups. These groups publicly claimed responsibility for the attack and issued the ominous statement, “This fall we have some catching up what was missed in the last few years!”
Interestingly, Blackland Club was not a Nazi club. It allowed black metal bands to play there and by all accounts, most of the bands who performed at the club were not political in any way. SJWs attacked under the excuse that it provided a platform for Nazi bands, ignoring the fact that most black metal bands have extremist philosophies that make the Nazis look like Williamsburg Democrats. The club became a target because it did not adopt the SJW line that those who do not expressly reject certain beliefs must be destroyed. Some of the “evidence” compiled by SJWs includes that people there wear Burzum tshirts.
This type of phenomenon — a witch hunt organized by an internet hate mob motivated by SJW ideals — was last seen in the Disma debacle where SJWs pushed Disma to apologize for possible pro-Nazi statements by one member. The point of the apology is that it humiliates the person, and shows everyone else a broken and contrite citizen who acknowledges that he has been disciplined, which instills fear in the rest of us of the same happening to us. That is the point of all this SJW scene policing: to create fear and through that, compliance and control. SJWs have made their demands clear: support our ideology or we will destroy your career. This is the power of having an internet lynch mob to deploy against non-conformists.
As political instability in the US and Europe accelerates, we are likely to see more of these clashes as SJWs attempt to unify their ranks. This reveals SJWs are involved in metal only incidentally because their actual purpose is to be involved in politics, and they want to use heavy metal as a propaganda weapon in that fight. This is why their increasingly shrill, intolerant and dogmatic voices are infesting metal, punk and rock as happened when record label Run For Cover Records cut ties with band Whirr over “transphobic” — meaning not fully approving of transsexualism — messages on Twitter:
Last night, the Bay Area band Whirr posted a series of negative tweets about G.L.O.S.S., a punk band whose lead singer is a transgender woman. (The tweets have since been deleted, but an archive can be found at Stereogum.) Among other things, they tweeted, “g.l.o.s.s. Is just a bunch of boys running around in panties making shitty music,” and compared G.L.O.S.S. to the Buffalo Bill character from The Silence of The Lambs.
While this is clearly vitriolic, it is not any more vitriolic than what is regularly posted on metal bulletin boards on the internet. But it does provide an opportunity for SJWs to create a “teachable moment” in which they destroy someone’s life to remind the rest of us to toe the line or we, too, will be on the chopping block. One label created a religion out of this division, and said, “We have zero interest in working w/ hateful people.” That they have in turn created a hateful echo chamber seems like too much thinking for them, but the result is that the metal/punk scenes are polarizing: there are those who are SJW, and there are those who SJWs consider their enemies for not being SJW.
This behavior is not specific to SJWs in metal. Everywhere they go, the commandment is the same: Destroy the unbelievers. If you deny their ideology in public, they will seek you out not to disagree with you, but to try to get you fired and otherwise socially ostracized. It is their one weapon, the threat that they will declare you something the media thinks is bad (“Nazi,” “racist,” “sexist,” “transphobic”) whether or not there is any truth to it, and you will be unable to participate in our liberal-leaning society as a result.
In the meantime, refuting a recent SJW attack which claimed that folk metal was plagued by “sexism” and “racism” but never quite showed how that was true, some sources have begun posting an extended list of folk metal bands that are not white, male and pointed toward European mythos:
Amocualli – Aztec folk metal from Mexico
Arkan – Islamic folk/death metal from France
Kartykeia – Hindu/Vedic folk/death metal from Russia
Melechesh – Mesopotamian folk/black metal from Israel (ethnically Assyrian and Armenian) now based in the Netherlands
Myrath – Oriental folk/progressive metal from Tunisia
Rudra – Hindu/Vedic death metal
Skinflint – folk metal from Botswana
Tengger Cavalry – Mongolian folk metal from China
As usual, the SJW story does not add up because SJWs are ideological fanatics and not realistic members of society. Western Civilization continues crashing into the abyss and no one will do anything about that, so they focus on nice low-hanging fruit like convincing all of us to support the right of transsexuals to listen to black metal too, even though no one had ever attempted to deny them that ability. The best way to combat this is to end the perception that SJWs speak in any way about whether someone is “good” or not, and see them for what they are: lonely fanatics in their lonely apartments, raging at the world for not granting them more power.17 Comments