Analysis of Beethoven’s Symphony No.9

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.

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Coronavirus Mainly Killing Off Soy Fruit City Dwellers And Leftists (Darwin Chuckles)

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.

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Malevolent Creation The Ten Commandments Re-Issued

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.

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SMR – Will the Madness Ever End?

Peripheral Cortex – God Kaiser Hell
Various Necrophagist riffs arranged in a mathcore style with no rhyme or reason as everything is thrown into the kitchen sink. Vocals are annoying shouts that devolve into nonsensical off-key singing. The best parts are the genuine carnival breakdowns featuring random saxophones as they are less annoying than the Epitaph ripoffs. The gimmick here is “creative freedom” but by doing it in such a random manner, all creativity is lost and what we are left with is a collage of unrelated music packaged into an album.

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Introduction to the Art of the Sequence – “Satan Spawn the Caco-Daemon”

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.

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COMPILATION REPORT: Ultra Metal (Monitor, 1990)

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.

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A Guide to Electronic Music: Volume 2.0

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.

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The Accüsed

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.

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