These Musicians May Be Executed When Sweden Institutes Sharia Law

Sweden is lost.

With an unstoppable invasion of Muslim migrants and a judicial system that refuses to prosecute their crimes, the nation’s progressive government leaders have definitively surrendered the future of Sweden into a Muslim majority.  It will only be a matter of time until a revolution occurs similar to that of Iran in 1979, when the country’s republic is overthrown and replaced by an Islamic theocracy and hijabs are forced on the women of Sweden.  It’s a reality that Swedes had better accept sooner than later as it has already happened to many other less willing nations within the last century.

Under Sharia law, there are harsh penalties for blasphemy, witchcraft, female indecency (exposing your body/not wearing a veil in public) and devil worship- ranging from a life in prison (with the press declaring you committed suicide) to public execution.  There will be no mercy shown for those who profaned/denied the image of God whether the act occurred during or after the new rule of law was instituted.  Therefore, any and all Swedish bands with such lyrical content will be quickly and efficiently strung up en masse when the new government arrives.

And if all this sounds crazy to you, just read the tale of Iranian metal band Confess and the horrors its musicians have been forced to endure.  After recording the lyrically harmless In Pursuit of Dreams (of which song titles include “Did You Get My Last Massage?” and “What Doesn’t Kill You Make You Exhausted!”), the band’s vocalist Nikan Kosravi were thrown into prison, forced in solitary confinement, and denied bail for almost a month.  The kid’s parents had to sell their houss and pay $30,000 for him to be released, and he faced the punishment of death by hanging for the crime of blasphemy.  He eventually hired a human trafficker to smuggle him out of the country to escape a 6 year prison sentence!

FYI Those are Saudi Arabian women being hanged, for all of you hijab-wearing feminists out there

But all the while brainless beta-cuck musicians existing in a Gothenburg liberal bubble like Tomas Lindberg of At the Gates will be decrying nationalism and populism as the horrifying bogyman that threatens their world.  They will cheer the eventual institution of Islamic government as “the end of a tyrannical Christian reign” and will not even notice the militants sneak up behind them until the bag is thrown over their heads.  Some of their fans will cry and throw tantrums and in retaliation be beaten in the streets, but they will ultimately do nothing as their Swedish death metal heroes are hanged by the neck right before their very eyes.

If you have ever played in a Swedish death or black metal band, you’d better get the hell out of the country before the day of Sharia comes (I’m giving it less than ten years).  And if you’re in a band on the below list, I am not kidding you: you are going to die!!!  To the rest of the world, prepare yourself, because it is likely only a matter of time before the musicians of following bands will likely be executed in front of a liberal metal world that was too dumb and too feminine to stand up to what is happening:

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The Lurking Fear – Out of the Voiceless Grave (2017)

The Lurking Fear ludicrously claim that:

The Lurking Fear is bringing sheer, natural weirdness and horror back to the scene, as we want our death metal ugly, twisted and possessed.

Riffs should stir up real feelings of repulsion, and disgust deep down in your soul, and vocals should sounds like hounds of hell howling at the moon.

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The Lurking Fear – Out of the Voiceless Grave Out August 11th

The Lurking Fear, the H.P. Lovecraft themed Swedish death metal band featuring At the Gates members Tomas Lindberg on the mic and Adrian Erlandsson behind the kit and Jonas Stålhammar from God Macabre on guitar, is releasing their debut album Out of the Voiceless Grave August 11th on Century Media. Hopefully the rest of the record will be better than the preview track, which sounded like a simplified, phoned-in and more boring Lucky Charms version of Grotesque. Will Tomas Lindberg take off the trucker hat and put the black leather trench coat back on?

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The Lurking Fear Preview “Winged Death”

The Lurking Fear, a side project of At the Gates members including Tomas Lindberg, preview a new track, “Winged Death” from their upcoming self-titled EP that is coming out soon. The band also has an album, Out Of The Voiceless Grave, coming out August 11th on Century Media. Death Metal Underground’s staff are not giddy with anticipation but rather unsurprisingly disappointed.
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Dew-Scented – Intermination (2015)

dewscented-album

Having been called everything from thrash to death or melodic death metal, Dew-Scented play metalcore in its original inception, as inspired by At the Gates’ style on Slaughter of the Soul.  Everything from the simple drums which half of the time fall into variations of fast d-beats, catchy and short melodic ideas on the guitars with a tendency towards breakdowns for variety, to the blatant imitation of Tomas Lindberg. Being an heir to this tradition reviled by the fans of the old school styles and hailed as an improvement and distillation of the best aspects of the older music by the mainstream audience, Intermination invites a comparison with At the Gates’ come back album released last year, At War with Reality.

While the seminal band tried to bridge a gap between fans of its older and later styles by taking its metalcore-founding album and introducing more complex elements as visited in Terminal Spirit Disease and vaguely from With Fear I Kiss the Burning Darkness, thereby creating a middle-of-the-road offering that pleased neither group, Dew-Scented plant themselves solidly on the style developed in Slaughter of the Soul and part faithfully from there to create variations without bringing down the delicate and extremely constricted walls delimiting the definition of this minimalist, extreme pop genre.

Being the catchy, duple-time riff-fest that this genre is, Dew-Scented do a phenomenal job at creating solid, punching riffs which if not necessarily connect concretely with each other too well throughout a song (given the shock-oriented nature of this modern style), go a long way to maintain the drive of songs by switching and keeping the overall feel, avoiding the over-use of a particular riff. Without any ill-will towards this talented band, we must clarify that the album presents a very flat result, which is a necessary result of the definition of the genre as driven by impacting riffs and sonic shock tactics. The tight upholding of ideals of the genre in Dew-Scented’s hands, even with their carefully and appropriately crafted variations, becomes a hindrance in the context of a crippling genre.

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