The consensus seems to be that Christ does not belong in metal. Well, neither does Satan. Rigid patterns of thought are not conductive to the creation of transcendental metal music. The failure of NSBM stems from the rigid ideology into which the music was forced like a Procrustean bed. The two Christian metal bands worth a shit have been covered on this site: Paramaecium and Antestor. The only NSBM bands that are not terrible are the bands, like Graveland, that preceeded the creation of the subgenre and were only lumped in with the scene later… Gontyna Kry seems to be the sole exception to NSBM sucking.
Yesterday, we gave you the 10 most popular death metal bands of all time. Now one by one they will face public execution as we absolutely massacre their most recent release. No mercy will be shown- orders are to kill everything that moves.
Did you fucking soy metal nu males really think they would get off easy? This is Death Metal Underground- the most savage music site on the internet! Death to soy metal, death to sellouts, burn and die all falses! Mayhem- war- sadism- brutalization! No death metal band should have 1 million Facebook likes! No death metal band should be on Facebook at all! Pussies! Behead the corpses, throw them into the streets- the Templar way!
It’s one of those esoteric questions that wanders in and out of the mind without a quick Google search to offer a definite solution. But today it dawned on me that if I don’t try to find an answer, it’s unlikely any one else will do a decent job at doing so. And given the fact that deathmetal.org is the number one site that comes up when you Google “death metal news,” I believe we have a journalistic duty to present the world with this information.
Since where to draw the line on what’s “true” death metal or not is a matter of opinion moreso than concrete fact, I determined that anything labeled “death metal” would be fair game whether it truly was a pure death metal band or not. Therefore I’d consider melodic death metal, black metal, and even deathcore in an effort to find who had conquered the greater sphere of death metal.
Unfortunately, the Nielsen record sale tracking data is not public and often does not identify how well an album has sold for many years after its release. Thus, I determined that the most accurate metric for mining this data would be to measure by Facebook likes. Yes, I know it’s not an exact science- many fans aren’t on Facebook, and many people click a band’s like button without really listening to them. But still, it was as good as I would ever get to finding who the most popular band in the greater bounds of “death metal” truly was.
I expected to see the favorites of the 90’s metal press and MTVX dominate- Cannibal Corpse, Morbid Angel, Decide, Death, and probably In Flames take the number 1 spot. Imagine my shock, that only one of these bands even cracked the top 5! I had always heard about Morbid Angel and Deicide had the highest album sales, but it appears neither band has been able to conquer the internet age.
So again, this list was populated within very forgiving boundaries (bands loosely considered death metal, whether or not I believed them to be), and the best metric I could come up with. Also, DO NOT FUCKING EVEN THINK OF CONFUSING THIS AS BEING A LIST OF THE BEST DEATH METAL- IT IS QUITE THE OPPOSITE!!! And finally, if there are any bands you think I missed please let me know in the comments below and I will gladly do a live update and give you credit- maybe.
Without further ado, here is – for the first time in history – a list of the most popular bands that people considered to be death metal, and an explanation to why I would endure the immense visceral hatred for even considering them:
< Famed Judas Priest singer and gay fashion icon Rob Halford has been recently vocal about starting a black metal supergroup. A longtime fan of the genre, Halford has named Ihsahn of Emperor and Nergal of Behmoth as potential collaborators, with the latter jumping at the opportunity to use his cartoon-black-metal brand to pocket even more mainstream metal dollars. Unfortunately for Halford and anyone dumb enough to be duped into thinking something like this will be good, Nergal will not have much to offer in terms of a black metal supergroup as he has not played black metal since 1994's Sventevith despite masquerading around in corpse paint whenever it’s time to roll out the red carpet.
Behemoth is still promoting their last album (The Satanist), despite rumors of the next. To this end, the band is going on a lengthy “Blasfemia Amerika” tour where they play the album in its entirety. There are two major legs to this tour – the European portion that is described on Behemoth’s CSS transform heavy official website, and a second part in the United States that is just making its way to major news sites as we speak. Neither supporting lineup is particularly interesting – in Europe they’ll be supported by Abbath, Entombed AD, and Inquisition, while the USA will have to deal with Myrkur. For those who absolutely need this in their lives, the following dates have been announced in the USA:
Apr. 21 – Philadelphia, PA – Theatre of the Living Arts
Apr. 22 – New York, NY – Webster Hall
Apr. 23 – Boston, MA – Royale
Apr. 25 – Montreal, QC – Virgin Mobile Corona Theatre
Apr. 26 – Toronto, ON – The Phoenix Concert Theater
Apr. 27 – Detroit, MI – St. Andrews Hall
Apr. 29 – Chicago, IL – Thalia Hall
Apr. 30 – Minneapolis, MN – Mill City Nights
May 1 – Lawrence, KS – The Granada Theater
May 3 – Denver, CO – The Gothic Theatre
May 4 – Salt Lake City, UT – The Complex
May 6 – San Francisco, CA – The Regency Ballroom
May 7 – Santa Ana, CA – The Observatory
Nergal of Behemoth recently conducted an interview with Rock Sverige in which he revealed his plans for the band and other musical endeavors. So far, a new album from Behemoth isn’t confirmed, but Nergal claimed that the band would enter the studio in 2016 and that he thought “…it would be really smart and good to have a new album out in 2017”. He also mentioned some side projects outside of metal and an interest in the works of David Bowie. Needless to say, if the band releases further confirmation for a release, it’ll probably go on our radar. Behemoth has apparently sold enough albums to live quite comfortably, and that’ll probably continue for many years.
An incredibly brief, foggy, quasi symphonic intro with Marduk-like vocals pronouncing some indecipherable gibberish, followed by minimalist and recklessly fast riffs could fool one into thinking this is precisely a Marduk clone. In truth, there are mid-paced sections interspersed here and there to mitigate the onslaught of the indecipherable and impetuously fast sections. This upgrades this release to a later Marduk clone. Although probably upgrade is not the most accurate descriptor here.
The best and undeniably valuable product of extremely fast, loud and unrelenting black metal has been contributed in the last few years by albums like Advent Parallax and in the veritable modern classic Godless Arrogance. Marduk, on the other hand, was always wild abandon to mindless, truly mindless, speed and minimalism for the sake of it and more importantly for the joke of it.
But while Marduk are explicitly joking about everything they write about while staying somewhat seriously offensive, Infernal Execrator manage to sound like a joke more easily acceptable among the Godflesh Apocalypse extreme metal crowd. The words Ad Infinitum Satanic Adherent themselves are more than enough warning that this should be placed besides the likes of Tol Cormpt Norz Norz Norz. The only difference is that Impaled Nazarene triumph in the same way that Sharknado does: by embracing the joke and being happy with it. These Singaporeans purport to be more (by calling posers out) while not being able to take themselves entirely seriously. Fans of the Marduk, Behemoth and Cannibal Corpse will find this release palatable and fashionable.
Back in the hazy 1990s, many of us encountered a band from Poland who in the wake of Vader had been signed to Nuclear Blast and distributed in the United States. This band was Betrayer and the album Calamity, a work of high-speed metal in the Slayer-influenced style of Vader but also going in its own direction including a prescient use of melody, anticipating where death metal would go in the next decade. After two decades, Betrayer has returned with a split 7″ that is turning some heads for its aggressive integration of old school speed metal and death metal styles. We were fortunate to be able to sit down with mastermind Berial over a cup of hot blood and discuss Betrayer and the exciting possibility of new material…
When was Betrayer formed? How many demos did you put out? How did you get signed to Nuclear Blast?
Betrayer was formed in 1989 as a thrash metal quartet and as such, in 1990, recorded its first demo “Forbidden Personality.”
The same year there was a change in the line-up. I joined the band as a new bass guitar player shortly after splitting with my previous band Slaughter. I also took over the space behind a microphone. Since then Betrayer started drifting towards stronger and more extreme sounds. That was a turning-point and the beginning of a new era for the band.
Consequently in 1991 Betrayer released their second demo “Necronomical Exmortis”. It happened to be the real killer those days. One of the biggest metal magazines of that time in Poland, Thrash’em All,ranked it second in the category “Album of the Year.” Betrayer hit #4 in “Band of the Year” category. To this day the release is regarded as one of the milestones for Polish death metal music. This is how, I guess, we got signed to Nuclear Blast… Hard work, great gigs, loads of enthusiasm and energy with remarkable music art on top…
Where was “Calamity” recorded, and were these new songs or songs from the demos? What were your musical influences at the time?
Our debut full album Calamity was recorded at Modern Sound Studio in Gdynia, Poland. It was the best option at that time. Really modern and open for new trends in music so most of the reputable bands in Poland cooperated with them. “Necronomical Exmortis” was made in CCS Studio in Warsaw, which was the choice of many Polish stars, not only those in the metal stream. That was the first experience of working with a professional studio and the first official release for Betrayer. “Forbidden Personality” was different, more of amateur and self-made production.
Influences? Everyone had their own and not all were strictly death metal ones. All of them put together, however, made us what we happened to be…
Was it difficult to record and release at that time, just a few years after the political changes in Poland?
I don’t know if that was more difficult than today. I do not even know if political changes had anything to do with those difficulties. Those were different times, times of rebellion and discovering new options and possibilities. Metal underground, and actually all music underground in general, was strong and buoyant in Poland at that time. With Calamity which turned to be a milestone in Polish death metal history, were lucky to be on the top of the ladder, arm in arm with another polish legend, Vader, when the changes turned to be in favor of the musical revolution which opened new horizons and roads of going worldwide.
Finally we were able to spread the power of Polish extreme music all over the world. This also gave us the opportunity to share stages with bands like Morbid Angel, Deicide, Cannibal Corpse, Carcass, Death and too many others to count… Fantastic times!!!
Has Betrayer been on hold since that time, and are there are any other recordings people outside of Poland have missed out on?
We split up in 1994 shortly after releasing our debut album. It was nothing but a huge disappointment for us and the crowd of metalheads devoted to Betrayer. Only years later we learned that Betrayer had been well noticed in so many corners of the world. Instead of going on tour promoting such a great album as Calamity really was and pushing forward, we fucked it up. What a waste… Personal shit, you know… but it’s too late to moan now, isn’t it? I was so pissed off and consequently totally dispirited that I decided to stay away from the stage. In 2012, after nearly eighteen years of non-existence, demons of my inner self decided to remind me who I am and what I live for. There was no other option… Betrayer had to come back to life… and no, you didn’t miss any new recordings, except the split you know of.
You recently released a split with Neolith. What was it like recording this? Why release now?
From the very beginning we didn’t want to built our resurrection on the old stuff so instead of brushing up the songs from the past we decided to concentrate on making completely new material and release a new album. We didn’t want to, however, wait too long to announce to the world that we are back on the road. That’s why we decided to release one of the new tracks on the split. Same was with live appeariances. Initially we planned to do so after releasing the new album but for aforementioned reasons as well as unstoppable craving for going onstage we had to change the assumptions. In summer 2013, Betrayer appeared at Ragnarock Open Air Festival in Germany followed by a series of gigs around Poland. Obviously next to the new songs we performed some of the old ones too. The feedback was so great that in 2014 we were invited to play as a main support for a death metal legend Obituary in the only concert in Poland. Really good feeling and immense motivation, you know.
The Betrayer track on the Neolith split, “Beware,” shows more of an aggressive style and speed metal influence, with less death metal of the fast strumming variety. What motivated this change? Does this show a new direction in your music?
I wouldn’t say that there is a distinct change in Betrayer’s music in general. “Beware” is a song I would put somewhere between Calamity and the earlier “Necronomical Exmortis” demo, and I agree it’s kinda melodic at moments. The split features “Beware” just because this was the only song that we had ready to go at time the opportunity to release came. You might notice that it was not even finally mastered. Be forewarned that this song does not give justice to the whole new stuff …so do not be misled! Betrayer definitely stayed faithful to the death metal genre! You will see it yourself soon!
The question everyone is dying to know… (a) Will there be another Betrayer album? (b) are there any negotiations to re-release Calamity so a new generation can discover it?
Sure it will! I’m proud to announce that our new album Infernum In Terra will be released on March 18th, 2015! The music was mastered in Hertz Studio which cooperated with such bands as Vader, Behemoth, Decapitated or Hate in the past… and I tell you, this is a real good piece of death metal, no doubt about it! We are exteremely satisfied and hope you will be too… and yes, Calamity will also be re-released, just a little bit later! Sounds good, doesn’t it? It looks like it’s gonna be a good year for Betrayer.
How do you describe the music of Betrayer? When you write music, what ideas do you aim for?
Well, it’s the same old Betrayer I reckon. Maybe a bit heavier but still drifting on the old school death metal wave. This is deeply rooted in our mentality and our hearts and truly defines the way we live, think, feel and create at the moment.
Ideas? Hmm, pretty same as before. Music, you know, is the way to express yourself with some kind of ecstasy which you try to give away and infect others with it. When it comes to lyrics and the message, it’s kind of my personal thoughts and feelings about the systems that our existence is implicated in. Especially the religious one, full of contradictions and hypocrisy… you might say “nothing new” but in that context Polish society is deeply premised on that. All this blind glorification of the institution of the Catholic Church as well as other creeds makes me sick and contemptuous. This is what I mainly speak out against.
It seems that everyone knows Poland these days with Vader, Graveland and Behemoth having become popular. What else are we missing out on? You can include both musical and non-musical items!
Oh,yes… Vader… indisputable pillar of the Polish death metal scene! I happened to be the part of the crew for a short period of time back in the 90s. Behemoth… yes, no doubt about it… true gods on the firmament of black metal music world! I’m not too familiar with Graveland, but talking about the extreme music stuff you missed out at least astonishing Decapitated to start with or Hate…
How should people learn more about Betrayer and your own personal (Berial) musical projects? Where do they go to hear the music and keep track of news from the band?
Definitely by reaching our albums and staying tuned to all oncoming news on our web page or facebook profile. There are no other projects in my life at the moment. Betrayer is the only and one that gives me strength and makes me survive in this world of misery.
I’m pleased to hear that in the past we were noticed and are still remembered in the United States with the real hope that we will keep it this way and be honoured to visit your vast lands in future!
I did something I never thought I’d ever do and bought the new Behemoth record today. Was never a big fan of the early stuff (out of ignorance in never really listening to them more than anything) and have associated the 2000s material with 14 year old kids transitioning from Slipknot and Korn into death metal…
Before I even heard a note of the new one I was intrigued. Reading Darksi’s interviews post-leukemia in reference to this album really got me interested in what was in store sonically and lyrically and several reviews seemed to highlight that it was a turning point. Also very stoked on Denis Forkas’ art and Metastazi’s layout (that dude: FUCK) so it seemed quite the package.
I can say without a doubt that this is already a highlight for the year, even given Behemoth’s stature as a ‘celebrity’ death metal band. The production is wholly organic; gone are the vocal effects, clicks, snaps, and pops of their usually very sterile and over-produced sound. ‘The Satanist’ sounds natural and warm, vicious, and inspired. Each track is it’s own tight little opus – every song is memorable without being just a cavalcade of “dude check out this RIFF.”
None of this goes without saying that it does have it’s weaknesses (use of OV, stupid dress-up costumes, Slash guitar solos, and a goddamned Saxophone solo [Y U DO DIS PLEASE STAHP]), but the good far outweighs the bad. For a band to be this reinvigorated and viable on their 10th(!) full length, I have to commend them.