Death Metal Underground founder and all time greatest metal writer Brett Stevens has been suspended from Twitter as part of their continued efforts to censor conservative voices.  Too dangerous and too masculine to be allowed to influence the masses, Brett joins a long list of censored and purged right-wingers that includes Baked Alaska, Milo Yiannopoulos, and Lauren Southern.   (more…)


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In just one week, the nauseating disease that is liberalsim has managed to shutdown the tour of a black metal/shock rocker and breakup a black metal/crust band.  While this is to be applauded in this instance as crusty black metal is paradoxal and live black metal is outright cringeworthy, it is atrocious that there are so many happenings of metal being bent over and embarrassed by an ideology as frail and useless as liberalism.  But contrary to the voices of life dropouts, the solution won’t be found in neckbeard occultism, Paganism, or other extensions of fatalism.  This disease may only be obliterated by THE TEMPLAR and their mercilessness opposition!  This means unapologitic masculinity, the re-institution of theocratic imperial order, the abolishment of atheism and materialsim, the cruel shaming of sodomites, and the complete annihilation of individualism and its atrocities.  The only true freedom is in complete submission to the LORD, who unleashed these plagues on a Western world that turned away from his divine order in 1789, closed their ears to his commands in the 60s, and completely fled his divine law in the last decade.  If you don’t soon take up the cross you’ll see your precious metal scene completely overrun by masculine women, post-emo beta-males, and neo-commies who will erase your metal heroes and replace them with emasculated champions of diversity!  DEUS VULT OR DIE


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Death Metal Underground’s wise founder Brett Stevens posted a thoughtful article last weekend about the duality of exterior and interior being.  It describes how in these modern times we’re seeing an illusion of non-conformity that masks the conformity of thought and nature within.  This is an effective tactic of those in power be they media, silicon valley, deep state, or (in the case of metal) record executives and journalists:  get people to look different, but think the same.  This also masterfully articulates why metal is at its lowest creative point in the entire history of its existence: fans and musicians alike have accepted conformity of thought and sound through satisfaction with mere non-conformist aesthetics and culture.  And the only way to escape this rut is to violently rebel against everything we have been conditioned to believe is “metal” and “metal culture.”



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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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Reverorum Ib Malacht – De Mysteriis Dom Christi

Dark ambient and raw black metal have always held a close relationship in shared attempts to create dark, haunting and visceral music experiences. Euronymous once claimed Abruptum were the ultimate perfection of the black metal sound despite the band being more accurately defined as a venture into the mysterious world of dark ambient. This trend continued onwards over the years as we’ve seen black metal musicians venture into dark ambient projects such as Stallagh or Moëvöt.  Yet despite many years of this alliance, no band has ever formulated as perfect a marriage between black metal and dark ambient to create a chilling, epic masterpiece in the way that Reverorum Ib Malacht has on their 2014 work De Mysteriis Dom Christi.  And- much has their title suggests- they did so by boldly defying everything dark music was known for.


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