/dmg/ DEATH METAL GENERAL: RETIREMENT PLAGUE EDITION

Satyricon were always a band to live in the shadow of better bands and thus it is only fitting for their farewell U.S. tour to suffer the same fate.  The band announced their last trip to the United States just hours before Slayer’s shocking announcement that they will soon cease to exist. Understandably, this caused the Satyricon “news” to be buried deep under a pile of apathy. Feels bad, man.

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The Importance of the Hessian Ideal

The modern way of life has conditioned people to think and consider their lives a juxtaposition of ‘job’, ‘family’ and ‘hobbies’ along with ‘fun’. This is a model influenced by industrial mentality, which needs vast amount of automatons performing meaningless tasks for the sake of production itself, simply in order to protect the bottom line at the expense of individual quality and relevance. As a result, very few people, indeed an incredibly outnumbered minority, will see and live their job as a craft wherein they find aesthetic and spiritual meaning, and would rather be out the door as soon as possible as long as their salaries are not affected.

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NIGHTMARE: LORDS OF CHAOS MOVIE COMPLETED, PREMIERED AT SUNDANCE


It’s actually happening.  After decades of “will they” speculation, directors picking up and dropping the project, rumors of Twilight actors playing Varg Vikernes, and a boycott by virtually every member of the original scene the Rory Culkin led bastardization of Norway’s finest Lords of Chaos premiered at Sundance this week.  In the ultimate defeat, death, and burial of Norweigian black metal- a movement opposed to everything commercial, financial, and mainstream- we will soon see a polished Hollywood narrative of this beloved movement pollution theaters across the globe.

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Susperia- The Lyricist

Susperia claim to be a Norwegian black metal that now plays melodic thrash metal.  Most of the members of this band have been involved with some fairly big projects as session players.  As a band they have spent the last 18 years playing some fairly standard commercial metal in the hope of actually breaking out in the way of Dimmu Borgir and Nightwish. But as either metal or a pop album, The Lyricist fails miserably.
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Ancient – “Eerily Howling Winds” (1993)

As previously pointed out by the editor of this site, metal demo recordings does not exist as crass commercial propositions with the sole purpose of advertising the market viability of the artist, but function — at least ideally — as independent works produced and distributed without further infringement from the recording industry. In spite of eventual shortcomings resulting from lack of budget, experience, and time, demo-level recordings remain a breath of fresh air because they oftentimes capture bands at a nascent and untempered creative stage.

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Watain – Trident Wolf Eclipse (2018)

Grammy-award wining artist Watain has shamelessly assumed the mantle of “most embarrassing band masquerading as black metal” previously shared by Dimmu Borgir and Cradle of Filth. Where the downfall of those two bands was an overdose of gothic and groove influences, Watain has managed to outdo both in both parody and bastardization of black metal with their previous album’s venture into country musical territory.  With a career built on celebrity guest spots from more capable underground metal musicians, necrophiliac 1st era Bathory Worship mixed with a second rate attempt to mimic Dissection’s concluding album, and a ridiculously cartoonist theatrical performance worthy of a Broadway musical, Watain’s legacy has been secured to forever be “the band that bent over farthest to inherit the phallus of commercialization the deepest” and has effectively decimated any hope of legitimacy the sub genre might have had in the post-90s.  With a brash new attestation in the form of Trident Wolf Apocalypse the truth could not possibly be more clear to any listener with knowledge of black and death metal: Watain are the biggest joke in all of black metal history.

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Demos and a Forsaken Future

“Dude, their demos were so much better” is one of the most obnoxious cliches of underground metal.  Usually a sign of virtue signaling used to mask one’s insecurities about their knowledge or taste, many lost souls of a nostalgia-obsessed age will use this one as a pale attempt to one up their brethren.  However in many cases within metal’s sonic sphere, bands that were truly fantastic on their early demos left much to be desired and ultimately left listeners unfulfilled.  Whether it be a record company’s influence, a change in heart or band members, or a touch of genius quickly fumbled away, may bands throughout the history of metal have never quite been able to match the quality of their demo recordings.

With death metal built on an entire sub culture of tape trading, demos were more than a proverbial foot-in-the-door to a potential record deal.  For musicians of the genre’s early days, the demo was the equivalent to having your record in the store- it was being shipped all around the world to fans desperate for something they couldn’t find in shops and to musicians hungry for new ideas.  Furthermore, a band’s demo was untainted by the direction and input of record labels who, in those days, quite often suppressed what was deemed “too weird” or “too extreme” as death metal was often determined by the suits of those days.  Tape trading death metal demos was an underground of its own, and your band’s demo tape wasn’t just a pathway to commercialization or musical success- but a often the start of new friendships in a rapidly globalizing world.  Given all of these unique factors, it’s no surprise death metal was full of bands who could never quite capture the magic of their demos.

To offer a complete list would be a dishonor and disservice to the legions of quality works that fall under this umbrella.  Therefore in today’s editorial, I will briefly offer a handful of my personal favorite death metal demos from bands that could never quite capture the magic.  Though I pay little mind to what happens in our comment sections, this will mark a special occurrence where I’d be delighted to know what DMU’s readers would have on this list.

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A Discussion on The Metal FAQ: Section 1.1

The Death Metal Underground FAQ is an ancient yet valuable and reliable document full of information to help the less initiated grasp some of the simpler aspects of metal.  It is also a wonderful attempt to actually explain the Hessian ideals, culture and music.  The music section is particularly small and contains a fairly large amount of information and therefore it is time to open it up and go into the details of the points mentioned and what needs to be changed, for it is only through constant analysis of past work can we build upon them and progress.

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In The Age Of Ideology Dying, The “Political” Album Also Dies

Growing up, I always detested “political” albums because people were ranting to me about partisanship from an adult world that I knew had already failed. It really was shuffling deck chairs on the Titanic to demand one failed version of the current order over another. It also violated what I felt was sacred about art: its abstraction, metaphor, and connection to the naturalistic experience.

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