Legendary Czech black metal originators Master’s Hammer are playing this years Bjorgvin Black Mass in Bjorgvin, Norway. This is Master’s Hammer’s first indoor live set in over a quarter century. The band is exclusively playing their early, metal material such as Ritual. Enslaved is also playing an exclusive Vikingligr Veldi anniversary show. Scandinavian black metal fans should check this out.
Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.
Experimental underground metal band Pale Existence has re-issued its 1994 demo cassette “Dark Sanctuary” in digital form. This allows a new generation to hear the music that borrowed from doom metal, early black metal, melodic death metal and abrasive deathgrind to create a vision of desolation and emptiness that mirrored the downfall of Western Civilization.
The following is a short list of black metal releases (with a commentary on each) that would general fall off the edge of the usual stylistic lines that Death Metal Underground follows when looking at genre releases. These are all exceptional and form part of what could, in hindsight, be described as the lone wolves of an established and matured black metal genre — generally unnoticed or passed by without receiving substantial attention among the waves of excess of the 21st century; treasures hidden in plain sight for those with a developed sense beyond mere form.
New Zealand war metal band Heresiarch announced their upcoming record, Death Ordinance, on their Facebook page. The artwork is by Misanthropic-Art and the album will be released by Dark Descent Records later this year. Heresiarch’s prior releases, Hammer of Intransigence and Waelwulf, were noted as some of The Best Underground Metal Releases of 2011 and 2014 respectively.
Sorcier des Glaces announced on their Funbook page that their last two albums, Ritual of the End and North, are out now on vinyl LP from Obscure Abhorrence Productions. The albums were some of The Best Underground Metal of 2014 and 2016. They can be ordered from Obscure Abhorrence Productions on the label’s website.
Antifascist and Communists have vowed to commit terrorists acts in protest of Swedish war metal (formerly black metal) band Marduk touring the US for the first time in years. The idiotic communist manlets are accusing Marduk of being a “crypto-fascist” band. They will not stop harassing the band, their fans, and concertgoers until all of them are sent to gulags (where work will set them free) or have hollow-point bullets shot into the back of their skulls in the bowels of police stations.
Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as Mastodon – Leviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).
Infester‘s To The Depths, In Degradation has been finally been reissued by Martyrdoom Productions on CD and LP. Do not pay scalpers, profiteers, and fetishists hundreds of dollars for the original CD that cost ten buck a decade ago on Discogs or Ebay. Buy the reissue and case of beer and spin it until you understand it. Progress beyond a three-chord speed metal hooligan who went from playing Street Fighter and NBA Jam in pizza parlor arcades to rehash metal shows at bar grills. Wait, half the people buying this reissue from A.V. 666 are too young to remember Mortal Kombat II in the arcade and Super Nintendo. Just buy To The Depths, In Degradation, stop whining that you can’t jump up and down to Infester like a seven year old snorting pixie sticks, and listen to the record until you reach the depths of hell from a hole in the ground.