Sammath have replaced their long term drummer, Koos Bos, with Wim van der Valk of Inquisitor.
Only the flames can purify these rehashed and generic sinners.
Article by Lance Viggiano.
Into the Cunt of the Witch is grainy fatalistic pap embellished with agonizing atonal voids where music should exist. When the haze clears just enough for a melody to become audible it possesses a character of passivity and reception but is always intensely grating in its pointlessness. The tired corpse of speed metal and heavy metal drags lethargically through chromatic sections that form the locus of this work. Lightly struck syncopated rhythms are relied too heavily upon and flatten into a sterile ticking that results in a pure time keeping effect not unlike a distraught prisoner tallying his cell wall; tracking his sentence until his song merely ends – a fair metaphor for the experience of this record. Individual songs are parts of four whole works and do not stand well on their own; ending abruptly without proper conclusions before jumping into the next section in a greater cycle. Vocals operate in two essential modes: an apathetic crooning within artificial caverns as well as a faux-distraught occult street preacher reminiscent of contemporary orthodox/occult black metal.
Artistically bankrupt metal bands typically rerecord their early material after milking the revenue streams dry through reissues, remasters, anniversary tours, and boxed sets. While the original recordings typically aren’t pristine productions, all charm is lost in the sample-replaced, quantized, digitally-reamped, and phase-butchered retreads shat out by an obsessive tinkerer’s digital audio workstation. All enthusiasm in the performances is butchered by years of alcohol abuse and aging journeyman musicians collecting just another paycheck, e.g. Sodom’s The Final Sign of Evil, Manowar’s Battle Hymns MMXI, and Bolt Thrower’s “World Eater ‘94”. Snowland MMXII is one of the few exceptions to this rule of rehash.
Article by David Rosales.
More Ghost Scooby-Doo music mixed with random Deathspell Omega retardation than cohesive and nuanced terror, Sovereign Nailing Shut the Sacrosanct Orifice presents yet another example of the many failures of modern black metal: pretentious in lyrical orientation, vacuous in concrete musical content, mediocre in the putting together of structures that form an intelligible narrative. The lyrics themselves, in any case, will appear cursorily written, superficial, and sensationalist for anyone that has delved semi-seriously into the subjects.
Article by David Rosales.
Splits are usually revealing for reasons the bands do not intend. By allowing their music to be placed alongside that of another band in a way that listening to them one after the other is not only encouraged but, in metal culture, almost mandatory, they make comparisons and judgements based on performance differences inevitable. The aim might be to publish a few tracks more efficiently and getting the music to more people since people who know one of the two bands will listen to the other band out of curiosity. The more zealous metal fans, however, are bound to make harsher judgements of anything that is placed too close to the band they follow.
Sanctuaire hearken back to an imagined Canadian Viking past in the hope of explaining their national hockey skills. Le Sang sur l’Acier presents three black metal songs written in a style similar to their compatriots Sorcier des Glaces but genericized for mass appeal.
Article by Corey M.
Swedish blackened death metal band Vanhelgd announced the release of their fourth album, Temple of Phobos
Death Metal Underground staffer Corey M reached out to the prolific French-Canadian black metal band Sorcier des Glaces for a written interview about their career. Our staff compiled a list of questions which Sébastien from Sorcier des Glaces thankfully and thoroughly answered: