Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.
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Goath – II: Opposition

Great Goath!  First impression is, this new output from Goath is pretty darn good. The artwork seems excellent. Some of their other releases didn’t quite do it for me, but this one hits the spot. There is a nice mix of basic time signature riffs. The main thing is that the high level of aggression in all the instruments and vocals works on this one, whereas the other stuff I heard before was boring and lower pitched, like war metal kinda, with some Deicide. The whole thing sounds really old school underground, not aiming for total show-off or the best production, but instead going for authenticity and aggressiveness.
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Metal Arsenal: Choice Software for Metal Warfare

Once upon a time, musicians needed to have a fat budget for a decent studio recording (and therefore, a record label to front the bill on the onset).  But even with one, many extreme metal recordings in the 80’s, 90’s and 2000’s still sounded like complete ass.  Even insanely popular death metal bands like Cryptopsy, who have sold over half a million records, have had albums with production so shitty that I can’t hear most of the riffs.  Aside from a few innovators, most audio engineers (back when it was possible to make a career out of it), simply did not know how to record and produce metal.

However the industry has changed mightily over the last 15 years or so, and in today’s music world the phrase “everybody’s an engineer” is deeply rooted in truth.  Whereas high end recording software was once closely guarded and outrageously priced, the freedom of file sharing as put many high end tools in the hands of the public at no cost and without the need for professional training to use.  No longer do you have to shell out $10,000 for an album that sounds like it was recorded in the prior decade, nor do you need take out a ludicrous college loan for audio engineering school. Instead, all you need to do is make a few quick downloads to successfully arm yourself for a quality recording (assuming, of course, you have done your homework in practicing your instruments and listening).

This change in landscape greatly benefits the type of music personalities we saw in Darkthrone, Burzum, and Graveland- top-tier musicians more concerned with their art and ideology than pandering to a room of idiots via live performances (yes, I know Graveland and Darkthrone both played live: it was only at microfractions of their careers).  And given that lefties are regulating and policing which bands are allowed to play live shows, there’s all the more reason for defiant metal musicians and bands to forgo live performances and focus their energies on quality studio recordings.  With narcissism, attention seeking, and fan expectations removed, the opportunity for quality recordings to flourish is undoubtedly more abundant.

It is an honor and privilege to present to you, the readers of this infamous site, the favorite battle-tested software and tools from a road-tested veteran who began a career in metal when freeware first became widespread some 15 years ago:

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Megadriver – Metalvania (2017)

Few things in life are more masculine than Castlevania.  In fact, the New York Times bestselling book The Alphabet of Manliness includes on its short list of “definitive winners in history” the likes of Castlevania 1-4 and Symphony of the Night.  Castlevania is also the most metal non-metal piece of Western creativity outside of Lord of the Rings.  I mean shit, you’re out crusading and fucking up demons and monsters on behalf of the church, shoving crucifixes up asses and drowning degeneracy in holy water.   It’s exactly the kind of shit that true metalhead Hessians and Templars should be doing to SJW the soy metal mutants infesting the underground in incredibly large numbers (who can be open-endedly interpreted to be the grotesque villains of Castlevania lore).  DEUS VULT- butcher and savage them all!  Even those who think video games are gay (most of them are) can appreciate how based Castlevania is.
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Soymetal Dies As True Metal Rises

As predicted here, the takeover of underground metal by late hardcore tinged substitutes has failed. This music, which we might call “soymetal” because it appeals more to the emo hardcore audience than the feral and realistic traditional metal one, took over because after the underground fizzled in the hands of NWN/FMP impersonators, labels found a new audience in whiny millennial SJWs. (more…)

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Pushback Against SJW Invasion Of Metal Begins With Anti-Metalsucks Campaign

Sometimes recognizing parasites becomes difficult. They sidle up to your genre, think that is fairly cool and they want a piece of that action, and then they morph themselves into clones of the fans of that genre. Then they shlurp their way inside of its cell walls, consume its vital energy, and inject their DNA into its core, replacing all that made it unique and meaningful. (more…)

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Violent Opposition – Utopia Dystopia

This is the awesome grindcore band from Berkeley that predicted sport rioting would totally take off after the election. They are the post nuclear hippie van version of early Napalm Death. The new album opens with a totally awesome grindcore song called Controlled Opposition, which has a series of jagged hammer-on type riffs, followed by a brief rock riff at the end. Everything is crypto now, so let’s get paranoid!

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VIKING BLOOD

Heritage, ethnicity, race, and culture is important because there is much you can learn about yourself from your blood ancestors.  For years I never understood why, as an Irishman, I was always fascinated with Scandanavian history and culture until a distant relative traced my family’s heritage all the way back to the 10th century.  It was upon learning of my distant relationship to Tomrair mac Ailchi, the viking king of Dublin, that I learned the truth of my savage tendencies- I was the decadent of vikings.  And perhaps it explains how, thousands of years later, I would serve as an editor of the most brutal metal website on the internet…
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Judas Priest – Firepower (2018)

Judas Priest came from that intermediate stage between proto-metal and hard rock that emphasized really intense conclusions to compelling but basic riffs, and with Firepower, the band returns to form by delivering those moments of ritual ascension in which the foot-stomping, hand-flinging, and head-thrashing impulses join a sense of profundity through consilience as each track comes together.

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