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.”
Promising Forest Rock/Power metal band Tales of Dhvaras release new song “Slay” in preparation for an upcoming record. “Slay” starts with a bluesy introduction before slowly touching on the arpeggiated style of early Immortal and arranged in the style of blue collar USPM à la Iced Earth. Extended harmonized passages before returning to the simple yet uplifting chorus. While many will categorize this under Black metal it is closer to Power metal with the Black metal elements used to colour certain passages and as an aesthetic tool. Though the song’s main riff does border on cliché as it has been overused many times, Tales of Dhvaras might not invent anything new but there is a lot of potential in this “Blackened” Power metal style.
Metal is very unique as a genre in that the creative prime comes very early in one’s career and often for some bands that means that the first demo in a long career will be their crowning achievement. For Rob Darken this would come much later as there were many missteps on the road to Thousand Swords.
This is one of the classics worthy of its praise, and should unite both casual listeners and underground connoisseurs in this opinion. It might feel rather fruitless to review a classic of this scale at this point, but after re-listening to it multiple times lately and learning to play some of the tracks I felt compelled. Most of everything that can be said about this album was probably already said but I figured I’d give some further analysis of the songwriting and tracks.
Frontman Hunter-hunt Hendrix of Indie Pop band Liturgy has finally come to terms with its perverted homosexuality and admits to being a transsexual. This should not come as a surprise to anyone who listened to the multiple haram works of Al Sheitan. This constitutes a violation of the huddud and is punishable by death. Liturgy have encouraged deviant sexuality with their emasculating homosexual music. Now we know his screams come from him getting fucked in the ass by members of Metalsucks, Metalinjection, Deafheaven… May Allah punish this revolting Kuffar!!!
After the recent social media kerfuffle where Paul Ledney called out weaklings for their fear of the media hype over the COVID-19 pandemic, I reached out to the man to see where he stood on these comments and what he meant.
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.
As the civilized world dithers over whether to open back up and suffer some ‘rona casualties or stay closed for a prolonged sequel to the Great Depression, business including the music business goes on where it can, even if it must be done from home, which is where you can stream Voivod, Borknagar, Insomnium and a bunch of random bands on May 14th.
Impiety return silently with Versus All Gods that finds the band treading more or less the same territory but without much of the flair that made this band an enjoyable curiosity. On Ravage and Conquer the band displayed some fascinating ideas like the contrapuntal yet intense ending of “Weaponized“. While these moments were rare, there was potential for the band to realize that such fleeting moments if fully exploited could open much more possibilities for them.