Speed metal effectively died once Sepultura mixed it with nü-metal and punk on Roots, but that also uncovered a new style by revealing that speed metal mixes well with tribal, folk, and classical influences, something Aztlan explores on Legión Mexica, a feast of Spanish- and Mexican-themed folk styles mixed with Pantera/Metallica style bouncy speed metal.8 Comments
With Verity, Nokturnal Mortum continue down the more commercial path they started embarking on The Voice of Steel and their half of last year’s The Spirit Never Dies split with Graveland: commercialized rock-constructed music with Ukrainian folk and power metal aesthetics. On the inferior half of the The Spirit Never Dies, Nokturnal Mortum abandoned the use of the progressive rock techniques with speed, power, and Gothenburg metal riffs to craft compositions similar to the extended, droning flowing black metal compositions of past greats. Verity continues the slide down into Wacken fare.16 Comments
Article by Johan P.
This text is a continuation of the previously published article, The Difficulties of Folk Metal. As stated in Part I, the threefold aim of this multi-part article is, in rough terms, to: 1. Give a short introduction to the subject, 2. Point out some of the difficulties connected with integrating folk music into metal and finally, 3. Provide alternative methods of integration. Part II will be dedicated to the second part of this quest.
Naturally, there are limits regarding the scope of my endeavor – the most obvious demarcation being that the article primarily focuses on Swedish folk music. In my view, the critique of folk metal is an ongoing project, and this article should not be seen as an exhaustive treatment of the subject at hand.
So, if someone else out there finds the subject interesting, you are more than welcome to make contributions. It could be in the form of additional material (metal or folk related) and complementary ideas to enhance the project. For example, the depth and applicability of the arguments presented below would surely benefit if the scope could be expanded to include other forms of traditional music.42 Comments
Article by Johan P.
I’ve never been overly impressed by the folk metal phenomenon, which emerged in the middle of the 1990s and began to gain popularity some years later. I do not mean to imply that there isn’t any good folk music out there. On the contrary, there’s a lot of rewarding traditional music to discover. Many musicians – metallers included – have realized that their respective countries’ folk music reservoir is a gold mine for potential ideas to integrate into more modern forms of music. It was on these premises that folk metal was born. However, if the source material is to be successfully re-animated and be brought into metal or any other genre, it requires some serious work from the composer and performer. Most folk metal bands fail at this point for a variety of reasons, with the end-result often sounding like bad heavy metal adorned with folk-melodies that have been stripped of all subtlety to fit into a rock-based harmonic and structural environment.34 Comments
Coming soon to a used CD bin near you!64 Comments
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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.8 Comments
This article was contributed to Death Metal Underground by Ludvig Boysen.
A lot of music claims to be metal without actually being metal these days. This music placed on equal footing with the classic metal masterpieces generates hostile reactions. But what if no one claimed that it was metal? How would we think of the music then? Would it be mislabeled good music or mere crap? That is what I try to find out with this review of The Mantle by Agalloch. I had a neutral and open mind while listening to it, not concerning myself with anything but the music itself.23 Comments
Article by David Rosales
Kawir is a band that belongs to that side of metal whose discussion allows the true metal nihilist to distinguish between free minds who embrace the spirit of metal’s independence from political or religious doctrine. Metal has been characterized by its portrayals of power, courage and strength, while looking down on sheepish behavior, compliance with the system and general cowardice. When bands who openly express musical worship of Pagan ideals as a source for racial/national power, it gives one the opportunity to weed out the sheep in metal guise. The metal nihilist will find in the concept of the pagan theme in metal yet another expression of pride and power apt for the narrative of timeless natural struggle. He may dispassionately nod its head to the idea without necessarily embracing it as something that speaks to him, personally. He holds the burning flame of life in front of him, observing the destroying consumption that drives action in eternal co-dependence with passive materia. He stares at it directly without fear of having the miserable protective borders of human-society constructs burn away, nay, welcoming this removal of the illusory.