Clearly influenced by the latter half of Swedish death metal and Norwegian black metal, Towards Obscurities Beyond keeps itself grounded in American-style relentless death metal, with its churning tremolo riffs interrupted by atmospheric melodic riffs to great effect.No Comments
[Continued from Part 1]10 Comments
Tags: 2018, aeschylus, ballads, barbaric romanticism, blues, by the gods, classical music, cock rock, composition, Concept Album, cover songs, david defeis, dionysus, edward pursino, epic, exorcist, frank gilchriest, hard rock, hatred, Heavy Metal, insanity, jack starr, josh block, lilith, long island, love, madness, Mythology, new york, Occultism, Opera, original sin, over the top, Paganism, passion, piano, piledriver, power metal, rock opera, Romanticism, sexuality, Speed Metal, the hammer of zeus, the wrecking ball of thor, tragedy, Transcendence, USA, USPM, Vengeance, victory, virgin steele, wine
By the Gods my friends!
Forged in the desolate halls of 1981, hailing from the majestic kingdom of Long Island, New York… Virgin Steele have been one of the most enduring acts of Powerful Epic Heavy Metal for aeons! The aural magnificence of ultra-charismatic vocalist / composer / keyboardist / all around renaissance mad-man David “Dionysus” DeFeis and trusty six-stringed axe warrior of indomitable fury and vengeance Edward Pursino’s combined creative efforts have been overlooked by scholars of Metal for too long!21 Comments
Tags: aeschylus, ballads, barbaric romanticism, blues, by the gods, classical music, cock rock, composition, Concept Album, cover songs, david defeis, dionysus, edward pursino, epic, exorcist, frank gilchriest, hard rock, hatred, Heavy Metal, insanity, jack starr, josh block, lilith, long island, love, madness, Mythology, new york, Occultism, Opera, original sin, over the top, Paganism, passion, piano, piledriver, power metal, rock opera, Romanticism, sexuality, Speed Metal, the hammer of zeus, the wrecking ball of thor, tragedy, Transcendence, USA, USPM, Vengeance, victory, virgin steele, wine
The path of heavy metal is a solitary one. Most people do not like the idea of it, hate the sound of it, and look down on those who like it. It is not simplistic and mindlessly obsessive like rock, nor fancy and high-falutin’ like jazz. It seems deliberately antisocial, disruptive, violent and dark.20 Comments
Great Death Metal, through its boundless courage, developed an uncanny ability to plunge listeners into a subterranean labyrinth, revealing the philosophical impetus that stimulated the development of the genre itself. Black metal is slightly inverted, wherein the meandering melodic and thematic developments reveal an adventurous spirit and a desire to plunge into and discover the majesty of the infinite. Indeed, although each genre is somewhat complimentary there is a stark philosophical difference that characterizes each, where Death Metal revels amongst the catacombs and forces listeners to re-evaluate life in the face of their impending doom, Black Metal having stared long enough into the abyss and having emerged from the catacombs seeks glory amongst the stars, and in so doing provides listeners with a glimpse into what once was, and must be again.
Minas Morgul is a testament to this very spirit. Individually meandering, soaring and delicate melodic phrases weave around one another, periodically converging and thus creating a breathtakingly lucid and organically familiar polyphonic structure. What the listener will find most striking is the way each melodic motif develops according to its own internal logic while simultaneously complimenting and augmenting the presentation and development of concurrent melodic lines, which themselves develop according to their own internal logic. Here the infinite abounds as listeners bear witness to the expert use of polyphony, with each rung in the ethereal melodic hierarchy subtly altering the emotional experience of the listener through its capacity for slight differentiation.
The individual melodic motifs themselves are more robust and less restrained than the cryptic sense of melody that characterized say early Darkthrone. However therein lay this albums strength, as each melody is highly communicative and capitalizes on its inherently archaic, although timeless content to appeal those psychological archetypes that define the modern Hessian, to wit, regality, a desire for adventure, wanderlust and a sense for the transcendent.
Guitars are a secondary instrument on this album, however they are utilized with such tact and melodic viciousness, if I may say so, as to ensure that the sometimes airy and sentimental melodies remain grounded, bonded to an orthodox sense of attack and ferality that has always made great metal threatening, challenging, confrontational, and insightful.
Indeed, what makes this album truly compelling is that it successfully melds together a romantic longing for those eternal values that once gave life meaning, with a feral and commanding spirit that wishes to take hold of life and explore it’s depths, and its mountainous heights! One is less likely to find an album more suitable to one’s journey of self exploration and self transcendence.