1983

A footnote in an article we ran last week sparked a lot of controversy among our very passionate friends who lurk the DMU comment sections.  No, it wasn’t that we correctly identified SJW journalists as the nail in the coffin of metal as we know it; instead it was an observation of the last death of heavy metal:

In the early 1970s, heavy metal was an exciting new musical and cultural movement. So much so, that it surpassed even rock music (thought to be revolutionary just a few years before). But towards the end of the decade came a near-lethal blow: punk rock. Faster, louder, more abrasive and aggressive, punk had risen the bar and metal couldn’t compete. From 1977-1983, metal was almost completely obliterated. Many had declared the movement dead – a fleeting flavor of the week experiment that did not stand the test of time.

Many took issue with this: “metal wasn’t dead!”  they cried.  “Albums were released, things happened!”  “You’re erasing history Brock, your articles ruined this site and my life!”

The intrigue and utter distraction of this phrase sparked the need to further elaborate:  Did metal actually die, during this time period, or did I somehow just miss a few years of quality metal development?

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Introduction to Power Metal, Part I: Origins and Influences

(Join DMU Legend Johan Pettersson for what may be the most expansive analysis of power metal ever presented in the first of a 3 part series.  Listen to the accompanying suggested listening here)

Of all the subgenres and styles that fall within the metal spectrum (hence excluding unmitigated relapses into rock such as death’n’roll, stoner, nu- and indie metal), power metal most definitely counts as the one that has received the highest amount of scorn and ridicule from critics, fans and outsiders alike. (more…)

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Roots of Evil: The Origins of Metal

With the fiftieth anniversary of metal music around the corner, forthcoming years will witness an increase of publications dealing with the history, legacy and defining characteristics of the genre. This could finally resolve the lack of consensus that still exists regarding the definition and origins of heavy metal.

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King Crimson – Lark’s Tongues in Aspic (1973)

Heavy metal was born in very late 60s and early 70s as a merger of heavy rock, proto-punk, horror film scores and progressive rock, carving out a new form of dark music that spelled out longer phrases than rock by using moveable power chords in complex riffs.

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Metal Will Never Die

Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as MastodonLeviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).

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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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Varg on Killing Euronymous

Varg Vikernes of Burzum posted a video a while back about how he was convicted for the “murder” of Mayhem mastermind Euronymous. Varg states again that Euronymous had long planned to kidnap, torture, and murder him in the forests, that he stabbed Euronymous in self-defense, and that most of Euronymous’s 23 wounds were from broken glass he fell on. Want to know how Varg was set up by the Norwegian legal system and how his lawyer did an inadequate job defending him from the falsified evidence thrown at him? Let’s find out!

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Varg on Darkthrone

darkthrone-fenriz-beer

Varg Vikernes reflects on Fenriz‘s alcohol consumption, BurzumDet som engang var‘s CD release, the intelligence of Darkthrone, and the toxicity of the scene centered around Helvete in a video uploaded to his ThuleanPerspective Youtube channel. Want to know about how Fenriz felt about Euronymous‘s death and threats toward Varg? Let’s find out!

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