Havukruunu, despite their Burzum like cover, worship Bathory‘s Blood Fire Death and 1980s synth pop on Kelle Surut Soi. Havukruunu attempt the folk choruses, epic atmosphere, and melodic solos as Quorthon did in his successful attempt at mixing black and speed metal. Unfortunately for my ears, Havukruunu are not so successful on Kelle Surut Soi.
George Psalmanazar submitted a few reviews of albums he vehemently despises to Death Metal Underground. Enjoy!
Article by David Rosales.
Perfection is in the balance and in the details! These works possess neither balance nor detail.
Axl Rosenberg, the founder of social justice warrior metalcore website MetalSucks, called blackened glam metal band Destroyer 666 racist over frontman K.K. Warslut’s altercation with masked antifacist thugs at a Danish festival. Earlier Rosenberg called Todd Jones from sludgecore band Nails a “scene bully” for titling their new album You Will Never Be One of Us, which he took as directed against social justice warrior internet agitators like himself.
Article by Gonzalo Gallina.
In 1996, Spanish rock band Mago de Oz released their most acclaimed latin-rock-underground albums, Jesus de Chamberi. Like most things coming from modern Latin countries, it has difficulty defining itself. Representative of the modern cultural confusion of Hispania, Mago de Oz presents the audience with a mixed bag of rock ala Dio, reggae, and eighties bar heavy rock, while borrowing some metal riffs and melodic leads here and there, and ocassionally overlaying folky tunes on a violin.
Article by Jon Faugustus.
Adagio, the French progressive metal band lead by Stephan Forte, has announced a fundraiser campaign to record and produce their fifth album to be titled Life. Throughout their history, the band has evolved from a mystical power metal band with contemplative overtones, to a decent but understated prog metal surpassing the likes of Symphony X, to a progressively more obvious selling out with pop songs covered with their dark progressivisms.
Christianity as an ‘attack’ on metal might not be as trendy as it used to be, but Stryper never got the message. They reformed in 2003, and someone out there has to be buying their albums, right? The Billboard 200 seems to think so, and the existence of Fallen means, at the very least, that there is still an audience of Christian evangelists that a shrewd marketer can take advantage of. Add to that a more technically skilled visual artist for your cover and some minor updates to your image to make you trendy for this decade, and you get a more religiously acceptable way to listen to some modern pop music and then quickly forget about it.
Make no mistake about it – Stryper is certainly Christian propaganda. I don’t think anyone goes to Stryper looking for an intelligent portrayal of Christianity’s tenets (as opposed to said propaganda), but I could be mistaken about this. They certainly won’t succeed, because Fallen sticks to a fairly basic set of lyrical/ideological templates. A couple of songs here are simple retellings of scriptural events. A few others are songs of victimhood and impending eternal salvation, which are also theologically shallow. Like many other Christian musicians, Stryper also falls victim to the tendency to write thinly disguised secular love songs, but that’s hardly a selling point. I wasn’t expecting otherwise from this band, but given how many anti-Christian bands fall through the DMU meat grinder, it’s occasionally interesting to see another side’s agitprop in comparison to their rough equivalent here, like generic simplified Satanic or nationalist themes.
Backing this up is a fairly generic hard rock band that admittedly trends more pompous and theatrical than average for the style. This is likely a throwback to the band’s “glam” past, but it makes for an understandably vocal heavy experience. Michael Sweet is a reasonably talented singer, but he seems to obsess with multitracking his voice, especially during Fallen‘s multitude of Big Dumb Choruses™. Besides the vox, there really isn’t much to latch onto here. It’s possible that more traditional metal technique has crept back into Stryper’s sound since their halcyon days of commercial success in the 1980s, but with 30 years of production wizardry in the mean time, it can be hard to tell. The band also throws in a cover of Black Sabbath’s “After Forever” for what are presumably lyrical reasons, and even in its more vocally bombastic form here, it outdoes Fallen‘s originals in mood and organization. It does not bode well for you to be outdone by your choice of covers.
In the long run, Stryper is too inoffensive to draw my hatred, but I am certain the local community will be more than willing to savage this album.
In the early 1990s, a new music burst forth. The dark sounds of Black Sabbath and the guitar-oriented heavy rock of Deep Purple and Led Zeppelin merged and, through the wizardry of Hollywood-style image, became a new genre that hyper-extended the characteristics of the most rebellious music in the previous generation of rock. This was called glam metal, and you may recognize it by names like Motley Crue, Poison, Twisted Sister, Quiet Riot, Cinderella, Van Halen, Ratt and Winger.
Glam metal stood out from other rock at the time. It was more technical, featuring early shred guitar wizardry, and more visual, incorporating gender-bending into its image as well as tattoos, long hair and leather. For the radio music of the era, it was one of the more advanced and outside the mainstream sounds one could purchase at the local record shack. Kids liked it because it drove parents mad; politicians responded by trying to criminalize it with Tipper Gore and the PMRC targeting glam metal bands for their overly-sexual lyrics about outré topics such as drugs, suicide and promiscuity.
What makes glam metal stand out is to look at the backdrop of music at the time. Most bands were taking advantage of newly-available electronic instruments and more options in the studio, and were focused more toward being synthpop or album-oriented rock. The nascent indie rock movement, to explode with bands like REM and U2, dwelt still in the basements. Punk had died and punk hardcore was unlistenable by most, as were bands like Motorhead and the NWOBHM who were still just a bit too loud, and too controversial. Glam allowed people to be rebels without really rebelling against anything, because glam rock was just what David Bowie and Sid Vicious were doing with the actual danger removed and all the imagery turned up to eleven.
Compare this to the present time. Radio is much louder, and rap-based music has replaced synthpop. Indie rock became huge and expanded into emo and post-Joy Division quasi guitar ambient bands. The old dad rock like Springsteen and Mellencamp faded like an autumn sunset, and while millions of niches exist, most people hit up the big favorites. Metal is the radio now, too, and thanks to nu-metal — the second generation of rap/rock — people are accustomed to heavy distortion, detuned guitars and raucous drums. People wearing bizarre costumes and masks while acting out self-destructive tropes are common. What remains to shock the parents of today?
Much like glam metal, metalcore attempts to pick everything that stood out in the past generation and amplify it. The introspective despair of indie rock joins the progressive stylings of 90s bands and the whine of alternative rock; the proto-djent of Pantera and Helmet shows up as well, alongside the deliberately random songwriting of emo and post-hardcore bands. Add them all together and you have a template for making infinite music: an aesthetic of randomness, with high technicality, and metal power but not its threatening antisociality, melded together into a product that is more like a jam session than a planned event. This resembles what happened after progressive rock fiddled the first time, and jam bands showed up that merged jazz, progressive and rock into expanded-format songs that wandered. Metalcore can take any form, whether melodic death metal or math-influenced grindcore, because it is at heart a philosophy much like glam was. It takes what shocked the last generation, adds it all together, and ramps up the imagery to deliver a “new” (old) product.
If we are honest, we will admit that metalcore is the glam metal of today. Designed to shock, it pretends at being “underground” only to keep its indie cred, and relies on the disturbing self-absorption of indie and emo to make parents quake. Formed of too many elements to support together in one coherent genre, it focuses on incoherence, and ties it together with imagery. It emphasizes technicality, which thanks to endless instructional videos and better access to guitar equipment (thanks Guitar Center!) has cranked up a notch, but uses it as a means to the end of its appearance. While band members no longer dress up in clothing of the opposite gender and tease their hair, they perform the equivalent through their embrace of passivity, feminism and self-pity as fundamental values. This shocks parents as much as glam metal did, and has correspondingly bad effects on metal as a whole.