Guest article by Svennerick
Released in August of 1996, Monstrosity’s second effort Millennium is an album I personally hold in very high regards, considering I nearly spent eight months listening to it multiple times a day. This is an addictive album and each new listen made it clearer why this album stands head and shoulders above anything released under the term “technical death metal.”
Tags: analysis, death metal, millenium, monstrosity, Technical Death Metal
Even if the main part of the work was composed between 1822 and 1824, the Symphony n°9 is the fruit of a long maturation which lasted more than thirty years. Thirty years for the idea of a symphony with choir to progressively take hold in the mind of Beethoven. Thirty years during which the music and the text of the “Ode to Joy” will evolve in parallel, each one gradually taking shape over the course of Beethoven’s compositions, before finally being reunited in their last symphony.
Tags: Beethoven, Symphony no.9
Guest Article by Svennerick
Deeds Of Flesh’s music is known for breaking from the conventional, but unlike many other bands who resolve to untypical instruments or gimmicks, Deeds Of Flesh portray their own variety of death metal through the war that rages within their song structures and riffs.
Tags: death metal, deeds of flesh, Mark of the Beast
From the squirrely sub-sub-genre of death metal that made us of flowing tremolo riffs as well as Slayer did, joining compatriots like Massacra and Vader, Deteriorate issued forth its first album, Rotting In Hell, to distribution in North America by J.L. America back in the hazy days of maturing underground metal.
Tags: death metal, deteriorate
Metal exists in part to explain an insane world in a way that will not drive us insane, with starts by acknowledging that everything that groups of humans think is order is chaos, the “chaos” of nature is in fact an intense order, and that we are not insane for noticing that humanity is insane and needs a 2×4 to the head to wake up.
Tags: coronavirus, covid-19, sodomize the weak, spike protein
Peer into the intense fury of three decades ago when Malevolent Creation unleashed their powerful fusion of speed metal and percussive death metal, The Ten Commandments (1991). Full of nice meaty riffs cleated to pounding double-bass drumming, this album explored the side of death metal that stayed closer to conventional metal.
Tags: death metal, hammerheart records, Malevolent Creation, Speed Metal
Legion has always been described as being pure rhythmic intensity exemplified within Death metal. While that assertion is true, it remains a deviation to what Deicide truly accomplished in their prime. The use of non-diatonic sequences that were’t bound by conventional notions of melody but rather a combination of chromaticism and atonality where each note was chosen individually for a specific function not held down by any scale or mode.
Tags: after the burial, Deicide, Legion, pi, satan spawn caco daemon, sequences
Back in the 1980/90s – a time when underground metal wasn’t just a click away – buying compilation albums was a fun and affordable method for discovering new music. As introductions to specific styles or scenes – some of which otherwise remained restricted to the tape trading community – they’re the perfect option. Also, compilations occasionally featured alternate takes or tracks that couldn’t be found on the albums proper. Ultra Metal serve both functions; presenting the then current state of Czechoslovakian underground metal and offering exclusive versions of specific songs.
Tags: compilation, Czechoslovakian metal, debustrol, ferat, Kabá, Master's Hammer, moriorr, ultra metal, V.A.R
Five thousand years ago, the present author created a guide to the main acts associated with the classic 70s-style electronic sound. The response was generally quite positive in nature (which the present author humbly appreciates), and several individuals requested a sequel focusing on later acts and developments in Electronic music.
Tags: 1990s, 2000's, acid, Ambient, aphex twin, astral projection, atmospheric, Autechre, bass communion, biosphere, boards of canada, carbon based lifeforms, coil, computers, Cosmic, dance, drugs, dub, electronic, electronic music, electronica, film score, futuristic, goa, hallucinogen, house, idm, Industrial, insanity, Israel, keyboards, man with no name, norway, ott, porcupine tree, psybient, psychedelic, psychill, psytrance, science fiction, shpongle, simon posford, Soundtracks, space, steven wilson, surrealism, Sweden, synth, synthesizers, techno, the future sound of london, the infinity project, the orb, trance, UK, underworld, USA, woob, younger brother
The Accüsed came to life in 1981 as a punk/metal-act from Seattle who indulge in a self-coined musical style interchangeably referred to as “splatter core” or “splatter rock.” Releasing their debut full-length album in 1985, The Accüsed developed tangentially to thrash luminaries such as D.R.I., C.O.C. and Cryptic Slaughter, with whom they share musical characteristics. Like the latter, the Accüsed applies metallic riffing to rudimentary song structures fueled by the raging intensity of hardcore punk.
Tags: Crossover, Speed Metal, the accused, Thrash