Hi Point 4595: Following the paths of our ancestors.

The modern carbine hearkens back to the days of the American frontier when the man in the saddle needed both a sidearm and a rifle but could not be encumbered by the logistic complications of two types of ammunition; his rifle and his six shooter fired the same ammo. Various modern carbines are available in various modern pistol calibers: .45, .40, 9mm, .380. Hi Point makes carbines in all four of those calibers and is currently introducing one in 10mm.

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Paramaecium – Exhumed of the Earth (1993)

In addition to its notoriously contradictive definitional nature, doom metal remains something of an enigma in terms of its enduring popularity. Whether or not one chooses to view it as a distinctive subgenre, style or even technique, doom metal must bear one of the most in-proportionate quotas within metal music when it comes to quantity over quality.  If attempting to depict doom metal from the perspective of enduring releases, the list of canonical works would become surprisingly short.  It seems plausible that part of the explanation to this sad state is embedded in the very characteristics of the style.  Doom bands have generally prioritized development of exceptionally powerful tools for conveying sonic heaviness at the expense of other aspects of the music. It might even be so that the techniques in themselves has forced artists into a particular way of writing music. Either way, there appears to be a widespread discrepancy between the means of expression and what is actually being expressed in doom metal; which in turn provides clues as to what makes for a genuinely satisfying doom-offering. With the above discussion in mind, today’s written offering presents the Australian death/doom act Paramaecium – one of few bands bearing the doom-tag that has managed to write compositions to match the sonic gravitas associated with said style.
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The Imperial Reign of Emperor

The most technically and musically gifted band of the Norwegian black metal scene, the legendary Emperor are also the most well known outside of the documentary-level engagement that plagues most who know of Burzum and Mayhem.  Formed in the small rural town of Telemark Norway as a side project to a soon-forgotten death metal band, the group overcame the imprisonment of 75% of it’s lineup to deliver the most grandiose album of early 90s black metal.  Though Emperor’s career was far from perfect, it made a profound impact on the young genre and ultimately proved it’s limitless developmental possibility.
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Brett Stevens Nihilism: The First Lecture

In Brett Stevens Nihilism, the author introduces an article consisting of a series of twelve lessons which he describes as an awakening to the reality of life.  A tinge of morality seemingly colors the lessons, but upon closer look, the prescriptions given are described in a way that one can see them arising from causal, qualitative observations.

In all this, there is, of course, the singular opinion of the author.  In approaching a discussion and description of said ideas, the latter will be kept in mind, opting to expand, interpret and focus.  Also, in order to respect the integrity of the book wherein these appear, they will not be spelled out either in their titles nor in their original exposition.
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Gorguts – Pleiades’ Dust (2016)

Gorguts is a band that for a majority of its career has resembled an act that is at war with itself artistically.  After a serviceable debut comprised of purely death metal notions and peaking with its most dense and progressive release in The Erosion of Sanity, the band chose to scale back its arrangements while imbuing its approach with a discordance that may have laterally trespassed its prior unsullied metal constructs but at the same time gave Gorguts an identity all their own.  With regards to their contemporaries, you cannot currently say a band “sounds like Gorguts” without indirectly focusing on the sound created on Obscura, and the band’s own knowledge of that most likely has controlled their writing ever since — to the detriment of their overall intents in each record from then on…

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Somber Lands: The Harmonic Minor Scale

Dark, brooding, and long cloaked in obscurity, the harmonic minor scale is a compelling collective of notes that has historically been used as an accent to minor key compositions.  For centuries only a handful of pieces had been written within its bounds as composers instead opted to weave in for a number of measures before an eventual progression into the natural minor scale.  From there it appeared again in a few folk songs, took a strong spiritual presence in Islamic culture, and later became an integral part of horror movies when they progressed into the frightening mediums they became in the 1970s.  But it wasn’t until the musicians of the early Swedish death metal scene discovered how to fully harness the scale’s potential that lengthy songs and even the majority of some albums began being composed within its bounds.  A truly grotesque wedlock, the scale gave he who wielded it the power to craft the most sinister and foreboding compositions possible within the laws of music.  It is for this reason one could attest that the minor harmonic scale has found a home in heavy metal that no other genre of music could provide.
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A Discussion on The Metal FAQ: Section 1.1

The Death Metal Underground FAQ is an ancient yet valuable and reliable document full of information to help the less initiated grasp some of the simpler aspects of metal.  It is also a wonderful attempt to actually explain the Hessian ideals, culture and music.  The music section is particularly small and contains a fairly large amount of information and therefore it is time to open it up and go into the details of the points mentioned and what needs to be changed, for it is only through constant analysis of past work can we build upon them and progress.

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Ritual Chamber – Obscurations

Hidden in plain sight, there is some fine metal being released- even in recent years.  Nestled in the convoluted release schedule of one of the most popular indie rock labels (although in fairness, Profound Lore has gotten death metal right before) is a rare foray into dissonant death metal grandeur that is certainly worthy of praise.  The newest solo project by Numinas/Crom/Dario Denerio, whose well-ventured resume also includes Infestor, Khrom, and Evoken,  Ritual Chamber’s 2016 full length debut Obscurations (to Feast on the Seraphim) masterfully imports the lost wisdom of classic death metal spirit into a contemporary flesh of sound and production.  Suffering from poor marketing through mainstream channels and tired aesthetic trends that mask its originality, this cultured release flew well off the radar of the audience it was most suited for and was not digestible enough for the retro/rehash death metal crowd of hipster swine it mostly reached.  But although it initially evaded the underground’s most trustworthy mediums, Death Metal Underground’s undying commitment to unearthing the best in the genre now gives us a late opportunity to acknowledge a great work of elegance.
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Metal Vocals are Obstructive.  Remove them.

There are many well cultured intellectuals who, when presented with metal music, will immediately be tuned out by the vocals.  This results in much of the metal collective being comprised of hold-my-beer normies and most of the world’s high IQ population never grasping a music genre that has both the depth and the complexity they yearn for.  Moreover, vocals in metal have not progressed AT ALL since the 1990s and therefore vocalists have been rendered indistinguishable from one another.  Through this understanding comes the ultimate revelation:  metal vocals, more than any other factor, are hindering the next great wave of metal. 

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