Few bands manage to sustain their passion and efforts as they mature; Satan is one of those few. Although the Ophidians are shedding off their bland metallic skin on this album to add a more progressive element that nurtures the double guitars and the vocals, their evolution is logical and enjoyable and programmatic romanticism vindicates itself. (more…)
The task before a reviewer varies widely. If you want to be a big shot, you need to write about what the labels want, since they are the only source of top-down money coming into the genre. They will then reward your publication with advertising, it will then reward you with a promotion, and eighteen months later, you can ditch it and move up to the big leagues.
As predicted here, the takeover of underground metal by late hardcore tinged substitutes has failed. This music, which we might call “soymetal” because it appeals more to the emo hardcore audience than the feral and realistic traditional metal one, took over because after the underground fizzled in the hands of NWN/FMP impersonators, labels found a new audience in whiny millennial SJWs. (more…)
(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…)
Dennis Emmental hated being late because it revealed to everyone how little he wanted to be there. Slipping past the creaky back door, he took his place in the line at OptiFood. Orders came from the digital kiosk at the drive-thru and Dennis had twenty-four seconds to assemble the ingredients for the OptiMeal:
He and his cohorts were dumping ingredients in the short, stout, beaker-shaped commemorative plastic buckets used to serve the twenty-four ounce meals. The store was open twenty-four hours a day, and had a thirty-eight percent turnover rate at a six month interval. The owners were unconcerned; they had reached the point where it took a million bucks just to think about suing them, and everyone knew that most of their employees were retards and flakes and so just laughed off their complaints.
Youtube conspiracy theory vlogger Russianvids exposed Metallica’s connection to the Masonic-Satanic Illuminati. Russianvids noted many displays of goofy homoerotic antics from James Hetfield, Dave Mustaine, and Kirk Hammet. Lars Urlich’s predilection for kissing and tonguing other men is shown. Russianvids explain this is part of the Masonic conspiracy to condition the general populace into accepting homosexuality as normal rather than statistically abnormal behavior.
Satan‘s Court in the Act exists in a unique space between the New Wave of British Heavy Metal and speed metal. As a wholly metal album that attempts no pandering to mainstream radio rock unlike seemingly every other NWOBHM band, Court in the Act is by far the strongest studio album of that sub-genre/movement and incredibly influential to American speed metal bands Metallica, Megadeth, and Slayer.
Satan are headlining the Pounding Metal Fest in Madrid, Spain this May. Supporting the NWOBHM and proto speed metal legends are other heavy metal bands Hell, Night Demon, Visigoth, Attacker, and Spanish Angel Witch worshipers Witchtower.
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.”