The popular music industry peaked financially in 1996 but had creatively begun bottoming out years before that. Digital file sharing of lossily (and later losslessly) compressed formats simply burst the bubble of the industry’s festering corpse the ignorant had mistaken to still be moving as the putrefying gases bloated body cavities.
Mgła provides us with a perfect example to round a trio of examples that together shape the main misunderstandings as to what black metal is through their misrepresentation of it in either carelessness or ignorance. While modernWatain plays a completely undefined mixture of incoherent tropes around a stomping heavy rock that never condenses into anything original, and modernBehemoth is a shock rock outfit with sterile tekdeaf (modern technical “death metal”) techniques, Mgła is the one that closest comes to black metal by its purposely limited form closely resembling it. However, at best it could be said that they are a musically poor black metal band devoid of the traditional character that fuels the adversarial music, and at worst it could be classified as a post metal band experimenting with close variations on a very simple theme.
Swedish death/black metal band Sarcasm‘s first LP, Within the Sphere of Ethereal Minds, is coming out in March as announced on their Facebook page. The band’s Burial Dimensions demo compilation was extremely promising but featured too many in-congruent keyboard interludes and too much fat that needed trimming.
As part of our ongoing attempts to be more like normies who like catchy lines and irrelevant banter, Death Metal Underground embarks on a disturbingly social activity for our audience, who are mostly alienated noticers living in bunkers far removed from the cities.
After Slayer‘s foray into narrative composition on Hell Awaits, Slayer could have taken any number of directions in the then fertile metal landscape: gone in for the throat of aggression, matured their pubescent approach to long-form content, or paired down on riff quality for focused but circular songs. Reign in Blood was something of a compromise bred to appease more Floridian tastes which crave motion before coherence or purpose. The album is brief but bookended by two of the better songs in their discography which daftly elevate the questionable content residing in between. The remaining material siphons off of the paired down and quintessential “Angel of Death” by meandering in whatever assortment of good but disconnected riffs the Hanneman/King dichotomy happened upon in between Heinekens; held together in tacit alliances by a sweltering pace which exhausts itself right as the title track closes the record. The foresight required to write an album such as this is commendable but Reign in Blood is not Slayer’s watershed moment if for nothing more than the sheer amount of disposable songs – not riffs – which constitute the majority of the runtime. This uncomfortable fact goes unrecognized due to the sheer brevity of this work. Yet as I wrote this brief paragraph I must have recited the full album in my head at least a few times and I have not listened to the album is many years. May the resolve of Reign in Blood’s memetic warfare continue to withstand assailants from the ever flowing genre compost bin and grant listeners to the strength to withstand the torrents of nature herself.
Metalheads love going to the post office. This is established fact; we are either sending off dubs or trades, or going there to receive a package full of music. Like most anti-social types, we do not trust centralized authorities like iTunes or major labels, so mostly our music comes in physical form. We like it that way.
In times of chaos, the primordial appeal of Slayer comes forth as the vision of clarity that it is. This metal fan chose to meet the winds head-on, whether as tribute to the power of the storm or resistance to it, or both. The result proves entertaining, including the possibility that the video cut off before Matthew hurled a six-ton SUV with irritating family stickers on the back into the fan, leaving a very Slayer-esque red spot on the pavement.
Marduk has never, with the exception of the laudable Opus Nocturne, boasted of a deep mystical aura imbuing their music and has rather been known for the sonic onslaught which is their music. The present work sees a band that appears to have long settled for a style and seem content to reproduce it for the benefit of an expecting audience. That is, a very palpable pop mentality has settled in, even if the music has not completely degenerated in form. The artistic vision nonetheless has affected, as is the rule, the manifested aesthetic of the music, and will predictably continue to corrode its quality as it has been doing for the past twenty years or so.
The leading representative of Swedish industry around the world, Ikea, sells furniture of styles from a dozen nations. It has a housewares section, a full-service cafeteria, a donut shop and a grocery store. You can pick up electric lights, tools, houseplants and home decor there.
But conspicuously absent are the most important items from Sweden in recent memory: Swedish death metal and black metal.