It’s hard to browse DMU without finding at least one reference to Master’s influence (and more generally Paul Speckmann’s projects) on death metal. DMU’s ability to follow Master’s evolution has generally been better than my own, but I’m hoping that their upcoming albums will change that. An Epiphany of Hate will release on January 29th, 2016, presumably making it a superior purchase to other metal albums releasing that day, like Dream Theater‘s latest. Without any known teaser material out, I’d guess this album will follow up on the style of Master’s previous full length (The Witchhunt), but regardless of substyle this will be one to keep an eye on.
Ian Fraser “Lemmy” Kilmister of Motörhead (and formerly Hawkwind) passed away today. According to Motörhead’s Facebook page, Lemmy died after “…a short battle with an extremely aggressive cancer”; one that he had only found out about two days before his death. More information may be released in coming days. This death follows the recent death of Phil Taylor and puts a unfortunate note onto the band’s 40th anniversary. It is worth noting that Motörhead remained strong up to the very end, touring despite instances of bandmember illness and even releasing a quality studio album a few months ago.
Many lost “gems” have been reissued to capture undiscerning millennial money. Most never found a market as they weren’t up to par. The Death Metal Underground hopes that readers were not gifted any of these on the Unconquered Sun’s birthday.
Hydra Vein – Rather Death than False of Faith (1988) Raining blood, from a lacerated sky! What? This isn’t Slayer. What the hell is this? Did Tom Araya have too much to drink? Wait this idiot’s British and doing drunken Motorhead karaoke and Kerry King air guitar solos at the pub. The cover looks like a ten year old’s Clash of the Titans fan art. This album is a fifteen year old’s Slayer fan art. Maybe if I drink half a bottle of whiskey my brain will think Hydra Vein is actually Slayer. I could just turn it off and play Slayer.
Morpheus – Son of Hypnos (1993) Morpheus (no relation to Morpheus Descends) was an early nineties musical project put together by four residents of a Stockholm group home. The vocalist sounded like Sylvester Stallone imitating Glenn Benton, the guitarists idolized the Hoffmans, and everyone attempted to cover Kreator. During the recording sessions, the band members expressed situational homosexual behavior by prostate massaging one another with their genitalia. The orgasmic screams of these disturbed sodomites echoed jungle fowl being rended by monkeys. Son of Hypnos makes for an amusing pornographic soundtrack.
Bloodstone – Hour of the Gate(1996)
Hour of the Gate was produced by Tomas Skogsberg and Fred Estby at Sunlight Studios. I hit play and instead of crusty Swedeath my ears hear Incantation’s “Profanation” breaking down into Necrophobic riffing. Then Gothenburg leads and more Profanation. That lick’s from Megadeth. How many salads were tossed here? The shit-buttered anus of death metal was licked right well and clean. I need to get a drink. I blacked out listening to this turkey. This CD was not repressed as history wanted to black it out too.
Sacrificial – Forever Entangled (1993)
The sound of groove riffs ‘cross the glade,
Heshers cover your ears in horror.
This death trash is rather staid
Chugging along into the gutter.
Pantera meets Destruction
What a horrible production
Vocals are just way too loud.
Matti Karki would not be very proud.
Many metal songs are raped.
Their holes torn apart and gaped.
Watched Blackadder the Third.
Another reissued turd.
According to the folks at Earsplit PR, the “Prime Evil” lineup of Venom is joining Necrophagia on a tour of the United States this January. This tour was initially planned for fall of 2015, but was apparently postponed. Venom Inc. (as the lineup is called) is to be distinguished from the current official line up of the band, which revolves primarily around Conrad “Cronos” Lant and spends its days touring and releasing the occasional forgettable album. Band bashing aside, if you’ve ever felt the need to see one of Venom’s more polished and mainstream lineups touring with god knows what Necrophagia is up to (outside of promoting 2014’s WhiteWorm Cathedral), then you’re a far more specifics driven person than I am.
We got a hint of Voivod’s upcoming plans a while back. Post Society may or may not be building up to Voivod’s next full length, but it still might be of value to fans of the band; it will release on February 26th. Besides compiling the tracks Voivod released as part of their recent splits with At the Gates and Napalm Deaths, this EP will also feature two original tracks and a cover of “Silver Machine” by Hawkwind. At least going by “We Are Connected”, it seems that Voivod is continuing the path set forth by their previous full-length – an accessible mixture of of their signature late ’80s sound with more modern alternative and progressive rock influences.
It’s technically been out since November 20th, but whatever. Frank “Blackfire” Gosdzik is best known in the metal world for performing with Sodom and Kreator – both of which managed to exert a major influence on death and black metal despite not technically belonging to those genres. His tenures with each seem to have pushed both bands into periods of improved musical technique and more conventional songwriting (Agent Orange is to In The Sign of Evil as Coma of Souls is to Pleasure to Kill). Since then, we haven’t heard much from him until now. Interestingly enough, the samples provided for Back on Fire suggest a simpler approach more reminiscent of the former than the latter.
I mentioned Megadeth’s upcoming studio album a while back, and Dystopia is still on track to be released some time in 2016. The buildup continues, as Megadeth just released a music video for “The Threat Is Real”, a single that they admittedly pushed out about a month ago. This track reinforces my hypothesis that the upcoming album will be an “adequate facsimile” of previous Megadeth; it’s certainly appropriate given the band’s legacy, although the band would have to bust their collective asses (and brains) to displace their older works from your mind for more than a few months. The actual visual content of the video could be interesting as well, at least if you’re not put off by the odd style of animation employed.
The guy who went to Black Flames of Blasphemy VI seems to have liked them – Destroyer 666 is returning with a new studio album after 7 years of inactivity on that front. They’ll presumably continue to be a partial throwback to ’80s first-wave black metal on Wildfire, which is currently set for release on February 26th. The band’s frontman, K.K Warslut commented on the artwork his band has procured for this album, saying that he “…was after something very simple and very metal, being sick to death as I am with pseudo-occultniks dressing everything up in the garb of mysticism.” It’s probably not just him, although the local occultists here at DMU might take issue with that. After this album’s release, the band has a few tour dates lined up in Europe for 2016.
Anthrax has always been vaguely relevant at best – selling not quite enough albums to be huge, but never really going away and always drawing some amount of media attention. Perhaps it’s lower expectations, but they seem to have aged more gracefully than most of their famous speed metal counterparts in recent years. 2011’s Worship Music must’ve paid the bills for a while, since the delay between that and the upcoming For All Kings is quite lengthy (albeit not as lengthy as the wait between WM and its own predecessor). So far, Anthrax has released the track “Evil Twin” as a single, which makes for an accurate if unnecessary imitation of the band’s past work. Anthrax has also promised that For All Kings will be “heavier” than its predecessor, perhaps due to the presence of Jon Donais from the metalcore band Shadows Fall. I wouldn’t stake any important bets on it, though.
Sometimes, the 1980s seeks you out. Sounding like a cross between old Nuclear Assault and Forbidden, with hints of Iron Maiden, Obscure Oracle bash out In Death We Trust by using death metal tremolo riffing in a mid-paced speed metal band with melodic accents to its riffs and noisy guitar fireworks. Borrowing from the riff forms that picked up speed coming out of the NWOBHM years, Obscure Oracle fall into the comfortable pacing of later speed metal, and crown it with high-pitched but tense vocals that could come from Bruce Dickenson on a Monday morning. Songs fit together well, keeping a dominant rhythmic figure that can induce nodding and foot-tapping in even the most hardened audience. While the result could send the Tardis back to 1987 at a distance of fifty paces, this band keeps their own sound and lets their enthusiasm for the material carry this future-to-past melange to new heights.