Earlier this year, independent music distribution platform Bandcamp claimed that many stoner rock bands are in fact doom metal. This is a common logical fallacy based around associating the pace and instrumental tone of the music with actual musical content. The stoner “doom” trend of bands that started in the late 90s and early 2000s and has continued non-stop right up until the present almost twenty years later was one of the earliest hipster attempts to assimilate heavy metal before the waves of speed, death, and now black metal aesthetics rehashed into pop rock for the safe space generation.
Loyal Death Metal Underground readers have created a Facebook fan page (like it before that autist totalitarian Mark Cuckerberg zaps it) for serial liar, fake Vice Noisey journalist, ogre, and alleged groupie Kim Kelly‘s deformed E.T. / Teenage Mutant Ninja Turtles hand.
Resistance fuels hatred and must be crushed beneath an iron fist.
The Oath – The Oath (2014)
“Whoa!” – Keanu Reeves. These women are actually fairly attractive! Usually metal girls are fat, under 5’4, and have saggy tits. Or they love Slipknot. I can see why Lee Dorian is dicking the hot one. This at least has riffs even if most of the songs wear out their welcome fairly quickly. There are Cathedral albums more boring than this but most of these songs feel like Motorhead if they smoked dope instead of cranked speed. Motorhead if Motorhead were boring and the songs went on two minutes too long and had random riff salad bridges. If these two would actually get naked on the cover like the real Coven and separated or refined their compositions, maybe this would be more listenable. Hold it is that riff from Bad Company? Who steals riffs from Bad Company? What kind of degenerate does that? If this is among the more listenable grrrl metal…
Agoraphobic Nosebleed – Arc (2016)
As ridiculous as their band name, Agoraphobic Nosebleed’s 2016 effort is a lazy mixture of stoner rock and deathcore. It consists of interleaved Black Sabbath-core grooves and pointless breakdowns accentuated by a menstruating screamo vocalist. By the very definition of those two genres, the reader should know this is but a string of feel-good moments with absolutely no point whatsoever.
One has to wonder if the band even knows what “agoraphobic” means, given their blatantly idiotic use in their band name. From there, we can easily tell how they would also try to use “fancy vocabs” from the metal terrain without even knowing what they are for, hence the constant groove with no beginning or ending. The meaningless breakdowns that do not necessarily make the stoner rock more bearable, but just emphasize what white trash trailer park music this is. It is an updated distorted-guitar redneck music.
Baroness – Purple (2015)
The most generic heavy metal rhythm guitar riffing possible clipped with too much compression and mixed with queer hipster rock for those who question their sexuality. I’m pretty sure the hairy girls in this band are in a polygamous relationship with the dude singing and blow roadies on the side. Kind of like how Carrie Fischer let the crew members of the original Star Wars rip the tape off her tits only with more Hepatitis C positive semen from people who tried intravenous drugs. This album sounds like my local modern rock radio station who plays Bush twice a day. Baroness is the most generic 2003 rock possible only maybe one of these girls’ brothers had Led Zeppelin and Metallica posters in her bedroom. Baroness should go back to VH1. Wait VH1 doesn’t air this crap anymore as even VH1 realized how terrible it is. VH1 is Rock of Love now.
Wolvserpent – Aporia:Kāla:Ananta (2016)
Who knows why we ever receive these sort of promos that are not remotely metal, though perhaps some suppose there is a connection because the sound and procedure may remind one of the pointlessness of post metal/rock. At the center of Wolvserpent’s music is a violin playing repetitive music while the fringes are filled with synthesizers, bass and some kind of distorted noise to fill the space. I imagine this purports to be ambient, and it evidently takes cues not only from what we know today as classic ambient but from the old, more noise-inclusive and experimental one. At some point during the 40 minutes of this release, towards the approach of its middle section, a growl-screech appears and we become the audience of a post-doom-black nothingness that lasts for about 5 minutes. After this, the music tries to pick up by adding some synths to beef up the emptiness of the lame doom metal writing that approximates what Esoteric do most of the time (waste your time with largely content-less sections while pretending to have an ambient edge). This amounts to little more than piled up noise with some consonance. This melting away proceeds for about 8 more minutes, after which we are introduced to a 4-minute hum. This hum gives then serves as background for some 3 classical string instruments playing repetitive disonant arpeggios for 3 or 4 more minutes until only they remain and the music fades out to the sound of soothing, rolling, waves. Empty and boring. Throw this away
Cult of Luna & Julie Christmas – Mariner (2016)
Enya songs with randomly inserted post-metalcore sludge bridges. Are those bongos? Is this Arise? Who thought of this? Whoever thought of this should be shot in the back of the head by their local troika, have their children post-nataly aborted, and their women deported to the camps for wives of traitors to the motherland.
Snake Tongue – Raptor’s Breath (2016)
Random stolen eighties metal riffs made into Entombedcore with gang vocals by Kurt Ballou. I think that’s a woman in the promo picture. Maybe it’s a man who is just confused that his baby dick is a big clitoris. Yeah they can get that big. Haven’t you seen Backdoor to Chyna?
Necrosic – Putrid Decimation (2016)
These girls imagine what would have happened if in 1990 Autopsy had written songs entirely out of mosh riffs broken up by hardcore and shameless lifts from Slayer’s catalog. The answer is a metal band that would have only have been fit to play pizza parlors filled with 17 year olds too busy playing arcade games to pay attention. Anthrax if Anthrax decided to cash-in on sludge instead of nu-metal in the early 90s.
Sacrilege – Behind the Realms of Madness (1985)
This is the sort of release that exemplifies that some releases were never meant to be heard, not to mention be re-released. To pretend this is some sort of hidden gem is to pander to the clueless audience’s sense of nostalgia in the most dishonest way. Sacrilege never amounted to much as their music was never much. What we hear in hear in Behind the Realms of Madness is the sort of simpleton’s generic metal any angry teenager could be writing and playing in his garage with his friends after huffing glue. Each of these songs is based entirely upon a single riff played ad nauseam while an angry woman shouts about how much she hates her father. There are random supplementary riffs here and there but they are just meant to provide some sense of dynamism to the propulsion of the main riff. The main riffs in every song are generic and almost indistinguishable, the vocals are identical (some angry British woman screaming about how she got fucked over by her dad who wouldn’t pay for her BA in Womyn’s and Sexual Identity Studies), and every single song has the same kind of poser-trudging-accross-the-mall-food-court from Hot Topic vibe about it.
Sacred Few – Beyond the Walls (1985)
Another mediocre eighties heavy metal album with an annoying vocalist that deserved to be forgotten. Manilla Road this is not; the songwriting is generic, the riffs unoriginal, and the guitar tone too thin. This was only pressed to CD to cash in on idiot hipsters dumb enough to be deluded by Vice into believing that metal needs more dumpy women. I would rather listen to every Motorhead album I don’t remember even exists than this lame woman who drinks too much Budweiser again. This is retro-metal for cuckolded submissive males who think Steve Harris is Pogrom and jerked off to the blonde women in catsuits from The Oath instead of real porn. I’m going to crack open another Coors Banquet and use this CD as a coaster. Wait is the Puerto Rican guy in the collar her slave?
Lizzies – Good Luck (2016)
Judas Priest covered by Spanish pre-op transsexuals. Listening to this album makes me want to chop my leg off so my femoral artery will bleed out in three minutes. Two tracks in and I just put on Unleashed in the East instead. Let’s all listen to that classic instead of this crap:
The year was 1993, and Western society’s appetite for ultraviolence was steadily growing, as perhaps evidenced by our knowledge of the period’s death metal. Besides the music industry, other forms of entertainment embraced this, including Id Software, which at the time was a small but successful video game developer who increasingly specialized in first person shooters. Doom used much of the same technology as Id’s previous games in the genre, but due to better technology and marketing, it sold enormously more copies and understandably exerted more influence on game culture. Particularly interesting to us at DMU was Id’s decision to incorporate metal music into Doom. This wasn’t the first video game to showcase a straight up heavy metal soundtrack; that honor most likely goes to Rock’n’Roll Racing on the Super Nintendo, six months before the release of Doom. Rock’n’Roll Racing used synthesized covers of several popular heavy metal and hard rock tunes, but Doom arguably went a step further by using nominally original music. Robert Prince’s compositions for the game (and its immediate sequel, Doom II) are split between these ‘metal’ tracks and more ambient, downtempo tracks.
The music of Doom is definitely inspired by contemporary popular metal works to the point of near plagiarism; Prince mentions on the fan site Doomworld that Id initially asked him to do a contemporary metal soundtrack. Other sources mention that Prince relied primarily on the game’s design documents to inform his efforts and had limited contact with Id’s employees during the process. Regardless, tracks here are often just a few notes off from literally being rehashed Slayer or Metallica or one of the other popular bands that inspired this music. Song structures and everything else is understandably simplified, as video game music generally has to loop and can’t afford to be too prominent or obnoxious lest it be muted by an irritated player. It is still a reasonably appropriate backdrop to Doom‘s mixture of gun combat and labyrinthine exploration, although some players here will just use their death metal collections instead.
While streamed, sampled audio was common in video games by 1993, Doom initially used sequenced music, presumably to save on storage space and to avoid locking out potential buyers without access to a CD-ROM drive. The soundtrack was originally composed for General MIDI-compatible devices like Prince’s synthesizers, but on the average computer of the time, it’s most likely the soundtrack’s metal simulacra would play through one of Yamaha’s FM synthesis chips. The main problem with the OPL3 version of this soundtrack is a hardware one – while capable of producing a wide variety of sounds, the OPL3 suffers from severe anemia, particularly because of its weak percussion abilities, and therefore this version belies the music’s instrumentation.
Doom was, however, quickly ported to many other computers and consoles in light of its commercial success, where it would run into all sorts of technical limitations. Everyone involved in the ports handled the soundtrack differently, ranging from the complete omission of music on the Atari Jaguar, to rearrangements of various quality, including the infamously bad Sega 32X version, and even the Playstation port, notable as its main composer (Aubrey Hodges) contributed his own, original soundtrack of dark ambient music instead of using Prince’s work. The most “authentic” way to experience the soundtrack is probably Prince’s Doom Music compilation, which showcases much of the music performed on its original synthesizers; any additions are at least intended by the original author, although I still find the ability of mid-90’s electronics to mimic a distorted guitar underwhelming at best.
I doubt Id was specifically planning to popularize metal music when they released Doom, but they probably did a great deal in that regard, even though by 1993, mainstream metal was on the verge of commercial collapse and/or Pantera. The correspondence between common metal imagery, and the game’s demon-slaughtering violence and hellscapes is too obvious to ignore, though. Doom presumably sold more copies for pushing computers to their limit and being graphically violent, but the soundtrack’s decisions definitely paved the way for more and better-known works to feature metal as a soundtrack. In the process, it’s won such fans as Trey Azagthoth of Morbid Angel, who even made his own content for the game (although unfortunately, he didn’t bother to include his band’s music).
The rise of a new medium catches everyone by surprise, especially those who are trying to make it succeed. In the case of video gaming, the medium existed for many years before it came to maturity with the full-featured video games of the late 1990s, spurred on by the massive success of first-person shooter Doom, itself a followup on the renovation of the classic 1980s video game Wolfenstein with Wolfenstein 3D. Then, for reasons unknown, someone made a movie based in the world of Doom, and… it was good.
At the point in time when Doom III, the most proximate inspiration for this movie, emerged, video games had transitioned into something like a film which required user engagement. With full plot lines, accessories for the characters (we might blame 1980s Star Wars figures for this), ability to use in-game utilities to uncover plot, and complex goals to hide the banality of constant machine gun warfare, the new games hybridized all of the successful tropes of video games of the previous decade with the gestures of action movies that succeeded. This gave them new complexity and made the transition to movie more challenging if the film hoped to differentiate itself from the game. Early efforts were often horrifyingly bad. Doom corrects this with a fast-paced, tight-edited movie that keeps the plot of the game at its center, and pays extensive tribute to the game without becoming a string of in-jokes. This film could be watched without any knowledge of the game and it would be as compelling, as it is in fact brainier and more compelling than the average action film.
Doom begins in California, where a team of Marines are heading out to Las Vegas, NV, where an interstellar portal that opens on Mars has been discovered. Borrowing this idea from Edgar Rice Burroughs, the film mixes in bits of Stargate, Aliens and Starship Troopers to show us a group of hard-fighting colonial marines sent on a mission with few specifics. They discover an outbreak of a zombie-like disease which turns out to be a genetic mutation. The wrinkle is that this mutation does not so much change people as reveal what they actually are, and this creates a layer of character depth to the movie which proves instrumental to its plot and steers around the worst of the endless waves of enemies effect that early first-person shooters demonstrated. That being said, this film is designed as an action movie for young men, and so it adheres to the requirements of pleasing that audience. The hammy Dwayne Johnson delivers his usual stern facial muscles and straining deltoids, but his performance is not as central to the movie as the posters might have you believe. Ultra-gruff cinematic violence expert Karl Urban plays opposite to alternatively plain and striking Rosamund Pike, with whom the filmmakers pander to anticipated audience taste by ensuring that her relatively reserved clothing reveals the outline of breasts and nipples in every scene. That is the pulp fiction nature of both video games and action movies, however, and Doom pulls it off by being good-natured but not obsessive. The characters are part of the scenery, albeit scenery that evolves with the plot. As the film progresses, the character drama takes over, and then in one of the most enjoyable breaks in film history, the movie goes into first-person shooter mode for a finale that pays full loving tribute to the original video game.
Perhaps Doom will never be mentioned in East End coffee klatches or fashion magazines, and it may never attract more than a small die-hard cult audience, but it can be appreciated for its renovation of an otherwise uptight sub-genre of film and its ability to make what might otherwise easily deviate into idiot territory into a thoughtful and suspenseful film. The violence of raw first-person shooters here distills, as in Aliens but with less emphasis on pure suspense, to a game of anticipation in which characters must react suddenly to unexpected threats while in the midst of confusion and incredulity as they discover what is going on. The result is part mystery, mostly action film, and part the oldest type of sci-fi which is the exploration of the human being as revealed by his technology, in this case genetic engineering and 21st century violence.
Sinistrous Diabolous creates funeral doom metal from the fragments of death metal. It uses the rapid strumming of slow chording that made Incantation so thunderous, merged with the abrupt tempo changes of Autopsy, and the mixed sounds and dynamic variation of Winter.
Total Doom // Desecration is as a result both shockingly absent of any of the trimmings of civilization or what we recognize as music, and also momentarily beautiful, like a ship emerging from the fog only to be lost again. Its primitive production and dark chromatic riffs enhance this sense of naturalism emerging against the hopeless mental muddle of humanity.
The atmosphere of murky ambiguity that enshrouds this album also grants it a resonant sense of purpose. Between power chorded riffs, interludes of pure sound or lighter instruments pervade, creating a sensation like slowly poling a raft through a dense swamp, looking for enemies.
Of note are the vocals, which deliberately abstract themselves into an uncivilized and primitive growl that calls alongside the music like a pack of dogs howling at a kill. Percussion fits the Autopsy model, being both alert and intense and knowing when to fade out into the drone.
Sinistrous Diabolous use heavy sustain not only on their guitars, but in the way riffs are sliced into these songs. Notes of doubt and ambiguity hang over every change, waiting for the song to roll over again and from the relentless ferment of its imagination, pull forth another riff.
While many doom albums come and go, and most either slide into the 1970s style or death-doom, this album cleanly integrates the last two decades of the variation in the latter styles, and comes up with something that is not only bone-crushingly weighty in sound and meaning, but also brings forth a beautiful melancholic isolation at sensing what has been lost.
Dave Suzuki (Vital Remains) launches his new effort.