Article by Lance Viggiano.
Ananku is random stereotypical sentimentality in terms of both pseudo climactic release and legacy nostalgia underscored by the crooning of its capricious composer. One may skip to any moment of this record and find a passable to competent riff which invites the listener to further explore its contents. Yet to sit through the work in succession, the order – or lack thereof- is much akin to a dreamlike state. Waking life is a comedic but rationally apprehensive continuity; whereas the experience of dreaming is much like thumbing through to one’s favorite moments in no particular order and therefore as a whole Ananku betrays its efforts at thematic unity. The forces behind Serpent Ascending make a noticed use of genre firmament however indecisive haste fashioned for itself a fallen world.
Tags: 2016, ananku, Black Metal, i voidhanger records, Jarno Nurmi, metal art, Philosophy, Serpent Ascending
Article by Anton Rudrick.
Originally babtized as Amerindio at its time of conception in 2014, the project today known to us as Itzamná presents us with one of the forms of Thrash that are most authentically crude. This flows from an inner knowing of violence and adversity which foundation upon personal experience can alone provide. As per Thrash tradition (not to be confused with Speed Metal, also known as “Thrash Metal” in less versed circles), Itzamná channel the spirit of hardcore punk through the phrase-like riffcraft of underground metal. This lends a more apocalyptic character and a bloody thrust to the music in the form of heaviness that it would otherwise be remiss to lack, given the unapologetic finality of the propositions to be found herein.
Tags: 2016, crossover thrash, Guatemala, itzamna, Maldito Predicador, review, thrash metal
Article by Lance Viggiano.
Arpeggiated minor chord melancholy culled from or composed during belligerent improvisational tirades given body by a sluggish left hand approximating power chords to provide the work a lattice to the traditions of metal. Yersinia Pestis abstains from its predecessor’s thematic coherence – an accident of writing what were essentially cover songs of a famous painter – to make marked but mishandled improvements in its individual presentations through tuneful reprisals of established Goatcraft trademarks. The dependence upon staccato and arpeggio retain the artist’s characteristic stiffness in execution which blemishes through its brutishness.
Tags: 2016, Ambient, ambient music, dungeon synth, goatcraft, gothic, keyboards, review, Yersinia Pestis
Article by Anton Rudrick.
Following a tradition of Finnish death metal, Serpent Ascending first proved its allegiance to the old stream of thought on The Enigma Unsettled. The project stood out as possessing that rare gift that grants vision past forms and into the value therein encased as dormant power, codified, awaiting a worthy hero who can pull the Sword from the Stone. While using techniques and musical structures that are well-known, interesting counterpoint and chant-like melodies can be seen in that first album, inserting them in between more conservative power metal riffs that were eerie enough to belong to occult death metal but also displayed a penchant for memorable phrases. Five years have elapsed since then, and several Desecresy albums have seen the definition and reaffirmation of that band into a distinctly esoteric style. Many were keenly expectant upon the future of Serpent Ascending.
Tags: 2016, ananku, Black Metal, death metal, Finland, Heavy Metal, Serpent Ascending
Le puits des morts is a split album featuring Sorcier des Glaces and French black metal band Ende. On the first side, Sorcier des Glaces present four all new songs in their distinctive style of epic black metal continuing from their last few albums (including North from earlier in 2016) after the band’s abandoning of keyboards.
Tags: 2016, Black Metal, Ende, Le puits des morts, obscure abhorrence, review, sorcier des glaces, split
Article by Johan P.
The Final Damnation could be Abigail’s most worthwhile release since their sleazy blackened speed metal debut Intercourse and Lust twenty years ago. After tons of insipid punk/speed metal releases, more vicious black metal elements have once again made their way into Abigail’s repertoire.
Tags: 2016, Abigail, beer metal, Black Metal, Heavy Metal, Japan, review, Speed Metal, The Final Damnation
Oktoberfests seem to be brewed in July so they can be shipped to every liquor store and supermarket shelf in the western world by October. Most American Oktoberfest beers are simply caramel-flavored American lagers unpleasantly bumped up in flavor and alcohol. By making everything extremely loud, nothing truly stands out and what results is usually some tomato-tasting malt flavor with either too much or too little hops and and a warming alcohol finish rather than anything resembling the traditional märzen style. Sierra Nevada avoids this by partnering with a different traditional German brewery every year to brew what is annually one of the best American examples. For 2016’s version, Sierra Nevada teamed up with Mahrs Bräu to produce a simple, well-hopped pale lager. As the beer hits the tongue, the spiciness of the Germanic hops take hold and lead into a doughy, slightly chewy body of toasted white bread that finishes with a spicy hop finish and a slight note of warming alcohol. The warming finish and palette fatigue prevent the subsequent consumption of multiple bottles but Sierra Nevada’s 2016 brew thankfully avoids the grapefruit and mango IPAs for women trend to produce a decent, inoffensive drinking beer with well-developed simple flavors that can be savored while still letting you think about whatever else it is that you’re doing without having to pander to Panera Bread “crafted” bullshit such as pineapple phenol scented specialty Okinawan hops mixed with smoked habanero peppers in a stout that tastes like the fruity candy you leave for the annoying relatives you despise in a box of chocolates.
Tags: 2016, beer, lager, mahrs bräu, oktoberfest, sierra nevada
Occasionally an artist’s work and the chemical inspiration thereof are inseparable and must be experienced together. Occult Burial’s recent ersatz, Hideous Obscure, was inspired by the sloppy, mid-Eighties Teutonic speed metal recordings of Sodom, Kreator, and Destruction which were all written and performed under the influence of a copious deluge of the cheapest Euro pilsner poured down their throats by the liter. This proto-underground beer metal was composed so as to be musically comprehensible to even the drunkest bar patrons still standing in the audience. Lacking even the melodic narratives of Motorhead standards, rocking rhythms, groovy powerchord progressions, and catchy choruses repeated ad nauseam over speed metal gallops and pick-up drum beats, hammering the basic riffs and leads into the heads of all the long-haired drunks tackling one another protected only by jean and leather jackets. To get into the garage practice space, inebriated mindset of these Canadian imitators of the imported speed metal of their fathers, I decided to pick up the Genesee-brewed as mandated by the Obama administration modern recreation of what those in my generation considered a northern, imported treat alongside the likes of St. Pauli Girl, Beck’s, and Guinness Extra: Labatt Blue.
Tags: 2016, american adjunct beer, anhueser-busch inbev, beer, beer metal, canada, florida ice and farm company, German Speed Metal, hideous obscure, labatt blue, lager, Occult Burial, proto-underground, review, Speed Metal
The mentally ill delude themselves into believing they’re something they’re not and expect the rest of the world to fall in line with their fantastical psychosis. The Death Metal Underground staff doesn’t.
Tags: 2016, beastialized, Heathen Beast, lame metal, metalcore, modern metal, necroptic engorgement, sadistic metal reviews, seedna, sewercide, sorcery, warfather