#MetalGate: Fornicator Prevented From Opening for Profanatica in Seattle After SJW Nagging

profanatica fornicator seattle gig flyer

Brutal deathgrind band Fornicator was prevented from opening for Profanatica and Demoncy in Seattle last Sunday by the venue due to social justice warriors nagging. The Highline Bar received complaints from crusty SJWs who felt that their “safe space” inside the bar was being violated due to Fornicator’s incomprehensible lyrics.

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#MetalGate: Bestial Evil Reunite For All Three of Their Fans and Lovers

bestial evil's fans

Shawn Wright and what remains of Baltimore social justice warrior crustcore band Bestial Evil USA have apparently decided to reunite according to their Fuckbook page:

So after much thought on behalf of Myself, Nicky T and the Fans, WE have decided we are not done. We have put too much into this. All of you that wanna slander bring it! We return with an all new line-up! \m/ that’s right!!!!!

Bestial Evil have reunited for all three people who thought that Infectious Cross was a commendable work of antifascist, genderfluid propaganda. Only three as the redheaded furry on the right wandered in drunk from the Baltimore Comic-Con thinking the Sidebar was a Chuck E. Cheese. He was disappointed that even though Bestial Evil claim to be bisexual, no band member would put on the cowsuit and reem his rectum with the cryogenic feces. Now that token black “bi-sexual” (sic) guitarist Kevin Rucker‘s two foot long, “ritual fecal phalli” are gone, how will Bestial Evil possibly attract the coprophiliac crust punks yearning for authentic black shit out of a black-skinned man?

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#MetalGate: Bestial Evil (US) Disintegrates As Former Guitarist Kevin Rucker Explodes In Racist And Homophobic Rant

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Mediocre and uninventive Baltimore death/crust band Bestial Evil (US) has left us, according to Facebook posts by its former guitarist and token African-American, Kevin Rucker. In his final statement, he goes off on a racist and homophobic rant which ends by telling the audience to “Eat some dicks.”

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#Metalgate: Bestial Evil Throws in the Towel

Bestial Evil's restaurant bathroom

Baltimore-based social justice warrior crustcore band Bestial Evil USA have finally stopped attempting to play metal music claiming “…we are done being slandered and we’re done being associated with hate shit.”

Hello to friends and fans…

Bestial Evil has ended its reign.

Thanks for the support over the years.

Bestial Evil’s reign over their graffiti and needle-ridden back alley came to an end when the chef fired them for taking too many cigarette breaks in-between busing tables. Good riddance.

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#MetalGate: SJWs Turn Against Bestial Evil

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Well, this is awkward…

SJW crust/death band Bestial Evil (USA) has made a quasi-career by advancing “social justice” ideas at the expense of the death metal genre. But now it comes out that their guitarist quit because their drummer was involved with a right-wing group, at least until he gave it up to rejoin the band which just released their mediocre debut Infectious Cross.

The band has attracted the ire of fellow SJW/ANTIFA groups who object to the presence of the drummer in an organization which is not Leftist and may have ties to the far right:

Phillips, however has been deeply associated with not just the Wolves but with other area neo-fascist groups. Earlier this year, another band he plays with, an Irish folk band called ShamRouges performed at the annual St. Patrick’s Day event sponsored by Baltimore-based Label 56, a White Power distribution outlet run by members of the Maryland “Skinheads”. Phillips also plays with another metal band called Vørgum, who last year released a live album of them performing at the Wolves of Vinland compound. He reportedly still performs with the band today under the name “Ulfhamr”.

Phillips told One People’s Project that had been involved with the Wolves for three years, getting into them through mutual interests in music, physical regiment and people being different and living on the outside rejecting technology and other things that would be seen as distractions. He said there were a number of people involved that had far right leanings but they never brought those ideals into any group meetings. Overall, he says the group focused moreso on other things that politics. “Those guys, they had an impact on me,” he said. “It was what it was but there’s other people in my life like my band that I have to stick up for and protect and I can’t be associated with stuff like that anymore.”

With the loss of token minority member Kevin Rucker, Bestial Evil stands revealed as four white guys who want to play pseudo-deathmetal with an SJW message and attract an audience on that basis and not for musical reasons alone, but with their SJW cred in doubt, Bestial Evil faces an uphill battle since their music is unexceptional and also not that interesting.

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#MetalGate: SJW Drama-Band Bestial Evil Implodes, Cancels Shows

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#MetalGate pointed out the unsaid obvious: that “social justice” is destroying metal from within. Today we further explore this fertile (and obediently ignored in the media) topic with a small update on Baltimore-area SJW deathpunk band Bestial Evil, who recently fired and then rehired their drummer for his association with naturalistic and possibly right-wing civilization renewal group “Wolves of Vinland.”

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Sadistic Metal Review: Xoth – Hostile Terraforming (2014)

xoth hostile terraforming

Article by Lance Viggiano.

Hostile Terraforming is the result of a lot of instrumental practice and absolutely no artistic or even musical ambition. Every moment is technically precise in the pursuit of puritanically banal phrases which fake variation by playing the same motif in a higher octave. Cyclical song structures allow the players to shred freely while never needing to establish an emotive core. The EP lasts only as long as it takes for the musicians to run through every show-off-in-a-public-space rite of passage stylistic flair which is recited in the most obsessively canned manner – essentially a musical diet of Doritos and Pepsi. Like all such outfits, the drums are produced to resemble a typewriter thus ensuring maximum clarity so the listener can hear every soulless tap and click as the performer slavishly follows the guitar around like a gimp-clad submissive. Yes, there are musical pauses to give the bass guitar its obligatory solo which has no purpose within a greater melodic arc of the song; not that the drunk dive bar crowd notices or cares.

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