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:
George Psalmanazar submitted a few reviews of albums he vehemently despises to Death Metal Underground. Enjoy!
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.
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.
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.”
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!
Ananku is a term from the Tamil language describing the otherworldly and awesome power of sublime natural places and objects to overwhelm mankind into submission to their will by merely the perception of them. Jarno Nurmi of Serpent Ascending accomplishes this musically on his album of the same name by composing harmonized heavy and black metal style leads atop a death metal rhythmic basic into occult blackened narratives. Riffs are phrased and repeat to numerologically unfold, revealing profound and novel melodic leads as if the petals of a flower gradually blooming into gnostic truth when bathed in unconquered light.