Grand Belial’s Key are the sister band of Arghoslent, sharing the same mastermind Gelal Necrosodomy alias Pogrom. GBK creates music in a similar vein to that of Arghoslent but through a Black metal lens to achieve very similar conclusions. Relying on the genre’s predisposition to incite Blasphemy, Gelal and co. assault both Christianity and Judaism with lyrics that show a deep understanding of both testaments. Musically there is a lot to be enjoyed as the band happily celebrate their crushing of Abrahamic faiths but cannot form the narratives to more aptly communicate such a message.
Tags: Arghoslent, Grand Belial's Key, Judeobeast Assassination, USBM
Progressive rock came out of jazz jams in which the goal was to see how long you could keep a song going by inventing variations on its internal structures. Having had high school education in classical music, European rock musicians threw those structures into the mix and tried to see how long they could keep the song together, or coherent.
Tags: condor, folk music, Heavy Metal, progressive rock
Most musicians view metal as a question of technique, as exemplified by their answers to the question of what defines metal, when in fact the real difficulty lies in finding something that can tie all of that technique together and have enough energy and space to express enough of relevance to achieve what we call meaning. Forgotten Silence nails the technique… only.
Tags: death metal, Doom Metal, forgotten silence, jazz metal, postmodernism
Death metal necromancy involves the process of looking through the forgotten items of the 1990s to find those rare overlooked classics which might deserve a place on our microSD cards. As part of that quest, old demos like “Rancid Disembowelment” from Mortal Dread re-appear, which provides a mixed blessing because this is good stuff but probably remains forever at local band status.
Tags: death metal, mortal dread
Death metal evades acceptance through its embrace of the primitive and threatening. When you take highly detail-oriented thinking and apply it to that basic approach, the result flowers into hidden complexity and covert beauty. Condemner attempts to make interesting music within the most primitive, grinding, and nihilistic death metal vocabulary and ends with a highly listenable album.
Tags: condemner, death metal
Perhaps the best way to describe this album would be as traditional heavy metal crafted with a death metal approach. Monotone vocals accompany a changing tapestry of guitar riffs that relocate melody to the guitar and force the use of a compelling rhythm to unite each song, giving them an anthemic but unstable quality, creating an air of mystery to the album.
Tags: death metal, deceased, Heavy Metal
After years of being forgotten and embracing the modern speed metal aesthetic, legendary USPM band Helstar return to its roots in an attempt to create a worthy successor for one of the greatest albums in the sub-genre, Nosferatu.
Tags: helstar, Nosferatu, USPM, Vampiro
Huoripukki – Voima & Barbaria
Fallen Temple, 2018
This reissue of two EPs as one CD/LP demonstrates clearly why the “Incantoclone” bands are all the rage: they take metal backward to rock and carefully disguise this as a wave of noise. To make an Incantoclone band, you forget about all the cool extended riffs and structures of Onward to Golgotha and focus on the rushing riff, which consists of choosing a power chord — first five frets only please! — and then wiggling your fingers in a constant chromatic fill over that note.
Tags: death metal, huoripukki, incantoclone
Death Squad – Split You At The Seams
Ever Rat Records, 1991
Speed metal — rising from Tank, Satan, Metallica, and Mercyful Fate — had a good but short run in the 1980s before enterprising poseurs worked rock and blues back into the mix, taking away the focus on riffs and song construction in favor of what were essentially pop songs with lots of muted E-chords. Split You At The Seams shows a late entry with roll-your-own spirit.
Tags: death squad, Speed Metal
Continuing from part 1, here we analyze a different set of both good and bad vocalists who either achieved notoriety through a set of gimmicks or by being particularly gifted in a vocal style that has come to define Metal in the public eye. Unlike other genres of music, no universally acknowledged methodology has been created nor do formal teaching centers exist for growls. Yet in a time where such vocalizations have drawn more people than anyone could have expected it is necessary to seek those who do it well and add a layer of depth to the music, and to denigrate those who make a mockery or seek monetary gain from what was the most inaccessible form of singing conceived by man.
Tags: Alissa White-Gluz, anders strokirk, Arch Enemy, asphyx, cannibal corpse, Chris Barnes, gorgoroth, Hat, martin van drunen, necrophobic, pestilence, vocal analysis