Cathedral’s Creeping Death

Death metal had been well established for years by the early 90s. The genre was rapidly becoming an arms race of technicality with many bands attempting to use studio trickery to make records far beyond their musical ability in attempt to compete with their best contemporaries, e.g. Morbid Angel. Many brought in hired shredder studio musicians like James Murphy with drum tracks copy and pasted together onto tape from drum samples and “played” live with triggers activating those same pre-recorded samples at the slightest touch. At the same time, good grindcore bands were turning into second-rate death metal ones or worse, lame “melodic hardcore” which turned hardcore punk aesthetics into slit your wrists whine pop.

Lee Dorrian, vocalist of Napalm Death on the b-side of Scum and From Enslavement to Obliteration, was disgusted by Napalm Death writing material incorporating the worst, bouncy hit people aspects of death metal in an attempt to reach a wider audience and quit the band in 1989. He soon formed Cathedral with Gaz Jennings and Mark Griffiths over a shared love of older heavy metal bands such as Black Sabbath, Candlemass, and Witchfinder General. Demos and an album on Dorrian’s old label Earache quickly followed.

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Lucky Charms Metal

Death Metal Underground has received criticism for our review of limp-wristed, warmed-over Swedish heavy metal act In Flames. Our staff called them the Swedish version of Christian glam rock band Stryper. However despite being hard rock, Stryper were actually heavier, more sincere in purpose, and more aggressive than the Comic Sans In Flames. Stryper and the speed metal influenced glam rock of Skid Row were at least far more musical than Fredrik Nordstrom produced melodeaf such as post-Alf Svensson At the Gates, Arch Enemy, Dark Tranquility, In Flames, and Soilwork. Stryper and Skid Row were at least well-versed in 60s and 70s riff rock while directly influenced by Metallica and Slayer:

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Sadistic Metal Reviews: Rape of Your Faves

George Psalmanazar submitted a few reviews of albums he vehemently despises to Death Metal Underground. Enjoy!

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Metal Festers Eternal

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.

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Forteresse Announce Récits Patriotiques

French Canadian Gothenburg style metal band Forteresse announced a rehearsal album, Récits Patriotiques, today for all those who care about their boring Gothenburg material that sounds like early Amon Amarth with no tempo changes or variations for beer metallers who do not critically listen to music and prefer to just leave metal on in the background like a heavier version of smooth jazz they can ignore and check in on once every two minutes to see if the band did anything new or are back to scratching their asses. Récits Patriotiques will be released on March 18th, 2017 by Sepulchral Productions on 750 CDs for 750 fundergrounders or hipsters who want to crank frogified Davy Crockett metal to feel special about themselves like kale-flavored ice cream sandwiches. Preorder Récits Patriotiques here if you hate money and wear coonskin caps during sex.

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N.W.O.B.H.M. Survivors

The New Wave of British Heavy Metal was the simultaneous, sudden emergence of hundreds of heavy metal bands in the United Kingdom in the late 1970s and early eighties. The NWOBHM was prompted by the collapse en masse of earlier hard rock bands and heavy metal originators. Led Zeppelin and other blues-based riff rock bands had collapsed into meandering stadium rock with only a couple listenable songs per record at best (“Achilles Last Stand” on Presence). Black Sabbath fell flat on their faces after Sabotage, making the meandering duo of Technical Ecstasy and Never Say Die. Punk declined from almost-progressive works as the The Stooges’ Fun House to boy bands such as the Sex Pistols playing radio pop. Deep Purple regressed to playing what their former guitarist Ritchie Blackmore termed “Shoeshine music.”

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Bardo Methodology Interviews Atlantean Kodex About Herbs & Evola

Metal interview web zine Bardo Methodology interviewed Manuel Trummer, guitarist of the heavy metal band Atlantean Kodex today about herbs, psychedelia, mythology, and how Julius Evola inspired Dio’s “Ride the Tiger”. Want to find out what Trummer thinks of witches, psychedelia, and megalithic archaeological sites? Let’s find out!

Tau Cross Complete A Pillar of Fire

Today Relapse Records announced that heavy metal/post-punk band Tau Cross, whose self-titled debut was one of the Best Albums of 2015, have completed their second album, A Pillar of Fire, for release later this year in the summer.

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